The Tenth Book of Paradise Lost has a greater variety of Persons in it
than any other in the whole Poem. The Author upon the winding up of his
Action introduces all those who had any Concern in it, and shews with
great Beauty the Influence which it had upon each of them. It is like
the last Act of a well-written Tragedy, in which all who had a part in
it are generally drawn up before the Audience, and represented under
those Circumstances in which the Determination of the Action places
them.
I shall therefore consider this Book under four Heads, in relation to
the Celestial, the Infernal, the Human, and the Imaginary Persons, who
have their respective Parts allotted in it.
To begin with the Celestial Persons: The Guardian Angels of Paradise are
described as returning to Heaven upon the Fall of Man, in order to
approve their Vigilance; their Arrival, their Manner of Reception, with
the Sorrow which appear'd in themselves, and in those Spirits who are
said to Rejoice at the Conversion of a Sinner, are very finely laid
together in the following Lines.
Up into Heaven from Paradise in haste
Th' Angelick Guards ascended, mute and sad
For Man; for of his State by this they knew:
Much wondering how the subtle Fiend had stoln
Entrance unseen. Soon as th' unwelcome News
From Earth arriv'd at Heaven-Gate, displeased
All were who heard: dim Sadness did not spare
That time Celestial Visages; yet mixt
With Pity, violated not their Bliss.
About the new-arriv'd, in multitudes
Th' Ethereal People ran, to hear and know
How all befel: They tow'rds the Throne supreme
Accountable made haste to make appear
With righteous Plea, their utmost vigilance,
And easily approved; when the Most High
Eternal Father, from his secret cloud,
Amidst in thunder utter'd thus his voice.
The same Divine Person, who in the foregoing Parts of this Poem
interceded for our first Parents before their Fall, overthrew the Rebel
Angels, and created the World, is now represented as descending to
Paradise, and pronouncing Sentence upon the three Offenders. The Cool of
the Evening, being a Circumstance with which Holy Writ introduces this
great Scene, it is poetically described by our Author, who has also kept
religiously to the Form of Words, in which the three several Sentences
were passed upon Adam, Eve, and the Serpent. He has rather chosen to
neglect the Numerousness of his Verse, than to deviate from those
Speeches which are recorded on this great occasion. The Guilt and
Confusion of our first Parents standing naked before their Judge, is
touched with great Beauty. Upon the Arrival of Sin and Death into the
Works of the Creation, the Almighty is again introduced as speaking to
his Angels that surrounded him.
See! with what heat these Dogs of Hell advance,
To waste and havock yonder World, which I
So fair and good created; &c.
The following Passage is formed upon that glorious Image in Holy Writ,
which compares the Voice of an innumerable Host of Angels, uttering
Hallelujahs, to the Voice of mighty Thunderings, or of many Waters.
He ended, and the Heavenly Audience loud
Sung Hallelujah, as the sound of Seas,
Through Multitude that sung: Just are thy Ways,
Righteous are thy Decrees in all thy Works,
Who can extenuate thee?--
Tho the Author in the whole Course of his Poem, and particularly in the
Book we are now examining, has infinite Allusions to Places of
Scripture, I have only taken notice in my Remarks of such as are of a
Poetical Nature, and which are woven with great Beauty into the Body of
this Fable. Of this kind is that Passage in the present Book, where
describing Sin and Death as marching thro the Works of Nature he adds,
--Behind her Death
Close following pace for pace, not mounted yet
On his pale Horse--
Which alludes to that Passage in Scripture, so wonderfully poetical, and
terrifying to the Imagination. And I look'd, and behold a pale Horse,
and his Name that sat on him was Death, and Hell followed with him: and
Power was given unto them over the fourth Part of the Earth, to kill
with Sword, and with Hunger, and with Sickness, and with the Beasts of
the Earth. [1] Under this first Head of Celestial Persons we must
likewise take notice of the Command which the Angels receiv'd, to
produce the several Changes in Nature, and sully the Beauty of the
Creation. Accordingly they are represented as infecting the Stars and
Planets with malignant Influences, weakning the Light of the Sun,
bringing down the Winter into the milder Regions of Nature, planting
Winds and Storms in several Quarters of the Sky, storing the Clouds with
Thunder, and in short, perverting the Whole Frame of the Universe to the
Condition of its criminal Inhabitants. As this is a noble Incident in
the Poem, the following Lines, in which we see the Angels heaving up the
Earth, and placing it in a different Posture to the Sun from what it had
before the Fall of Man, is conceived with that sublime Imagination which
was so peculiar to this great Author.
Some say he bid his Angels turn ascanse
The Poles of Earth twice ten Degrees and more
From the Suns Axle; they with Labour push'd
Oblique the Centrick Globe--
We are in the second place to consider the Infernal Agents under the
view which Milton has given us of them in this Book. It is observed by
those who would set forth the Greatness of Virgil's Plan, that he
conducts his Reader thro all the Parts of the Earth which were
discover'd in his time. Asia, Africk, and Europe are the several Scenes
of his Fable. The Plan of Milton's Poem is of an infinitely greater
Extent, and fills the Mind with many more astonishing Circumstances.
Satan, having surrounded the Earth seven times, departs at length from
Paradise. We then see him steering his Course among the Constellations,
and after having traversed the whole Creation, pursuing his Voyage thro
the Chaos, and entring into his own Infernal Dominions.
His first appearance in the Assembly of fallen Angels, is work'd up with
Circumstances which give a delightful Surprize 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 gradual Change of Satan himself
is describ'd after Ovid's manner, and may vie with any of those
celebrated Transformations which are look'd upon as the most beautiful
Parts in that Poets Works. Milton never fails of improving his own
Hints, and bestowing the last finishing Touches to every Incident which
is admitted into his Poem. The unexpected Hiss which rises in this
Episode, the Dimensions and Bulk of Satan so much superior to those of
the Infernal Spirits who lay under the same Transformation, with the
annual Change which they are supposed to suffer, are Instances of this
kind. The Beauty of the Diction is very remarkable in this whole
Episode, as I have observed in the sixth Paper of these Remarks the
great Judgment with which it was contrived.
The Parts of Adam and Eve, or the human Persons, come next under our
Consideration. Milton's Art is no where more shewn than in his
conducting the Parts of these our first Parents. The Representation he
gives of them, without falsifying the Story, is wonderfully contriv'd to
influence the Reader with Pity and Compassion towards them. Tho Adam
involves the whole Species in Misery, his Crime proceeds from a Weakness
which every Man is inclined to pardon and commiserate, as it seems
rather the Frailty of Human Nature, than of the Person who offended.
Every one is apt to excuse a Fault which he himself might have fallen
into. It was the Excess of Love for Eve, that ruin'd Adam, and his
Posterity. I need not add, that the Author is justify'd in this
Particular by many of the Fathers, and the most orthodox Writers. Milton
has by this means filled a great part of his Poem with that kind of
Writing which the French Criticks call the Tender, and which is in a
particular manner engaging to all sorts of Readers.
Adam and Eve, in the Book we are now considering, are likewise drawn
with such Sentiments as do not only interest the Reader in their
Afflictions, but raise in him the most melting Passions of Humanity and
Commiseration. When Adam sees the several Changes in Nature produced
about him, he appears in a Disorder of Mind suitable to one who had
forfeited both his Innocence and his Happiness; he is filled with
Horrour, Remorse, Despair; in the Anguish of his Heart he expostulates
with his Creator for having given him an unasked Existence.
Did I request thee, Maker, from my Clay
To mould me Man? did I sollicite thee
From Darkness to promote me? or here place
In this delicious Garden? As my Will
Concurr'd not to my Being, twere but right
And equal to reduce me to my Dust,
Desirous to resign, and render back
All I received--
He immediately after recovers from his Presumption, owns his Doom to be
just, and begs that the Death which is threatned him may be inflicted on
him.
--Why delays
His Hand to execute, what his Decree
Fix'd on this day? Why do I overlive?
Why am I mock'd with Death, and lengthened out
To deathless Pain? how gladly would I meet
Mortality my Sentence, and be Earth
Insensible! how glad would lay me down,
As in my Mothers Lap? there should I rest
And sleep secure; his dreadful Voice no more
Would thunder in my Ears: no fear of worse
To me and to my Offspring, would torment me
With cruel Expectation--
This whole Speech is full of the like Emotion, and varied with all those
Sentiments which we may suppose natural to a Mind so broken and
disturb'd. I must not omit that generous Concern which our first Father
shews in it for his Posterity, and which is so proper to affect the
Reader.
--Hide me from the Face
Of God, whom to behold was then my heighth
Of Happiness! yet well, if here would end
The Misery, I deserved it, and would bear
My own Deservings: but this will not serve;
All that I eat, or drink, or shall beget
Is propagated Curse. O Voice once heard
Delightfully, Increase and Multiply;
Now Death to hear!--
--In me all
Posterity stands curst! Fair Patrimony,
That I must leave ye, Sons! O were I able
To waste it all my self, and leave you none!
So disinherited, how would you bless
Me, now your Curse! Ah, why should all Mankind,
For one Man's Fault, thus guiltless be condemn'd,
If guiltless? But from me what can proceed
But all corrupt--
Who can afterwards behold the Father of Mankind extended upon the Earth,
uttering his midnight Complaints, bewailing his Existence, and wishing
for Death, without sympathizing with him in his Distress?
Thus Adam to himself lamented loud,
Thro the still Night; not now, (as ere Man fell)
Wholesome, and cool, and mild, but with black Air
Accompanied, with Damps and dreadful Gloom;
Which to his evil Conscience represented
All things with double Terror. On the Ground
Outstretched he lay; on the cold Ground! and oft
Curs'd his Creation; Death as oft accusd
Of tardy Execution--
The Part of Eve in this Book is no less passionate, and apt to sway the
Reader in her Favour. She is represented with great Tenderness as
approaching Adam, but is spurn d from him with a Spirit of Upbraiding
and Indignation, conformable to the Nature of Man, whose Passions had
now gained the Dominion over him. The following Passage, wherein she is
described as renewing her Addresses to him, with the whole Speech that
follows it, have something in them exquisitely moving and pathetick.
He added not, and from her turned: But Eve
Not so repulst, with Tears that ceas'd not flowing,
And Tresses all disorderd, at his feet
Fell humble; and embracing them, besought
His Peace, and thus proceeding in her Plaint.
Forsake me not thus, Adam! Witness Heav'n
What Love sincere, and Reverence in my Heart
I bear thee, and unweeting have offended,
Unhappily deceived! Thy Suppliant
I beg, and clasp thy Knees; bereave me not
(Whereon I live!) thy gentle Looks, thy Aid,
Thy Counsel, in this uttermost Distress,
My only Strength, and Stay! Forlorn of thee,
Whither shall I betake me, where subsist?
While yet we live, (scarce one short Hour perhaps)
Between us two let there be Peace, &c.
Adams Reconcilement to her is workd up in the same Spirit of
Tenderness. Eve afterwards proposes to her Husband, in the Blindness of
her Despair, that to prevent their Guilt from descending upon Posterity
they should resolve to live Childless; or, if that could not be done,
they should seek their own Deaths by violent Methods. As those
Sentiments naturally engage the Reader to regard the Mother of Mankind
with more than ordinary Commiseration, they likewise contain a very fine
Moral. The Resolution of dying to end our Miseries, does not shew such a
degree of Magnanimity as a Resolution to bear them, and submit to the
Dispensations of Providence. Our Author has therefore, with great
Delicacy, represented Eve as entertaining this Thought, and Adam as
disapproving it.
We are, in the last place, to consider the Imaginary Persons, or [Death
and Sin [3]] who act a large Part in this Book. Such beautiful extended
Allegories are certainly some of the finest Compositions of Genius: but,
as, I have before observed, are not agreeable to the Nature of an
Heroick Poem. This of Sin and Death is very exquisite in its Kind, if
not considered as a Part of such a Work. The Truths contained in it are
so clear and open, that I shall not lose time in explaining them; but
shall only observe, that a Reader who knows the Strength of the English
Tongue, will be amazed to think how the Poet could find such apt Words
and Phrases to describe the Action[s] of those two imaginary Persons,
and particularly in that Part where Death is exhibited as forming a
Bridge over the Chaos; a Work suitable to the Genius of Milton.
Since the Subject I am upon, gives me an Opportunity of speaking more at
large of such Shadowy and Imaginary Persons as may be introduced into
Heroick Poems, I shall beg leave to explain my self in a Matter which is
curious in its Kind, and which none of the Criticks have treated of. It
is certain Homer and Virgil are full of imaginary Persons, who are very
beautiful in Poetry when they are just shewn, without being engaged in
any Series of Action. Homer indeed represents Sleep as a Person, and
ascribes a short Part to him in his Iliad, [4] but we must consider that
tho we now regard such a Person as entirely shadowy and unsubstantial,
the Heathens made Statues of him, placed him in their Temples, and
looked upon him as a real Deity. When Homer makes use of other such
Allegorical Persons, it is only in short Expressions, which convey an
ordinary Thought to the Mind in the most pleasing manner, and may rather
be looked upon as Poetical Phrases than Allegorical Descriptions.
Instead of telling us, that Men naturally fly when they are terrified,
he introduces the Persons of Flight and Fear, who, he tells us, are
inseparable Companions. Instead of saying that the time was come when
Apollo ought to have received his Recompence, he tells us, that the
Hours brought him his Reward. Instead of describing the Effects which
Minervas Ægis produced in Battel, he tells us, that the Brims of it
were encompassed by Terror, Rout, Discord, Fury, Pursuit, Massacre, and
Death. In the same Figure of speaking, he represents Victory as
following Diomedes; Discord as the Mother of Funerals and Mourning;
Venus as dressed by the Graces; Bellona as wearing Terror and
Consternation like a Garment. I might give several other Instances out
of Homer, as well as a great many out of Virgil. Milton has likewise
very often made use of the same way of Speaking, as where he tells us,
that Victory sat on the right Hand of the Messiah when he marched forth
against the Rebel Angels; that at the rising of the Sun the Hours
unbarrd the Gates of Light; that Discord was the Daughter of Sin. Of
the same nature are those Expressions, where describing the singing of
the Nightingale, he adds, Silence was pleased; and upon the Messiahs
bidding Peace to the Chaos, Confusion heard his Voice. I might add
innumerable Instances of our Poets writing in this beautiful Figure. It
is plain that these I have mentioned, in which Persons of an imaginary
Nature are introduced, are such short Allegories as are not designed to
be taken in the literal Sense, but only to convey particular
Circumstances to the Reader after an unusual and entertaining Manner.
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 Heroick Poem, which ought to appear credible in its
principal Parts. I cannot forbear therefore thinking 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, [5] for which he has been
justly censured by the greatest Criticks. I do not know any imaginary
Person made use of in a more sublime manner of thinking than that in one
of the Prophets, who describing God as descending from Heaven, and
visiting the Sins of Mankind, adds that dreadful Circumstance, Before
him went the Pestilence. [6] It is certain this imaginary Person might
have been described in all her purple Spots. The Fever might have
marched before her, Pain might have stood at her right Hand, Phrenzy on
her Left, and Death in her Rear. She might have been introduced as
gliding down from the Tail of a Comet, or darted upon the Earth in a
Flash of Lightning: She might have tainted the Atmosphere with her
Breath; the very glaring of her Eyes might have scattered Infection. But
I believe every Reader will think, that in such sublime Writings the
mentioning of her as it is done in Scripture, has something in it more
just, as well as great, than all that the most fanciful Poet could have
bestowed upon her in the Richness of his Imagination.