Or the comparison of Satan, as he "lay floating many a rood," to "that sea beast,"

"Leviathan, which G.o.d of all his works Created hugest that swim the ocean-stream!"

What a force of imagination is there in this last expression! What an idea it conveys of the size of that hugest of created beings, as if it shrunk up the ocean to a stream, and took up the sea in its nostrils as a very little thing! Force of style is one of Milton's greatest excellences.

Hence, perhaps, he stimulates us more in the reading, and less afterwards.

The way to defend Milton against all impugners, is to take down the book and read it.

Milton's blank verse is the only blank verse in the language (except Shakspeare's) that deserves the name of verse. Dr. Johnson, who had modelled his ideas of versification on the regular sing-song of Pope, condemns the Paradise Lost as harsh and unequal. I shall not pretend to say that this is not sometimes the case; for where a degree of excellence beyond the mechanical rules of art is attempted, the poet must sometimes fail. But I imagine that there are more perfect examples in Milton of musical expression, or of an adaptation of the sound and movement of the verse to the meaning of the pa.s.sage, than in all our other writers, whether of rhyme or blank verse, put together, (with the exception already mentioned). Spenser is the most harmonious of our stanza writers, as Dryden is the most sounding and varied of our rhymists. But in neither is there anything like the same ear for music, the same power of approximating the varieties of poetical to those of musical rhythm, as there is in our great epic poet. The sound of his lines is moulded into the expression of the sentiment, almost of the very image. They rise or fall, pause or hurry rapidly on, with exquisite art, but without the least trick or affectation, as the occasion seems to require.

The following are some of the finest instances:

"His hand was known In Heaven by many a tower'd structure high;-- Nor was his name unheard or unador'd In ancient Greece; and in the Ausonian land Men called him Mulciber; and how he fell From Heaven, they fabled, thrown by angry Jove Sheer o'er the crystal battlements; from morn To noon he fell, from noon to dewy eve, A summer's day; and with the setting sun Dropt from the zenith like a falling star On Lemnos, the aegean isle: thus they relate, Erring."--

"But chief the s.p.a.cious hall Thick swarm'd, both on the ground and in the air, Brush'd with the hiss of rustling wings. As bees In spring time, when the sun with Taurus rides, Pour forth their populous youth about the hive In cl.u.s.ters; they among fresh dews and flow'rs Fly to and fro; or on the smoothed plank, The suburb of their straw-built citadel, New rubb'd with balm, expatiate, and confer Their state affairs. So thick the airy crowd Swarm'd and were straiten'd; till the signal giv'n, Behold a wonder! They but now who seem'd In bigness to surpa.s.s earth's giant sons, Now less than smallest dwarfs, in narrow room Throng numberless, like that Pygmean race Beyond the Indian mount, or fairy elves, Whose midnight revels by a forest side Or fountain, some belated peasant sees, Or dreams he sees, while over-head the moon Sits arbitress, and nearer to the earth Wheels her pale course: they on their mirth and dance Intent, with jocund music charm his ear; At once with joy and fear his heart rebounds."

I can give only another instance, though I have some difficulty in leaving off.

"Round he surveys (and well might, where he stood So high above the circling canopy Of night's extended shade) from th' eastern point Of Libra to the fleecy star that bears Andromeda far off Atlantic seas Beyond the horizon: then from pole to pole He views in breadth, and without longer pause Down right into the world's first region throws His flight precipitant, and winds with ease Through the pure marble air his oblique way Amongst innumerable stars that shone Stars distant, but nigh hand seem'd other worlds; Or other worlds they seem'd or happy isles," etc.

The verse, in this exquisitely modulated pa.s.sage, floats up and down as if it had itself wings. Milton has himself given us the theory of his versification--

"Such as the meeting soul may pierce In notes with many a winding bout Of linked sweetness long drawn out."

Dr. Johnson and Pope would have converted his vaulting Pegasus into a rocking-horse. Read any other blank verse but Milton's,--Thomson's, Young's, Cowper's, Wordsworth's,--and it will be found, from the want of the same insight into "the hidden soul of harmony," to be mere lumbering prose.

To proceed to a consideration of the merits of Paradise Lost, in the most essential point of view, I mean as to the poetry of character and pa.s.sion. I shall say nothing of the fable, or of other technical objections or excellences; but I shall try to explain at once the foundation of the interest belonging to the poem. I am ready to give up the dialogues in Heaven, where, as Pope justly observes, "G.o.d the Father turns a school-divine;" nor do I consider the battle of the angels as the climax of sublimity, or the most successful effort of Milton's pen. In a word, the interest of the poem arises from the daring ambition and fierce pa.s.sions of Satan, and from the account of the paradisaical happiness, and the loss of it by our first parents. Three-fourths of the work are taken up with these characters, and nearly all that relates to them is unmixed sublimity and beauty. The two first books alone are like too ma.s.sy pillars of solid gold.

Satan is the most heroic subject that ever was chosen for a poem; and the execution is as perfect as the design is lofty. He was the first of created beings, who, for endeavouring to be equal with the highest, and to divide the empire of heaven with the Almighty, was hurled down to h.e.l.l.

His aim was no less than the throne of the universe; his means, myriads of angelic armies bright, the third part of the heavens, whom he lured after him with his countenance, and who durst defy the Omnipotent in arms. His ambition was the greatest, and his punishment was the greatest; but not so his despair, for his fort.i.tude was as great as his sufferings. His strength of mind was matchless as his strength of body; the vastness of his designs did not surpa.s.s the firm, inflexible determination with which he submitted to his irreversible doom, and final loss of all good. His power of action and of suffering was equal. He was the greatest power that was ever overthrown, with the strongest will left to resist or to endure.

He was baffled, not confounded. He stood like a tower; or

"As when Heaven's fire Hath scathed the forest oaks or mountain pines!"

He is still surrounded with hosts of rebel angels, armed warriors, who own him as their sovereign leader, and with whose fate he sympathises as he views them round, far as the eye can reach; though he keeps aloof from them in his own mind, and holds supreme counsel only with his own breast.

An outcast from Heaven, h.e.l.l trembles beneath his feet, Sin and Death are at his heels, and mankind are his easy prey.

"All is not lost; th' unconquerable will, And study of revenge, immortal hate, And courage never to submit or yield, And what else is not to be overcome,"

are still his. The sense of his punishment seems lost in the magnitude of it; the fierceness of tormenting flames, is qualified and made innoxious by the greater fierceness of his pride; the loss of infinite happiness to himself is compensated in thought, by the power of inflicting infinite misery on others. Yet Satan is not the principle of malignity, or of the abstract love of evil--but of the abstract love of power, of pride, of self-will personified, to which last principle all other good and evil, and even his own, are subordinate. From this principle he never once flinches. His love of power and contempt for suffering are never once relaxed from the highest pitch of intensity. His thoughts burn like a h.e.l.l within him; but the power of thought holds dominion in his mind over every other consideration. The consciousness of a determined purpose, of "that intellectual being, those thoughts that wander through eternity," though accompanied with endless pain, he prefers to nonent.i.ty, to "being swallowed up and lost in the wide womb of uncreated night." He expresses the sum and substance of all ambition in one line: "Fallen cherub, to be weak is miserable, doing or suffering!" After such a conflict as his, and such a defeat, to retreat in order, to rally, to make terms, to exist at all, is something; but he does more than this--he founds a new empire in h.e.l.l, and from it conquers this new world, whither he bends his undaunted flight, forcing his way through nether and surrounding fires. The poet has not in all this given us a mere shadowy outline; the strength is equal to the magnitude of the conception. The Achilles of Homer is not more distinct; the t.i.tans were not more vast; Prometheus chained to his rock was not a more terrific example of suffering and of crime. Wherever the figure of Satan is introduced, whether he walks or flies, "rising aloft inc.u.mbent on the dusky air," it is ill.u.s.trated with the most striking and appropriate images: so that we see it always before us, gigantic, irregular, portentous, uneasy, and disturbed--but dazzling in its faded splendour, the clouded ruins of a G.o.d. The deformity of Satan is only in the depravity of his will; he has no bodily deformity to excite our loathing or disgust. The horns and tail are not there, poor emblems of the unbending, unconquered spirit, of the writhing agonies within. Milton was too magnanimous and open an antagonist to support his argument by the bye-tricks of a hump and cloven foot; to bring into the fair field of controversy the good old catholic prejudices of which Ta.s.so and Dante have availed themselves, and which the mystic German critics would restore. He relied on the justice of his cause, and did not scruple to give the devil his due. Some persons may think that he has carried his liberality too far, and injured the cause he professed to espouse by making him the chief person in his poem. Considering the nature of his subject, he would be equally in danger of running into this fault, from his faith in religion, and his love of rebellion; and perhaps each of these motives had its full share in determining the choice of his subject.

Not only the figure of Satan, but his speeches in council, his soliloquies, his address to Eve, his share in the war in heaven; or in the fall of man, show the same decided superiority of character. To give only one instance, almost the first speech he makes:

"Is this the region, this the soil, the clime, Said then the lost archangel, this the seat That we must change for Heaven; this mournful gloom For that celestial light? Be it so, since he Who now is sov'rain can dispose and bid What shall be right: farthest from him is best, Whom reason hath equal'd, force hath made supreme Above his equals. Farewell happy fields, Where joy for ever dwells: Hail horrors, hail Infernal world, and thou profoundest h.e.l.l, Receive thy new possessor; one who brings A mind not to be chang'd by place or time.

The mind is its own place, and in itself Can make a Heav'n of h.e.l.l, a h.e.l.l of Heav'n.

What matter where, if I be still the same, And what I should be, all but less than he Whom thunder hath made greater? 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, though in h.e.l.l: Better to reign in h.e.l.l, than serve in Heaven."

The whole of the speeches and debates in Pandemonium are well worthy of the place and the occasion--with G.o.ds for speakers, and angels and archangels for hearers. There is a decided manly tone in the arguments and sentiments, an eloquent dogmatism, as if each person spoke from thorough conviction; an excellence which Milton probably borrowed from his spirit of partisanship, or else his spirit of partisanship from the natural firmness and vigour of his mind. In this respect Milton resembles Dante, (the only modern writer with whom he has any thing in common) and it is remarkable that Dante, as well as Milton, was a political partisan. That approximation to the severity of impa.s.sioned prose which has been made an objection to Milton's poetry, and which is chiefly to be met with in these bitter invectives, is one of its great excellences. The author might here turn his philippics against Salmasius to good account. The rout in Heaven is like the fall of some mighty structure, nodding to its base, "with hideous ruin and combustion down." But, perhaps, of all the pa.s.sages in Paradise Lost, the description of the employments of the angels during the absence of Satan, some of whom "retreated in a silent valley, sing with notes angelical to many a harp their own heroic deeds and hapless fall by doom of battle" is the most perfect example of mingled pathos and sublimity.--What proves the truth of this n.o.ble picture in every part, and that the frequent complaint of want of interest in it is the fault of the reader, not of the poet, is that when any interest of a practical kind takes a shape that can be at all turned into this, (and there is little doubt that Milton had some such in his eye in writing it,) each party converts it to its own purposes, feels the absolute ident.i.ty of these abstracted and high speculations; and that, in fact, a noted political writer of the present day has exhausted nearly the whole account of Satan in the Paradise Lost, by applying it to a character whom he considered as after the devil, (though I do not know whether he would make even that exception) the greatest enemy of the human race. This may serve to show that Milton's Satan is not a very insipid personage.

Of Adam and Eve it has been said, that the ordinary reader can feel little interest in them, because they have none of the pa.s.sions, pursuits, or even relations of human life, except that of man and wife, the least interesting of all others, if not to the parties concerned, at least to the by-standers. The preference has on this account been given to Homer, who, it is said, has left very vivid and infinitely diversified pictures of all the pa.s.sions and affections, public and private, incident to human nature,--the relations of son, of brother, parent, friend, citizen, and many others. Longinus preferred the Iliad to the Odyssey, on account of the greater number of battles it contains; but I can neither agree to his criticism, nor a.s.sent to the present objection. It is true, there is little action in this part of Milton's poem; but there is much repose, and more enjoyment. There are none of the every-day occurrences, contentions, disputes, wars, fightings, feuds, jealousies, trades, professions, liveries, and common handicrafts of life; "no kind of traffic; letters are not known; no use of service, of riches, poverty, contract, succession, bourn, bound of land, tilth, vineyard none; no occupation, no treason, felony, sword, pike, knife, gun, nor need of any engine." So much the better; thank Heaven, all these were yet to come. But still the die was cast, and in them our doom was sealed. In them

"The generations were prepared; the pangs, The internal pangs, were ready, the dread strife Of poor humanity's afflicted will, Struggling in vain with ruthless destiny."

In their first false step we trace all our future woe, with loss of Eden.

But there was a short and precious interval between, like the first blush of morning before the day is overcast with tempest, the dawn of the world, the birth of nature from "the unapparent deep," with its first dews and freshness on its cheek, breathing odours. Theirs was the first delicious taste of life, and on them depended all that was to come of it. In them hung trembling all our hopes and fears. They were as yet alone in the world, in the eye of nature, wondering at their new being, full of enjoyment and enraptured with one another, with the voice of their Maker walking in the garden, and ministering angels attendant on their steps, winged messengers from heaven like rosy clouds descending in their sight.

Nature played around them her virgin fancies wild; and spread for them a repast where no crude surfeit reigned. Was there nothing in this scene, which G.o.d and nature alone witnessed, to interest a modern critic? What need was there of action, where the heart was full of bliss and innocence without it! They had nothing to do but feel their own happiness, and "know to know no more." "They toiled not, neither did they spin; yet Solomon in all his glory was not arrayed like one of these." All things seem to acquire fresh sweetness, and to be clothed with fresh beauty in their sight. They tasted as it were for themselves and us, of all that there ever was pure in human bliss. "In them the burthen of the mystery, the heavy and the weary weight of all this unintelligible world, is lightened." They stood awhile perfect, but they afterwards fell, and were driven out of Paradise, tasting the first fruits of bitterness as they had done of bliss. But their pangs were such as a pure spirit might feel at the sight--their tears "such as angels weep." The pathos is of that mild contemplative kind which arises from regret for the loss of unspeakable happiness, and resignation to inevitable fate. There is none of the fierceness of intemperate pa.s.sion, none of the agony of mind and turbulence of action, which is the result of the habitual struggles of the will with circ.u.mstances, irritated by repeated disappointment, and constantly setting its desires most eagerly on that which there is an impossibility of attaining. This would have destroyed the beauty of the whole picture. They had received their unlooked-for happiness as a free gift from their Creator's hands, and they submitted to its loss, not without sorrow, but without impious and stubborn repining.

"In either hand the hast'ning angel caught Our ling'ring parents, and to th' eastern gate Led them direct, and down the cliff as fast To the subjected plain; then disappear'd.

They looking back, all th' eastern side beheld Of Paradise, so late their happy seat, Wav'd over by that flaming brand, the gate With dreadful faces throng'd, and fiery arms: Some natural tears they dropt, but wip'd them soon; The world was all before them, where to choose Their place of rest, and Providence their guide."

VI

POPE

The question, whether Pope was a poet, has hardly yet been settled, and is hardly worth settling; for if he was not a great poet, he must have been a great prose-writer, that is, he was a great writer of some sort. He was a man of exquisite faculties, and of the most refined taste; and as he chose verse (the most obvious distinction of poetry) as the vehicle to express his ideas, he has generally pa.s.sed for a poet, and a good one. If, indeed, by a great poet, we mean one who gives the utmost grandeur to our conceptions of nature, or the utmost force to the pa.s.sions of the heart, Pope was not in this sense a great poet; for the bent, the characteristic power of his mind, lay the clean contrary way; namely, in representing things as they appear to the indifferent observer, stripped of prejudice and pa.s.sion, as in his Critical Essays; or in representing them in the most contemptible and insignificant point of view, as in his Satires; or in clothing the little with mock-dignity, as in his poems of Fancy; or in adorning the trivial incidents and familiar relations of life with the utmost elegance of expression, and all the flattering illusions of friendship or self-love, as in his Epistles. He was not then distinguished as a poet of lofty enthusiasm, of strong imagination, with a pa.s.sionate sense of the beauties of nature, or a deep insight into the workings of the heart; but he was a wit, and a critic, a man of sense, of observation, and the world, with a keen relish for the elegances of art, or of nature when embellished by art, a quick tact for propriety of thought and manners as established by the forms and customs of society, a refined sympathy with the sentiments and habitudes of human life, as he felt them within the little circle of his family and friends. He was, in a word, the poet, not of nature, but of art; and the distinction between the two, as well as I can make it out, is this--The poet of nature is one who, from the elements of beauty, of power, and of pa.s.sion in his own breast, sympathises with whatever is beautiful, and grand, and impa.s.sioned in nature, in its simple majesty, in its immediate appeal to the senses, to the thoughts and hearts of all men; so that the poet of nature, by the truth, and depth, and harmony of his mind, may be said to hold communion with the very soul of nature; to be identified with and to foreknow and to record the feelings of all men at all times and places, as they are liable to the same impressions; and to exert the same power over the minds of his readers, that nature does. He sees things in their eternal beauty, for he sees them as they are; he feels them in their universal interest, for he feels them as they affect the first principles of his and our common nature. Such was Homer, such was Shakspeare, whose works will last as long as nature, because they are a copy of the indestructible forms and everlasting impulses of nature, welling out from the bosom as from a perennial spring, or stamped upon the senses by the hand of their maker.

The power of the imagination in them, is the representative power of all nature. It has its centre in the human soul, and makes the circuit of the universe.

Pope was not a.s.suredly a poet of this cla.s.s, or in the first rank of it.

He saw nature only dressed by art; he judged of beauty by fashion; he sought for truth in the opinions of the world; he judged of the feelings of others by his own. The capacious soul of Shakspeare had an intuitive and mighty sympathy with whatever could enter into the heart of man in all possible circ.u.mstances: Pope had an exact knowledge of all that he himself loved or hated, wished or wanted. Milton has winged his daring flight from heaven to earth, through Chaos and old Night. Pope's Muse never wandered with safety, but from his library to his grotto, or from his grotto into his library back again. His mind dwelt with greater pleasure on his own garden, than on the garden of Eden; he could describe the faultless whole-length mirror that reflected his own person, better than the smooth surface of the lake that reflects the face of heaven--a piece of cut-gla.s.s or a pair of paste buckles with more brilliance and effect, than a thousand dew-drops glittering in the sun. He would be more delighted with a patent lamp, than with "the pale reflex of Cynthia's brow," that fills the skies with its soft silent l.u.s.tre, that trembles through the cottage window, and cheers the watchful mariner on the lonely wave. In short, he was the poet of personality and of polished life. That which was nearest to him, was the greatest; the fashion of the day bore sway in his mind over the immutable laws of nature. He preferred the artificial to the natural in external objects, because he had a stronger fellow-feeling with the self-love of the maker or proprietor of a gewgaw, than admiration of that which was interesting to all mankind. He preferred the artificial to the natural in pa.s.sion, because the involuntary and uncalculating impulses of the one hurried him away with a force and vehemence with which he could not grapple; while he could trifle with the conventional and superficial modifications of mere sentiment at will, laugh at or admire, put them on or off like a masquerade dress, make much or little of them, indulge them for a longer or a shorter time, as he pleased; and because while they amused his fancy and exercised his ingenuity, they never once disturbed his vanity, his levity, or indifference. His mind was the ant.i.thesis of strength and grandeur; its power was the power of indifference. He had none of the enthusiasm of poetry: he was in poetry what the sceptic is in religion.

It cannot be denied, that his chief excellence lay more in diminishing, than in aggrandizing objects; in checking, not in encouraging our enthusiasm; in sneering at the extravagances of fancy or pa.s.sion, instead of giving a loose to them; in describing a row of pins and needles, rather than the embattled spears of Greeks and Trojans; in penning a lampoon or a compliment, and in praising Martha Blount.

Shakspeare says,

"In Fortune's ray and brightness The herd hath more annoyance by the brize Than by the tyger: but when the splitting wind Makes flexible the knees of knotted oaks, And flies fled under shade, why then The thing of courage, As roused with rage, with rage doth sympathise; And with an accent tuned in the self-same key, Replies to chiding Fortune."

There is none of this rough work in Pope. His Muse was on a peace-establishment, and grew somewhat effeminate by long ease and indulgence. He lived in the smiles of fortune, and basked in the favour of the great. In his smooth and polished verse we meet with no prodigies of nature, but with miracles of wit; the thunders of his pen are whispered flatteries; its forked lightnings pointed sarcasms; for "the gnarled oak,"

he gives us "the soft myrtle:" for rocks, and seas, and mountains, artificial gra.s.s-plats, gravel-walks, and tinkling rills; for earthquakes and tempests, the breaking of a flower-pot, or the fall of a china jar; for the tug and war of the elements, or the deadly strife of the pa.s.sions, we have

"Calm contemplation and poetic ease."

Yet within this retired and narrow circle how much, and that how exquisite, was contained! What discrimination, what wit, what delicacy, what fancy, what lurking spleen, what elegance of thought, what pampered refinement of sentiment! It is like looking at the world through a microscope, where everything a.s.sumes a new character and a new consequence, where things are seen in their minutest circ.u.mstances and slightest shades of difference; where the little becomes gigantic, the deformed beautiful, and the beautiful deformed. The wrong end of the magnifier is, to be sure, held to every thing, but still the exhibition is highly curious, and we know not whether to be most pleased or surprised.

Such, at least, is the best account I am able to give of this extraordinary man, without doing injustice to him or others. It is time to refer to particular instances in his works.--The Rape of the Lock is the best or most ingenious of these. It is the most exquisite specimen of _fillagree_ work ever invented. It is admirable in proportion as it is made of nothing.

"More subtle web Arachne cannot spin, Nor the fine nets, which oft we woven see Of scorched dew, do not in th' air more lightly flee."

It is made of gauze and silver spangles. The most glittering appearance is given to every thing, to paste, pomatum, billet-doux, and patches. Airs, languid airs, breathe around;--the atmosphere is perfumed with affectation. A toilette is described with the solemnity of an altar raised to the G.o.ddess of vanity, and the history of a silver bodkin is given with all the pomp of heraldry. No pains are spared, no profusion of ornament, no splendour of poetic diction, to set off the meanest things. The balance between the concealed irony and the a.s.sumed gravity, is as nicely trimmed as the balance of power in Europe. The little is made great, and the great little. You hardly know whether to laugh or weep. It is the triumph of insignificance, the apotheosis of foppery and folly. It is the perfection of the mock-heroic! I will give only the two following pa.s.sages in ill.u.s.tration of these remarks. Can anything be more elegant and graceful than the description of Belinda, in the beginning of the second canto?