Beatitude past utt'rance. On his right In blissful solitude. He then survey'd Him God beholding from his prospect high, Satan's approach to the confines of the creation is finely imaged in the beginning of the speech which immediately follows. The effects of this speech in the blessed spirits, and in the divine person to whom it was addressed, cannot but fill the mind of the reader with a secret pleasure and complacency: 'Thus while God spake, ambrosial fragrance fill'd Sense of new joy ineffable diffus'd. Beyond compare the Son of God was seen Love without end, and without measure grace.' I need not point out the beauty of that circumstance, wherein the whole host of angels are represented as standing mute; nor shew how proper the occasion was to produce such a silence in heaven. The close of this divine colloquy, with the hymn of angels that follows upon it, are so wonderfully beautiful and poetical, that I should not forbear inserting the whole passage, if the bounds of my paper would give me leave: 'No sooner had th' Almighty ceas'd, but all (Loud as from numbers without number, sweet Satan's walk upon the outside of the universe, which at a distance appeared to him of a globular form, but upon his nearer approach looked like an unbounded plain, is natural and noble; as his roaming upon the frontiers of the creation, between that mass of matter which was wrought into a world, and that shapeless unformed heap of materials which still lay in chaos and confusion, strikes the imagination with something astonishingly great and wild. I have before spoken of the Limbo of Vanity, which the poet places upon this outermost surface of the universe, and shall here explain myself more at large on that, and other parts of the poem, which are of the same shadowy nature. Aristotle observes, that the fable of an epic poem should abound in circumstances that are both credible and astonishing; or, as the French critics choose to phrase it, the fable should be filled with the probable and the marvellous. This rule is as fine and just as any in Aristotle's whole Art of Poetry. If the fable is only probable, it differs nothing from a true history; if it is only marvellous, it is no better than a romance. The great secret, therefore, of heroic poetry, is to relate such circumstances as may produce in the reader at the same time both belief and astonishment. This is brought to pass in a well chosen fable, by the account of such things as have really happened, or at least of such things as have happened according to the received opinions of mankind. Milton's false is a master-piece of this nature; as the war in heaven, the condition of the fallen angels, the state of innocence, the temptation of the serpent and the fall of man, though they are very astonishing in themselves, are not only credible, but actual points of faith. The next method of reconciling miracles with credibility, is by a happy invention of the poet; as in particular, when he introduces agents of a superior nature, who are capable of effecting what is wonderful, and what is not to be met with in the ordinary course of things. Ulysses's ship being turned into a rock, and Æneas's fleet into a shoal of water nymphs, though they are very surprising accidents, are nevertheless probable when we are told, that they were the gods who thus transformed them. It is this kind of machinery which fills the poems both of Homer and Virgil with such circumstances as are wonderful but not impossible, and so frequently produce in the reader the most pleasing passion that can rise in the mind of man, which is admiration. If there be any instance in the Æneid liable to exception upon this account, it is in the beginning of the third book, where Æneas is represented as tearing up the myrtle that dropped blood. To qualify this wonderful circumstance, Polydorus tells a story from the root of the myrtle, that the barbarous inhabitants of the country having pierced him with spears and arrows, the wood which was left in his body took root in his wounds, and gave birth to that bleeding tree. This circumstance seems to have the marvellous without the probable, because it is represented as proceeding from natural causes, without the interposition of any god, or other supernatural power capable of producing it. The spears and arrows grow of themselves without so much as the modern help of enchantment. If we look into the fiction of Milton's fable, though we find it full of surprising incidents, they are generally suited to our notion of the things and persons described, and tempered with a due measure of probability. I must only make an exception to the Limbo of Vanity, with his episode of Sin and Death, and some of the imaginary persons in his chaos. These passages are astonishing, but not credible; the reader cannot so far impose upon himself as to see a possibility in them; they are the description of dreams and shadows, not of things or persons. I know that many critics look upon the stories of Circe, Polypheme, the Sirens, nay the whole Odyssey and Iliad, to be allegories: but allowing this to be true, they are fables, which, considering the opinions of mankind that prevailed in the age of the poet, might possibly have been according to the letter. The persons are such as might have acted what is ascribed to them, as the circumstances in which they are represented might possibly have been truths and realities. This appearance of probability is so absolutely requisite in the greater kinds of poetry, that Aristotle observes the ancient tragic writers made use of the names of such great men as had actually lived in the world, though the tragedy proceeded upon adventures they were never engaged in, on purpose to make the subject more credible. In a word, besides the hidden meaning of an epic allegory, the plain literal sense ought to appear probable. The story should be such as an ordinary reader may acquiesce in, whatever natural, moral, or political truth may be discovered in it by men of greater penetration. Satan, after having long wandered upon the surface, or outmost wall of the universe, discovers at last a wide gap in it, which led into the creation, and is described as the opening through which the angels pass to and fro into the lower world, upon their errands to mankind. His sitting upon the brink of this passage, and taking a survey of the whole face of nature, that appeared to him new and fresh in all its beauties, with the simile illustrating the circumstance, fills the mind of the reader with as surprising and glorious an idea as any that arises in the whole poem. He looks down into that vast hollow of the universe with the eye, or (as Milton calls it in the first book) with the ken of an angel. He surveys all the wonders in the immense amphitheatre that lie between both the poles of heaven, and takes in at one view the whole round of the creation. His flight between the several worlds that shined on every side of him, with the particular description of the sun, are set forth in all the wontonness of a luxuriant imagination. His shape, speech, and behaviour upon his transforming himself into an angel of light, are touched with exquisite beauty. The poet's thought of directing Satan to the sun, which, in the vulgar opinion of mankind, is the most conspicuous part of the creation, and the placing in it an angel, is a circumstance very finely contrived, and the more adjusted to a poetical probability, as it was a received doctrine among the most famous philosophers, that every orb had its intelligence; and as an apostle in sacred writ is said to have seen such an angel in the sun. In the answer which this angel returns to the disguised evil spirit, there is such a becoming majesty as is altogether suitable to a superior being. The part of it in which he represent himself as present at the creation, is very noble in itself, and not only proper where it is introduced, |