--velut si
Egregio inspersos reprendas corpore nævos.
Hor.
After what I have said in my last Saturdays Paper, I shall enter on the
Subject of this without further Preface, and remark the several Defects
which appear in the Fable, the Characters, the Sentiments, and the
Language of Milton's Paradise Lost; not doubting but the Reader will
pardon me, if I alledge at the same time whatever may be said for the
Extenuation of such Defects. The first Imperfection which I shall
observe in the Fable is that the Event of it is unhappy.
The Fable of every Poem is, according to Aristotle's Division, either
Simple or Implex [1]. It is called Simple when there is no change of
Fortune in it: Implex, when the Fortune of the chief Actor changes from
Bad to Good, or from Good to Bad. The Implex Fable is thought the most
perfect; I suppose, because it is more proper to stir up the Passions of
the Reader, and to surprize him with a greater Variety of Accidents.
The Implex Fable is therefore of two kinds: In the first the chief Actor
makes his Way through a long Series of Dangers and Difficulties, till he
arrives at Honour and Prosperity, as we see in the [Story of Ulysses.
[2]] In the second, the chief Actor in the Poem falls from some eminent
Pitch of Honour and Prosperity, into Misery and Disgrace. Thus we see
Adam and Eve sinking from a State of Innocence and Happiness, into the
most abject Condition of Sin and Sorrow.
The most taking Tragedies among the Ancients were built on this last
sort of Implex Fable, particularly the Tragedy of Oedipus, which
proceeds upon a Story, if we may believe Aristotle, the most proper for
Tragedy that could be invented by the Wit of Man. [3] I have taken some
Pains in a former Paper to shew, that this kind of Implex Fable, wherein
the Event is unhappy, is more apt to affect an Audience than that of the
first kind; notwithstanding many excellent Pieces among the Ancients, as
well as most of those which have been written of late Years in our own
Country, are raised upon contrary Plans. I must however own, that I
think this kind of Fable, which is the most perfect in Tragedy, is not
so proper for an Heroic Poem.
Milton seems to have been sensible of this Imperfection in his Fable,
and has therefore endeavoured to cure it by several Expedients;
particularly by the Mortification which the great Adversary of Mankind
meets with upon his Return to the Assembly of Infernal Spirits, as it is
described in [a, [4]] beautiful Passage of the Tenth Book; and likewise
by the Vision wherein Adam at the close of the Poem sees his Off-spring
triumphing over his great Enemy, and himself restored to a happier
Paradise than that from which he fell.
There is another Objection against Milton's Fable, which is indeed
almost the same with the former, tho placed in a different Light,
namely, That the Hero in the Paradise Lost is unsuccessful, and by no
means a Match for his Enemies. This gave Occasion to Mr. Dryden's
Reflection, that the Devil was in reality Milton's Hero. [5]
I think I have obviated this Objection in my first Paper. The Paradise
Lost is an Epic [or a] Narrative Poem, [and] he that looks for an Hero
in it, searches for that which Milton never intended; [but [6]] if he
will needs fix the Name of an Hero upon any Person in it, tis certainly
the Messiah who is the Hero, both in the Principal Action, and in the
[chief Episodes.] [7] Paganism could not furnish out a real Action for a
Fable greater than that of the Iliad or Æneid, and therefore an Heathen
could not form a higher Notion of a Poem than one of that kind, which
they call an Heroic. Whether Milton's is not of a [sublimer [8]] Nature
I will not presume to determine: It is sufficient that I shew there is
in the Paradise Lost all the Greatness of Plan, Regularity of Design,
and masterly Beauties which we discover in Homer and Virgil.
I must in the next Place observe, that Milton has interwoven in the
Texture of his Fable some Particulars which do not seem to have
Probability enough for an Epic Poem, particularly in the Actions which
he ascribes to Sin and Death, and the Picture which he draws of the
Limbo of Vanity, with other Passages in the second Book. Such Allegories
rather savour of the Spirit of Spenser and Ariosto, than of Homer and
Virgil.
In the Structure of his Poem he has likewise admitted of too many
Digressions. It is finely observed by Aristotle, that the Author of an
Heroic Poem should seldom speak himself, but throw as much of his Work
as he can into the Mouths of those who are his Principal Actors. [9]
Aristotle has given no reason for this Precept; but I presume it is
because the Mind of the Reader is more awed and elevated when he hears
Æneas or Achilles speak, than when Virgil or Homer talk in their own
Persons. Besides that assuming the Character of an eminent Man is apt to
fire the Imagination, and raise the Ideas of the Author. Tully tells us
[10], mentioning his Dialogue of Old Age, in which Cato is the chief
Speaker, that upon a Review of it he was agreeably imposed upon, and
fancied that it was Cato, and not he himself, who uttered his Thoughts
on that Subject.
If the Reader would be at the Pains to see how the Story of the Iliad
and the Æneid is delivered by those Persons who act in it, he will be
surprized to find how little in either of these Poems proceeds from the
Authors. Milton has, in the general disposition of his Fable, very
finely observed this great Rule; insomuch that there is scarce a third
Part of it which comes from the Poet; the rest is spoken either by Adam
and Eve, or by some Good or Evil Spirit who is engaged either in their
Destruction or Defence.
From what has been here observed it appears, that Digressions are by no
means to be allowed of in an Epic Poem. If the Poet, even in the
ordinary course of his Narration, should speak as little as possible, he
should certainly never let his Narration sleep for the sake of any
Reflections of his own. I have often observed, with a secret Admiration,
that the longest Reflection in the Æneid is in that Passage of the
Tenth Book, where Turnus is represented as dressing himself in the
Spoils of Pallas, whom he had slain. Virgil here lets his Fable stand
still for the-sake of the following Remark. How is the Mind of Man
ignorant of Futurity, and unable to bear prosperous Fortune with
Moderation? The Time will come when Turnus shall wish that he had left
the Body of Pallas untouched, and curse the Day on which he dressed
himself in these Spoils. As the great Event of the Æneid, and the Death
of Turnus, whom Æneas slew because he saw him adorned with the Spoils of
Pallas, turns upon this Incident, Virgil went out of his way to make
this Reflection upon it, without which so small a Circumstance might
possibly have slipped out of his Readers Memory. Lucan, who was an
Injudicious Poet, lets drop his Story very frequently for the sake of
his unnecessary Digressions, or his Diverticula, as Scaliger calls them.
[11] If he gives us an Account of the Prodigies which preceded the Civil
War, he declaims upon the Occasion, and shews how much happier it would
be for Man, if he did not feel his Evil Fortune before it comes to pass;
and suffer not only by its real Weight, but by the Apprehension of it.
Milton's Complaint [for [12]] his Blindness, his Panegyrick on Marriage,
his Reflections on Adam and Eves going naked, of the Angels eating, and
several other Passages in his Poem, are liable to the same Exception,
tho I must confess there is so great a Beauty in these very
Digressions, that I would not wish them out of his Poem.
I have, in a former Paper, spoken of the Characters of Milton's Paradise
Lost, and declared my Opinion, as to the Allegorical Persons who are
introduced in it.
If we look into the Sentiments, I think they are sometimes defective
under the following Heads: First, as there are several of them too much
pointed, and some that degenerate even into Punns. Of this last kind I
am afraid is that in the First Book, where speaking of the Pigmies, he
calls them,
--The small Infantry
Warrdon by Cranes--
Another Blemish [that [13]] appears in some of his Thoughts, is his
frequent Allusion to Heathen Fables, which are not certainly of a Piece
with the Divine Subject, of which he treats. I do not find fault with
these Allusions, where the Poet himself represents them as fabulous, as
he does in some Places, but where he mentions them as Truths and Matters
of Fact. The Limits of my Paper will not give me leave to be particular
in Instances of this kind; the Reader will easily remark them in his
Perusal of the Poem.
A third fault in his Sentiments, is an unnecessary Ostentation of
Learning, which likewise occurs very frequently. It is certain that both
Homer and Virgil were Masters of all the Learning of their Times, but it
shews it self in their Works after an indirect and concealed manner.
Milton seems ambitious of letting us know, by his Excursions on
Free-Will and Predestination, and his many Glances upon History,
Astronomy, Geography, and the like, as well as by the Terms and Phrases
he sometimes makes use of, that he was acquainted with the whole Circle
of Arts and Sciences.
If, in the last place, we consider the Language of this great Poet, we
must allow what I have hinted in a former Paper, that it is often too
much laboured, and sometimes obscured by old Words, Transpositions, and
Foreign Idioms. Senecas Objection to the Style of a great Author, Riget
ejus oratio, nihil in eâ placidum nihil lene, is what many Criticks make
to Milton: As I cannot wholly refuse it, so I have already apologized
for it in another Paper; to which I may further add, that Milton's
Sentiments and Ideas were so wonderfully Sublime, that it would have
been impossible for him to have represented them in their full Strength
and Beauty, without having recourse to these Foreign Assistances. Our
Language sunk under him, and was unequal to that Greatness of Soul,
which furnished him with such glorious Conceptions.
A second Fault in his Language is, that he often affects a kind of
Jingle in his Words, as in the following Passages, and many others:
And brought into the World a World of Woe.
--Begirt th' Almighty throne
Beseeching or besieging--