The book itself will not add much to the fame of Milton. It is, like all his Latin works, well written, though not exactly in the style of the prize essays of Oxford and Cambridge. There is no elaborate imitation of cla.s.sical antiquity, no scrupulous purity, none of the ceremonial cleanness which characterises the diction of our academical Pharisees. The author does not attempt to polish and brighten his composition into the Ciceronian gloss and brilliancy. He does not in short sacrifice sense and spirit to pedantic refinements. The nature of his subject compelled him to use many words

"That would have made Quintilian stare and gasp."

But he writes with as much ease and freedom as if Latin were his mother tongue; and, where he is least happy, his failure seems to arise from the carelessness of a native, not from the ignorance of a foreigner. We may apply to him what Denham with great felicity says of Cowley: "He wears the garb, but not the clothes of the ancients."

Throughout the volume are discernible the traces of a powerful and independent mind, emanc.i.p.ated from the influence of authority, and devoted to the search of truth. Milton professes to form his system from the Bible alone; and his digest of scriptural texts is certainly among the best that have appeared.

But he is not always so happy in his inferences as in his citations.

Some of the heterodox doctrines which he avows seemed to have excited considerable amazement, particularly his Arianism, and his theory on the subject of polygamy. Yet we can scarcely conceive that any person could have read the Paradise Lost without suspecting him of the former; nor do we think that any reader, acquainted with the history of his life, ought to be much startled at the latter. The opinions which he has expressed respecting the nature of the Deity, the eternity of matter, and the observation of the Sabbath, might, we think, have caused more just surprise.

But we will not go into the discussion of these points. The book, were it far more orthodox or far more heretical than it is, would not much edify or corrupt the present generation. The men of our time are not to be converted or perverted by quartos. A few more days, and this essay will follow the Defensio Populi to the dust and silence of the upper shelf. The name of its author, and the remarkable circ.u.mstances attending its publication, will secure to it a certain degree of attention. For a month or two it will occupy a few minutes of chat in every drawing-room, and a few columns in every magazine; and it will then, to borrow the elegant language of the play-bills, be withdrawn to make room for the forthcoming novelties.

We wish, however, to avail ourselves of the interest, transient as it may be, which this work has excited. The dexterous Capuchins never choose to preach on the life and miracles of a saint, until they have awakened the devotional feelings of their auditors by exhibiting some relic of him, a thread of his garment, a lock of his hair, or a drop of his blood. On the same principle, we intend to take advantage of the late interesting discovery, and, while this memorial of a great and good man is still in the hands of all, to say something of his moral and intellectual qualities. Nor, we are convinced, will the severest of our readers blame us if, on an occasion like the present, we turn for a short time from the topics of the day, to commemorate, in all love and reverence, the genius and virtues of John Milton, the poet, the statesman, the philosopher, the glory of English literature, the champion and the martyr of English liberty.

It is by his poetry that Milton is best known; and it is of his poetry that we wish first to speak. By the general suffrage of the civilised world, his place has been a.s.signed among the greatest masters of the art. His detractors, however, though outvoted, have not been silenced. There are many critics, and some of great name, who contrive in the same breath to extol the poems and to decry the poet. The works they acknowledge, considered in themselves, may be cla.s.sed among the n.o.blest productions of the human mind. But they will not allow the author to rank with those great men who, born in the infancy of civilisation, supplied, by their own powers, the want of instruction, and, though dest.i.tute of models themselves, bequeathed to posterity models which defy imitation. Milton, it is said, inherited what his predecessors created; he lived in an enlightened age; he received a finished education, and we must therefore, if we would form a just estimate of his powers, make large deductions in consideration of these advantages.

We venture to say, on the contrary, paradoxical as the remark may appear, that no poet has ever had to struggle with more unfavourable circ.u.mstances than Milton. He doubted, as he has himself owned, whether he had not been born "an age too late."

For this notion Johnson has thought fit to make him the b.u.t.t of much clumsy ridicule. The poet, we believe, understood the nature of his art better than the critic. He knew that his poetical genius derived no advantage from the civilisation which surrounded him, or from the learning which he had acquired; and he looked back with something like regret to the ruder age of simple words and vivid impressions.

We think that, as civilisation advances, poetry almost necessarily declines. Therefore, though we fervently admire those great works of imagination which have appeared in dark ages, we do not admire them the more because they have appeared in dark ages. On the contrary, we hold that the most wonderful and splendid proof of genius is a great poem produced in a civilised age. We cannot understand why those who believe in that most orthodox article of literary faith, that the earliest poets are generally the best, should wonder at the rule as if it were the exception. Surely the uniformity of the phaenomenon indicates a corresponding uniformity in the cause.

The fact is, that common observers reason from the progress of the experimental sciences to that of imitative arts. The improvement of the former is gradual and slow. Ages are spent in collecting materials, ages more in separating and combining them.

Even when a system has been formed, there is still something to add, to alter, or to reject. Every generation enjoys the use of a vast h.o.a.rd bequeathed to it by antiquity, and transmits that h.o.a.rd, augmented by fresh acquisitions, to future ages. In these pursuits, therefore, the first speculators lie under great disadvantages, and, even when they fail, are ent.i.tled to praise.

Their pupils, with far inferior intellectual powers, speedily surpa.s.s them in actual attainments. Every girl who has read Mrs.

Marcet's little dialogues on Political Economy could teach Montague or Walpole many lessons in finance. Any intelligent man may now, by resolutely applying himself for a few years to mathematics, learn more than the great Newton knew after half a century of study and meditation.

But it is not thus with music, with painting, or with sculpture.

Still less is it thus with poetry. The progress of refinement rarely supplies these arts with better objects of imitation. It may indeed improve the instruments which are necessary to the mechanical operations of the musician, the sculptor, and the painter. But language, the machine of the poet, is best fitted for his purpose in its rudest state. Nations, like individuals, first perceive, and then abstract. They advance from particular images to general terms. Hence the vocabulary of an enlightened society is philosophical, that of a half-civilised people is poetical.

This change in the language of men is partly the cause and partly the effect of a corresponding change in the nature of their intellectual operations, of a change by which science gains and poetry loses. Generalisation is necessary to the advancement of knowledge; but particularity is indispensable to the creations of the imagination. In proportion as men know more and think more, they look less at individuals and more at cla.s.ses. They therefore make better theories and worse poems. They give us vague phrases instead of images, and personified qualities instead of men. They may be better able to a.n.a.lyse human nature than their predecessors. But a.n.a.lysis is not the business of the poet. His office is to portray, not to dissect. He may believe in a moral sense, like Shaftesbury; he may refer all human actions to self- interest, like Helvetius; or he may never think about the matter at all. His creed on such subjects will no more influence his poetry, properly so called, than the notions which a painter may have conceived respecting the lacrymal glands, or the circulation of the blood will affect the tears of his Niobe, or the blushes of his Aurora. If Shakespeare had written a book on the motives of human actions, it is by no means certain that it would have been a good one. It is extremely improbable that it would have contained half so much able reasoning on the subject as is to be found in the Fable of the Bees. But could Mandeville have created an Iago? Well as he knew how to resolve characters into their elements, would he have been able to combine those elements in such a manner as to make up a man, a real, living, individual man?

Perhaps no person can be a poet, or can even enjoy poetry, without a certain unsoundness of mind, if anything which gives so much pleasure ought to be called unsoundness. By poetry we mean not all writing in verse, nor even all good writing in verse. Our definition excludes many metrical compositions which, on other grounds, deserve the highest praise. By poetry we mean the art of employing words in such a manner as to produce an illusion on the imagination, the art of doing by means of words what the painter does by means of colours. Thus the greatest of poets has described it, in lines universally admired for the vigour and felicity of their diction, and still more valuable on account of the just notion which they convey of the art in which he excelled:

"As the imagination bodies forth The forms of things unknown, the poet's pen Turns them to shapes, and gives to airy nothing A local habitation and a name."

These are the fruits of the "fine frenzy" which he ascribes to the poet--a fine frenzy doubtless, but still a frenzy. Truth, indeed, is essential to poetry; but it is the truth of madness.

The reasonings are just; but the premises are false. After the first suppositions have been made, everything ought to be consistent; but those first suppositions require a degree of credulity which almost amounts to a partial and temporary derangement of the intellect. Hence of all people children are the most imaginative. They abandon themselves without reserve to every illusion. Every image which is strongly presented to their mental eye produces on them the effect of reality. No man, whatever his sensibility may be, is ever affected by Hamlet or Lear, as a little girl is affected by the story of poor Red Riding-hood. She knows that it is all false, that wolves cannot speak, that there are no wolves in England. Yet in spite of her knowledge she believes; she weeps; she trembles; she dares not go into a dark room lest she should feel the teeth of the monster at her throat. Such is the despotism of the imagination over uncultivated minds.

In a rude state of society men are children with a greater variety of ideas. It is therefore in such a state of society that we may expect to find the poetical temperament in its highest perfection. In an enlightened age there will be much intelligence, much science, much philosophy, abundance of just cla.s.sification and subtle a.n.a.lysis, abundance of wit and eloquence, abundance of verses, and even of good ones; but little poetry. Men will judge and compare; but they will not create.

They will talk about the old poets, and comment on them, and to a certain degree enjoy them. But they will scarcely be able to conceive the effect which poetry produced on their ruder ancestors, the agony, the ecstasy, the plenitude of belief. The Greek Rhapsodists, according to Plato, could scarce recite Homer without falling into convulsions. The Mohawk hardly feels the scalping knife while he shouts his death-song. The power which the ancient bards of Wales and Germany exercised over their auditors seems to modern readers almost miraculous. Such feelings are very rare in a civilised community, and most rare among those who partic.i.p.ate most in its improvements. They linger longest amongst the peasantry.

Poetry produces an illusion on the eye of the mind, as a magic lantern produces an illusion on the eye of the body. And, as the magic lantern acts best in a dark room, poetry effects its purpose most completely in a dark age. As the light of knowledge breaks in upon its exhibitions, as the outlines of certainty become more and more definite, and the shades of probability more and more distinct, the hues and lineaments of the phantoms which the poet calls up grow fainter and fainter. We cannot unite the incompatible advantages of reality and deception, the clear discernment of truth and the exquisite enjoyment of fiction.

He who, in an enlightened and literary society, aspires to be a great poet must first become a little child, he must take to pieces the whole web of his mind. He must unlearn much of that knowledge which has perhaps const.i.tuted hitherto his chief t.i.tle to superiority. His very talents will be a hindrance to him. His difficulties will be proportioned to his proficiency in the pursuits which are fashionable among his contemporaries; and that proficiency will in general be proportioned to the vigour and activity of his mind. And it is well if, after all his sacrifices and exertions, his works do not resemble a lisping man or a modern ruin. We have seen in our own time great talents, intense labour, and long meditation, employed in this struggle against the spirit of the age, and employed, we will not say absolutely in vain, but with dubious success and feeble applause.

If these reasonings be just, no poet has ever triumphed over greater difficulties than Milton. He received a learned education: he was a profound and elegant cla.s.sical scholar: he had studied all the mysteries of Rabbinical literature: he was intimately acquainted with every language of modern Europe, from which either pleasure or information was then to be derived. He was perhaps the only great poet of later times who has been distinguished by the excellence of his Latin verse. The genius of Petrarch was scarcely of the first order; and his poems in the ancient language, though much praised by those who have never read them, are wretched compositions. Cowley, with all his admirable wit and ingenuity, had little imagination: nor indeed do we think his cla.s.sical diction comparable to that of Milton.

The authority of Johnson is against us on this point. But Johnson had studied the bad writers of the middle ages till he had become utterly insensible to the Augustan elegance, and was as ill qualified to judge between two Latin styles as a habitual drunkard to set up for a wine-taster.

Versification in a dead language is an exotic, a far-fetched, costly, sickly, imitation of that which elsewhere may be found in healthful and spontaneous perfection. The soils on which this rarity flourishes are in general as ill suited to the production of vigorous native poetry as the flower-pots of a hot-house to the growth of oaks. That the author of the Paradise Lost should have written the Epistle to Manso was truly wonderful. Never before were such marked originality and such exquisite, mimicry found together. Indeed in all the Latin poems of Milton the artificial manner indispensable to such works is admirably preserved, while, at the same time, his genius gives to them a peculiar charm, an air of n.o.bleness and freedom, which distinguishes them from all other writings of the same cla.s.s.

They remind us of the amus.e.m.e.nts of those angelic warriors who composed the cohort of Gabriel:

"About him exercised heroic games The unarmed youth of heaven. But o'er their heads Celestial armoury, shields, helms, and spears Hang high, with diamond flaming, and with gold."

We cannot look upon the sportive exercises for which the genius of Milton ungirds itself, without catching a glimpse of the gorgeous and terrible panoply which it is accustomed to wear. The strength of his imagination triumphed over every obstacle. So intense and ardent was the fire of his mind, that it not only was not suffocated beneath the weight of fuel, but penetrated the whole superinc.u.mbent ma.s.s with its own heat and radiance.

It is not our intention to attempt anything like a complete examination of the poetry of Milton. The public has long been agreed as to the merit of the most remarkable pa.s.sages, the incomparable harmony of the numbers, and the excellence of that style, which no rival has been able to equal, and no parodist to degrade, which displays in their highest perfection the idiomatic powers of the English tongue, and to which every ancient and every modern language has contributed something of grace, of energy, or of music. In the vast field of criticism on which we are entering, innumerable reapers have already put their sickles.

Yet the harvest is so abundant that the negligent search of a straggling gleaner may be rewarded with a sheaf.

The most striking characteristic of the poetry of Milton is the extreme remoteness of the a.s.sociations by means of which it acts on the reader. Its effect is produced, not so much by what it expresses, as by what it suggests; not so much by the ideas which it directly conveys, as by other ideas which are connected with them. He electrifies the mind through conductors. The most unimaginative man must understand the Iliad. Homer gives him no choice, and requires from him no exertion, but takes the whole upon himself, and sets the images in so clear a light, that it is impossible to be blind to them. The works of Milton cannot be comprehended or enjoyed, unless the mind of the reader co-operate with that of the writer. He does not paint a finished picture, or play for a mere pa.s.sive listener. He sketches, and leaves others to fill up the outline. He strikes the keynote, and expects his hearer to make out the melody.

We often hear of the magical influence of poetry. The expression in general means nothing: but, applied to the writings of Milton, it is most appropriate. His poetry acts like an incantation. Its merit lies less in its obvious meaning than in its occult power.

There would seem, at first sight, to be no more in his words than in other words. But they are words of enchantment. No sooner are they p.r.o.nounced, than the past is present and the distant near.

New forms of beauty start at once into existence, and all the burial-places of the memory give up their dead. Change the structure of the sentence; subst.i.tute one synonym for another, and the whole effect is destroyed. The spell loses its power: and he who should then hope to conjure with it would find himself as much mistaken as Ca.s.sim in the Arabian tale, when he stood crying, "Open Wheat," "Open Barley," to the door which obeyed no sound but "Open Sesame." The miserable failure of Dryden in his attempt to translate into his own diction some parts of the Paradise Lost, is a remarkable instance of this.

In support of these observations we may remark, that scarcely any pa.s.sages in the poems of Milton are more generally known or more frequently repeated than those which are little more than muster- rolls of names. They are not always more appropriate or more melodious than other names. Every one of them is the first link in a long chain of a.s.sociated ideas. Like the dwelling-place of our infancy revisited in manhood, like the song of our country heard in a strange land, they produce upon us an effect wholly independent of their intrinsic value. One transports us back to a remote period of history. Another places us among the novel scenes avid manners of a distant region. A third evokes all the dear cla.s.sical recollections of childhood, the schoolroom, the dog-eared Virgil, the holiday, and the prize. A fourth brings before us the splendid phantoms of chivalrous romance, the trophied lists, the embroidered housings, the quaint devices, the haunted forests, the enchanted gardens, the achievements of enamoured knights, and the smiles of rescued princesses.

In none of the works of Milton is his peculiar manner more happily displayed than in the Allegro and the Penseroso. It is impossible to conceive that the mechanism of language can be brought to a more exquisite degree of perfection. These poems differ from others, as attar of roses differs from ordinary rose water, the close packed essence from the thin diluted mixture.

They are indeed not so much poems, as collections of hints, from each of which the reader is to make out a poem for himself. Every epithet is a text for a stanza.

The Comus and the Samson Agonistes are works which, though of very different merit, offer some marked points of resemblance.

Both are lyric poems in the form of plays. There are perhaps no two kinds of composition so essentially dissimilar as the drama and the ode. The business of the dramatist is to keep himself out of sight, and to let nothing appear but his characters. As soon as he attracts notice to his personal feelings, the illusion is broken. The effect is as unpleasant as that which is produced on the stage by the voice of a prompter or the entrance of a scene- shifter. Hence it was, that the tragedies of Byron were his least successful performances. They resemble those pasteboard pictures invented by the friend of children, Mr. Newbery, in which a single moveable head goes round twenty different bodies, so that the same face looks out upon us successively, from the uniform of a hussar, the furs of a judge, and the rags of a beggar. In all the characters, patriots and tyrants, haters and lovers, the frown and sneer of Harold were discernible in an instant. But this species of egotism, though fatal to the drama, is the inspiration of the ode. It is the part of the lyric poet to abandon himself, without reserve, to his own emotions.

Between these hostile elements many great men have endeavoured to effect an amalgamation, but never with complete success. The Greek Drama, on the model of which the Samson was written, sprang from the Ode. The dialogue was ingrafted on the chorus, and naturally partook of its character. The genius of the greatest of the Athenian dramatists cooperated with the circ.u.mstances under which tragedy made its first appearance. Aeschylus was, head and heart, a lyric poet. In his time, the Greeks had far more intercourse with the East than in the days of Homer; and they had not yet acquired that immense superiority in war, in science, and in the arts, which, in the following generation, led them to treat the Asiatics with contempt. From the narrative of Herodotus it should seem that they still looked up, with the veneration of disciples, to Egypt and a.s.syria. At this period, accordingly, it was natural that the literature of Greece should be tinctured with the Oriental style. And that style, we think, is discernible in the works of Pindar and Aeschylus. The latter often reminds us of the Hebrew writers. The book of Job, indeed, in conduct and diction, bears a considerable resemblance to some of his dramas.

Considered as plays, his works are absurd; considered as choruses, they are above all praise. If, for instance, we examine the address of Clytemnestra to Agamemnon on his return, or the description of the seven Argive chiefs, by the principles of dramatic writing, we shall instantly condemn them as monstrous.

But if we forget the characters, and think only of the poetry, we shall admit that it has never been surpa.s.sed in energy and magnificence. Sophocles made the Greek Drama as dramatic as was consistent with its original form. His portraits of men have a sort of similarity; but it is the similarity not of a painting, but of a bas-relief. It suggests a resemblance; but it does not produce an illusion. Euripides attempted to carry the reform further. But it was a task far beyond his powers, perhaps beyond any powers. Instead of correcting what was bad, he destroyed what was excellent. He subst.i.tuted crutches for stilts, bad sermons for good odes.

Milton, it is well known, admired Euripides highly, much more highly than, in our opinion, Euripides deserved. Indeed the caresses which this partiality leads our countryman to bestow on "sad Electra's poet," sometimes remind us of the beautiful Queen of Fairy-land kissing the long ears of Bottom. At all events, there can be no doubt that this veneration for the Athenian, whether just or not, was injurious to the Samson Agonistes. Had Milton taken Aeschylus for his model, he would have given himself up to the lyric inspiration, and poured out profusely all the treasures of his mind, without bestowing a thought on those dramatic proprieties which the nature of the work rendered it impossible to preserve. In the attempt to reconcile things in their own nature inconsistent he has failed, as every one else must have failed. We cannot identify ourselves with the characters, as in a good play. We cannot identify ourselves with the poet, as in a good ode. The conflicting ingredients, like an acid and an alkali mixed, neutralise each other. We are by no means insensible to the merits of this celebrated piece, to the severe dignity of the style, the graceful and pathetic solemnity of the opening speech, or the wild and barbaric melody which gives so striking an effect to the choral pa.s.sages. But we think it, we confess, the least successful effort of the genius of Milton.

The Comus is framed on the model of the Italian Masque, as the Samson is framed on the model of the Greek Tragedy. It is certainly the n.o.blest performance of the kind which exists in any language. It is as far superior to the Faithful Shepherdess as the Faithful Shepherdess is to the Aminta, or the Aminta to the Pastor Fido. It was well for Milton that he had here no Euripides to mislead him. He understood and loved the literature of modern Italy. But he did not feel for it the same veneration which he entertained for the remains of Athenian and Roman poetry, consecrated by so many lofty and endearing recollections. The faults, moreover, of his Italian predecessors were of a kind to which his mind had a deadly antipathy. He could stoop to a plain style, sometimes even to a bald style; but false brilliancy was his utter aversion. His muse had no objection to a russet attire; but she turned with disgust from the finery of Guarini, as tawdry and as paltry as the rags of a chimney-sweeper on May-day.

Whatever ornaments she wears are of ma.s.sive gold, not only dazzling to the sight, but capable of standing the severest test of the crucible.

Milton attended in the Comus to the distinction which he afterwards neglected in the Samson. He made his Masque what it ought to be, essentially lyrical, and dramatic only in semblance. He has not attempted a fruitless struggle against a defect inherent in the nature of that species of composition; and he has therefore succeeded, wherever success was not impossible.

The speeches must be read as majestic soliloquies; and he who so reads them will be enraptured with their eloquence, their sublimity, and their music. The interruptions of the dialogue, however, impose a constraint upon the writer, and break the illusion of the reader. The finest pa.s.sages are those which are lyric in form as well as in spirit. "I should much commend," says the excellent Sir Henry Wotton in a letter to Milton, "the tragical part if the lyrical did not ravish me with a certain Dorique delicacy in your songs and odes, whereunto, I must plainly confess to, you, I have seen yet nothing parallel in our language." The criticism was just. It is when Milton escapes from the shackles of the dialogue, when he is discharged from the labour of uniting two incongruous styles, when he is at liberty to indulge his choral raptures without reserve, that he rises even above himself. Then, like his own good Genius bursting from the earthly form and weeds of Thyrsis, he stands forth in celestial freedom and beauty; he seems to cry exultingly,

"Now my task is smoothly done, I can fly or I can run,"

to skim the earth, to soar above the clouds, to bathe in the Elysian dew of the rainbow, and to inhale the balmy smells of nard and ca.s.sia, which the musky winds of the zephyr scatter through the cedared alleys of the Hesperides.

There are several of the minor poems of Milton on which we would willingly make a few remarks. Still more willingly would we enter into a detailed examination of that admirable poem, the Paradise Regained, which, strangely enough, is scarcely ever mentioned except as an instance of the blindness of the parental affection which men of letters bear towards the offspring of their intellects. That Milton was mistaken in preferring this work, excellent as it is, to the Paradise Lost, we readily admit. But we are sure that the superiority of the Paradise Lost to the Paradise Regained is not more decided, than the superiority of the Paradise Regained to every poem which has since made its appearance. Our limits, however, prevent us from discussing the point at length. We hasten on to that extraordinary production which the general suffrage of critics has placed in the highest cla.s.s of human compositions.

The only poem of modern times which can be compared with the Paradise Lost is the Divine Comedy. The subject of Milton, in some points, resembled that of Dante; but he has treated it in a widely different manner. We cannot, we think, better ill.u.s.trate our opinion respecting our own great poet, than by contrasting him with the father of Tuscan literature.

The poetry of Milton differs from that of Dante, as the hieroglyphics of Egypt differed from the picture-writing of Mexico. The images which Dante employs speak for themselves; they stand simply for what they are. Those of Milton have a signification which is often discernible only to the initiated.

Their value depends less on what they directly represent than on what they remotely suggest. However strange, however grotesque, may be the appearance which Dante undertakes to describe, he never shrinks from describing it. He gives us the shape, the colour, the sound, the smell, the taste; he counts the numbers; he measures the size. His similes are the ill.u.s.trations of a traveller. Unlike those of other poets, and especially of Milton, they are introduced in a plain, business-like manner; not for the sake of any beauty in the objects from which they are drawn; not for the sake of any ornament which they may impart to the poem; but simply in order to make the meaning of the writer as clear to the reader as it is to himself. The ruins of the precipice which led from the sixth to the seventh circle of h.e.l.l were like those of the rock which fell into the Adige on the south of Trent. The cataract of Phlegethon was like that of Aqua Cheta at the monastery of St. Benedict. The place where the heretics were confined in burning tombs resembled the vast cemetery of Arles.

Now let us compare with the exact details of Dante the dim intimations of Milton. We will cite a few examples. The English poet has never thought of taking the measure of Satan. He gives us merely a vague idea of vast bulk. In one pa.s.sage the fiend lies stretched out huge in length, floating many a rood, equal in size to the earth-born enemies of Jove, or to the sea-monster which the mariner mistakes for an island. When he addresses himself to battle against the guardian angels, he stands like Teneriffe or Atlas: his stature reaches the sky. Contrast with these descriptions the lines in which Dante has described the gigantic spectre of Nimrod. "His face seemed to me as long and as broad as the ball of St. Peter's at Rome, and his other limbs were in proportion; so that the bank, which concealed him from the waist downwards, nevertheless showed so much of him, that three tall Germans would in vain have attempted to reach to his hair." We are sensible that we do no justice to the admirable style of the Florentine poet. But Mr. Cary's translation is not at hand; and our version, however rude, is sufficient to ill.u.s.trate our meaning.

Once more, compare the lazar-house in the eleventh book of the Paradise Lost with the last ward of Malebolge in Dante. Milton avoids the loathsome details, and takes refuge in indistinct but solemn and tremendous imagery. Despair hurrying from couch to couch to mock the wretches with his attendance, Death shaking his dart over them, but, in spite of supplications, delaying to strike. What says Dante? "There was such a moan there as there would be if all the sick who, between July and September, are in the hospitals of Valdichiana, and of the Tuscan swamps, and of Sardinia, were in one pit together; and such a stench was issuing forth as is wont to issue from decayed limbs."