a poem, yet calls it himself heroick song. Dryden petulantly and indecently denies the heroism of Adam, because he was overcome; but there is no reason why the hero should not be unfortunate, except established practice, since success and virtue do not go necessarily together.. Cato is the hero of Lucan; but Lucan's authority will not. be suffered by Quintilian to decide. However, if success: be necessary, Adam's deceiver was at last crushed; Adam, was restored to his Maker's favour, and therefore may securely resume his human rank,

After the scheme and fabrick of the poem, must be considered its component parts, the sentiments and the diction.

The sentiments, as expressive of manners, or appro→ priated to characters, are, for the greater part, unexcep tionably just.

Splendid passages, containing lessons of morality, or precepts of prudence, occur seldom. Such is the original formation of this poem, that, as it admits no human manners till the Fall, it can give little assistance to human. conduct. Its end is to raise the thoughts above sublunary cares or pleasures. Yet the praise of that fortitude, with, which Abdiel maintained his singularity of virtue against the scorn of multitudes, may be accommodated to all times; and Raphael's reproof of Adam's curiosity after the planetary motions, with the answer returned by Adam, may be confidently opposed to any rule of life which any poet has delivered.

The thoughts which are occasionally called forth in the progress, are such as could only be produced by an imagination in the highest degree fervid and active, to which materials were supplied by incessant study and unlimited curiosity. The heat of Milton's mind may be said to sublimate his learning, to throw off into his work the spirit of science, unmingled with its grosser parts.

He had considered creation in its whole extent, and his descriptions are therefore learned. He had accustomed his imagination to unrestrained indulgence, and his conceptions therefore were extensive. The characteristick quality of his poem is sublimity. He sometimes descends to the elegant, but his element is the great. He can occasionally invest himself with grace; but his natural

port is gigantick loftiness.* He can please when pleasure is required; but it is his peculiar power to astonish.

He seems to have been well acquainted with his own genius, and to know what it was that Nature had bestowed upon him more bountifully than upon others; the power of displaying the vast, illuminating the splendid, enforcing the awful, darkening the gloomy, and aggravating the dreadful; he therefore chose a subject on which too much could not be said, on which he might tire his fancy without the censure of extravagance.

The appearances of nature, and the occurrences of life, did not satiate his appetite of greatness. To paint things as they are, requires a minute attention, and employs the memory rather than the fancy. Milton's delight was to sport in the wide regions of possibility; reality was a scene too narrow for his mind. He sent his faculties out upon discovery, into worlds where only imagination can travel, and delighted to form new modes of existence, and furnish sentiment and action to superior beings, to trace the counsels of Hell, or accompany the choirs of Heaven.

But he could not be always in other worlds; he must sometimes revisit earth, and tell of things visible and known. When he cannot raise wonder by the sublimity of his mind, he gives delight by its fertility.

Whatever be his subject, he never fails to fill the imagination. But his images and descriptions of the scenes or operations of Nature do not seem to be always copied from original form, nor to have the freshness, raciness, and energy, of immediate observation. He saw Nature, as Dryden expresses it, through the spectacles of books; and on most occasions calls learning to his assistance. The garden of Eden brings to his mind the vale of Enna, where Proserpine was gathering flowers. Satan makes his way through fighting elements, like Argo between the Cyanean rocks; or Ulysses between the two Sicilian whirlpools, when he shunned Charybdis on the larboard. The mythological allusions have been justly censured, as not being always used with notice of their vanity; but they contribute variety to the narration, and produce an alternate exercise of the memory and the fancy.

* Algarotti terms it gigantesca sublimità Miltoniana. Dr. J.

His similes are less numerous, and more various, than those of his predecessors. But he does not confine himself within the limits of rigorous comparison: his great excellence is amplitude; and he expands the adventitious image beyond the dimensions which the occasion required. Thus comparing the shield of Satan to the orb of the Moon, he crouds the imagination with the discovery of the telescope, and all the wonders which the telescope dis

covers.

Of his moral sentiments it is hardly praise to affirm that they excel those of all other poets; for this superiority he was indebted to his acquaintance with the sacred writings. The antient epick poets, wanting the light of Revelation, were very unskilful teachers of virtue; their principal characters may be great, but they are not amiable. The reader may rise from their works with a greater degree of active or passive fortitude, and sometimes of prudence; but he will be able to carry away few precepts of justice, and none of mercy.

From the Italian writers it appears, that the advantages of even Christian knowledge may be possessed in vain. Ariosto's, pravity is generally known; and, though the Deliverance of Jerusalem may be considered as a sacred subject, the poet has been very sparing of moral instruction.

In Milton every line breathes sanctity of thought, and purity of manners, except when the train of the narration requires the introduction of the rebellious spirits; and even they are compelled to acknowledge their subjection to God, in such a manner as excites reverence and confirms piety.

Of human beings there are but two; but those two are the parents of mankind, venerable before their fall for dignity and innocence, and amiable after it for repentance and submission. In the first state their affection is tender without weakness, and their piety sublime without presumption. When they have sinned, they shew how discord begins in mutual frailty, and how it ought to cease in mutual forbearance: how confidence of the divine favour is forfeited by sin, and how hope of pardon may be obtained by penitence and prayer. A state of innocence we can only conceive, if indeed, in our present misery, it be possible to

conceive it; but the sentiments and worship proper to a fallen and offending being, we have all to learn, as we have all to practise.

The poet, whatever be done, is always great. Our progenitors in their first state conversed with angels; even when folly and sin had degraded them, they had not in their humiliation the port of mean suitors; and they rise again to reverential regard, when we find that their prayers were heard.

As human passions did not enter the world before the Fall, there is in the Paradise Lost little opportunity for the pathetick; but what little there is has not been lost. That passion which is peculiar to rational nature, the anguish arising from the consciousness of trangression, and the horrors attending the sense of the Divine displeasure, are very justly described and forcibly impressed. But the passions are moved only on one occasion; sublimity is the general and prevailing quality of this poem; sublimity variously modified, sometimes descriptive, sometimes argumentative.

The defects and faults of Paradise Lost, for faults and defects every work of man must have, it is the business of impartial criticism to discover. As, in displaying the excellence of Milton, I have not made long quotations, because of selecting beauties there had been no end, I shall in the same general manner mention that which seems to deserve censure; for what Englishman can take delight in transcribing passages, which, if they lessen the reputation of Milton, diminish in some degree the honour of our country?

The generality of my scheme does not admit the fre quent notice of verbal inaccuracies; which Bentley, perhaps better skilled in grammar than in poetry, has often found, though he sometimes made them, and which he imputed to the obtrusions of a reviser, whom the author's blindness obliged him to employ: a supposition rash and groundless, if he thought it true; and vile and pernicious, if, as is said, he in private allowed it to be false.

The plan of Paradise Lost has this inconvenience, that it comprises neither human actions nor human manners. * But, says Dr. Warton, it has throughout a reference to human life and actions. C.

The man and woman who act and suffer are in a state which no other man or woman can ever know. The reader finds nó transaction in which he can be engaged; beholds no condition in which he can by any effort of imagination place himself; he has, therefore, little natural curiosity or sympathy.

We all, indeed, feel the effects of Adam's disobedience; we all sin like Adam, and like him must all bewail our offences; we have restless and insidious enemies in the fallen angels; and in the blessed spirits we have guardians and friends; in the Redemption of mankind we hope to be included; and in the description of Heaven and Hell we are surely interested, as we are all to reside hereafter either in the regions of horrour or of bliss.

But these truths are too important to be new; they have been taught to our infancy; they have mingled with our solitary thoughts and familiar conversations, and are habitually interwoven with the whole texture of life. Being therefore not new, they raise no unaccustomed emotion in the mind; what we knew before, we cannot learn; what is not unexpected, cannot surprise.

Of the ideas suggested by these awful scenes, from some we recede with reverence, except when stated hours require their association; and from others we shrink with horrour, or admit them only as salutary inflictions, as counterpoises to our interests and passions. Such images rather obstruct the career of fancy than incite it.

Pleasure and terrour are indeed the genuine sources of poetry; but poetical pleasure must be such as human imagination can at least conceive; and poetical terrour such as human strength and fortitude may combat. The good and evil of Eternity are too ponderous for the wings of wit; the mind sinks under them in passive helplessness, content with calm belief and humble adoration.

Known truths, however, may take a different appearance, and be conveyed to the mind by a new train of interme diate images. This Milton has undertaken, and performed with pregnancy and vigour of mind peculiar to himself. Whoever considers the few radical positions which the Scriptures afforded him, will wonder by what energetic operation he expanded them to such extent, and ramified