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No. 321.[1] Saturday, March 8, 1712. Addison.
Nec satis est pulchra esse poemata, dulcia sunto.
Hor.
Those, who know how many Volumes have been written on the Poems of Homer
and Virgil, will easily pardon the Length of my Discourse upon Milton.
The Paradise Lost is looked upon, by the best Judges, as the greatest
Production, or at least the noblest Work of Genius in our Language, and
therefore deserves to be set before an English Reader in its full
Beauty. For this Reason, tho I have endeavoured to give a general Idea
of its Graces and Imperfections in my Six First Papers, I thought my
self obliged to bestow one upon every Book in particular. The Three
first Books I have already dispatched, and am now entering upon the
Fourth. I need not acquaint my Reader that there are Multitudes of
Beauties in this great Author, especially in the Descriptive Parts of
his Poem, which I have not touched upon, it being my Intention to point
out those only, which appear to me the most exquisite, or those which
are not so obvious to ordinary Readers. Every one that has read the
Criticks who have written upon the Odyssey, the Iliad and the Aeneid,
knows very well, that though they agree in their Opinions of the great
Beauties in those Poems, they have nevertheless each of them discovered
several Master-Strokes, which have escaped the Observation of the rest.
In the same manner, I question not, but any Writer who shall treat of
this Subject after me, may find several Beauties in Milton, which I have
not taken notice of. I must likewise observe, that as the greatest
Masters of Critical Learning differ among one another, as to some
particular Points in an Epic Poem, I have not bound my self scrupulously
to the Rules which any one of them has laid down upon that Art, but have
taken the Liberty sometimes to join with one, and sometimes with
another, and sometimes to differ from all of them, when I have thought
that the Reason of the thing was on my side.
We may consider the Beauties of the Fourth Book under three Heads. In
the first are those Pictures of Still-Life, which we meet with in the
Description of Eden, Paradise, Adams Bower, &c. In the next are the
Machines, which comprehend the Speeches and Behaviour of the good and
bad Angels. In the last is the Conduct of Adam and Eve, who are the
Principal Actors in the Poem.
In the Description of Paradise, the Poet has observed Aristotle's Rule
of lavishing all the Ornaments of Diction on the weak unactive Parts of
the Fable, which are not supported by the Beauty of Sentiments and
Characters. [2] Accordingly the Reader may observe, that the Expressions
are more florid and elaborate in these Descriptions, than in most other
Parts of the Poem. I must further add, that tho the Drawings of
Gardens, Rivers, Rainbows, and the like dead Pieces of Nature, are
justly censured in an Heroic Poem, when they run out into an unnecessary
length; the Description of Paradise would have been faulty, had not the
Poet been very particular in it, not only as it is the Scene of the
Principal Action, but as it is requisite to give us an Idea of that
Happiness from which our first Parents fell. The Plan of it is
wonderfully Beautiful, and formed upon the short Sketch which we have of
it in Holy Writ. Milton's Exuberance of Imagination has poured forth
such a Redundancy of Ornaments on this Seat of Happiness and Innocence,
that it would be endless to point out each Particular.
I must not quit this Head, without further observing, that there is
scarce a Speech of Adam or Eve in the whole Poem, wherein the Sentiments
and Allusions are not taken from this their delightful Habitation. The
Reader, during their whole Course of Action, always finds himself in the
Walks of Paradise. In short, as the Criticks have remarked, that in
those Poems, wherein Shepherds are Actors, the Thoughts ought always to
take a Tincture from the Woods, Fields and Rivers, so we may observe,
that our first Parents seldom lose Sight of their happy Station in any
thing they speak or do; and, if the Reader will give me leave to use the
Expression, that their Thoughts are always Paradisiacal.
We are in the next place to consider the Machines of the Fourth Book.
Satan being now within Prospect of Eden, and looking round upon the
Glories of the Creation, is filled with Sentiments different from those
which he discovered whilst he was in Hell. The Place inspires him with
Thoughts more adapted to it: He reflects upon the happy Condition from
which he fell, and breaks forth into a Speech that is softned with
several transient Touches of Remorse and Self-accusation: But at length
he confirms himself in Impenitence, and in his Design of drawing Man
into his own State of Guilt and Misery. This Conflict of Passions is
raised with a great deal of Art, as the opening of his Speech to the Sun
is very bold and noble.
O thou that with surpassing Glory crown'd,
Look'st from thy sole Dominion like the God
Of this new World; at whose Sight all the Stars
Hide their diminish'd Heads; to thee I call,
But with no friendly Voice, and add thy name,
O Sun! to tell thee how I hate thy beams,
That bring to my Remembrance from what State
I fell, how glorious once above thy Sphere.
This Speech is, I think, the finest that is ascribed to Satan in the
whole Poem. The Evil Spirit afterwards proceeds to make his Discoveries
concerning our first Parents, and to learn after what manner they may be
best attacked. His bounding over the Walls of Paradise; his sitting in
the Shape of a Cormorant upon the Tree of Life, which stood in the
Center of it, and overtopped all the other Trees of the Garden, his
alighting among the Herd of Animals, which are so beautifully
represented as playing about Adam and Eve, together with his
transforming himself into different Shapes, in order to hear their
Conversation, are Circumstances that give an agreeable Surprize to the
Reader, and are devised with great Art, to connect that Series of
Adventures in which the Poet has engaged [this [3]] Artificer of Fraud.
The Thought of Satan's Transformation into a Cormorant, and placing
himself on the Tree of Life, seems raised upon that Passage in the
Iliad, where two Deities are described, as perching on the Top of an Oak
in the shape of Vulturs.
His planting himself at the Ear of Eve under the [form [4]] of a Toad,
in order to produce vain Dreams and Imaginations, is a Circumstance of
the same Nature; as his starting up in his own Form is wonderfully fine,
both in the Literal Description, and in the Moral which is concealed
under it. His Answer upon his being discovered, and demanded to give an
Account of himself, [is [5]] conformable to the Pride and Intrepidity of
his Character.
Know ye not then, said Satan, fill'd with Scorn,
Know ye not Me? ye knew me once no mate
For you, there sitting where you durst not soar;
Not to know Me argues your selves unknown,
The lowest of your throng;--
Zephon's Rebuke, with the Influence it had on Satan, is exquisitely
Graceful and Moral. Satan is afterwards led away to Gabriel, the chief
of the Guardian Angels, who kept watch in Paradise. His disdainful
Behaviour on this Occasion is so remarkable a Beauty, that the most
ordinary Reader cannot but take Notice of it. Gabriel's discovering his
Approach at a Distance, is drawn with great strength and liveliness of
Imagination.
O Friends, I hear the tread of nimble Feet
Hasting this Way, and now by glimps discern
Ithuriel and Zephon through the shade;
And with them comes a third of Regal Port,
But faded splendor wan; who by his gait
And fierce demeanor seems the Prince of Hell;
Not likely to part hence without contest:
Stand firm, for in his look defiance lours.
The Conference between Gabriel and Satan abounds with Sentiments proper
for the Occasion, and suitable to the Persons of the two Speakers. Satan
cloathing himself with Terror when he prepares for the Combat is truly
sublime, and at least equal to Homers Description of Discord celebrated
by Longinus, or to that of Fame in Virgil, who are both represented with
their Feet standing upon the Earth, and their Heads reaching above the
Clouds.
While thus he spake, th' Angelic Squadron bright
Turn'd fiery red, sharpning in mooned Horns
Their Phalanx, and began to hem him round
With ported Spears, &c.
--On the other side Satan alarm'd,
Collecting all his might dilated stood
Like Teneriff, or Atlas, unremov'd.
His Stature reached the Sky, and on his Crest
Sat horror plum'd;--
I must here take [notice, [6]] that Milton is every where full of Hints
and sometimes literal Translations, taken from the greatest of the Greek
and Latin Poets. But this I may reserve for a Discourse by it self,
because I would not break the Thread of these Speculations, that are
designed for English Readers, with such Reflections as would be of no
use but to the Learned.
I must however observe in this Place, that the breaking off the Combat
between Gabriel and Satan, by the hanging out of the Golden Scales in
Heaven, is a Refinement upon Homers Thought, who tells us, that before
the Battle between Hector and Achilles, Jupiter weighed the Event of it
in a pair of Scales. The Reader may see the whole Passage in the 22nd
Iliad.
Virgil, before the last decisive Combat, describes Jupiter in the same
manner, as weighing the Fates of Turnus and Æneas. Milton, though he
fetched this beautiful Circumstance from the Iliad and Æneid, does not
only insert it as a Poetical Embellishment, like the Authors
above-mentioned; but makes an artful use of it for the proper carrying
on of his Fable, and for the breaking off the Combat between the two
Warriors, who were upon the point of engaging. [To this we may further
add, that Milton is the more justified in this Passage, as we find the
same noble Allegory in Holy Writ, where a wicked Prince, some few Hours
before he was assaulted and slain, is said to have been weighed in the
Scales, and to have been found wanting.]
I must here take Notice under the Head of the Machines, that Uriel's
gliding down to the Earth upon a Sunbeam, with the Poets Device to make
him descend, as well in his return to the Sun, as in his coming from it,
is a Prettiness that might have been admired in a little fanciful Poet,
but seems below the Genius of Milton. The Description of the Host of
armed Angels walking their nightly Round in Paradise, is of another
Spirit.
So saying, on he led his radiant files,
Dazling the Moon;--
as that Account of the Hymns which our first Parents used to hear them
sing in these their Midnight Walks, is altogether Divine, and
inexpressibly amusing to the Imagination.
We are, in the last place, to consider the Parts which Adam and Eve act
in the Fourth Book. The Description of them as they first appeared to
Satan, is exquisitely drawn, and sufficient to make the fallen Angel
gaze upon them with all that Astonishment, and those Emotions of Envy,
in which he is represented.
Two of far nobler Shape erect and tall,
God-like erect! with native honour clad
In naked Majesty, seem'd lords of all;
And worthy seem'd: for in their looks divine
The image of their glorious Maker shon,
Truth, Wisdom, Sanctitude severe and pure;
Severe, but in true filial freedom plac'd:
For contemplation he and valour form'd,
For softness she and sweet attractive grace;
He for God only, she for God in him.
His fair large front, and eye sublime, declar'd
Absolute rule; and Hyacinthin Locks
Round from his parted forelock manly hung
Clustring, but not beneath his Shoulders broad.
She, as a Veil, down to her slender waste
Her unadorned golden tresses wore
Dis-shevel'd, but in wanton ringlets wav'd.
So pass'd they naked on, nor shun'd the Sight
Of God or Angel, for they thought no ill:
So hand in hand they passed, the loveliest pair
That ever since in loves embraces met.
There is a fine Spirit of Poetry in the Lines which follow, wherein they
are described as sitting on a Bed of Flowers by the side of a Fountain,
amidst a mixed Assembly of Animals.
The Speeches of these two first Lovers flow equally from Passion and
Sincerity. The Professions they make to one another are full of Warmth:
but at the same time founded on Truth. In a Word, they are the
Gallantries of Paradise:
--When Adam first of Men--
Sole partner and sole part of all these joys,
Dearer thy self than all;--
But let us ever praise him, and extol
His bounty, following our delightful Task,
To prune these growing plants, and tend these flowrs;
Which were it toilsome, yet with thee were sweet.
To whom thus Eve reply'd. O thou for whom,
And from whom I was form'd, flesh of thy flesh,
And without whom am to no end, my Guide
And Head, what thou hast said is just and right.
For we to him indeed all praises owe.
And daily thanks; I chiefly, who enjoy
So far the happier Lot, enjoying thee
Preeminent by so much odds, while thou
Like consort to thy self canst no where find, &c.
The remaining part of Eves Speech, in which she gives an Account of her
self upon her first Creation, and the manner in which she was brought to
Adam, is I think as beautiful a Passage as any in Milton, or perhaps in
any other Poet whatsoever. These Passages are all worked off with so
much Art, that they are capable of pleasing the most delicate Reader,
without offending the most severe.
That Day I oft remember, when from Sleep, &c.
A Poet of less Judgment and Invention than this great Author, would have
found it very difficult to have filled [these [7]] tender Parts of the
Poem with Sentiments proper for a State of Innocence; to have described
the Warmth of Love, and the Professions of it, without Artifice or
Hyperbole: to have made the Man speak the most endearing things, without
descending from his natural Dignity, and the Woman receiving them
without departing from the Modesty of her Character; in a Word, to
adjust the Prerogatives of Wisdom and Beauty, and make each appear to
the other in its proper Force and Loveliness. This mutual Subordination
of the two Sexes is wonderfully kept up in the whole Poem, as
particularly in the Speech of Eve I have before mentioned, and upon the
Conclusion of it in the following Lines.
So spake our general Mother, and with eyes
Of Conjugal attraction unreproved,
And meek surrender, half embracing lean'd
On our first father; half her swelling breast
Naked met his under the flowing Gold
Of her loose tresses hid: he in delight
Both of her beauty and submissive charms
Smil'd with superior Love.--
The Poet adds, that the Devil turned away with Envy at the sight of so
much Happiness.
We have another View of our first Parents in their Evening Discourses,
which is full of pleasing Images and Sentiments suitable to their
Condition and Characters. The Speech of Eve, in particular, is dressed
up in such a soft and natural Turn of Words and Sentiments, as cannot be
sufficiently admired.
I shall close my Reflections upon this Book, with observing the Masterly
Transition which the Poet makes to their Evening Worship in the
following Lines.
Thus at their shady Lodge arriv'd, both stood,
Both turn'd, and under open Sky, ador'd
The God that made both [Sky,] Air, Earth and Heaven,
Which they beheld, the Moons resplendent Globe,
And Starry Pole: Thou also madst the Night,
Maker Omnipotent, and thou the Day, &c.
Most of the Modern Heroick Poets have imitated the Ancients, in
beginning a Speech without premising, that the Person said thus or thus;
but as it is easie to imitate the Ancients in the Omission of two or
three Words, it requires Judgment to do it in such a manner as they
shall not be missed, and that the Speech may begin naturally without
them. There is a fine Instance of this Kind out of Homer, in the Twenty
Third Chapter of Longinus.