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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 any where, 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 a 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 man. He has represented all the abstruse doctrines of predestination, freewill and grace, as also the great points of incarnation and redemption, (which naturally grow up in a poem that treats of the fall of man) with great energy of expression, and in a clearer and stronger light than I ever met with in any other writer. As these points are dry in themselves to the generality of readers, the concise and clear
manner in which he has treated them is very much to be admired, as is likewise that particular art which he has made use of in the interspersing of all those graces of poetry which the subject was capable of receiving.
The survey of the whole creation, and of every thing that is transacted in it, is a prospect worthy of Omniscience, and as much above that in which Virgil has drawn his Jupiter, as the Christian idea of the Supreme Being is more rational and sublime than that of the Heathens. The particular objects on which he is described to have cast his eye, are represented in the most beautiful and lively manner:
'Now had th' Almighty Father from above
Stood thick as stars, and from his sight receiv'd ́
Satan's approach to the confines of the creation is finely imaged in the beginning of the speech which immediately follows. The effects of this
speech in the blessed spirits, and in the divine person to whom it was addressed, cannot but fill the mind of the reader with a secret pleasure and complacency:
Thus while God spake, ambrosial fragrance fill'd
I need not point out the beauty of that circumstance, wherein the whole host of angels are represented as standing mute: nor shew how proper the occasion was to produce such a silence in heaven. The close of this divine colloquy, with the hymn of angels that follows upon it, are so wonderfully beautiful and poetical, that I should not forbear inserting the whole passage, if the bounds of my paper would give me leave:
'No sooner had th' Almighty ceas'd, but all
(Loud as from numbers without number, sweet
Satan's walk upon the outside of the universe, which at a distance appeared to him of a gobular form, but upon his nearer approach looked like an unbounded plain, is natural and noble; as his roaming upon the frontiers of the creation, between that mass of matter which was wrought into a world, and that shapeless unformed heap of materials which still lay in chaos and confusion, strikes the imagination with something astonishingly great and wild. I have before spoken of the Limbo of Vanity, which the poet places upon
this outermost surface of the universe, and shall here expiain myself more at large on that, and other parts of the poem, which are of the same shadowy nature.
Aristotle observes, that the fable of an epic poem should abound in circumstances that are both credible and astonishing; or, as the French critics choose to phrase it, the fable should be filled with the probable and the marvellous. This rule is as fine and just as any in Aristotle's whole Art of Poetry.
If the fable is only probable, it differs nothing from a true history; if it is only marvellous, it is no better than a romance. The great secret, therefore, of heroic poetry is to relate such circumstances as may produce in the reader at the same time both belief and astonishment. This is brought to pass in a well chosen fable, by the account of such things as have really happened, or at least of such things as have happened according to the received opinions of mankind. Milton's fable is a master-picce of this nature; as the war in heaven, the condition of the fallen angels, the state of innocence, the temptation of the serpent, and the fall of man, though they are very astonishing in themselves, are not only credible, but actual points of faith.
The next method of reconciling miracles with credibility, is by a happy invention of the poet; as in particular, when he introduces agents of a superior nature, who are capable of effecting what is wonderful, and what is not to be met with in the ordinary course of things. Ulysses's ship being turned into a rock, and Encas's fleet into a shoal of water nymphs, though they are very surprising accidents, are nevertheless probable when we are told, that they were the gods who thus transformed them. It is this kind of machinery
which fills the poems both of Homer and Virgil with such circumstances as are wonderful but not imposible, and so frequently produce in the reader the most pleasing passion that can rise in the mind of man, which is admiration. If there be any instance in the Eneid liable to exception upon this account, it is in the beginning of the third book, where Eneas is represented as tearing up the myrtle that dropped blood. To qualify this wonderful circumstance, Polydorus tells a story from the root of the myrtle, that the barbarous inhabitants of the country having pierced him with spears and arrows, the wood which was left in his body took root in his wounds, and gave birth to that bleeding tree. This circumstance seems to have the marvellous without the probable, because it is represented as proceeding from natural causes, without the interposition of any god, or other supernatural power capable of producing it. The spears and arrows grow of themselves without so much as the modern help of enchantment. If we look into the fiction of Milton's fable, though we find it full of surprising incidents, they are generally suited to our notions of the things and persons described, and tempered with a due measure of probability. I must only make an exception to the Limbo of Vanity, with his episode of Sin and Death, and some of the imaginary persons in his chaos. These passages are astonishing, but not credible; the reader cannot so far impose upon himself as to see a possibility in them; they are the description of dreams and shadows not of things or persons. I know that many critics look upon the stories of Circe, Polypheme, the Sirens, nay the whole Odyssey and Iliad, to be allegories; but allowing this to be true, they are fables, which, considering