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ture in that happiness and perfection from which it had fallen, the poet confines himself to the line of Abraham, from whence the Messiah was to descend. The angel is described as seeing the patriarch actually travelling towards the Land of Promise, which gives a particular liveliness to this part of the narration.

I see him, but thou canst not, with what faith
He leaves his gods, his friends, his native soil,
Ur of Chaldæa, passing now the ford
To Haran, after him a cumbrous train
Of herds and flocks and numerous servitude :
Not wandering poor, but trusting all his wealth
With God who called him, in a land unknown.
Canaan he now attains, I see his tents
Pitcht about Sechem, and the neighbouring plain
Of Moreh, there by promise he receives
Gift to his progeny of all that land,
From Hamath northward to the desert south

(Things by their names I call, though yet unnamed). As Virgil's vision in the sixth Æneid probably gave Milton the hint of this whole episode, the last line is a translation of that verse where Anchises mentions the names of places, which they were to bear hereafter.

Hæc tum nomina erunt, nunc sunt sine nomine terræ. The poet has very finely represented the joy and gladness of heart which rises in Adam upon his discovery of the Messiah. As he sees his day at a distance through types and

, shadows, he rejoices in it; but when he finds the redemption of man completed, and Paradise again renewed, he breaks forth in rapture and transport,

Oh Goodness infinite, Goodness immense !

That all this good of evil shall produce, &c. I have hinted in my sixth paper on Milton, that an heroic poem, according to the opinion of the best critics, ought to end happily, and leave the mind of the reader, after having conducted it through many doubts and fears, sorrows and disquietudes, in a state of tranquillity and satisfaction. Milton's fable, which had so many other qualifications to recommend it, was deficient in this particular. It is here, therefore, that the poet bas shown a most exquisite judgment, as well as the finest invention, by finding out a method to supply this natural defect in his subject. Accordingly he leaves the adversary of mankind, in the last view which he gives us

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of him, under the lowest state of mortification and disappointment. We see him chewing ashes, grovelling in the dust, and loaden with supernumerary pains and torments. On the contrary, our two first parents are comforted by dreams and visions, cheered with promises of saivation, and, in a manner, raised to a greater happiness than that which they had forfeited: in short, Satan is représented miserable in the height of his triumphs, and Adam triumphant in the height of misery. Milton's poem ends very nobly. The last speeches of

. Adam and the archangel are full of moral and instructive sentiments. The sleep that fell upon Eve, and the effects it had in quieting the disorders of her mind, produces the same kind of consolation in the reader, who cannot peruse the last beautiful speech which is ascribed to the mother of mankind, without a secret pleasure and satisfaction.

Whence thou return'st and whither went'st, I know;
For God is also in sleep; and dreams advise,
Which he hath sent propitious, some great good
Presaging, since with sorrow and heart's distress
Wearied, I fell asleep: but now lead on;
In me is no delay: with thee to go
Is to stay here; without thee here to stay
Is to go hence unwilling; thou to me
Art all things under heaven, all places thou,
Who for my wilful crime art banished hence.
This further consolation yet secure
I carry hence; though all by me is lost,
Such favour I unworthy am vouchsafed,

By me the promised Seed shall all restore. The following lines, which conclude the poem, rise in a most glorious blaze of poetical images and expressions.

Heliodorus in his Æthiopics acquaints us, that the motion of the gods differs from that of mortals, as the former do not stir their feet, nor proceed step by step, but slide over the surface of the earth by an uniform swimming of the whole body. The reader may observe with how poetical a description Milton bas attributed the same kind of motion to the angels who were to take possession of Paradise.

So spake our mother Eve, and Adam heard
Well-pleased, but answered not; for now too nigh
The archangel stood, and from the other hill
To their fixed station, all in bright array
The cherubim descended; on the ground

Gliding meteorous, as evening mist,
Risen from a river, o'er the marish glides,
And gathers ground fast at the labourer's heel
Homeward returning. High in front advanced
The brandished sword of God before them blazed,

Fierce as a cometThe author helped his invention in the following passage, by reflecting on the behaviour of the angel, who, in holy writ, has the conduct of Lot and his family. The circumstances drawn from that relation are very gracefully made use of on this occasion.

In either hand the hastening angel caught
Our lingering parents, and to the eastern gate
Led them direct; and down the cliff as fast
To the subjected plain; then disappeared.

They looking back, &c. The scene which our first parents are surprised with upon their looking back on Paradise, wonderfully strikes the reader's imagination, as nothing can be more natural than the tears they shed on that occasion.

They looking back, all the eastern side beheld
Of Paradise, so late their happy seat,
Waved over by that flaming brand, the gate
With dreadful faces thronged and fiery arms
Some natural tears they dropped, but wiped them soon.
The world was all before them, where to choose

Their place of rest, and Providence their guide. If I might presume to offer at the smallest alteration in this divine work, I should think the poem would end better with the passage here quoted, than with the two verses which follow.

They hand in hand, with wandering steps and slow,

Through Eden took their solitary way. These two verses, though they have their beauty, fall very much below the foregoing passage, and renew in the mind of the reader that anguish which was pretty well laid by that consideration,

The world was all before them, where to choose

Their place of rest, and Providence their guide. The number of books in Paradise Lost is equal to those of the Æneid. Our author in his first edition had divided his poem into ten books, but afterwards broke the seventh and the eleventh each of them into two different books, by the help of some small additions. This second division was made with great judgment, as any one may see who will be at the pains of examining it. It was not done for the sake of such a chimerical beauty as that of resembling Virgil in this particular, but for the more just and regular disposition of this great work.

Those who have read Bossu, and many of the critics who have written since his time, will not pardon me if I do not find out the particular moral which is inculcated in Paradise Lost. Though I can by no means think, with the last-mentioned French author, that an epic writer first of all pitches upon a certain moral, as the ground-work and foundation of his poem, and afterwards finds out a story to it: I am, however, of opinion, that no just heroic poem ever was or can be made, from whence one great moral may not be deduced. That which reigns in Milton is the most universal and most useful that can be imagined; it is in short this, " that obedience to the will of God makes men happy, and that disobedience makes them miserable.” This is visibly the moral of the principal fable, which turns upon Adam and Eve, who continued in Paradise while they kept the command that was given them, and were driven out of it as soon as they had transgressed. This is likewise the moral of the principal episode, which shows us how an innumerable multitude of angels fell from their state of bliss, and were cast into hell, upon their disobedience.

Besides this great moral, which

may

be looked upon as the soul of the fable, there are an infinity of under morals which are to be drawn from the several parts of the poem, and which makes this work more useful and instructive than any

other

any language. Those who have criticised on the Odyssey, the Iliad, and Æneid, have taken a great deal of pains to fix the number of months or days contained in the action of each of those poems. If any one thinks it worth his while to examine this particular in Milton, he will find, that from Adam's first appearance in the fourth book, to his expulsion from Paradise in the twelfth, the author reckons ten days. As for that part of the action which is described in the three first books, as it does not pass within the regions of nature, I have before observed that it is not subject to any calculations of time.

I have now finished my observations on a work which does an honour to the English nation. I have taken a general

poem in

view of it under those four heads, the fable, the characters, the sentiments, and the language, and made each of them the subject of a particular paper. I have, in the next place, spoken of the censures which our author may incur under each of these heads, which I have confined to two papers, though I might have enlarged the number, if I had been disposed to dwell on so ungrateful a subject. I believe, however, that the severest reader will not find

any

little fault in heroic poetry, which this author has fallen into, that does not come under one of those heads among which I have distributed his several blemishes. After having thus treated at large of Paradise Lost, I could not think it sufficient to have celebrated this poem in the whole, without descending to particulars. I have therefore bestowed a paper upon each book, and endeavoured not only to prove that the poem is beautiful in general, but to point out its particular beauties, and to determine wherein they consist. I have endeavoured to show how some passages are beautiful by being sublime; others, by being soft; others, by being natural: which of them are recommended by the passion; which by the moral; which by the sentiment; and which by the expression. I have likewise endeavoured to show how the genius of the poet shines by a happy invention; a distant allusion; or a judicious imitation : how he has copied or improved Homer or Virgil, and raised his own imaginations by the use which he has made of several poetical passages in Scripture. I might have inserted also several passages of Tasso, which our author has imitated; but as I do not look upon Tasso to be a sufficient voucher, I would not perplex my reader with such quotations, as might do more honour to the Italian than English poet. In short, I have endeavoured to particularize those innumerable kinds of beauty, which it would be tedious to recapitulate, but which are essential to poetry, and which may be met with in the works of this great author. Had I thought, at my first engaging in this design, that it would have led me to so great a length, I believe I should never have entered upon it; but the kind reception which it has met with among those whose judgments I have a value for, gives me no reason to repent of the pains I have been at in composing them.

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