In counterview within the gates, that now Stood open wide, belching outrageous flame 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 actions 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 heroic poems, I shall beg leave to explain myself in a matter which is curious in its kind, and which none of the critics 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; but we must consider that though 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 be rather looked upon as poetical phrases than allegorical descriptions. Instead of telling us that men naturally fly In when they are terrified, he introduces the persons of Flight and Fear, who, he tells us, are inseparable companions. stead of saying that the time was come when Apollo ought to have received his recompense, he tells us, that the Hours brought him his reward. Instead of describing the effects which Minerva's Egis produced in battle, 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 mo ther 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 unbarred 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 Messiah's bidding peace to the Chaos, Confusion heard his voice. might add innumerable instances of our poet's writing in this beautiful figure. It is plain that I Far into Chaos, since the fiend pass'd through, Sin opening, who thus now to Death began. 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 heroic 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, for which he has been justly censured by the greatest critics. 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. 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. Addison. I have been informed, that there has lately been published in High Dutch a Critical Dissertation on the marvellous in poetry, and its connexion with the probable, in a defence of Milton's Paradise Lost against several objections of Monsieur Voltaire and other critics, wherein likewise the characters and actions of Sin and Death are vindicated in answer to Mr. Addi son. It is hoped that some skilful hand or other will translate this piece for the benefit of the English reader. Milton may rather be justified for introducing such imaginary beings as Sin and Death, because a great part of his poem lies in the invisible world, and such fictitious beings may better have a place there; and the actions of Sin and Death are at least as probable as those ascribed to the goodor evil angels. Besides as Milton's subject necessarily admitted so few real persons, he was in a manner obliged to supply that defect by introducing imaginary O son, why sit we here each other viewing ones: and the characters of Sin and Death are perfectly agreeable to the hints and sketches, which are given of them in Scripture. The Scripture had made persons of them before in several places; only the Scripture has represented them as I may say in miniature, and he has drawn them in their full length and proportions. 245. whatever draws me on, Or sympathy, or some connatu ral force] The modern philosopher may perhaps take offence at this now exploded notion, but every friend to the Muses will, I doubt not, pardon it for the sake of that fine strain of poetry, which it has given the poet an opportunity of introducing in the following description. Thyer. 235 240 245 249. Thou my shade &c.] We sometimes find shade used much after the same manner in the best classic authors. Hor. Sat. ii. viii. 22. -quos Mæcenas adduxerat umbras. Epist. i. v. 28. -locus est et pluribus umbris. But it has a farther propriety and beauty in this place, as Death seemed a shadow, ii. 669. and was the inseparable companion as well as offspring of Sin. Shakespeare in the same manner uses shadow as the Latins use umbra. 2 Hen. IV. act ii. Poins to Prince Henry, I am your shadow, my Lord, I'll follow you. Inseparable must with me along : For Death from Sin no pow'r can separate. But lest the difficulty of passing back Stay his return perhaps over this gulf Advent❜rous work, yet to thy pow'r and mine Over this main from hell to that new world Whom thus the meagre shadow answer'd soon. The savour of Death from all things there that live : Be wanting, but afford thee equal aid. So saying, with delight he snuff'd the smell 260.for intercourse, shall lead.] 263. By this new felt attraction and instinct.] He uses in 250 255 260 265 270 Of mortal change on earth. As when a flock For death, the following day, in bloody fight: 273. -As when a flock Of ravenous fowl, &c.] Of vultures particularly it is said by Pliny, that they will fly three days beforehand to places where there are future carcases. Triduo autem antea volare eos, ubi cadavera futura sunt. Lib. x. c. 6. And (what probably gave occasion to this similitude in Milton) Lucan has described the ravenous birds that followed the Roman camps, and scented the battle of Pharsalia. vii. 831. Jamque diu volucres civilia castra secutæ Conveniunt -nunquam se tanto vulture cœlum Induit, aut plures presserunt aera pennæ. And to this let me add, what Mr. Thyer has quoted from Aldrovandus. Quod autem aliqui addunt, tam sagaciter odorari vultures, ut biduo triduove, imo septenis, ut alii, diebus ante ea loca circumvolent, in quibus cadavera futura sunt, ineptè sanè ad odorandi facultatem refertur, cum eorum, quæ necdum sunt, cadaverum nullus odor esse possit. Sensus enim præsentium est. Quare ad quandam augu VOL. II. 275 280 Ri randi vim, si sic loqui possumus, Hanc volucrem narrant luces tres Aldrov. Ornith. lib. 2. I shall not undertake absolutely to defend Milton's introducing a fabulous story by way of simile; yet I think in this place it may be pardoned, since no other illustration could have been found so pat to the present case. 280. His nostril wide into the murky air,] Et patulis captavit naribus auras. Virg. Georg. i. 376. Murky air, black tainted air. Spenser has mirksome air. Faery Queen, b. i. c. v. st. 28. Through mirksome air her ready way she makes. And the Glossary to Spenser explains mirksome by obscure, filthy. I find Shakespeare too uses the word murky. Lady Macbeth says in her sleep, Hell is murky, act v. 281. Sagacious] Quick of scent. Sagire enim, sentire acute est; Р |