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for contraction and remove are images of matter ; but if they could have escaped without their armor, they might have escaped from it, and left only the empty cover to be battered. Uriel, when he rides on a sun-beam, is material ; Satan is material when he is afraid of the prowess of Adam.
The confusion of spirit and matter, which pero vades the whole narration of the war of heaven, fills it with incongruity; and the book, in which it is related, is, I believe, the favorite of children, and gradually neglected as knowledge is increased.
After the operation of immaterial agents, which cannot be explained, may be considered that of allegorical persons, which have no real existence. To exalt causes into agents, to invest abstract ideas with form, and animate them with activity, has always been the right of poetry. But such airy beings are, for the most part, suffered only to do their natural office, and retire. Thus Fame tells a tale, and Victory hovers over a general, or perches on a standard ; but Fame and Victory can do no more. To give them any real employment, or ascribe to them any material
agency, is to make them allegorical no longer, but to shock the mind by ascribing effects to non-entity. In the Prometheus of Æschylus, we see Violence and Strength, and in the Alcestis of Euripides, we see Death, brought upon the stage, all as active persons of the drama; but no prece dents can justify absurdity.
Milton's allegory of Sin and Death is undoubt. edly faulty. Sin is indeed the mother of Death, and may be allowed to be the portress of hell; but when they stop the journey of Satan, a journey described as real, and when Death offers him battle, the allegory is broken. That Sin and Death should have shewn the way to hell, might have been allowed; but they cannot facilitate the passage by building a bridge, because the difficulty of Satan's passage is described as real and sensible, and the bridge ought to be only figurative. The hell as. signed to the rebellious spirits is described as not less local than the residence of man. It is placed in some distant part of space, separated from the regions of harmony and order by a chaotic waste and an unoccupied vacuity ; but Sin and Death worked up a mole of aggravated soil, cemented with asphalius; a work too bulky for ideal architects.
This unskilful allegory appears to me one of the greatest faults of the poem ; and to this there was no temptation, but the author's opinion of its beauty.
To the conduct of the narrative some objection may be made. Satan is with great expectation brought before Gabriel in Paradise, and is suffered to go away unmolested. The creation of man is represented as the consequence of the vacuity left in heaven by the expulsion of the rebels ; yet Satan mentions it as a report rife in heaven before his departure.
To find sentiments for the state of innocence; was very difficult; and something of anticipation perhaps is now and then discovered. Adam's discourse of dreams seems not to be the speculation of a new-created being. I know not whether his answer to the angel's reproof for curiosity does not want something of propriety; it is the speech of a man acquainted with many other men. Some philosophical notions, especially when the philosophy is false, might have been better omitted. The angel
, in a comparison, speaks of timorous deer, before deer were yet timorous, and before Adam could understand the comparison.
Dryden remarks, that Milton has some flats among his elevations. This is only to say, that all the parts are not equal. In every work, one part must be for the sake of others; a palace must have passages; a poem must have transitions. It is no more to be required that wit should always be blazing, than that the sun should always stand at
In a great work there is a vicissitude of lu. minous and opaque parts, as there is in the world a succession of day and night. Milton, when he has expatiated in the sky, may be allowed sometimes to revisit earth; for what other author ever soared so high, or sustained his flight so long ?
Milton, being well versed in the Italian poets, appears to have borrowed often from them; and, as every man catches something from his companions, his desire of imitating Ariosto's levity has
disgraced his work with the Paradise of Fools; a fiction not in itself ill-imagined, but too ludicrous for its place.
His play on words, in which he delights too often; his equivocations, which Bentley endeavours to defend by the example of the antients ; his unnecessary and ungraceful use of terms of art; it is not necessary to mention, because they are easily remarked, and generally censured, and at last bear so little proportion to the whole, that they scarcely deserve the attention of a critic.
Such are the faults of that wonderful performance Paradise Lost; which he who can put in ba: lance with its beauties must be considered not as nice but as dull, as less to be censured for want or candor, than pitied for want of sensibility.
Of Paradise Regained, the general judgment seems now to be right, that it is in many parts ele-, gant, and every-where instructive. It was not to be supposed that the writer of Paradise Lost could ever write withoịt great effusions of fancy, and exalted precepts of wisdom. The basis of Paradise Regained is narrow; a dialogue without action can never please like an union of the narrative and drae matic powers. Had this poem been written not by Milton, but by some imitator, it would have claim. cd md received universal praise.
If Paradise Regained has been too much depreciated, Sampson Agonistes has in requital been too much admired. It could only be by long preju.
dice, and the bigotry of learning, that Milton could prefer the ancient tragedies, with their encumbrance of a chorus, to the exhibitions of the French and English stages; and it is only by a blind confidence in the reputation of Milton, that a drama can be praised in which the intermediate parts have neither cause nor consequence, neither hasten nor retard the catastrophe.
In this tragedy are however many particular beauties, many just sentiments and striking lines ; but it wants that power of attracting the attention which a well-connected plan produces.
Milton would not have excelled in dramatic writing; he knew human nature only in the gross, and had never studied the shades of character, nor the combinations of concurring, or the perplexity of contending passions. He had read much, and knew what books could teach; but had mingled little in the world, and was deficient in the knowledge which experience must confer.
Through all his greater works there prevails an uniform peculiarity of Diction, a mode and cast of expression which bears little resemblance to that, of any former writer, and which is so far removed from common use, that an unlearned reader, when he first opens his book, finds himself surprised by . a new language.
This novelty has been, by those who can find nothing wrong in Milton, imputed to his laborious