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frustrate of his hope to write well in laudable things, ought himself to be a true poem, that is, a composition of the best and honourablest things; and have in himself the experience and practice of all which is praiseworthy." Of the truth of which observation he himself is, I think, a shining instance in this charming scene now before us; since there is little room to doubt but that the particular beauties of it are owing to an interview of the same nature which he had with his own wife; and that he is only here describing those tender and generous sentiments which he then felt and experienced.-THyer.

59 Ver. 976. Tending to some relief. Adam had said before, that the death denounced upon them, as far as he could see, would prove no sudden, but a slow-paced evil, a long day's dying, and would likewise be derived to their posterity. Eve therefore proposes, to prevent its being derived to their posterity, that they should resolve to remain childless; or, if they found it difficult to do so, that then, to prevent a long day's dying to themselves and seed at once, they should make short, and destroy themselves. The former method she considers as some relief of their extremes, the latter as the end. And, as Dr. Greenwood observes, Milton might possibly take the hint of putting these proposals into the mouth of Eve, from Job's wife attempting to persuade her husband in his afflictions to 66 curse God, and die," Job ii. 9, 10.

NEWTON.

60 Ver. 1001. Let us seek death. Eve's speech, as Dr. Gillies observes, breathes the language of despair; Adam's, the sentiments of a mind enlightened and encouraged by the Word of God.-TODD.

As Addison's remarks on this book are longer than usual, I am compelled to abridge them.

He remarks, that this tenth book contains a greater number of persons in it than any other in the whole poem ; and that here are introduced all who had any concern in the action these he divides into the celestial, the infernal, the human, and the imaginary persons. The first are very finely laid together in the beginning of this book.

Satan's first appearance in the assembly of fallen angels is worked up with circumstances which give a delightful suspense to the reader; but there is no incident in the whole poem which does this more than the transformation of the whole audience, that follows the account their leader gives them of his expedition. The unexpected hiss, which arises in this episode; the dimensions and bulk of Satan, with the annual change which the spirits are supposed to undergo, are circumstances very striking. The beauty of the diction too is remarkable in this whole episode. Milton's skill is no where more shown than in conducting the parts of Adam and Eve.

The imaginary persons are Sin and Death. This allegory is one of the finest compositions of genius; but Addison deems it not agreeable to the nature of an epic poem, Homer and Virgil, he says, are full of imaginary persons, who are very beautiful when they are shown without being engaged in any series of action: but when such persons are introduced as principal actors, and engaged in a series of adventures, they take too much upon them, and are by no means proper for an heroic poem, which ought to appear credible in its principal parts. "I cannot forbear therefore thinking,” he adds, “that Sin and Death are as improper agents in a work of this nature, as Strength and Necessity in one of the tragedies of Eschylus, who represented those two persons nailing down Prometheus to a rock; for which he has been justly censured by the greatest critics."

PARADISE LOST.

BOOK XI.

INTRODUCTORY REMARKS.

ADDISON observes, that this eleventh book of Paradise Lost' is not generally reckoned among the most shining books of the poem. How is it possible that every book, where the splendour is so excessive, should blaze equally? Probably there is less invention in this book; but the descriptive parts are not less powerful, nor less important, instructive, and awful in their topics. The Deluge was a trial of strength with the ancients, since it forms so important a feature in Ovid's poems. So far as there is invention in this book, it lies in the selection of circumstances, in picturesque epithets, and in moral, political, and religious reflections: its intellectual compass is vast and stupendous. Such a view opened upon Adam of the fate of his posterity, could only be conceived and comprehended by the splendid force of the poetical eye of Milton. Wonderful as is the liveliness and truth of shape and tint of each part, still the greater wonder is in the united brilliance of the whole.

It is truly said, that Milton every where follows the great ancients, and improves upon them: he despises all the petty gildings and artifices, which are so much boasted

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