ich relates to Pastoral; nor none (not even the Sublime) so
difficult to write. Of all who have attempted Pastoral in our Tongue, no
one (but _SPENCER_) has gone so far as even the weakening and enervating
their Dialect; yet after that is perform'd, a Pastoral-Writer has gone
but half way; for after the Strength is taken away, a Tenderness and
Simplicity of Expression must supply its Place, or else 'tis only bald
and low, instead of Soft and Sweet.

_Spencer_'s Language is what supports his Pastorals; for I can maintain,
that he has not above one Sentiment in fifteen but is either false, or
taken from the Antients, throughout his Pastorals. The greatest
Defect in his Language is it's want of Softness. He has introduced a
sufficient, or perhaps too great a Number, of Old-Words. But they are
promiscuously used. He took not the Pains to form his Dialect before
he wrote his Pastorals, by which means he has used more rough and harsh
Old-Words, than Smooth and Agreeable Ones. They are used where our
common Words were infinitely more Soft and Musical. As _What gar's thee
Greet?_ For, _What makes thee Grieve?_ How Harsh and Grating is the
Sound of _SPENCER_'s two Words, But Instances were endless. He is the
more blamable, because there are full enough Old-Words to render a
Dialect Rustick and Uncommon of the most sweet and delightful Sound
imaginable. As _ween_ or _weet_, for _think_; _yclepen_, for _call'd_,
and the like. These being so tender and soft, render the Language of
Pastoral infinitely more tender also, than any common Words, now in use,
can do.

CHAP. II.

_How to attain to the_ Soft _in Writing_.

That a Shepherd should talk in a different Dialect from other People, is
allow'd by all. That the Pastoral Language should be soft and agreeable
is equally past dispute. The only remaining Question then is, what it is
that composes such a Dialect, and how to attain it.

In order to compose a Pastoral Dialect entirely perfect; the first
thing, I think, a Writer has to do, is, as we said before, to enervate
it and deprive it of all strength.

As for the manner of enervating a Language, it must be perform'd by the
Genius of the Poet, and not shown by a Critick. However when the Thing
is done, 'tis not difficult to see what chiefly effected it. There are,
I think, _Cubbin_, two Things that principally enervate your Language.

_First_, 'Tis perform'd by throwing out all Words that are _Sonorous_
and raise a _Ve