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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.

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 abftract 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 non-entity. 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. 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 fewn 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 locał than the residence of man. It is placed in some distant part of space, separated from the regions of harmony and order by a chaotick waste and an unoccupied vacuity; but Sin and Death worked up a mole of aggregated foil, cemented with asphaltus ; a work 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 rife in heaven before his departure.

To find sentiments for the state of inno. cence, 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 new-created being. I know not whether his answer to the angels reproof for curiosity does not want something

of

of propriety: it is the speech of a man acquainted with many other men. Some philofophical 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 borrowed often from them; and, as every man learns something from his companions, his desire of imitating Arioste's levity has disgraced his work with the Paradise of Fools; a fiction not in itself illimagined, 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 critick.

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

Of Paradise Régained, the general judgment seems now to be right, that it is in many parts elegant, and every-where instructive. It was not to be supposed that the writer of Paradise Loft could ever write without great effufions 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 dramatick 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 des preciated, Samsir 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

the attention which a well-connected plan produces.

Milton would not have excelled in dramatick 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 could 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 Diktion, a mode and cast of expression which bears little resemblance to that of any former writer, and which is so far 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, funk under him. But the truth is, that, both in prose and verse, he had formed his stile by a perverse and pedantick principle. He was desirous to use English words with a foreign idiom. This in all his profe is discovered and condemned; for there judgement 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 finks in admiration.

Milton's stile was not modified by his subject : what is shown with greater extent in Paradise

Loft,

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