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ever wished it longer than it is. Its perusal is a duty rather than a pleasure. We read Milton for instruction, retire harassed and overburdened, and look elsewhere for recreation; we desert our master, and seek for companions.

Another inconvenience of Milton's design is, that it requires the description of what cannot be described, the agency of spirits. He saw that immateriality supplied no images, and that he could not show angels acting but by instruments of action, he therefore invested them with form and matter. This being necessary, was therefore defensible; and he should have secured the consistency of his system by keeping immateriality out of sight, and enticing his reader to drop it from his thoughts. But he has, unhappily, perplexed his poetry with his philosophy. His infernal and celestial powers are sometimes pure spirit, and sometimes animated body. When Satan walks with his lance upon the burning marle, he has a body; when, in his passage between hell and the new world, he is in danger of sinking in the vacuity, and is supported by a gust of rising vapours, he has a body; when he animates the toad he seems to be mere spirit, that can penetrate matter at pleasure; when he starts up in his own shope, he has at least a determined form; and when he is brought before Gabriel, he has a spear and a shield, which he had the power of hiding in the toad, though the arms of the contending angels are evidently material.

The vulgar inhabitants of Pandemonium, being incorporeal spirits, are at large, though without number, in a limited space; yet, in the battle, when they were overwhelmed by mountains, their armour hurt them, crushed in upon their substance, now grown gross by sinning. This likewise happened to the uncorrupted angels, who were overthrown the sooner for their arms, for unarmed they might easily as spirits have evaded by contraction or remove. Even as spirits they are hardly spiritual; for contraction and remove are images of matter; but if they could have escaped without their armour, they might have escaped from it, and left only the empty cover to be battered. Uriel, when he rides on a sun-beam, is material; Satan is material when he is afraid of the prowess of Adam.

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The confusion of spirit and matter which pervades the whole narration of the war of heaven fills it with incongruity; and the book in which it is related is, I believe, the favourite of children, and gradually neglected as knowledge is increased.

After the operation of immaterial agents, which cannot be explained, may be considered that of allegorical persons, which have no real existence. To exalt causes into agents, to invest abstract ideas with form, and animate them with activity, has always been the right of poetry. But such airy beings are, for the most part, suffered only to do their natural office and retire. Thus Fame tells a tale, and Victory hovers over a general, or perches on a standard ; but Fame and Victory can do no more. To give them any real employment, or ascribe to them any material agency, is to make them allegorical no longer, but to shock the mind by ascribing effects to nonentity. In the Prometheus of Æschylus, we see Violence and Strength; and in the Alcestis of Euripides, we see Death brought upon the stage, all as active persons of the drama; but no precedents can justify absurdity.

Milton's allegory of Sin and Death is undoubtedly faulty.13 Sin is indeed the mother of Death, and may be allowed to be the portress of hell; but when they stop the journey of Satan, a journey described as real, and when Death offers him battle, the allegory is broken. That Sin and Death should have shown the way to hell, might have been allowed; but they cannot facilitate the passage by building a bridge, because the difficulty of Satan's passage is described as real and sensible, and the bridge ought to be only figurative. The hell assigned to the rebellious spirits is described as not less local than the residence of man. It is placed in some distant part of space, separated from the regions of harmony and order by a chaotic waste and an unoccupied vacuity; but Sin and Death worked up a mole of aggravated soil, cemented with asphallus; a werk too bulky for ideal architects.

This unskilful allegory appears to me one of the greatest faults of the poem; and to this there was no temptation, but the author's opinion of its beauty.

To the conduct of the narrative some objections may be made. Satan is with great expectation brought before Gabriel in Paradise, and is suffered to go away unmolested. The creation of man is represented as the consequence of the vacuity left in heaven by the expulsion of the rebels; yet Satan mentions it as a report rite in heaven before his departure.

To find sentiments for the state of innocence, was very difficult; and something of anticipation perhaps is now and then discovered. Adam's discourse of dreams seems not to be the speculation of a newcreated being. I know not whether his answer to the angel's reproof for curiosity does not want something of propriety: it is the speech of a man acquainted with many other men. Some philosophical notions, especially when the philosophy is false, might have been better omitted. The angel, in a comparison, speaks of timorous deer before deer were yet timorous, and before Adam could understand the comparison.

Dryden remarks that Milton has some flats among his elevations. This is only to say that all the parts are not equal. In every work one part must be for the sake of others; a palace must have passages; a poem must have transitions. It is no more to be required that wit should always be blazing than that the sun should always . stand at noon. In a great work there is a vicissitude of luminous and opaque parts, as there is in the world a succession of day and night. Milton, when he has expatiated in the sky, may be allowed sometimes to revisit earth; for what other author ever soared so high, or sustained his flight so long ?

Milton, being well versed in the Italian poets, appears to have korrowed often from them; and as every man catches something from his companions, his desire of imitating Ariosto’s levity has disgraced his work with the Paradise of Fools ; 14 a fiction not in itself ill-imagined, but too ludicrous for its place.

His play on words, in which he delights too often; his equivocations, which Bentley endeavours to defend by the example of the ancients; his unnecessary and ungraceful use of terms of art; it is not necessary to mention, because they are easily remarked, and

generally censured, and at last bear so little proportion to the whole that they scarcely deserve the attention of a critic.

Such are the faults of that wonderful performance, Paradise Lost; which he who can put in balance with its beauties must be considered not as nice, but as dull, as less to be censured for want of candour than pitied for want of sensibility.

Of Paradise Regained, the general judgment seems now to be right, that it is in many parts elegant, and everywhere instructive. It was not to be supposed that the writer of Paradise Lost could ever write without great effusions of fancy and exalted precepts of wisdom. The basis of Paradise Regained is narrow; a dialogue without action can never please like an union of the narrative and dramatic powers. Had this poem been written, not by Milton, but by some imitator, it would have claimed and received universal praise.

If Paradise Regained has been too much depreciated, Sanson Agonistes has in requital been too much admired. It could only be by long prejudice and the bigotry of learning that Milton could prefer the ancient tragedies, with their encumbrance of a chorus, to the exhibitions of the French and English stages; and it is only by a blind confidence in the reputation of Milton that a drama can be praised in which the intermediate parts have neither cause nor consequence, neither hasten nor retard the catastrophe.

In this tragedy are, however, many particular beauties, many just sentiments and striking lines; but it wants that power of attracting the attention which a well-connected plan produces.

Milton would not have excelled in dramatic writing; he knew human nature only in the gross, and had never studied the shades of character, nor the combinations of concurring, or the perplexity of contending passions. He had read much, and knew what books conld teach, but had mingled little in the world, and was deficient in the knowledge which experience must confer.

Through all his greater works there prevails an uniform peculiarity of diction, a mode and cast of expression which bears little resemblance to that of any former writer, and which is so far

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removed from common use that an unlearned reader, when he first opens his book, finds himself surprised by a new language.

This novelty has been, by those who can find nothing wrong in Milton, imputed to his laborious endeavours after words suitable to the grandeur of his ideas. Our language, says Addison, sunk under him. But the truth is, that, both in prose and verse, he had formed his style by a perverse and pedantic principle. He was desirous to use English words with a foreign idiom. This in all his prose is discovered and condemned; for there judgment operates freely, neither softened by the beauty nor awed by the dignity of his thoughts: but such is the power of his poetry, that his call is obeyed without resistance, the reader feels himself in captivity to a higher and a nobler mind, and criticism sinks in admiration.

Milton's style was not modified by his subject: what is shown with greater extent in Paradise Lost may be found in Comus. One source of his peculiarity was his familiarity with the Tuscan poets: the disposition of his words is, I think, frequently Italian ; perhaps sometimes combined with other tongues. Of him, at last, may be said what Jonson says of Spenser, that he wrote no "language, but has formed what Buller calls a Babylonish dialect, in itself harsh and barbarous, but made, by exalted genius and extensive learning, the vehicle of so much instruction and so much pleasure, that, like other lovers, we find grace in its deformity.

Whatever be the faults of his diction, he cannot want the praise of copiousness and variety. He was master of his language in its full extent; and has selected the melodious words with such diligence, that from his book alone the art of English Poetry might be learned.

After his diction, something must be said of his versification. The measure, he says, is the English heroic verse without rhyme. Of this mode he had many examples among the Italians, and some in his own country. The Earl of Surrey is said to have translated one of Virgil's books without rhyme; and, besides our tragedies, a few short poems had appeared in blank verse, particularly one tending to reconcile the nation to Raleigh's wild attempt upon Guiana, and

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