Imatges de pàgina
PDF
EPUB

To height of noblest temper heroes old
Arming to battle, and instead of rage
Deliberate valour breathed, firm, and unmoved
With dread of death to flight or foul retreat;
Not wanting power to mitigate and suage,

With solemn touches, troubled thoughts, and chase
Anguish and doubt and fear and sorrow and pain

From mortal or immortal minds.”—Book ii. 531-559.

The diversions of the fallen angels are conceived in the same spirit, and executed with equal beauty and harmony. The descriptions of the angels surrounding the Almighty's throne, and the night-watches of the cherubic guards about Eden, before whom Satan was brought to Gabriel by Ithuriel and Zephon, would exhaust every term of praise to declare their merits. The horrid fray then prevented by the hanging forth of "the golden scales, wherein all things created first, God weighed," is an instance indicative of Milton's partiality to the symbolical form of composition.

In this style of writing, the primary object of the poet is nothing more than what appears to be the obvious purpose of the poem; but, besides this, he intends to shadow forth a mysterious meaning of which that was but, as it were, "the hiding," and which may be found by them who seek. To point out all the symbolical applications of which our poet's description of the war in Heaven is susceptible, would lead us into too wide a field of speculation both theological and metaphysical. But thus much may be said, as hints to assist the reader in his future perusal of this magnificent book, and in which, notwithstanding the way it has been spoken of, the sublimity of the poet's genius is more apparent than in any other part of the work. He will easily be able to fill up the outline for himself.

There was an opinion, among the early Christians, that whatever was done on earth was previously rehearsed in heaven; an opinion which receives much support in the visions of the ancient prophets and the great vision of the apocalypse. The Battle of the Angels is capable of being considered in this way. Though differing in the letter, in the spirit it agrees with the earthly part of the subject of "Paradise Lost." In both cases, "by the law came the knowledge of sin." "New laws," says the displeased Archangel

"New laws from him who reigns, new minds may raise
In us who serve"-Book v. 680–681.

Disobedience of the Divine will is followed by falsehood-he lies unto his fellows, and with calumnious art of counterfeited truth excites them to revolt and rebellion. In particular he urges their equal freedom, and the injustice of introducing law and edict on them who without law erred not. But Abdiel asserts in reply the supreme sovereignty of God, and His providence of the good and dignity of his creatures-be contends for the superiority of the Messiah, by whom, as by his Word, the Almighty Father made all things; but argues that the spirits of heaven are rendered more illustrious by his reign, since, by being made their head, he is

reduced to become one of their number, his laws their laws, all honour to him done, returns their own. In answer to this, Satan disputes the fact of their creation, and arrogates an independent self

[merged small][ocr errors][merged small]

By their own quickening power when fatal course
Had circled his full orb; the birth mature

Of that their native heaven, ethereal sons.-Book v. 860-863. In the conflict which ensues, the poet is careful to contrast strength with reason; brute force with truth; though what it is that is analogous to brute force, in spiritual beings, he leaves undetermined. Under a variety of images, he describes the contest of truth with falsehood, reason with strength, until the power of God is opposed to the power of Satan, and prevails. In all this, there is a mythical signification which is worth unfolding.

Another circumstance, on which the poet lays some stress, and the critics have founded much censure, is capable of explication by this method of symbolical interpretation. None of the warriors on either side were capable of death by wound, but on one side none were capable of wound or even of pain. The former were hurt by their armour, "crushed in upon their substance, now grown gross by sinning." Of this disadvantage the rebel angels were not aware until this hour of trial. "Then Satan first knew pain." The moral to be derived from this is too obvious to need comment. But it is noticeable that Milton is not satisfied with suggesting these obvious deductions, but attributes (on the part of the rebel host) fleshly conditions to angelic essences. The poet is not only careful to tell us, that "the ethereal substance" of Satan, not long divisible, soon closed; but is equally solicitous to state, that "The griding sword with discontinuous wound

Passed through him."— Book vi. 329, 330.

which term "discontinuous wound," remarks one of his commentators, is said in allusion to the old definition of a wound, that it separates the continuity of the parts, "vulnus est solutio continui." The wound given is therefore of a fleshly character; immediately afterwards, however, the poet recurs to his favorite notion regarding spirits

"Yet soon he healed; for spirits that live throughout

Vital in every part, not as frail man

In entrail, heart or head, liver or reins,

Cannot but by annihilating die,

Nor in their liquid texture mortal wound

Receive, no more than can the florid air."-Book vi. 344-349.

Is the poet inconsistent in all this?. We must not too hastily rest satisfied with this conclusion. Did he not rather intend symbolically to suggest that conflict between the flesh and the spirit, of which the Apostle Paul complains in the viith and viiith chapters of his Epistle to the Romans; on the whole of which epistle indeed, had not Milton committed the error before censured, in attributing to the Father the part which should have been performed by the Son, he might have made his narration an excellent commentary.

It would also be a matter deserving of inquiry, what is meant by the Armour of the Angels, for it is an inconvenience to both parties. Of the bad angels it is said

"Their armour helped their harm; crushed in and bruised,

Into their substance pent, which wrought them pain

Implacable, and many a dolorous groan

Long struggling underneath, ere they could wind

Out of such prison, though spirits of purest light,

Purest at first, now gross by sinning grown."-Book vi.656—661.

But it is likewise said of the good angels, when attacked by the satanic artillery, that

"Angel on archangel rolled,

The sooner for their arms, unarmed they might

Have easily as spirits evaded swift

By quick contraction or remove; but now

Foul dissipation followed and forced rout.”—Book vi. 594—598.

This may, perhaps, receive some light by reference to a remarkable expression, in the address of Michael to Satan, previous to the combat between them

"How hast thou disturbed

Heaven's blessed peace, and into nature brought
Misery uncreated till the time

Of thy rebellion?”—Book vi. 266–269.

These hints may shew that the objections taken to this book, if valid at all, have not gone deep enough into the principle of its construction, and offer a wide field of enquiry and criticism, which, as we cannot adequately enter into, we must content ourselves with intimating the existence of, and with a few superficial remarks by way of explanation.

The term nature, in this place, is evidently not of accidental introduction. Abdiel had before said;

"Unjustly thou deprav'st it with the name
Of servitude to serve whom God ordains,
Or nature, God and nature bid the same,
When he who rules is worthiest, and excels
Them whom he governs."-Book vi. 174-178.

And in the fifth book;

Thyself tho' great and glorious dost thou count,
Or all angelic nature joined in one,

Equal to his begotten Son?"-Book vi. 833-835.

Nature and spirit are antitheses the one of the other. Milton introduces nature into a spiritual region. All the critics have noticed the introduction of material armour; but this finer part of the question has escaped their notice, or exceeded their capacity. It is necessary only to remind our readers of the scriptural distinction between nature and grace; and it would not be expedient to involve them in any theological discussion; but it must be observed that the key to a right understanding of all theology lies in the perfect mastering of the signification of the term nature, as opposed to spirit, and particularly as distinguished from Deity. We will not pretend to fix the precise meaning intended by Milton, but it is

idle to suppose that a mind like his was capable of introducing so much apparent confusion into his subject, from misunderstanding and mistake, and not rather as a veil for some profouud truth which may be discovered upon its removal. He describes the angels as revolting against the imposition of a law upon spirit as inconsistent with the freedom which before this time they had enjoyed. But, says a scriptural authority, "the law itself is spiritual," and "the commandment was ordained to life." "Sin," however, "taking occasion by the commandment, worked death in them by that which is good." We prefer to quote from the Apostle as Milton's expositor on this occasion. The doctrine that Milton would enforce, under colour of his symbolical and picturesque representations, is the carnal opposition to the spiritual law. This was the reason why he introduced nature into the abodes of the blessed spirits. Observe how cautiously he proceeds. First he approaches the daring introduction with tender delicacy. He describes it under the vague abstraction of "Angelic Nature." Next we have God and Nature put in opposition and reconciled. Then Michael boldly assumes the position, and speaks of it as acknowledged and unquestionable, "And into nature brought

Misery."

Thus, having prepared the way, the material armour is exposed upon the stage without reserve or scruple. In all this there is too much art for the poet to have signified nothing by-it, and none of the inconsistency with which he has been too hastily charged. Milton does not thus throw away his skill, neither is liable to these errors. It was through not observing such nice distinctions as these that Johnson was at fault in his criticism on "Samson Agonistes." Milton's art is not to be sought in prominent passages, for it was always his tact to conceal it. On this occasion he had every motive both for using it and concealing it, treating, as he did, of a doctrine so abtruse, and which none but himself (or his contemporary, Dr. Henry More) would have dared to delineate in poetical images. This is matter for a sermon rather than a poem; still less does it comport with a flippant critique: but we must follow where the poet leads.

What if the promulgation of the law showed to all the angels, that they were under what the poet has chosen to represent as a state of nature-that they were made equally "subject to vanity?" The difference between the two classes of angels is only that the good are not rebellious, but preserve their fidelity and obedience. Still they endure sufferings, though chiefly endured "for the sake of the glory to be revealed in them." The earnest expectation of the creature" stood in horror, previous to the combat betwixt Michael and Satan, whose sword was given him from the armoury of Divine truth, that he might in part effect "the manifestation of the Sons of God," for which the celestial armies were waiting in hope, and which should justify their allegiance, and vindicate the wisdom of Abdiel's doctrine, that the liberty of his "sect" was the true liberty," the glorious liberty of the Sons of God."

N. S.-VOL. I.

4 L

We extract the account of the combat between Michael and Satan.

"Likest Gods they seemed

Stood they or moved, in stature, motion, arms,
Fit to decide the empire of great heaven.
Now waved their fiery swords, and in the air
Made horrid circles; two broad suns their shields,
Blaz'd opposite, while expectation stood

In horror; from each hand with speed retired
Where erst was thickest fight, th' angelic throng,
And left large field, unsafe within the wind

Of such commotion, such as to set forth
Great things by small, if nature's concord broke,
Among the constellations war were sprung,
Two planets rushing from aspect malign
Of fiercest opposition in mid-sky,

Should combat, and their jarring spheres confound.
Together both with next to almighty arm,
Uplifted imminent one stroke they aimed
That might determine, and not need repeat,
As not of power, at once; nor odds appeared
In might or swift prevention, but the sword
Of Michael from the armory of God
Was given him tempered so, that neither keen
Nor solid might resist that edge: it met
The sword of Satan with steep force to smite
Descending, and in half cut sheer, nor staid
But with swift wheel reverse, deep ent'ring shared
All his right side; then Satan first knew pain,
And writh'd him to and fro convolved: so sore
The griding sword with discontinuous wound
Passed through him; but the ethereal substance closed,
Not long divisible, and from the gash

A stream of nectarous humor issuing flowed
Sanguin, such as celestial spirits may bleed,
And all his armour stained erewhile so bright."

Book vi. 300-334.

This view also tends to explain what has been considered to be a piece of wrong conduct in this part of the poem, but which will be now found to be, on the contrary, an example of exquisite art. The commission given to Michael is not executed—

"them with fire and hostile arms

Fearless assault, and to the brow of heaven
Pursuing, drive them out from God and bliss

Into their place of punishment."-Book vi. 50-53.

This is effected at last by the Messiah alone, for whom the full manifestation was reserved. The sin of the rebel angels was pride, and their armour was confidence in their own strength. The charge which the good angels had in hand was

"to subdue

By force, who reason for their law refuse,

Right reason for their law."-Book vi. 40, 42.

But if the rebel angels were over-confident in their own strength, the good were equally so in their own reason. In this they were

« AnteriorContinua »