[Footnote 1: The character of Emilia in this paper was by Dr. Bromer, a
clergyman. The lady is said to have been the mother of Mr. Ascham, of
Conington, in Cambridgeshire, and grandmother of Lady Hatton. The
letter has been claimed also for John Hughes (Letters of John Hughes,
&c., vol. iii. p. 8), and Emilia identified with Anne, Countess of
Coventry.]
[Footnote 2: [some other]]
* * * * *
No. 303. Saturday, February 16, 1712. Addison.
--volet hæc sub luce videri,
Judicis argulum quæ non formidat acumen.
Hor.
I have seen in the Works of a Modern Philosopher, a Map of the Spots in
the Sun. My last Paper of the Faults and Blemishes in Milton's Paradise
Lost, may be considered as a Piece of the same Nature. To pursue the
Allusion: As it is observed, that among the bright Parts of the Luminous
Body above mentioned, there are some which glow more intensely, and dart
a stronger Light than others; so, notwithstanding I have already shewn
Milton's Poem to be very beautiful in general, I shall now proceed to
take Notice of such Beauties as appear to me more exquisite than the
rest. Milton has proposed the Subject of his Poem in the following
Verses.
Of Man's first disobedience, and the fruit
Of that forbidden tree, whose mortal taste
Brought Death into the World and all our woe,
With loss of Eden, till one greater Man
Restore us, and regain the blisful Seat,
Sing Heavenly Muse--
These Lines are perhaps as plain, simple and unadorned as any of the
whole Poem, in which Particular the Author has conformed himself to the
Example of Homer and the Precept of Horace.
His Invocation to a Work which turns in a great measure upon the
Creation of the World, is very properly made to the Muse who inspired
Moses in those Books from whence our Author drew his Subject, and to the
Holy Spirit who is therein represented as operating after a particular
manner in the first Production of Nature. This whole Exordium rises very
happily into noble Language and Sentiment, as I think the Transition to
the Fable is exquisitely beautiful and natural.
The Nine Days Astonishment, in which the Angels lay entranced after
their dreadful Overthrow and Fall from Heaven, before they could recover
either the use of Thought or Speech, is a noble Circumstance, and very
finely imagined. The Division of Hell into Seas of Fire, and into firm
Ground impregnated with the same furious Element, with that particular
Circumstance of the Exclusion of Hope from those Infernal Regions, are
Instances of the same great and fruitful Invention.
The Thoughts in the first Speech and Description of Satan, who is one of
the Principal Actors in this Poem, are wonderfully proper to give us a
full Idea of him. His Pride, Envy and Revenge, Obstinacy, Despair and
Impenitence, are all of them very artfully interwoven. In short, his
first Speech is a Complication of all those Passions which discover
themselves separately in several other of his Speeches in the Poem. The
whole part of this great Enemy of Mankind is filled with such Incidents
as are very apt to raise and terrifie the Readers Imagination. Of this
nature, in the Book now before us, is his being the first that awakens
out of the general Trance, with his Posture on the burning Lake, his
rising from it, and the Description of his Shield and Spear.
Thus Satan talking to his nearest Mate,
With head up-lift above the wave, and eyes
That sparkling blazed, his other parts beside
Prone on the Flood, extended long and large,
Lay floating many a rood--
Forthwith upright he rears from off the pool
His mighty Stature; on each hand the flames
Drivn backward slope their pointing Spires, and roared
In Billows, leave i'th midst a horrid vale.
Then with expanded wings he steers his flight
Aloft, incumbent on the dusky Air
That felt unusual weight--
--His pondrous Shield
Ethereal temper, massie, large and round,
Behind him cast; the broad circumference
Hung on his Shoulders like the Moon, whose orb
Thro Optick Glass the Tuscan Artist views
At Evning, from the top of Fesole,
Or in Valdarno, to descry new Lands,
Rivers, or Mountains, on her spotted Globe.
His Spear (to equal which the tallest pine
Hewn on Norwegian Hills to be the Mast
Of some great Admiral, were but a wand)
He walk'd with, to support uneasie Steps
Over the burning Marl--
To which we may add his Call to the fallen Angels that lay plunged and
stupified in the Sea of Fire.
He call'd so loud, that all the hollow deep
Of Hell resounded--
But there is no single Passage in the whole Poem worked up to a greater
Sublimity, than that wherein his Person is described in those celebrated
Lines:
--He, above the rest
In shape and gesture proudly eminent
Stood like a Tower, &c.
His Sentiments are every way answerable to his Character, and suitable
to a created Being of the most exalted and most depraved Nature. Such is
that in which he takes Possession of his Place of Torments.
--Hail Horrors! hail
Infernal World! and thou profoundest Hell
Receive thy new Possessor, one who brings
A mind not to be changed by place or time.
And Afterwards,
--Here at least
We shall be free; th'Almighty hath not built
Here for his envy, will not drive us hence:
Here we may reign secure; and in my choice
To reign is worth Ambition, tho in Hell:
Better to reign in Hell, than serve in Heavn.
Amidst those Impieties which this Enraged Spirit utters in other places
of the Poem, the Author has taken care to introduce none that is not big
with absurdity, and incapable of shocking a Religious Reader; his Words,
as the Poet himself describes them, bearing only a Semblance of Worth,
not Substance. He is likewise with great Art described as owning his
Adversary to be Almighty. Whatever perverse Interpretation he puts on
the Justice, Mercy, and other Attributes of the Supreme Being, he
frequently confesses his Omnipotence, that being the Perfection he was
forced to allow him, and the only Consideration which could support his
Pride under the Shame of his Defeat.
Nor must I here omit that beautiful Circumstance of his bursting out in
Tears, upon his Survey of those innumerable Spirits whom he had involved
in the same Guilt and Ruin with himself.
--He now prepared
To speak; whereat their doubled ranks they bend
From wing to wing, and half enclose him round
With all his Peers: Attention held them mute.
Thrice he assayed, and thrice in spite of Scorn
Tears such as Angels weep, burst forth--
The Catalogue of Evil Spirits has abundance of Learning in it, and a
very agreeable turn of Poetry, which rises in a great measure from [its
[1]] describing the Places where they were worshipped, by those
beautiful Marks of Rivers so frequent among the Ancient Poets. The
Author had doubtless in this place Homers Catalogue of Ships, and
Virgil's List of Warriors, in his View. The Characters of Moloch and
Belial prepare the Readers Mind for their respective Speeches and
Behaviour in the second and sixth Book. The Account of Thammuz is finely
Romantick, and suitable to what we read among the Ancients of the
Worship which was paid to that Idol.
--Thammuz came next behind.
Whose annual Wound in Lebanon allured
The Syrian Damsels to lament his fate,
In amorous Ditties all a Summers day,
While smooth Adonis from his native Rock
Ran purple to the Sea, supposed with Blood
Of Thammuz yearly wounded: the Love tale
Infected Zion's Daughters with like Heat,
Whose wanton Passions in the sacred Porch
Ezekiel saw, when by the Vision led
His Eye survey'd the dark Idolatries
Of alienated Judah.--
The Reader will pardon me if I insert as a Note on this beautiful
Passage, the Account given us by the late ingenious Mr. Maundrell [2] of
this Ancient Piece of Worship, and probably the first Occasion of such a
Superstition.
We came to a fair large River--doubtless the Ancient River Adonis, so
famous for the Idolatrous Rites performed here in Lamentation of
Adonis. We had the Fortune to see what may be supposed to be the
Occasion of that Opinion which Lucian relates, concerning this River,
viz. That this Stream, at certain Seasons of the Year, especially
about the Feast of Adonis, is of a bloody Colour; which the Heathens
looked upon as proceeding from a kind of Sympathy in the River for the
Death of Adonis, who was killed by a wild Boar in the Mountains, out
of which this Stream rises. Something like this we saw actually come
to pass; for the Water was stain'd to a surprizing Redness; and, as we
observ'd in Travelling, had discolour'd the Sea a great way into a
reddish Hue, occasion'd doubtless by a sort of Minium, or red Earth,
washed into the River by the Violence of the Rain, and not by any
Stain from Adonis's Blood.
The Passage in the Catalogue, explaining the manner how Spirits
transform themselves by Contractions or Enlargement of their Dimensions,
is introduced with great Judgment, to make way for several surprizing
Accidents in the Sequel of the Poem. There follows one, at the very End
of the first Book, which is what the French Criticks call Marvellous,
but at the same time probable by reason of the Passage last mentioned.
As soon as the Infernal Palace is finished, we are told the Multitude
and Rabble of Spirits immediately shrunk themselves into a small
Compass, that there might be Room for such a numberless Assembly in this
capacious Hall. But it is the Poets Refinement upon this Thought which
I most admire, and which is indeed very noble in its self. For he tells
us, that notwithstanding the vulgar, among the fallen Spirits,
contracted their Forms, those of the first Rank and Dignity still
preserved their natural Dimensions.
Thus incorporeal Spirits to smallest Forms
Reduced their Shapes immense, and were at large,
Though without Number, still amidst the Hall
Of that Infernal Court. But far within,
And in their own Dimensions like themselves,
The great Seraphick Lords and Cherubim,
In close recess and secret conclave sate,
A thousand Demy-Gods on Golden Seats,
Frequent and full--
The Character of Mammon and the Description of the Pandæmonium, are full
of Beauties.
There are several other Strokes in the first Book wonderfully poetical,
and Instances of that Sublime Genius so peculiar to the Author. Such is
the Description of Azazel's Stature, and of the Infernal Standard, which
he unfurls; as also of that ghastly Light, by which the Fiends appear to
one another in their Place of Torments.
The Seat of Desolation, void of Light,
Save what the glimmring of those livid Flames
Casts pale and dreadful--
The Shout of the whole Host of fallen Angels when drawn up in Battel
Array:
--The universal Host up sent
A Shout that tore Hells Concave, and beyond
Frighted the reign of Chaos and old Night.
The Review, which the Leader makes of his Infernal Army:
--He thro the armed files
Darts his experienc'd eye, and soon traverse
The whole Battalion mews, their Order due,
Their Visages and Stature as of Gods.
Their Number last he sums; and now his Heart
Distends with Pride, and hardning in his strength
Glories--
The Flash of Light which appear'd upon the drawing of their Swords:
He spake: and to confirm his words outflew
Millions of flaming Swords, drawn from the thighs
Of mighty Cherubim; the sudden Blaze
Far round illumin'd Hell--
The sudden Production of the Pandæmonium;
Anon out of the Earth a Fabrick huge
Rose like an Exhalation, with the Sound
Of dulcet Symphonies and Voices sweet.
The Artificial Illuminations made in it:
--From the arched Roof
Pendent by subtle Magick, many a Row
Of Starry Lamps and blazing Crescets, fed
With Naphtha and Asphaltus, yielded Light
As from a Sky--
There are also several noble Similes and Allusions in the First Book of
Paradise Lost. And here I must observe, that when Milton alludes either
to Things or Persons, he never quits his Simile till it rises to some
very great Idea, which is often foreign to the Occasion that gave Birth
to it. The Resemblance does not, perhaps, last above a Line or two, but
the Poet runs on with the Hint till he has raised out of it some
glorious Image or Sentiment, proper to inflame the Mind of the Reader,
and to give it that sublime kind of Entertainment, which is suitable to
the Nature of an Heroick Poem. Those who are acquainted with Homers and
Virgil's way of Writing, cannot but be pleased with this kind of
Structure in Milton's Similitudes. I am the more particular on this
Head, because ignorant Readers, who have formed their Taste upon the
quaint Similes, and little Turns of Wit, which are so much in Vogue
among Modern Poets, cannot relish these Beauties which are of a much
higher Nature, and are therefore apt to censure Milton's Comparisons in
which they do not see any surprizing Points of Likeness. Monsieur
Perrault was a Man of this viciated Relish, and for that very Reason has
endeavoured to turn into Ridicule several of Homers Similitudes, which
he calls Comparisons a longue queue, Long-tail's Comparisons. [3] I
shall conclude this Paper on the First Book of Milton with the Answer
which Monsieur Boileau makes to Perrault on this Occasion;
Comparisons, says he, in Odes and Epic Poems, are not introduced only
to illustrate and embellish the Discourse, but to amuse and relax the
Mind of the Reader, by frequently disengaging him from too painful an
Attention to the Principal Subject, and by leading him into other
agreeable Images. Homer, says he, excelled in this Particular, whose
Comparisons abound with such Images of Nature as are proper to relieve
and diversifie his Subjects. He continually instructs the Reader, and
makes him take notice, even in Objects which are every Day before our
Eyes, of such Circumstances as we should not otherwise have observed.
To this he adds, as a Maxim universally acknowledged,
That it is not necessary in Poetry for the Points of the Comparison
to correspond with one another exactly, but that a general Resemblance
is sufficient, and that too much Nicety in this Particular favours of
the Rhetorician and Epigrammatist.
In short, if we look into the Conduct of Homer, Virgil and Milton, as
the great Fable is the Soul of each Poem, so to give their Works an
agreeable Variety, their Episodes are so many short Fables, and their
Similes so many short Episodes; to which you may add, if you please,
that their Metaphors are so many short Similes. If the Reader considers
the Comparisons in the first Book of Milton, of the Sun in an Eclipse,
of the Sleeping Leviathan, of the Bees swarming about their Hive, of the
Fairy Dance, in the view wherein I have here placed them, he will easily
discover the great Beauties that are in each of those Passages.