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THere is a particular Rhetorick for Poetry, which the Modern Poets scarce understand at all; this Art con∣sists in discerning very precisely what ought to be said figuratively, and what to be spoken simply: and in knowing well where ornament is requir'd, and where not. Tasso understood not well this secret, he is too trim and too polite in places, where the gravity of the Sub∣ject demanded a more simple and seri∣ous stile: as for example, where Tan∣cred
comes near the Tomb of Clorinda; he makes the unfortunate Lover, who came from slaying his Mistriss, speak points, instead of expressing his sorrow naturally, he commits this fault in many other places. Guarini in his Pastor Fido, and Bonarelli in his Phillis, are often guil∣ty of this vice, they alwayes think ra∣ther to speak things wittily, than natural∣ly: this is the most ordinary Rock to mean Wits, who suffer their fancy to fl••e out after the pleasing images they find in their way: they rush into the descri∣ptions of Groves, Rivers, Fountains, and Temples, which Horace calls Childish in his Book of Poesie. 'Tis onely the talent of great men to know to speak, and to be silent; to be florid, and to be plain; to be lofty; and to be low; to use figures, and to speak simply▪ to mingle fiction and ornament, as the Subject requires: finally, to manage all well in his Subject, without pretending to give delight, where he should only instruct, and with∣out rising in great thoughts, where na∣tural and common sentiments are requi∣red, a simple thought in its proper place, is more worth than all the most exquisite words and wit out of season. Fancy, which is all the wit of common
Writers, apprehends not this; this dis∣cernment, and this particular Rhetorick, which is proper to Poetry, is a pure effect of the judgment.