him against it by timely admonitions, which very artfully prepare the mind of the reader for the occurrences of the next book; where the weakness, of which Adam here gives such distant discoveries, brings about that fatal event which is the subject of the poem: his discourse, which follows the gentle rebuke he received from the angel, shows that his love, however violent it might appear, was still founded in reason, and consequently not improper for Paradise. Adam's speech, at parting from the angel, has in it a deference and gratitude agreeable to an inferior nature; and at the same time a certain dignity and greatness suitable to the father of mankind in his state of innocence.-ADDISON. INTRODUCTORY REMARKS. THE most extraordinary part of this story is Eve's perverse resolve to separate herself from Adam in her morning cultivation of the garden, contrary to Adam's remonstrances ; and her so soon falling into the serpent's snares, though so very strongly warned: this is not consistent with the goodness which the poet before ascribed to her. To me it appears that there is a good deal of concealed satire in this: it was open to the poet to have represented her making a longer struggle; and not having before exposed herself, almost as if voluntarily, to the temptation. Eve ought to have been too happy in her favoured state to be seduced by the serpent's arguments, which were only calculated to mislead those who were oppressed; and saw pleasures around them, all of which they were restrained from tasting. The moment Eve partook of the poison, it produced an intoxication, which made it frightfully sensual; and I must confess, I think that Milton is not blameless, and has not his usual sanctity of strain, in the pictures he consequently draws as poetry, it is exquisite; as morality, it is dangerous, almost disgusting. Allow the story to take this turn, and the bard almost exceeds himself in richness: the remorse, sickness, and despondence which follow, are nobly exhibited; and here, perhaps, it will be contended, lies the moral: but the parties have deserved their fate; and this lessens our pity for them: for Adam ought not so easily to have yielded to Eve's persuasions,-fully aware as he was of the consequences. All this, I must venture to say, is an outrage upon the probable. The mutual crimination and recrimination is drawn with perfect mastery; but Eve's reproach to Adam, as being the more offending person because he had indulged her, is a little too provoking. The descriptive parts glow with a uniform freshness, splendour, and nature; with a compactness of imagery, and a simple and naked force of language, which make all pictures of other poets fade away before them. There never appears a superfluous word, or one which is not pregnant with thought and matter. The sentiments have a weight and a profundity of wisdom which seem like inspiration: out of every incident arise such reflections as have the spell of oracles. As Milton lived in visions, all his dialogues were pertinent to his characters; and it is by these dialogues that the imagery, as connected with them, is made to have a double force. The inanimate material world derives almost all its interest from its connexion with human intellectuality: for this reason Gray expressed an opinion that a merely descriptive poem was an imperfect work. The charm of Gray's 'Elegy' is, that all his imagery has a moral adjunct; but the moral of Milton is deeper, more extended, and more reflective, than of others: his illustrations are drawn from all the founts of knowledge, learning, and wisdom, sacred and profane: he has the art of making us see features and colours in the forms of nature, which we did not see before. The ninth book is that on which the whole fate and fall of man turns; and so far is the most important. It is |