ances of what is shocking. It fares with us much after the same manner as our ideas. Our senses, which are the inlets to all the images conveyed to the mind, can only transmit the impression of such things as usually surround them. So that pure and unsullied thoughts are naturally suggested to the mind, by those objects that perpetually encompass us, when they are beautiful and elegant in their kind.

In the East, where the warmth of the climate makes cleanliness more immediately necessary than in colder countries, it is made one part of their religion: the Jewish law (and the Mahometan, which in some things copies after it), is filled with bathings, purifications, and other rites of the like nature.

I shall conclude this essay with a story which I have somewhere read in an account of Mahometan superstitions.

A dervise of great sanctity one morning had the misfortune, as he took up a crystal cup which was consecrated to the prophet, to let it fall upon the ground and dash it in pieces. His son coming in some time after, he stretched out his hand to bless him, as his manner was every morning but the youth going out stumbled over the threshold and broke his arm. As the old man wondered at these events, a caravan passed by in its way from Mecca. The dervise approached it to beg a blessing; but as he stroked one of the holy camels, he received a kick from the beast that sorely bruised him. His sorrow and amazement increased upon him, until he recollected that through hurry and inadvertency he had that morning come abroad without washing his hands.

CRITIQUE ON MILTON'S PARADISE LOST. (No. 267).

THERE is nothing in nature so irksome as general discourses, especially when they turn chiefly upon words. For this reason I shall waive the discussion of that point which was started some years since, whether Milton's

Paradise Lost may be called a heroic poem ? Those who will not give it that title may call it (if they please) a divine poem. It will be sufficient to its perfection, if it has in it all the beauties of the highest kind of poetry; and as for those who allege it is not a heroic poem, they advance no more to the diminution of it, than if they should say Adam is not Æneas, or Eve Helen.

I shall therefore examine it by the rules of epic poetry, and see whether it falls short of the Iliad or Æneid in the beauties which are essential to that kind of writing. The first thing to be considered in an epic poem is the fable, which is perfect or imperfect, according as the action which it relates is more or less so. This action should have three qualifications in it. First, it should be but one

action. Secondly, it should be an entire action. Thirdly, it should be a great action. To consider the action of the

Iliad, Æneid, and Paradise Lost, in these three several lights. Homer, to preserve the unity of his action, hastens into the midst of things, as Horace has observed. Had he gone up to Leda's egg, or begun much later, even at the rape of Helen, or the investing of Troy, it is manifest that the story of the poem would have been a series of several actions. He therefore opens his poem with the discord of his princes, and artfully interweaves, in the several succeeding parts of it, an account of everything material which relates to them, and had passed before that fatal dissension. After the same manner Æneas makes his first appearance in the Tyrrhene seas, and within sight of Italy, because the action proposed to be celebrated was that of his settling himself in Latium. But because it was necessary for the reader to know what had happened to him in the taking of Troy, and in the preceding parts of his voyage, Virgil makes his hero relate it by way of episode in the second and third books of the Eneid; the contents of both which books come before those of the first book in the thread of the story, though for preserving of this unity of action they follow it in the disposition of the poem. Milton, in imitation of these two great poets, opens his Paradise Lost with an infernal council plotting the fall of man, which is the

action he proposed to celebrate; and as for those great actions which preceded in point of time, the battle of the angels, and the creation of the world, (which would have entirely destroyed the unity of his principal action, had he related them in the same order that they happened,) he cast them into the fifth, sixth, and seventh books, by way of episode to this noble poem.

Aristotle himself allows that Homer has nothing to boast of as to the unity of his fable, though at the same time that great critic and philosopher endeavours to palliate this imperfection in the Greek poet by imputing it in some measure to the very nature of an epic poem. Some have been of opinion, that the Eneid also labours in this particular, and has episodes which may be looked upon as excrescences rather than as parts of the action. On the contrary, the poem which we have now under our consideration hath no other episodes than such as naturally arise from the subject, and yet is filled with such a multitude of astonishing incidents, that it gives us at the same time a pleasure of the greatest variety, and of the greatest simplicity: uniform in its nature, though diversified in the execution.

I must observe also, that as Virgil, in the poem which was designed to celebrate the original of the Roman empire, has described the birth of its great rival, the Carthaginian commonwealth; Milton, with the like art in his poem on the Fall of Man, has related the fall of those angels who are his professed enemies. Besides the many other beauties in such an episode, its running parallel with the great action of the poem hinders it from breaking the unity so much as another episode would have done, that had not so great an affinity with the principal subject. In short, this is the same kind of beauty which the critics admire in the Spanish Friar, or The Double Discovery, where the two different plots look like counterparts and copies of one another.

The second qualification required in the action of an epic poem is, that it should be an entire action. An action is entire when it is complete in all its parts; or, as Aristotle describes it, when it consists of a beginning, a middle, and

an end. Nothing should go before it, be intermixed with it, or follow after it, that is not related to it as on the contrary, no single step should be omitted in that just and regular process which it must be supposed to take from its original to its consummation. Thus we see the anger of Achilles in its birth, its continuance and effects; and Eneas's settlement in Italy, carried on through all the oppositions in his way to it both by sea and land. The action in Milton excels (I think) both the former in this particular: we see it contrived in hell, executed upon earth, and punished by heaven. The parts of it are told in the most distinct manner, and grow out of one another in the most natural method.

The third qualification of an epic poem is its greatness. The anger of Achilles was of such consequence, that it embroiled the kings of Greece, destroyed the heroes of Troy, and engaged all the gods in factions. Æneas's settlement in Italy produced the Cæsars, and gave birth to the Roman empire. Milton's subject was still greater than either of the former; it does not determine the fate of single persons or nations, but of a whole species. The united powers of hell are joined together for the destruction of mankind, which they effected in part, and would have completed, had not Omnipotence itself interposed. The principal actors are man in his greatest perfection, and woman in her highest beauty. Their enemies are the fallen angels; the Messiah their friend, and the Almighty their protector. In short, everything that is great in the whole circle of being, whether within the verge of nature or out of it, has a proper part assigned it in this admirable poem.

In poetry, as in architecture, not only the whole, but the principal members, and every part of them, should be great. I will not presume to say that the book of games in the Eneid, or that in the Iliad, are not of this nature, or to reprehend Virgil's simile of the top, and many others of the same kind in the Iliad, as liable to any censure in this particular; but I think we may say, without derogating from those wonderful performances, that there is an unquestionable magnificence in every part of Paradise Lost, and indeed

a much greater than could have been formed upon any Pagan system.

But Aristotle, by the greatness of the action, does not only mean that it should be great in its nature, but also in its duration; or, in other words, that it should have a due length in it, as well as what we properly call greatness. The just measure of this kind of magnitude he explains by the following similitude. An animal no bigger than a mite cannot appear perfect to the eye, because the sight takes it in at once, and has only a confused idea of the whole, and not a distinct idea of all its parts: if on the contrary you should suppose an animal of ten thousand furlongs in length, the eye would be so filled with a single part of it, that it could not give the mind an idea of the whole. What these animals are to the eye, a very short or a very long action would be to the memory. The first would be, as it were, lost and swallowed up by it, and the other difficult to be contained in it. Homer and Virgil have shown their principal art in this particular; the action of the Iliad and that of the Eneid were in themselves exceeding short, but are so beautifully extended and diversified by the invention of episodes, and the machinery of gods, with the like poetical ornaments, that they make up an agreeable story, sufficient to employ the memory without overcharging it. Milton's action is enriched with such a variety of circumstances, that I have taken as much pleasure in reading the contents of his books, as in the best invented story I ever met with. It is possible, that the traditions on which the Iliad and Eneid were built had more circumstances in them than the history of the Fall of Man, as it is related in Scripture. Besides, it was easier for Homer and Virgil to dash the truth with fiction, as they were in no danger of offending the religion of their country by it. But as for Milton, he had not only a very few circumstances upon which to raise his poem, but was also obliged to proceed with the greatest caution in everything that he added out of his own invention. And, indeed, notwithstanding all the restraint he was under, he has filled his story with so many surprising incidents, which bear so close an analogy with