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, -Awhile discourse they hold, No fear lest dinner cool; when thus began Who of all ages to succeed, but feeling The evil on him brought by me, will curse 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, Eschylus, 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. Stood waving, tipt with fire.- 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, The dark, unbottomed, infinite abyss, -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." VOL. III. pears the most singular. The remarks I have here made upon the practice of other poets, with my observations out of Aristotle, will perhaps alleviate the prejudice which some have taken to his poem upon this account; though, after all, I must confess, that I think his style, though admirable in general, is in some places too much stiffened and obscured by the frequent use of those methods, which Aristotle has prescribed for the raising of it. This redundancy of those several ways of speech which Aristotle calls foreign language, and with which Milton has so very much enriched, and in some places darkened, the language of his poem, was the more proper for his use, because his poem is written in blank verse. Rhyme, without any other assistance, throws the language off from prose, and very often makes an indifferent phrase pass unregarded; but where the verse is not built upon rhymes, there pomp of sound, and energy of expression, are indispensably necessary to support the style, and keep it from falling into the flatness of prose. Those who have not a taste for this elevation of style, and are apt to ridicule a poet when he goes out of the common forms of expression, would do well to see how Aristotle has treated an ancient author, called Euclid, for his insipid mirth upon this occasion. Mr. Dryden used to call this sort of men his prose-critics. I should, under this head of the language, consider Milton's numbers, in which he has made use of several elisions,1 that are not customary among other English poets, as may be particularly observed in his cutting off the letter Y, when it precedes a vowel. This, and some other innovations in the measure of his verse, has varied his numbers, in such a manner, as makes them incapable of satiating the ear and cloying the reader, which the same uniform measure would certainly have done, and which the perpetual returns of rhyme never fail to do in long narrative poems. I shall close these reflections upon the language of Paradise Lost, with observing that Milton has copied after Homer, rather than Virgil, in the length of his periods, the copiousness of his phrases, and the running of his verses into one another. Elisions.] He learned this secret from the Italian poets. No. 291. SATURDAY, FEBRUARY 2. -Ubi plura nitent in carmine, non ego paucis HOR. I HAVE NOW Considered Milton's Paradise Lost under those four great heads of the fable, the characters, the sentiments, and the language; and have shown that he excels, in general, under each of these heads. I hope that I have made several discoveries which may appear new, even to those who are versed in critical learning. Were I indeed to choose my readers, by whose judgment I would stand or fall, they should not be such as are acquainted only with the French and Italian critics, but also with the ancient and modern who have written in either of the learned languages. Above all, I would have them well versed in the Greek and Latin poets, without which a man very often fancies that he understands a critic, when in reality he does not comprehend his meaning. It is in criticism, as in all other sciences and speculations; one who brings with him any implicit notions and observations which he has made in his reading of the poets, will find his own reflections methodized and explained, and perhaps several little hints that had passed in his mind perfected and improved in the works of a good critic; whereas one who has not these previous lights, is very often an utter stranger to what he reads, and apt to put a wrong interpretation upon it. Nor is it sufficient, that a man who sets up for a judge in criticism, should have perused the authors above-mentioned, unless he has also a clear and logical head. Without this talent, he is perpetually puzzled and perplexed amidst his own blunders, mistakes the sense of those he would confute, or if he chances to think right, does not know how to convey his thoughts to another with clearness and perspicuity. Aristotle, who was the best critic, was also one of the best logicians that ever appeared in the world. Understands a critic, &c.] To understand a critic, and to comprehend his meaning, is the same thing. What he meant to say, was-" fancies that he confutes a critic, when in reality he does not comprehend his meaning," |