a Pastoral appear in Prose, nay even without the Feminine Ornament of
Jangle, 'twould not be born with; which show's that Epick Poetry can
support it self with fewer foreign Assistances than Pastoral.

Another Observation I shall make, relating to the Manners or Characters
in general, is this; and 'tis equally applicable to Epick Poetry,
Tragedy, and Pastoral: There are three different ways of drawing
Characters; which in Tragedy form the Poem, as 'twere, of three
different Kinds or Natures.

The first, and finest is, where the Natural Temper of the Hero's Mind is
drawn in the former Part of the Poem, but after the Peripatie alter's.
As Timon of Athens is drawn at first all free and well-natur'd to
a Fault; but after his change of Fortune, is described as a quite
different Man; morose, and in hatred with himself and all the World. And
so in other Tragedies.

The second Sort is, where the Temper of Mind is the same in the former
and latter Part of the Play; but all along forced from it's Natural
Bent. Every where inclin'd and leaning to a different Temper; yet is
no where wholly carry'd off, or alter'd, as in _Venice-Preserv'd_;
_Jaffeir's_ Temper is generous, faithful, and tender, but thro' Want and
Enticement being drawn into a Conspiracy, this Temper is half effac'd
in him: But the Strugglings which the Poet has so fine an Opportunity
of describing, between his present Actions and his natural Temper, are
carry'd thro' the whole Piece; and he condemn's himself the same for
ungenerously betraying his Friend at the End, as for entring into the
Conspiracy against his Country, at the beginning of the Play.

The last kind of Character is, where the Natural Temper of the Mind is