The Spectator
Chapter 212 : Hor.]No. 321.[1] Sat.u.r.day, March 8, 1712. Addison.Nec satis est pulchra esse poemat

Hor.]

No. 321.[1] Sat.u.r.day, 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 n.o.blest 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 Mult.i.tudes 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 Princ.i.p.al Actors in the Poem.

In the Description of Paradise, the Poet has observed Aristotle's Rule of lavis.h.i.+ng 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 Princ.i.p.al 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 h.e.l.l. 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 Pa.s.sions is raised with a great deal of Art, as the opening of his Speech to the Sun is very bold and n.o.ble.

O thou that with surpa.s.sing Glory crown'd, Look'st from thy sole Dominion like the G.o.d 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 Circ.u.mstances 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 Pa.s.sage 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 Circ.u.mstance 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 h.e.l.l; 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 Pa.s.sage in the 22nd Iliad.

Virgil, before the last decisive Combat, describes Jupiter in the same manner, as weighing the Fates of Turnus and aeneas. Milton, though he fetched this beautiful Circ.u.mstance from the Iliad and aeneid, 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 Pa.s.sage, as we find the same n.o.ble Allegory in Holy Writ, where a wicked Prince, some few Hours before he was a.s.saulted 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 n.o.bler Shape erect and tall, G.o.d-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, Sanct.i.tude 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 G.o.d only, she for G.o.d in him.

His fair large front, and eye sublime, declar'd Absolute rule; and Hyacinthin Locks Round from his parted forelock manly hung Cl.u.s.tring, 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 pa.s.s'd they naked on, nor shun'd the Sight Of G.o.d or Angel, for they thought no ill: So hand in hand they pa.s.sed, 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 a.s.sembly of Animals.

The Speeches of these two first Lovers flow equally from Pa.s.sion 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 Pa.s.sage as any in Milton, or perhaps in any other Poet whatsoever. These Pa.s.sages 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 s.e.xes 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 Wors.h.i.+p in the following Lines.