tion of her dream, will be obvious to every reader. Though the catastrophe of the poem is finely presaged on this occasion, the particulars of it are so artfully shadowed, that they do not anticipate the story which follows in the ninth book. I shall only add, that though the vision itself is founded upon truth, the circumstances of it are full of that wildness and inconsistency which are natural to a dream. Adam, conformable to his superior character for wisdom, instructs and comforts Eve upon this occasion.

So cheer'd he his fair spouse, and she was cheer'd,
But silently a gentle tear let fall

From either eye, and wip'd them with her hair;
Two other precious drops, that ready stood
Each in their crystal sluice, he ere they fell
Kiss'd, as the gracious signs of sweet remorse,
And pious awe, that fear'd to have offended.

The morning hymn is written in imitation of one of those psalms where, in the overflowings of gratitude and praise, the Psalmist calls not only upon the angels, but upon the most conspicuous part of the creation, to join with him in extolling their common Maker. Invocations of this nature fill the mind with glorious ideas of God's works, and awaken that divine enthusiasm which is so natural to devotion. But if this calling upon the dead parts of nature is at all times a proper kind of worship, it was in a particular manner suitable to our first parents, who had the creation fresh upon their minds, and had not seen the various dispensations of Providence, nor consequently could be acquainted with those many topics of praise which might afford matter to the devotions of their posterity. I need not remark the beautiful spirit of poetry which runs through this whole hymn, nor the holiness of that resolution with which it concludes.

Having already mentioned those speeches which are assigned to the persons in this poem, I proceed

to the description which the poet gives of Raphael. His departure from before the throne, and his flight through the choirs of angels, is finely imaged. As Milton every where fills his poem with circumstances that are marvellous and astonishing, he describes the gate of heaven as framed after such a manner, that it opened of itself upon the approach of the angel who was to pass through it.

The poet here seems to have regarded two or three passages in the 18th Iliad, as that in particular, where, speaking of Vulcan, Homer says, that he had made twenty tripodes, running on golden wheels; which, upon occasion, might go of themselves to the assembly of the gods, and, when there was no more use for them, return again after the same manner. Scaliger has rallied Homer very severely upon this point, as M. Dacier has endeavoured to defend it. I will not pretend to determine, whether in this particular of Homer, the marvellous does not lose sight of the probable. As the miraculous workmanship of Milton's gates is not so extraordinary as this of the tripodes, so I am persuaded he would not have mentioned it, had not he been supported in it by a passage in the scripture, which speaks of wheels in heaven that had life in them, and moved of themselves, or stood still, in conformity with the cherubims, whom they accompanied.

There is no question but Milton had this circumstance in his thoughts, because in the following book he describes the chariot of the Messiah with living wheels, according to the plan in Ezekiel's vision.

Forth rush'd with whirlwind sound

The chariot of paternal Deity,

Flashing thick flames, wheel within wheel undrawn,
Itself instinct with spirit-

I question not but Bossu, and the two Daciers, who are for vindicating every thing that is censured in Homer, by something parallel in holy writ, would have been very well pleased, had they thought of confronting Vulcan's tripodes with Ezekiel's wheels.

Raphael's descent to the earth, with the figure of his person, is represented in very lively colours. Several of the French, Italian and English poets have given a loose to their imaginations in the description of angels: but I do not remember to have met with any so finely drawn, and so conformable to the notions which are given of them in scripture, as this in Milton. After having set him forth in all his heavenly plumage, and represented him as alighting upon the earth, the poet concludes his description with a circumstance which is altogether new, and imagined with the greatest strength of fancy.

Like Maia's son he stood,

And shook his plumes, that heav'nly fragrance fill'd
The circuit wide.-

Raphael's reception by the guardian angels, his passing through the wilderness of sweets, his distant appearance of Adam, have all the graces that poetry is capable of bestowing. The author afterwards gives us a particular description of Eve in her domestic employments.

So saying, with dispatchful looks in haste
She turns, on hospitable thoughts intent,
What choice to chuse for delicacy best,
What order so contriv'd as not to mix
Tastes not well join'd, inelegant, but bring
Taste after taste, upheld with kindliest change;
Bestirs her then, &c.

Though in this, and other parts of the same book, the subject is only the housewifery of our first parent, it is set off with so many pleasing images and strong expressions, as make it none of the least agreeable parts in this divine work.

The natural majesty of Adam, and at the same time his submissive behaviour to the superior being who had vouchsafed to be his guest; the solemn hail which the angel bestows upon the mother of mankind, with the figure of Eve ministering at the table, are circumstances which deserve to be admired.

Raphael's behaviour is every way suitable to the dignity of his nature, and to that character of a sociable spirit, with which the author has so judiciously introduced him. He had received instructions to converse with Adam as one friend converses with another, and to warn him of his enemy, who was contriving his destruction accordingly he is represented as sitting down at a table with Adam, and eating of the fruits of Paradise. The occasion naturally leads him to his discourse on the food of angels. After having thus entered into conversation with man upon more indifferent subjects, he warns him of his obedience, and makes a natural transition to the history of that fallen angel, who was employed in the circumvention of our first parents.

Had I followed Monsieur Bossu's method in my first paper on Milton, I should have dated the action of Paradise Lost from the beginning of Raphael's speech in this book, as he supposes the action of the Eneid to begin in the second book of that poem. I could alledge many reasons for my drawing the action of the Æneid rather from its immediate beginning in the first book, than from its remote beginning in the second; and shew why I have considered the sacking of Troy as an episode, according to the common acceptation of that word. But as this would be a dry, unentertaining piece of criticism, and perhaps unnecessary to those who have VOL. II. L

read my first paper, I shall not enlarge upon it. Which ever of the notions be truc, the unity of Milton's action is preserved according to either of them; whether we consider the fall of man in its immediate beginning, as proceeding from the resolutions taken in the infernal council, or in its more remote beginning, as proceeding from the first revolt of the angels in heaven. The occasion which Milton assigns for this revolt, as it is founded on hints in holy writ, and on the opinion of some great writers, so it was the most proper that the poet could have made use of.

The revolt in heaven is described with great force of imagination, and a fine variety of circumstances. The learned reader cannot but be pleased with the poet's imitation of Homer in the last of the following lines:

At length into the limits of the north

They came, and Satan took his royal seat
High on a hill, far blazing, as a mount

Rais'd on a mount, with pyramids and tow'rs
From diamond quarries hewn, and rocks of gold,
The palace of great Lucifer, (so call

That structure in the dialect of men

Interpreted)

Homer mentions persons and things, which he tells us, in the language of the gods, are called by different names from those they go by in the language of men. Milton has imitated him with his usual judgment in this particular place, wherein he has likewise the authority of scripture to justify him. The part of Abdiel, who was the only spirit that in this infinite host of angels preserved his allegiance to his Maker, exhibits to us a noble moral of religious singularity. The zeal of the seraph breaks forth in a becoming warmth of sentiments and expressions, as the character which is given us of him denotes that generous scorn and intrepidity which attends heroic virtue. The author doubtless designed it as a pattern to those who live among man