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where the reader's mind may be supposed to be sufficiently relaxed for such an entertainment. The only piece of pleasantry in Paradise Lost, is where the evil spirits are described as rallying the angels upon the success of their newly invented artillery. This passage I look upon to be the most exceptionable in the whole poem, as being nothing else but a string of puns, and those too very indifferent.

-Satan beheld their plight,

And to his mates thus in derision called.

O friends, why come not on these victors proud!
Ere while they fierce were coming, and when we,
To entertain them fair with open front

And breast, (what could we more?) propounded terms
Of composition, straight they changed their minds,
Flew off, and into strange vagaries fell,

As they would dance; yet for a dance they seemed
Somewhat extravagant and wild, perhaps
For joy of offered peace; but I suppose
If our proposals once again were heard,
We should compel them to a quick result.

To whom thus Belial, in like gamesome mood.
Leader, the terms we sent were terms of weight,
Of hard contents, and full of force urged home,
Such as we might perceive amused them all,
And stumbled many; who receives them right
Had need, from head to foot, well understand;
Not understood, this gift they have besides,
They show us when our foes walk not upright.
Thus they among themselves in pleasant vein
Stood scoffing-


Ne quicunque Deus, quicunque adhibebitur heros,
Regali conspectus in auro nuper et ostro,

Migret in obscuras humili sermone tabernas :

Aut dum vitat humum, nubes et inania captet. HOR.

HAVING already treated of the fable, the characters, and sentiments in the Paradise Lost, we are in the last place to consider the language; and as the learned world is very much divided upon Milton as to this point, I hope they will excuse me if I appear particular in any of my opinions, and incline to those who judge the most advantageously of the


It is requisite that the language of an heroic poem should be both perspicuous and sublime. In proportion as either of these two qualities are wanting,' the language is imperfect. Perspicuity is the first and most necessary qualification; insomuch, that a good-natured reader sometimes overlooks a little slip even in the grammar or syntax, where it is impossible for him to mistake the poet's sense. Of this kind is that passage in Milton, wherein he speaks of Satan:

-God and his Son except,

Created thing nought valued he nor shunn'd.

And that in which he describes Adam and Eve:

Adam the goodliest man of men since born
His sons, the fairest of her daughters Eve.

It is plain, that in the former of these passages, according to the natural syntax, the divine persons mentioned in the first line are represented as created beings; and that in the other, Adam and Eve are confounded with their sons and daughters. Such little blemishes as these, when the thought is great and natural, we should, with Horace, impute to a pardonable inadvertency, or to the weakness of human nature, which cannot attend to each minute particular, and give the last finishing to every circumstance in so long a work. The ancient critics, therefore, who were acted by a spirit of candour, rather than that of cavilling, invented certain figures of speech, on purpose to palliate little errors of this nature in the writings of those authors who had so many greater beauties to atone for them.

If clearness and perspicuity were only to be consulted, the poet would have nothing else to do but to clothe his thoughts in the most plain and natural expressions. But since it often happens, that the most obvious phrases, and those which are used in ordinary conversation, become too familiar to the ear, and contract a kind of meanness by passing through the mouths of the vulgar, a poet should take particular care to guard himself against idiomatic ways of speaking. Ovid and Lucan have many poornesses of expression upon this account, as taking up with the first phrases

1 Are wanting.] It should be is wanting.

2 If clearness and perspicuity were, &c.] Here are two substantives indeed, but one thing only is expressed. He should have said—"if clearness or perspicuity was only."

that offered, without putting themselves to the trouble of looking after such as would not only be natural, but also elevated and sublime. Milton has but a few failings in this kind, of which, however, you may meet with some instances, as in the following passages.

Embryos and Idiots, Eremites and Friars,

White, black, and grey, with all their trumpery,
Here pilgrims roam-

Awhile discourse they hold,

No fear lest dinner cool; when thus began

Our author

Who of all ages to succeed, but feeling

The evil on him brought by me, will curse
My head, ill fare our ancestor impure,
For this we may thank Adam-—

The great masters in composition know very well that many an elegant phrase becomes improper for a poet or an orator, when it has been debased by common use. For this reason the works of ancient authors, which are written in dead languages, have a great advantage over those which are written in languages that are now spoken. Were there any mean phrases or idioms in Virgil and Homer, they would not shock the ear of the most delicate modern reader so much as they would have done that of an old Greek or Roman, because we never hear them pronounced in our streets, or in ordinary conversation.

It is not, therefore, sufficient, that the language of an epic poem be perspicuous, unless it be also sublime. To this end it ought to deviate from the common forms and ordinary phrases of speech. The judgment of a poet very much discovers itself in shunning the common roads of expression, without falling into such ways of speech as may seem stiff and unnatural; he must not swell into a false sublime, by endeavouring to avoid the other extreme. Among the Greeks,. Æschylus, and sometimes Sophocles, were guilty of this fault; among the Latins, Claudian and Statius; and among our own countrymen, Shakspeare and Lee. In these authors the affectation of greatness often hurts the perspicuity of the style, as in many others the endeavour after perspicuity prejudices its greatness.

Aristotle has observed, that the idiomatic style may be avoided, and the sublime formed, by the following methods. First, by the use of metaphors: such are those in Milton.

Imparadised in one another's arms.
-And in his hand a reed

Stood waving, tipt with fire.-
The grassy clods now calved.—
Spangled with eyes-

In these, and innumerable other instances, the metaphors are very bold, but just; I must, however, observe, that the metaphors are not thick-sown in Milton, which always savours too much of wit; that they never clash with one another, which, as Aristotle observes, turns a sentence into a kind of an enigma or riddle; and that he seldom has recourse to them where the proper and natural words will do as well.

Another way of raising the language, and giving it a poetical turn, is to make use of the idioms of other tongues. Virgil is full of the Greek forms of speech, which the critics call Hellenisms, as Horace in his Odes1 abounds with them, much more than Virgil. I need not mention the several dialects which Homer has made use of for this end. Milton, in conformity with the practice of the ancient poets, and with Aristotle's rule, has infused a great many Latinisms, as well as Græcisms, and sometimes Hebraisms, into the language of his poem; as towards the beginning of it,

Nor did they not perceive the evil plight

In which they were, or the fierce pains not feel,
Yet to their general's voice they soon obeyed.
-Who shall tempt with wandering feet

The dark, unbottomed, infinite abyss,
And through the palpable obscure find out
His uncouth way, or spread his airy flight,
Upborne with indefatigable wings
Over the vast abrupt !

-So both ascend

In the visions of God

B. ii.

Under this head may be reckoned the placing the adjective after the substantive, the transposition of words, the turning the adjective into a substantive, with several other foreign modes of speech, which this poet has naturalized to give his verse the greater sound, and throw it out of prose.

The third method mentioned by Aristotle, is what agrees with the genius of the Greek language more than with that

1 Horace in his Odes.] He says, in his Odes, to show that Horace used these Hellenisms properly.

of any other tongue, and is therefore more used by Homer than by any other poet. I mean the lengthening of a phrase by the addition of words, which may either be inserted or omitted, as also by the extending or contracting of particular words by the insertion or omission of certain syllables. Milton has put in practice this method of raising his language, as far as the nature of our tongue will permit, as in the passage above-mentioned, eremite for what is hermite in common discourse. If you observe the measure of his verse, he has with great judgment suppressed a syllable in several words, and shortened those of two syllables into one, by which method, besides the above-mentioned advantage, he has given a greater variety to his numbers. But this practice is more particularly remarkable in the names of persons and of countries, as Beelzebub, Hessebon, and in many other particulars, wherein he has either changed the name, or made use of that which is not the most commonly known, that he might the better depart from the language of the vulgar.

The same reason recommended to him several old words, which also makes1 his poem appear the more venerable, and gives it a greater air of antiquity.

I must likewise take notice, that there are in Milton several words of his own coining, as Cerberean, miscreated, hell-doom'd, embryon atoms, and many others. If the reader is offended at this liberty in our English poet, I would recommend him to a discourse in Plutarch, which shows us how frequently Homer has made use of the same liberty.

Milton, by the above-mentioned helps, and by the choice of the noblest words and phrases which our tongue would afford him, has carried our language to a greater height than any of the English poets have ever done before or after him, and made the sublimity of his style equal to that of his sentiments.

I have been the more particular in these observations on Milton's style, because it is that part of him in which he ap

1 Which also makes.] In this construction, the antecedent to which is reason. Better refer which to words, and read-make-and give.

2 Before or after him.] Better expunge these words, and then the time will be left indefinite, as it should be; for the preter-perfect tense "have" cannot be applied to before and after. Or else, point thushave ever done, before or after him-and then the expression will be right, because elliptical, and as if he had said—“ Whether they lived before or after him."


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