So true is that remark of the admirable Earl of Roscommon, if applied to the Romans, rather, I fear, than to the English, since his own death: ----one sterling line, Drawn to French wire, would through whole pages shine. Another rule is, that the characters should represent that ancient innocence, and unpractised plainness, which was then in the world. P. Rapin has gathered many instances of this out of Theocritus and Virgil; and the reader can do it as well as himself. But M. Fontenelle transgressed this rule, when he hid himself in the thicket to listen to the private discourse of the two shepherdesses. This is not only ill breeding at Versailles; the Arcadian shepherdesses themselves would have set their dogs upon one for such an unpardonable piece of rudeness. A third rule is, that there should be some _ordonnance_, some design, or little plot, which may deserve the title of a pastoral scene. This is everywhere observed by Virgil, and particularly remarkable in the first Eclogue, the standard of all pastorals. A beautiful landscape presents itself to your view; a shepherd, with his flock around him, resting securely under a spreading beech, which furnished the first food to our ancestors; another in a quite different situation of mind and circumstances; the sun setting; the hospitality of the more fortunate shepherd, &c. And here M. Fontenelle seems not a little wanting. A fourth rule, and of great importance in this delicate sort of writing, is, that there be choice diversity of subjects; that the Eclogue, like a beautiful prospect, should charm by its variety. Virgil is admirable in this point, and far surpasses Theocritus, as he does everywhere, when judgment and contrivance have the principal part. The subject of the first Pastoral is hinted above. The Second contains the love of Corydon for Alexis, and the seasonable reproach he gives himself, that he left his vines half pruned, (which, according to the Roman rituals, derived a curse upon the fruit that grew upon it,) whilst he pursued an object undeserving his passion. The Third, a sharp contention of two shepherds for the prize of poetry. The Fourth contains the discourse of a shepherd comforting himself, in a declining age, that a better was ensuing. The Fifth, a lamentation for a dead friend, the first draught of which is probably more ancient than any of the pastorals now extant; his brother being at first intended; but he afterwards makes his court to Augustus, by turning it into an apotheosis of Julius Cæsar. The Sixth is the Silenus. The Seventh, another poetical dispute, first composed at Mantua. The Eighth is the description of a despairing lover, and a magical charm. He sets the Ninth after all these, very modestly, because it was particular to himself; and here he would have ended that work, if Gallus had not prevailed upon him to add one more in his favour.