tu spontanea bonorum omnium et animitus missa voce salutaris."

Cæsar, when he assumed the perpetual dictatorship, had not more servile or more elegant flattery. A translation may shew its servility; but its elegance is less attainable. Having exposed the unskilfulness or selfishness of the former government, "We were left," says Milton, "to ourselves the whole national interest fell into your hands, and subsists only in your abilities. To your virtue, over10 powering and resistless, every man gives way, except some who, without equal qualifications, aspire to equal honours, who envy the distinctions of merit greater than their own, or who have yet to learn, that in the coalition of human society nothing is more pleasing to God, or more agreeable to reason, than that the highest mind should have the sovereign power. Such, Sir, are you by general confession; such are the things atchieved by you, the greatest and most glorious of our countrymen, the director of our publick councils, the leader of unconquered armies, the father of 20 your country; for by that title does every good man hail you, with sincere and voluntary praise."

Next year, having defended all that wanted defence, he found leisure to defend himself. He undertook his own vindication against More, whom he declares in his title to be justly called the author of the "Regii Sanguinis clamor." In this there is no want of vehemence nor eloquence, nor does he forget his wonted wit. "Morus es? an Momus? an uterque idem est?" He then remembers that Morus is Latin for a Mulberry-tree, and hints at the known 30 transformation :

"-Poma alba ferebat Quæ post nigra tulit Morus."

With this piece ended his controversies; and he from this time gave himself up to his private studies and his civil employment.

As secretary to the Protector he is supposed to have written the Declaration of the reasons for a war with Spain. His agency was considered as of great importance; for when a treaty with Sweden was artfully suspended, the delay was publickly imputed to Mr. Milton's indisposition; and the Swedish agent was provoked to express his wonder, that only one man in England could write Latin, and that man blind.

Being now forty-seven years old, and seeing himself disencumbered from external interruptions, he seems to 10 have recollected his former purposes, and to have resumed three great works which he had planned for his future employment: an epick poem, the history of his country, and a dictionary of the Latin tongue.

To collect a dictionary, seems a work of all others least practicable in a state of blindness, because it depends upon perpetual and minute inspection and collation. Nor would Milton probably have begun it, after he had lost his eyes; but, having had it always before him, he continued it, says Philips, almost to his dying-day; but the papers were so 20 discomposed and deficient, that they could not be fitted for the press. The compilers of the Latin dictionary, printed at Cambridge, had the use of those collections in three folios; but what was their fate afterwards is not known.

To compile a history from various authors, when they can only be consulted by other eyes, is not easy, nor possible, but with more skilful and attentive help than can be commonly obtained; and it was probably the difficulty of consulting and comparing that stopped Milton's narrative at the Conquest; a period at which affairs were not yet very 30 intricate, nor authors very numerous.

For the subject of his epick poem, after much deliberation, long chusing, and beginning late, he fixed upon "Paradise Lost;" a design so comprehensive, that it could be justified only by success. He had once designed to cele

brate King Arthur, as he hints in his verses to Mansus but Arthur was reserved, says Fenton, to another destiny.

It appears, by some sketches of poetical projects left in manuscript, and to be seen in a library at Cambridge, that he had digested his thoughts on this subject into one of those wild dramas which were anciently called Mysteries; and Philips had seen what he terms part of a tragedy, beginning with the first ten lines of Satan's address to the Sun. These Mysteries consist of allegorical persons; such 10 as Justice, Mercy, Faith. Of the tragedy or mystery of Paradise Lost" there are two plans:

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Moses, πpoλoyíče, recounting how he assumed his true

body; that it corrupts not, because it is. with God in the mount; declares the like of Enoch and Elijah; besides the purity of the place, that certain pure winds, dews, and clouds, preserves it from corruption; whence exhorts to the sight of God; tells, they cannot see Adam in the state of innocence, by reason of their sin.

Justice,

Mercy,

Wisdom,

debating what should become of man, if he fall.

Chorus of Angels singing a hymn of the Creation.

ACT II.

Heavenly Love.

Evening Star.

Chorus sing the marriage-song, and describe Paradise.

ACT III.

Lucifer, contriving Adam's ruin.

Chorus fears for Adam, and relates Lucifer's rebellion and

Conscience cites them to God's examination.

Chorus bewails, and tells the good Adam has lost.

ACT V.

Adam and Eve driven out of Paradise.

presented by an angel with

Labour, Grief, Hatred, Envy, War, Famine,

Pestilence, Sickness, Discontent, Ignorance, Mutes.

Fear, Death,

ΙΟ

20

ΙΟ

Chorus briefly concludes.

Such was his first design, which could have produced only an allegory, or mystery. The following sketch seems to have attained more maturity.

"Adam unparadised:

The angel Gabriel, either descending or entering; shewing, since this globe was created, his frequency as much on earth as in heaven; describes Paradise. Next, the Chorus, shewing the reason of his coming to keep his watch in Paradise, after Lucifer's rebellion, by command from God; and withal expressing his desire to see and know more concerning this excellent new creature, man. The angel Gabriel, as by his name signifying a prince of power, tracing Paradise with a more free office, passes by the 20 station of the Chorus, and, desired by them, relates what he knew of man; as the creation of Eve, with their love and marriage. After this, Lucifer appears; after his overthrow, bemoans himself, seeks revenge on man. The Chorus prepare resistance at his first approach. At last, after discourse of enmity on either side, he departs: whereat the Chorus sings of the battle and victory in heaven, against him and his accomplices: as before, after the first act, was sung a hymn of the creation. Here again may appear Lucifer, relating and insulting in what he had 30 done to the destruction of man. Man next, and Eve having by this time been seduced by the Serpent, appears confusedly covered with leaves. Conscience, in a shape, accuses him; Justice cites him to the place whither Jeho