that was more connected with the occurrences of life, and afforded a greater display of the characters and passions of men, his poem would, perhaps, have, to the bulk of readers, been more pleasing and attractive. But the subject which he has chosen, suited the daring sublimity of his genius.* It is a subject for which Milton alone was fitted; and in the conduct of it, he has shown a stretch both of imagination and invention, which is perfectly wonderful. It is astonishing how, from the few hints given us in the sacred Scriptures, he was able to raise so complete and regular a structure, and to fill his poem with such a variety of incidents. Dry and harsh passages sometimes occur. The author appears, upon some occasions, a metaphysician and a divine, rather than a poet. But the general tenour of his work is interesting; he seizes and fixes the imagination; engages, elevates, and affects us as we proceed; which is always a sure test of merit in an epic composition. The artful change of his objects; the scene laid now in earth, now in hell, and now in heaven, affords a sufficient diversity; while unity of plan is, at the same time, perfectly supported. We have still life, and calm scenes, in the employments of Adam and Eve in Paradise; and we have busy scenes, and great actions, in the enterprise of Satan, and the wars of the angels. The innocence, purity, and amiableness of our first parents, opposed to the pride and ambition of Satan, furnishes a happy contrast, that reigns throughout the whole poem; only the conclusion, as I before observed, is too tragic for epic poetry.

The nature of the subject did not admit any great display of characters; but such as could be introduced, are supported with much propriety. Satan, in particular, makes a striking figure, and is, indeed, the best drawn character in the poem. Milton has not described him such as we suppose an infernal spirit to be. He has, more suitably to his own purpose, given him a human, that is, a mixed character, not altogether void of some good qualities. He is brave and faithful to his troops. In the midst of his impiety, he is not without remorse. He is even touched with pity for our first parents; and justifies himself in his design against them, from the necessity of his situation. He is actuated by ambition and resentment, rather than by pure malice. In short, Milton's Satan is no worse than many a conspirator or factious chief, that makes a figure in history. The different characters of Beelzebub, Moloch, Belial, are exceedingly well painted in those eloquent speeches which they make in the second book. The good angels, though always described with dignity and propriety, have more uniformity than the infernal spirits in their appearance; though among them, too, the dignity of Michael, the mild condescension of Raphael, and the tried fidelity of Abdiel, form proper characteristical distinctions. The attempt to describe God Almighty himself, and to recount dialogues between the Father

"He seems to have been well acquainted with his own genius, and to know what it was that nature had bestowed upon him more bountifully than upon others; the pow. er of displaying the vast, illuminating the splendid, enforcing the awful, darkening the gloomy, and aggravating the dreadful. He therefore chose a subject, on which too much could not be said; on which he might tire his fancy, without the censure of extravagance Dr. JOHNSON's Life of Milton.

and the Son, was too bold and arduous, and is that wherein our poet, as was to have been expected, has been most unsuccessful. With re gard to his human characters, the innocence of our first parents, and their love, are finely and delicately painted. In some of his speeches to Raphael and to Eve, Adam is, perhaps, too knowing and refined for his situation. Eve is more distinctly characterized. Her gentleness, modesty, and frailty, mark very expressively a female character.

Milton's great and distinguishing excellence is, his sublimity. In this, perhaps, he excels Homer; as there is no doubt of his leaving Virgil, and every other poet, far behind him. Almost the whole of the first and second books of Paradise Lost, are continued instances of the sublime. The prospect of hell and of the fallen host, the appearance and behaviour of Satan, the consultation of the infernal chiefs, and Satan's flight through chaos to the borders of this world, discover the most lofty ideas that ever entered into the conception of any poet. In the sixth book, also, there is much grandeur, particularly in the appearance of the Messiah; though some parts of that book are censurable; and the witticisms of the devils upon the effect of their artillery, form an intolerable blemish. Milton's sublimity is of a different kind from that of Homer. Homer's is generally accompanied with fire and impetuosity; Milton's possesses more of a calm and amazing grandeur. Homer warms and hurries us along; Milton fixes us in a state of astonishment and elevation. Homer's sublimity appears most in the description of actions; Milton's, in that of wonderful and stupendous objects.

But though Milton is most distinguished for his sublimity, yet there is also much of the beautiful, the tender, and the pleasing, in many parts of his work. When the scene is laid in Paradise, the imagery is always of the most gay and smiling kind. His descriptions show an uncommonly fertile imagination; and in his similes, he is, for the most part, remarkably happy. They are seldom improperly introduced; seldom either low or trite. They generally present to us images taken from the sublime or the beautiful class of objects; if they have any faults, it is their alluding too frequently to matters of learning, and to fables of antiquity. In the latter part of Paradise Lost, there must be confessed to be a falling off. With the fall of our first parents, Milton's genius seems to decline. Beauties, however, there are, in the concluding books, of the tragic kind. The remorse and contrition of the guilty pair, and their lamentations over Paradise, when they are obliged to leave it, are very moving. The last episode, of the angel's showing Adam the fate of his posterity, is happily imagined; but, in many places, the execution is languid.

Milton's language and versification have high merit. His style is full of majesty, and wonderfully adapted to his subject. His blank verse is harmonious and diversified, and affords the most complete example of the elevation which our language is capable of attaining by the force of numbers. It does not flow, like the French verse, in tame, regular, uniform melody, which soon tires the ear; but is

sometimes smooth and flowing, sometimes rough; varied in its cadence, and intermixed with discords, so as to suit the strength and freedom of epic composition. Neglected and prosaic lines, indeed, we sometimes meet with; but, in a work so long, and in the main so harmonious, these may be forgiven.

On the whole, Paradise Lost is a poem that abounds with beauties of every kind, and that justly entitles its author to a degree of fame not inferior to any poet; though it must be also admitted to have many inequalities. It is the lot of almost every high and daring genius, not to be uniform and correct. Milton is too frequently theological and metaphysical; sometimes harsh in his language; often too technical in his words, and affectedly ostentatious of his learning. Many of his faults must be attributed to the pedantry of the age in which he lived. He discovers a vigour, a grasp of genius, equal to every thing that is great; if, at some times, he falls much below himself, at other times he rises above every poet of the ancient or modern world.

QUESTIONS.

AFTER Homer and Virgil, who is what is remarked? But what is the the next great epic poet of ancient fate of this poet? How is this illustratimes? Why does he deserve atten- ted? In what age did Lucan live, and tion? Of his Pharsalia, what is obser- what was the consequence? On the ved? What was formerly remarked? whole, he is an author possessing what? What does the subject of the Pharsalia What atone for many of his defects; carry? What does it not want? As it and from him, what may be produced? stands at present, what is said of it; What instances are given, illustrative but what follows? Of Lucan's subject, of this remark? Repeat the passage in what is remarked? Of its two defects, which Pompey is compared to the anwhat is the first? What furnish a more cient decaying oak. But when we conproper theme for the epic muse? But sider the whole execution of his poem, of Lucan's genius, what must be con- what are we obliged to pronounce? fessed? What is the other defect of What had his genius; but of what was the subject? Why is this always un-it destitute? Of his style, what is obfortunate for a poet? What remark served? How does he compare with follows? How are Lucan's characters Virgil? To whom does our author next drawn? Of Pompey, what is observed; proceed; why; and what is said of and by whom is he always eclipsed? him? When was his Jerusalem DeliWhat is said of Cato; and of his specch|vered published; and what is said of to Labienus, what is observed? In the it? What is the subject of it; and of conduct of the story, to what has our this enterprise, what is remarked? author too much attached himself; and What forms an interesting contrast? what is the effect of this? From what What does the subject not produce; does it appear that he is too digressive but what does it exhibit? What is obalso? What are there in the Pharsa-served of the share which religion poslia; but in what does our author's chief sesses in the enterprise; and of the acstrength lie? Of his narration, and of tion, also, what is remarked? In the his descriptions, what is observed? In conduct of the story, what has Tasso what does his principal merit consist; shown? How is this illustrated? At and what is said of them? In what does the same time, of the whole work, Lucan surpass all the poets of antiqui- what is observed? What remark folty; and of him, what is farther obser-lows? What is remarked of the epived? What must we, also, observe ? sodes? With what is the poem eulivenHow is this remark illustrated? Hence, ed; and of them, what is remarked? n what does he abound, and of them, How is this remark illustrated? Of

with epic poems, arise; and of these, what is observed? What have several of the epic poets described; and in the prospects they have given us of the invisible world, what may we observe? Illustrate this remark from Homer; from Virgil; and from Fenelon? What has Voltaire, in his Henriade, given

Tasso, in the characteristical part, of the work, for his whole mythology? what is observed? What is said of his What fine machinery, however, of a machinery? When is it noble; and different kind, is there in the Lusiad? what instances are given? But what But what is the noblest conceptions of act too great a part throughout the this sort? What does he tell him? Of poem; and form what? What scenes, this piece of machinery, what is remust it be confessed, carry the mar- marked? In reviewing the epic poets, vellous to a degree of extravagance? to make no mention of whom, were unIn general, to what is Tasso most lia- just? Why is his work entitled to be ble to censure? What illustration of held a poem? What is said of the plan this remark follows? What apology, of it? Into what has the author however, may be offered for him? Be- entered with much felicity; and in tween them, what difference is there? this, how does he compare with other With what beauties does Tasso re- modern poets? Of his descriptions, markably abound? Of both his de- what is observed? Which is the best scriptions and his style, what is obser- executed part of the work; and why? ved? How is this remark illustrated? Of the last twelve books, and of the What is said of both of the descriptions warlike adventures, what is remarkwhich have been mentioned? Of his ed? From what does the chief objecbattles, what is remarked? In what is tion against this work being classed Tasso not so happy as in his descriptions; and by what is it that he interests us? In what is he far inferior to Virgil; and when is he apt to become artificial and strained? What censure has been carried too far? What remarks follow; and what would fully clear it of all such exceptionable passages? What critics have decried Tas- us? As in every performance of that so? But what would one be apt to ima- celebrated writer, we may expect to gine; and why? In what may Tasso find marks of genius, what follows? be held inferior to Homer, in what to Several of what, particularly, are both Virgil, and in what to Milton? In what new and happy? What remarks folis he inferior to no poet, the three just low? Why is French versification illy mentioned excepted? Why cannot adapted to epic poetry? Hence, what Ariosto, with propriety, be classed follows? What does it not do? What among epic writers? What does Arios-is the subject of the poem? What does to appear to have despised; and to the action properly include; and of it, have chosen what? At the same time, what is observed? But to what defects what does his poem contain? Of Ari-is it liable; and how is this illustrated? osto, and of his Orlando Furioso, what To remedy this last defect, what has is farther observed ? Voltaire done, and what instance is As the Italians make their boast of given? What remark follows; and Tasso, of whom do the Portuguese why was this episode contrived? But boast, and of him, what is observed? why was the imitation injudicious? What is the subject of it? Of the enter-What are the general remarks on the prise, what is remarked; and why was machinery employed by Voltaire? In it interesting to Camoën's countrymen? justice, however, to our author, what How does the poem open; and what must be observed? Illustrate this refollows? Of this recital, what is obser-mark. What is one reason why this ved; and what fill up the rest of the poem makes a faint impression? Of poem? From what does it appear that the strain of sentiment which runs the whole work is conducted according through it, what is observed? How to the epic plan? Towards what is does religion appear, and what spirit there no attempt; and who is the hero? does the author breathe? What has What is observed of the machinery of the Lusiad; and how does this appear? What was one great scope of the expedition; and what follows? What salvo does the author give towards the end

Milton done? How it this illustrated? Of his subject, what is remarked; but what follows? What may be questioned; and why? But the subject which he has chosen suited what; and

ANALYSIS.

1. Lucan's Pharsalia.

A. The subject defective.

B. The characters spiritedly drawn.
c. The narration considered.
Tasso's Jerusalem Delivered.
A. The subject-the narration.
B. The characters.

in the conduct of it, what has he cluding books? Of the last episode, shown? What is a matter of astonish- what is observed? What is the characment; and what remarks follow? ter of his style; and of his blank verse, What did not the nature of the subject what is remarked? Repeat the closing admit? Repeat the description of Sa- paragraph. tan. Of Belzebub, Moloch, and Belial, what is remarked; and, what is also said of the good angels? In what, however, has he been unsuccessful? With regard to his human characters, what is observed? Where is Adam too knowing, and too refined for his situa- 2. tion; but what is said of Eve? Of Milton's sublimity, what is remarked? Almost the whole of what books are con- 3. tinued instances of the sublime; and 4. what examples are given? What is said of the sixth book? How does Mil-5. ton's sublimity compare with that of Homer? What other excellences does 6. Milton possess? How is this remark illustrated? Where is there a falling off; and with what does Milton's genius

seem to decline? But what beauties of the tragic kind are there in the con

7.

a. The machinery.
Ariosto's Orlando Furioso.
Camoen's Lusiad.

A. The subject-the narration.
Fenelon's Telemachus.
B. The machinery considered.

A. The character of the work.
Voltaire's Henriade.

A. The subject-the narration.
B. The machinery.

Milton's Paradise Lost.

A. The subject-the characters.
B. The sublimity-the tenderness.
c. The style and versification.

LECTURE XLV.

DRAMATIC POETRY.-TRAGEDY.

DRAMATIC poetry has, among all civilized nations, been considered as a rational and useful entertainment, and judged worthy of careful and serious discussion. According as it is employed upon the light and the gay, or upon the grave and affecting incidents of human life, it divides itself into the two forms, of comedy or tragedy. But as great and serious objects command more attention than little and ludicrous ones; as the fall of a hero interests the public more than the marriage of a private person; tragedy has always been held a more dignified entertainment than comedy. The one rests upon the high passions, the virtues, crimes, and sufferings of mankind. The other on their humours, follies, and pleasures. Terror and pity are the great instruments of the former; ridicule is the sole instrument of the latter. Tragedy shall, therefore, be the object of our fullest discussion. This and the following lecture shall be employed on it; after which, I shall treat of what is peculiar to comedy.

Tragedy, considered as an exhibition of the characters and behaviour of men, in some of the most trying and critical situations of life, is a noble idea of poetry. It is a direct imitation of human manners and actions. For it does not, like the epic poem, exhibit characters by the narration and description of the poet; but the poct disappears; and the personages themselves are set before us, acting and speaking what is suitable to their characters. Hence, no kind of writing is so great a trial of the author's profound knowledge of the human heart. No kind of writing has so much power, when happily executed, to raise the strongest emotions. It is, or