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If you have made better Remarks of your own, communicate them with Candour; if not, make use of these 1 present you with. 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 far those who allege it is not an Heroick Poem, they advance no more to the Diminution of it, than if they should say Adam is not Aeneas, nor Eve Helen.

I shall therefore examine it by the Rules of Epic Poetry, and see whether it falls short of the Iliad or Aneid, 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 irmperfect, according as the Action which it relates is more or less s.

This Action should have three Qualifications in it.

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It should be but one Action. Secondly, it should be an enthe Action; and Thirdly, it should be a great Action. 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. He therefore opens his Poem with the Discord of his Princes, and with great Art interweaves in the several succeeding parts of it, an account of every thing material which relates to them, and had passed before that fatal Dissention.

After the same manner Aeneas 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 Aeneid. The Contents of both which Books come before those of the first Book in the Thread of the Story, the' for preserving of this Unity of Action, they follow them 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 enthely 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.

Arisrotle himself allows, that Homer has nothing to boast of as to the Unity of his Fable, the' at the same time that great Critick 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 Aeneid labours also in this particular, and has Episodes which may be looked upon as Excrescencies 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. Besides the many other Beauties in such all Episode, it's 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.

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In short, this is the same kind of Beauty which the Criticks admire in the The Spanish Fryar, 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 compleat in all its Parts; or as Aristotle describes it, when it consists of a Beginning, a Middle, and [68] an End.

Nothing should go before it, be intermix'd with it, or follow after it, that is not related to it.

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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 Consommation. 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.

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 joyned together for the Destruction of Mankind, which they effected in part, and would have completed, had not Omnipotence it self interposed. In short, every thing that is great in the whole Circle of Being, whether within the Verge of Nature. 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 Aeneid , or that in the Iliad , are not of this nature, nor to reprehend Virgil 's Simile of a Top, and many other of the same nature in the fable as liable to any Censure in this Particular; but I think we may say, without derogating from those wonderful performances, that there is all 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.

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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 shewn their principal Art in this Particular; the Action of the Iliad , and that of the Aeneid , were in themselves [69] exceeding short, hut 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.

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Milton's Action is enriched with such 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 of which the Iliad and Aeneid 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 every thing that he added out of his own Invention. And, indeed, notwithstanding all the Restraints he was under, he has filled his Story with so many surprising incidents, which bear so close an Analogy with what is delivered in Holy Writ, that it is capable of pleasing the most delicate Reader, without giving Offence to the most scrupulous.

The Modern Criticks have collected from several Hints in the Iliad and Aeneid the Space of Time, which is taken up by the Action of each of those Poems; but as a great Part of Milton S Story was transacted in Regions that lie out of the reach of the Sun and the Sphere of Day, it is impossible to gratifie the Reader with such a Calculation.

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This is Aristotle's Method of considering; first the Fable, and secondly the Manners, or, as we generally call them in English, the Fable and the Characters. Homer has excelled all the Heroic Poets that ever wrote, in the multitude and variety of his Characters. Every God that is admitted into his Poem, acts a Part which would have been suitable to no other Deity. His Princes are as much distinguished by they Manners as by their Dominions; and even those among them, whose Characters seem wholly made up of Courage, differ from one another as to the particular kinds of Courage in which they excell.

In short, there is scarce a Speech or Action in the Iliad , which the Reader may not ascribe to the Person that speaks or acts, without feeling his Name at the Head of it. Homer does not only out-shine all other poets in the Variety, but also in the Novelty of his Characters. There is in these several Characters of Homer, a certain Dignity as well as Novelty, which adapts them in a more peculiar manner to the Nature of an Heroic Poem. Tho', at the same time, to give them the greater variety, he has described a Vulcan, that is, a Buffoon among his Gods, and a Thersites among his Mortals.

AenPas is indeed a perfect Character, bur as for Achates, tho' he is stiled the Hero's Friend, he does nothing in the whole Poem which may deserve that Title. Gyan, Mnesreus,. Sergestus, Cloanthus, are all of them Men of the same Stamp and Character. The Characters of Nisus and Eurialus are beautiful, but common. We must nor forget the Parts of Sinon. Cantilla, and some few others, which are beautiful Improvements on the Greek Poet.

In short, there is neither that Variety nor Novelty in the Persons of the Aeneid which we meet with in those of the Iliad. If we look into the Characters of Milton, we shall find that be has introduced all the Variety that his Poem was capable of receiving. The whole Species of Mankind was in two Persons at the time to which the Subject of his Poem is confined.

The two last Characters are, indeed, very common and obvious, but the two first are not only more magnificent, but more new than any Characters either in Virgil or Homer, or indeed in the whole Circle of Nature. Milton was so sensible of this Defect in the Subject of his Poem, and of the Ten Characters it would afford him, tllat he has brought into it two Actors of a Shadowy and Fictitious Nature, in the Persons of Sin and Death, by which means he has interwoven in the Body of his Fable a very beautiful and well invented Allegory.

But notwithstanding the Fineness of this Allegory may atone for it in some measure: I cannot think that Persons of such a Chymerical Existence are proper Actors in an Epic Poem; because there is not that measure of Probability annexed to them, which is requisite in Writings of this kind, as I shall shew more at large hereafter.

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Virgil has, indeed, admitted Fame as an Actress in the Aeneid , but the Part she acts is very short, and none of the most admired Circumstances in that [71] Divine Work. We find in Mock-Heroic Poems, particularly in the Dispensary and the Lutrin, several Allegorical Persons of this Nature, which are very beautiful in those Compositions, and may, perhaps, be used as an Argument. For my own part, I should be glad the Reader would think so, for the sake of the Poem I am now examining, and must further add, that if such empty unsubstantial Beings may be ever made use of on this occasion, there were never ally more nicely imagined, and employed in more proper Actions, than those of which I am now speaking.

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The Part of Ulysses in Homer's Odyssey is very much admired by Aristotle, as perplexing that Fable with very agreeable Plots and Intricacies, not only by the many Adventures in his Voyage. But the Crafty Being I have now mentioned, makes a much longer Voyage than Ulysses, puts in practice many more Wiles and Stratagems, and hides himself under a greater variety of Shapes and Appearances, all of which are severally detected, to the great Delight and Surprize of the Reader.

We may likewise observe with how much Art the Poet has varied several Characters of the Persons that speak in Iris infernal Assembly.

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On the contrary, how has he represented the whole Godhead exerting it self towards Man in its full Benevolence under the Three-fold Distinction of a Creator, a Redeemer and a Comforter! Nor must we omit the Person of Raphael who amidst his tenderness and Friendship for Man, shews such a Dignity and Condescention in all his Speech and Behaviour, as are suitable to a Superior Nature. There is another Circumstance in the principal Actors of the Iliad and Aeneid which give a peculiar Beauty to those two Poems, and was therefore contrived with very great Judgment.

I mean the Authors having chosen for their heroes Persons who were so nearly related to the People For whom they wrote. Achilles was a Greek, and Aeneas the remote roullder of Rome By this means their Countrymen whom they principally proposed to themselves for their Readers were particularly attentive to all the parts of their Story, and sympathized with their Heroes in all their Adventures.

A Roman could nor but rejoice in the Escapes, Successes and Victories of Aeneas and be grieved at any Defeats, Misfortunes, or Disappointments that befell him: as a Greek must have had the same regard for Achilles. And it is plain, that each of those Poems have lost this great Advantage, among those Readers to whom their Heroes are as Strangers, or indifferent Persons. We have an actual Interest in every thing they do, and no less than our utmost Happiness or Misery is concerned, and lies at Stake in all their Behaviour.

I shall subjoyn as a Corollary to the foregoing Remark, an admirable Observation out of Aristotle, which hath been very much misrepresented in the Quotations of some Modem Criticks. In this, and some other very few Instances, Aristotle's Rules For Epic Poetry which he had drawn for his Reflections upon Homer cannot be supported to quadrate exactly with the Heroic Poems which have been made since his Time; as it is plain his Rules would have been still more perfect, could he have perused the Aeneid which was made some hundred Years after his Death.

IN my next I shall go through the other parts of Milton's Poem; and hope that what I shall there advance, as well as what I have already written, will not only serve as a Comment upon Milton, but upon Aristotle. The Parts which remain to be consider'd, according to Aristotle's Method, are the Sentiments and the Language.

Before I enter upon the first of of these, I must advertise my Reatler, that it is my Design as soon as I have finished my general Reflections on these four several Heads, to give particular instances out of the Poem which is now before us of Beauties and Imperfections which may be observed under each of them, as also of such other particulars as may not properly fall under any of them. This I thought fit to premise, that the Reader [73] may not judge too hastily of this Piece of Criticism, or look upon it as Imperfect, before he has seen the whole Extent of it.