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His sentiments are every way answerable to his character, and suitable to a created being of the most exalted and most depraved nature. Such is that in which he takes possession of his place of torments

“Hail, horrors ! hail
Infernal world! and thou profoundest hell
Receive thy new Possessor, one who brings

A mind not to be changed by place or time.”
And afterwards--

“Here at least
We shall be free; th' Almighty hath not built
Here for his envy, will not drive us hence :
Here we may reign secure; and in my choice
To reign is worth ambition, tho’ in hell :

Better to reign in hell than serve in heav'n." Amidst those impieties which this enraged spirit utters in other places of the poem, the author has taken care to introduce none that is not big with absurdity, and incapable of shocking a religious reader; his words, as the poet himself describes them, bearing only a semblance of worth, not substance. He is likewise with great art described as owning his Adversary to be Almighty. Whatever perverse interpretation he puts on the justice, mercy, and other attributes of the supreme being, he frequently confesses his Omnipotence, that being the perfection he was forced to allow him, and the only consideration which could support his pride under the shame of his defeat.

Nor must I here omit that beautiful circumstance of his bursting out in tears, upon his survey of those innumerable spirits whom he had involved in the same guilt and ruin with himself

" He now prepared
To speak; whereat their doubled ranks they bend
From wing to wing, and half enclose him round
With all his peers : attention held them mute.
Thrice he assay'd, and thrice in spite of scorn
Tears such as angels weep burst forth.”

The catalogue of evil spirits has abundance of learning in it, and a very agreeable turn of poetry, which rises in a great measure from its describing the places where they were worshipped, by those beautiful marks of rivers so frequent among the ancient poets. The characters of Moloch and Belial prepare the reader's mind for their respective speeches and behaviour in the second and sixth book. The account of Thammuz is finely romantic, and suitable to what we read among the ancients of the worship which was paid to that idol

“Thammuz came next behind,
Whose annual wound in Lebanon allur'd
The Syrian damsels to lament his fate,
In am'rous ditties all a summer's day ;
While smooth Adonis from his native rock
Ran purple to the sea, suppos'd with blood
Of Thammuz yearly wounded : the love tale
Infected Zion's daughters with like heat,
Whose wanton passions in the sacred porch
Ezekial saw, when by the vision led
His eye survey'd the dark idolatries
Of alienated Judah.”

The passage in the catalogue, explaining the manner how spirits transform themselves by contractions or enlargement of their dimensions, is introduced with great judgment, to make way for several surprising accidents in the sequel of the poem. There follows one, at the very end of the first book, which is what the French critics call marvellous, but at the same time probable by reason of the passage last mentioned. As soon as the infernal palace is finished, we are told the multitude and rabble of spirits immediately shrunk themselves into a small compass, that there might be room for such a numberless assembly in this capacious hall. But it is the poet's refinement upon this thought which I most admire, and which is indeed very noble in itself. For he tells us, that notwithstanding the vulgar, among the fallen spirits,

contracted their forms, those of the first rank and dignity still preserved their natural dimensions.

“ Thus incorporeal spirits to smallest forms
Reduced their shapes immense, and were at large,
Though without number, still amidst the hall
Of that infernal court. But far within,
And in their own dimensions like themselves,
The great seraphic lords and cherubim,
In close recess and secret conclare sate,
A thousand demigods on golden seats,
Frequent and full."

The character of Mammon, and the description of Pandamonium, are full of beauties.

There are several other strokes in the first book wonderf lly poetical, and instances of that sublime genius so peculiar to the author. Such is the description of Azazel's stature, and of the infernal standard, which he unfurls ; as also of that ghastly light, by which the fiends appear to one another in their place of torments

“The seat of desolation, void of light,
Save wbat the glimm'ring of those livid flames
Casts pale and dreadful."

The shout of the whole host of fallen angels when drawn up in battle array

“ The universal host up sent
A shout that tore hell's concave, and beyond
Frighted the reign of Chaos and old Night.”

The review, which the leader makes of his infernal army

“He thro' the armed files
Darts his experienc'd eye, and soon traverse
The whole battalion views, their order due,
Their visages and stature as of gods.
Their number last he sums; and now his heart
Distends with pride, and hardening in his strength
Glories"-

119 The flash of light which appeared upon the drawing of their swords

“He spake : and to confirm his words out flew
Millions of flaming swords, drawn from the thighs
Of mighty cherubim ; the sudden blaze
Far round illumin'd hell."

The sudden production of the Pandæmonium

Anon out of the earth a fabric huge
Rose like an exhalation, with the sound
Of dulcet symphonies and voices sweet.”

The artificial illuminations made in it

"From the arched roof.
Pendent by subtle magic, many a row
Of starry lamps and blazing cressets, fed
With naphtha and asphaltus, yielding light

As from a sky." · There are also several noblo similes and allusions in the first book of Paradise Lost. And here I must observe, that when Milton alludes either to things or persons, he never quits his simile till it rises to some very great idea, which is often foreign to the occasion that gave birth to it. The resemblance does not, perhaps, last above a line or two, but the poet runs on with the hint till he has raised out of it some glorious image or sentiment, proper to inflame the mind of the reader, and to give it that sublime kind of entertainment, which is suitable to the nature of an heroic poem.

If the reader considers the comparisons in the first book of Milton, of the sun in an eclipse, of the sleeping leviathan, of the bees swarming about their hive, of the fairy dance, in the view wherein I have here placed them, he will easily discover the great beauties tbat are in each of those passages.

CHAPTER XVI.

CRITICISM ON “PARADISE LOST."

conformable *, and has the pown perfectly

HORACE advises a poet to consider thoroughly the nature and force of his genius. Milton seems to have known perfectly well wherein his strength lay, and has therefore chosen a subject entirely conformable to those talents of which he was master. As his genius was wonderfully turned to the sublime, his subject is the noblest that could have entered into the thoughts of man. Everything that is truly great and astonishing, has a place in it. The whole system of the intellectual world; the chaos, and the creation; heaven, earth, and hell ; enter into the constitution of his poem.

Having in the first and second books represented the infernal world, with all its horrors, the thread of his fable naturally leads him into the opposite regions of bliss and glory.

If Milton's majesty forsakes him anywhere, it is in those parts of his poem, where the Divine Persons are introduced as speakers. One may, I think, observe that the author proceeds with a kind of fear and trembling, whilst he describes the sentiments of the Almighty. He dares not give his imagination its full play, but chooses to confine himself to such thoughts as are drawn from the books of the most orthodox divines, and to such expressions as may be met with in Scripture. The beauties, therefore, which we are to look for in these speeches, are not of a poetical nature, nor so proper to fill the mind with sentiments of grandeur, as with thoughts of devotion. The passions which they are designed to raise, are n Divine love and religious fear. The particular beauty of the speeches in the third book, consists in that shortness and perspicuity of style, in which the poet has couched the greatest mysteries of Christianity, and drawn together, in a regular scheme, the whole dispensation of Providence with respect to

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