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Heliodorus, & in his Æthiopics, acquamts us, that the motion of the gods differs from that of mortals, as the former do not stir their feet, nor proceed step by step, but slide over the surface of the earth, by an uniform swimining of the whole body. The reader may observe a description Milton has attributed the same kind of motion to the angels who were to take possession of Paradise.

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So spake our mother Eve, and Adam heard
Well pleas'd, but answer'd not; for now too nigh
Th' arch-angel stood, and from the other hilbro
To their fix'd station, all in bright array

The cherubim descended; on the ground

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Gliding meteortis, as ev'ning mist

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And gathers ground fast at the lab'rer's heel

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The brandish'd sword of God before them blaz'd,

1 Fierce as a comet.

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The author helped his invention in the following passage, by reflecting on the behaviour of the angel, who, in holy writ, bas the conduct of Lot and his family. The circumstances drawn from that relation are very gracefully made use of on this occasion.

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In either band 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, &c.


The scene which our first parents are surprized with upon their looking back on Paradise; wonderfully strikes the reader's intagination, as nothing can be more natural than the tears they shed on that occasion.

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They looking back, all th' eastern side beheld
Of Paradise, so late their happy seat,
Wav'd lover 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 chuse
Their place of rest, and Providence their guide.


If I might presume to offer at the smallest alteration in this divine work, I should think the poem would end better with the passage here quoted, than with the two verses which follow.

They hand in hand, with wand'ring steps and slow,
Through Eden took their solitary way.

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These two verses, though they have their beauty, fall very much below the foregoing passage, and renew in the mind of the reader that anguish which was pretty well laid by that consideration.

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The world was all before them, where to chuse
Their place of rest, and Providence their guide.

The number of books in Paradise Lost is equal to those of the AÆneid. Our author in his first edition had divided his poem into ten books, but afterwards broke the seventh and the eleventh each of them into two different books, by the help of some small additions. This second division was made with great judgment, as any one may see who will be at the pains of examining it. It was not done for the sake of such a chimerical beauty as that of resembling Virgil in this particular, but for the more just and regular disposition of this great work.,

Those who have read Bossu, and many of the critics who have written since his time, will not pardon, me if I do not find out the particular moral which is inculcated in Paradise Lost. Though I can by no means think, with the last mentioned French author, that an epic writer first of all pitches upon a certain moral as the ground-work and foundation of his poem, and afterwards finds out a story to it; I am, however, of opinion, that no just heroic poem

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ever was or can be made, from whence one great moral may not be deduced. That, which reigns in Milton is the most universal and most useful that can be imagined; it is, in short, this, "that obedi ence to the will of God makes men happy, and that disobedience makes them miserable." This is visibly the moral of the principal fable which turns upon Adam and Eve, who continued in Paradise while they kept the command that was given them, and were driven out of it as soon as they had transgressed. This is likewise the moral of the principal episode, which shews us how an innumerable multitude of angels fell from their state of bliss, and were cast into hell upon their disobedience. Besides this great moral, which may be looked upon as the soul of the fable, there are an infinity of under morals, which are to be drawn from the several parts of the poem, and which makes this work more useful and instruc

tive than any other poem in any language.

Those who have criticised on the Odyssey, the Iliad, and Æneid, have taken a great deal of pains to fix the number of months or days contained in the action of each of those poems. If any one thinks it worth his while to examine this particular in Milton, he will find from Adam's first appearance in the fourth book, to his expulsion from Paradise in the twelfth, the author reckons ten days. As for that part of the action which is described in the three first books, as it does not pass within the regions of nature, I have before observed, that it is not subject to any calculations of time.

I have now finished my observations on a work which does an honour to the English nation. I have taken a general view of it under these four heads, the fable, the characters, the sentiments, and the language, and made each of them the subject of a particular paper. I have, in the next place, spoken of the censures which our author may incur under each of these heads, which I have confined to two



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NO. 369. papers, though I might have enlarged the number, if I had been disposed to dwell on so ungrateful a subject. I believe, however, that the severest reader will not find any little fault in heroic poetry, which this author has fallen into, that does not come under one of those heads among which I have distributed his several blemishes. After having thus treated at large of Paradise Lost, I could not think it sufficient to have celebrated this poem in the whole, without descending to particulars. I have therefore bestowed a paper upon each book, and endeavoured not only to prove that the poem is beautiful in general, but to point out its particular beauties, and to determine wherein they consist. I have endeavoured to shew how some passages are beautiful by being sublime; others, by being soft; others, by being natural; which of them are recommended by the passion; which by the moral; which by the sentiment; and which by the expression. I have likewise endeavoured to shew how the genius of the poet shines by a happy invention; a distant allusion; or a judicious imitation: how he has copied or improved Homer or Virgil, and raised his own imagi nations by the use which he has made of several poetical passages in scripture. I might have inserted also several passages of Tasso, which our author has imitated: but as I do not look upon Tasso to be a sufficient voucher, I would not perplex my reader with such quotations as might do more honour to the Italian than the English poet. In short, I have endeavoured to particularize those innumerable kinds of beauty, which it would be tedious to recapitulate, but which are essential to poetry, and which may be met with in the works of this great author. Had I thought, at my first engaging in this design, that it would have led me to so great a length, I believe I should have never entered upon it but the kind reception which it has met with among those whose judgments I have a value for, as well as the uncom



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Was this morning surprised with a great knocking at the door, when my landlady's daughter came up to me, and told me there was a man below desired to speak with me. Upon my asking her who it was, she told me it was a very grave elderly per son, but that she did not know his name. I immediately went down to him, and found him to be the coachman of my worthy friend Sir Roger de Coverly. He told me that his master came to town last night, and would be glad to take a turn with me in Gray's Inn walks. As I was wondering in myself what had brought Sir Roger to town, not having lately received any letter from him, he told me that his master was come up to get a sight of Prince Eugene, and that he desired I would imme diately meet him.


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I was not a little pleased with the curiosity of the old knight; though I did not much wonder at it, having heard him say more than once in private discourse, that he looked upon Prince Eugenio (for so the knight always calls him) to be a greater man than Scanderbeg. seq of hitroces ou douw rad I was no sooner come into Gray's Inn walks, but I heard my friend upon the Terrace hemming twice or thrice to himself with great vigour, for he loves' to clear his pipes in good air, (to make use of his own phrase,) and is not a little pleased with any one" good at es by er 107 suley s oval I amargo

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