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under them in passive helpnessness, content with calm belief and humble adoration. Known truths, however, may take a different
appearance, and be conveyed to the mind by a new train of intermediate images. This Milton has undertaken, and performed with pregnancy and vigour of mind peculiar to himself. Whoever considers the few. radical positions which the Scriptures afforded him, will wonder by what energetic operation he expanded them to such extent, and ramified them to so much 'variety, restrained as he was by religious reverence from licentiousness of fiction.
Here is a full display of the united force of study and genius; of a great accumulation of materials, with judgment to digest, and fancy to combine them: Milton was able to select from nature, or from story, from ancient fable, or from modern science, whatever could illustrate or adorn his thoughts. An accumulation of knowledge impregnated his mind, fermented by study, and exalted by imagination.
It has been therefore said, without an indecent hyperbole, by one of his encomiasts, that in reading Pa-' radise Lost we read a book of universal knowledge.
But original deficience cannot be supplied. The want of human interest is always felt. Paradise Lost is one of the books which the reader admires and lays down, and forgets to take up again. None ever wished it longer than it is. Its perusal is a duty rather than a pleasure. We read Milton for instruction, retire harassed and overburdened, and look elsewhere for recreation; we desert our master, and seek for companions.
Another inconvenience of Milton's design is, that it requires the description of what cannot be described, the agency of spirits. He saw that immateriality supplied no images, and that he could not shew angels acting but by instruments of action; he therefore invested them with form and matter. This, being necessary, was therefore defensible; and he should have secured the consistency of his system, by keeping immateriality out of sight, and enticing his reader to drop it from his thoughts. But he has unhappily perplexed his poetry with his philosophy. His infernal and celestial powers are sometimes pure spirit, and sometimes animated body. When Satan walks with his lance upon the burning marl, he has a body; when, in his passage between Hell and the new world, he is in danger of sinking in the vacuity, and is supported by a gust of rising vapours, he has a body; when he animates the toad, he seems to be mere spirit, that can penetrate matter at pleasure; when he starts up in his own shape, he has at least a determined form; and, when he is brought before Gabriel, he has a spear and a shield, which he had the power of hiding in the toad, though the arms of the contending angels are evidently material.
The vulgarinhabitants of Pandæmonium, being incorporeal spirits, are at large, though without number, jn a limited space : yet in the battle, when they were overwhelmed by mountains, their armour hurt them, crushed in upon their substance, now grown gross by sinning. This likewise happened to the uncorrupted angels, who were overthrown the sponer
for their arms, for. unarmed they might easily as spirits have evaded by contraction or remove. Even as spirits
they are hardly spiritual; for contraction and remove are images of matter; but if they could have escaped without their armour, they might have escaped from it, and left only the empty cover to be battered. Uriel, when he rides on a sunbeam, is material; Satan is material when he is afraid of the prowess of Adam.
The confusion of spirit and matter, which pervades the whole narration of the war of Heaven, fills it with incongruity; and the book in which it is related is, I believe, the favourite of children, and gradually neglected as knowledge is increased.
After the operation of immaterial agents which cannot be explained, may be considered that of allegorical persons which have no real existence. To exalt causes into agents, to invest abstract ideas with form, and animate them with activity, has always been the right of poetry. But such airy beings are, for the most part, suffered only to do their natural office, and retire. Thus Fame tells a tale, and Victory hovers over a general, or perches on a standard; but Fame and Victory can do no more. them any real employment, or ascribe to them any material agency, is to make them allegorical no longer, but to shock the mind by ascribing effects to non-entity. In the Prometheus of Æschylus, we see Violence and Strength, and in the Alcestis of Euripides, we see Death, brought upon the stage, all as active persons of the drama; but no precedents can justify absurdity.
Milton's allegory of Sin and Death is undoubtedly faulty. Sin is indeed the mother of Death, and may be allowed to be the portress of Hell; but when
To give they stop the journey of Satan, a journey described as real, and when Death offers him battle, the allegory
is broken. That Sin and Death should have shewn the way to Hell, might have been allowed ; but they cannot facilitate the passage by building a bridge, because the difficulty of Satan's passage
is described as real and sensible, and the bridge ought to be only figurative. The Hell assigned to the rebellious spirits is described as not less local than the residence of man. It is placed in some distant part of space, separated from the regions of harmony and order by a chaotic waste and an unoccupied vacuity; but Sin and Death worked up a mole of aggravated soil, cemented with asphaltus ; a work too bulky for ideal architects.
This unskilful allegory appears to me one of the greatest faults of the poem; and to this there was no temptation but the author's opinion of its beauty.
To the conduct of the narrative some objections may be made. Satan is with great expectation brought before Gabriel in Paradise, and is suffered to go away unmolested. The Creation of man is represented as the consequence of the vacuity left in Heaven by the expulsion of the rebels; yet Satan mentions it as a report rife in Heaven before his departure.
To find sentiments for the state of innocence was very difficult; and something of anticipation perhaps is now and then discovered. Adam's discourse of dreams seems not to be the speculation of a newcreated being. I know not whether his answer to the angel's reproof for curiosity does not want something of propriety; it is the speech of a man ac
In a great
quainted with many other men. Some philosophical notions, especially when the philosophy is false, might have been better omitted. The angel, in a comparison, speaks of timorous decr, before deer were yet timorous, and before Adam could understand the comparison.
Dryden remarks, that Milton has some flats among his elevations. This is only to say, that all the parts are not equal. In every work, one part must be for the sake of others; a palace must have passages; a poem must have transitions. It is no more to be required that wit should always be blazing, than that the sun should always stand at noon. work there is a vicissitude of luminous and opaque parts, as there is in the world a succession of day and night. Milton, when he has expatiated in the sky, may be allowed sometimes to revisit earth; for what other author ever soared so high, or sustained his flight so long?
Milton, being well versed in the Italian poets, appears to have borrowed often from them; and, as every man catches something from his companions, his desire of imitating Ariosto's levity has disgraced his work with the Paradise of Fools ; a fiction not in itself ill-imagined, but too ludicrous for its place.
His play on words, in which he delights too often; his equivocations, which Bentley endeavours to defend by the example of the ancients; his unnecessary and ungraceful use of terms of art; it is not necessary to mention, because they are easily remarked, and generally censured; and at last bear so little proportion to the whole, that they scarcely deserve the attention of a critick. VOL. IX. N