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1 Forth rushed with whirlwind sound

The chariot of Paternal Deity,

Flashing thick flames, wheel within wheel; undrawn,
Itself instinct with spirit.

I question not but Bossu and the two Daciers, who are 5 for vindicating everything that is censured in Homer by something parallel in Holy Writ, would have been very well pleased had they thought of confronting Vulcan's tripods with Ezekiel's wheels.

Raphael's descent to the earth, with the figure of his 10 person, is represented in very lively colors. Several of the French, Italian, and English poets have given a loose to their imaginations in the description of angels; but I do not remember to have met with any so finely drawn, and so conformable to the notions which are given of 15 them in Scripture, as this in Milton. After having set him forth in all his heavenly plumage, and represented him as alighting upon the earth, the poet concludes his description with a circumstance which is altogether new, and imagined with the greatest strength of fancy:

2 Like Maia's son he stood,

And shook his plumes, that heavenly fragrance filled
The circuit wide.

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Raphael's reception by the guardian angels, his passing through the wilderness of sweets, his distant appearance 25 to Adam, have all the graces that poetry is capable of bestowing. The author afterwards gives us a particular description of Eve in her domestic employments : —

3 So saying, with dispatchful looks in haste
She turns, on hospitable thoughts intent
What choice to choose for delicacy best,
What order so contrived as not to mix
Tastes, not well joined, inelegant, but bring

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1 6. 749-752.

25. 285-287.

35.331-337.

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Taste after taste upheld with kindliest change:
Bestirs her then, etc.

Though in this and other parts of the same book the subject is only the housewifery of our first parent, it is 5 set off with so many pleasing images and strong expressions as make it none of the least agreeable parts in this divine work.

The natural majesty of Adam, and at the same time his submissive behavior to the superior being who had vouchsafed to be his guest; the solemn 'Hail!' which the angel bestows upon the mother of mankind, with the figure of Eve ministering at the table, are circumstances which deserve to be admired.

Raphael's behavior is every way suitable to the dignity of his nature, and to that character of a sociable spirit with which the author has so judiciously introduced him. He had received instructions to converse with Adam, as one friend converses with another, and to warn him of the enemy who was contriving his destruction; accord20 ingly he is represented as sitting down at a table with Adam, and eating of the fruits of Paradise. The occasion naturally leads him to his discourse on the food of angels. After having thus entered into conversation with man upon more indifferent subjects, he warns him of his 25 obedience, and makes a natural transition to the history of that fallen angel who was employed in the circumvention of our first parents.

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Had I followed Monsieur Bossu's method in my first paper of1 Milton, I should have dated the action of Paradise Lost from the beginning of Raphael's speech in this book, as he supposes the action of the Æneid to begin in the Second Book of that poem. I could allege

1 First edition, 'on' (Arber); Morley's edition, 'of' (misprint for 'on'?).

many reasons for my drawing the action of the Æneid rather from its immediate beginning in the First Book, than from its remote beginning in the Second; and show why I have considered the sacking of Troy as an episode, according to the common acceptation of that word. But 5 as this would be a dry unentertaining piece of criticism, and perhaps unnecessary to those who have read my first paper, I shall not enlarge upon it. Whichever of the notions be true, the unity of Milton's action is preserved according to either of them; whether we consider the 10 Fall of Man in its immediate beginning, as proceeding from the resolutions taken in the infernal council, or in its more remote beginning, as proceeding from the first revolt of the angels in heaven. The occasion which Milton assigns for this revolt, as it is founded on hints in 15 Holy Writ, and on the opinion of some great writers, so it was the most proper that the poet could have made use of.

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The revolt in heaven is described with great force of imagination,1 and a fine variety of circumstances. The 20 learned reader cannot but be pleased with the poet's imitation of Homer in the last of the following lines : —

2 At length into the limits of the North

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They came, and Satan to 3 his royal seat

High on a hill, far-blazing, as a mount

Raised on a mount, with pyramids and towers

From diamond quarries hewn and rocks of gold

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Homer mentions persons and things, which he tells us in the language of the gods are called by different names

1 Second edition, ‘imagination' (Morley), 'indignation' (Arber). 25. 755-762. 3 The editions have 'took.'

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from those they go by in the language of men. Milton has imitated him with his usual judgment in this particular place, wherein he has likewise the authority of Scripture to justify him. The part of Abdiel, who was the 5 only spirit that in this infinite host of angels preserved his allegiance to his Maker, exhibits to us a noble moral of religious singularity. The zeal of the seraphim breaks forth in a becoming warmth of sentiments and expressions, as the character which is given us of him denotes that 10 generous scorn and intrepidity which attends heroic virtue. The author doubtless designed it as a pattern to those who live among mankind in their present state of degeneracy and corruption :—

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1 So spake the Seraph Abdiel, faithful found;
Among the faithless faithful only he;
Among innumerable false unmoved,
Unshaken, unseduced, unterrified,

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His loyalty he kept, his love, his zeal;
Nor number nor example with him wrought
To swerve from truth, or change his constant mind,
Though single. From amidst them forth he passed,
Long way through hostile 2 scorn, which he sustained
Superior, nor of violence feared aught;

And with retorted scorn his back he turned

On those proud towers, to swift destruction doomed.

5. 896-907.

2 Added in second edition (Morley; not so Arber).

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12.1

BOOK VI.

Vocat in certamina divos. — VIRG. Æn. 6. 172.

He calls embattled deities to arms.

E are now entering upon the Sixth Book of Paradise Lost, in which the poet describes the battle of angels, having raised his reader's expectation, and prepared him for it by several passages in the preceding books. I omitted quoting these passages in my observa- 5 tions on the former books, having purposely reserved them for the opening of this, the subject of which gave occasion to them. The author's imagination was so inflamed with this great scene of action, that wherever he speaks of it he rises, if possible, above himself. Thus 10 where he mentions Satan in the beginning of his poem:

2 Him the Almighty Power

Hurled headlong flaming from the ethereal sky,

With hideous ruin and combustion, down

To bottomless perdition, there to dwell

In adamantine chains and penal fire,

Who durst defy the Omnipotent to arms.

We have likewise several noble hints of it in the infernal conference :

3 O Prince, O Chief of many throned Powers
That led the embattled Seraphim to war, 4

1 Spectator, No. 333, March 22, 1712.

2 1. 44-49.

3 I. 128-129.

4 No break in the editions.

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