The passage in the catalogue, explaining the manner how spirits transform themselves by contraction, or enlargement of their dimensions, is introduced with great judgment, to make way for several surprising accidents in the sequel of the poem. 5 There follows one, at the very end of the First Book, which is what the French critics call marvellous, but at the same time probable by reason of the passage last mentioned. As soon as the infernal palace is finished, we are told the multitude and 10 rabble of spirits immediately shrunk themselves into a small compass, that there might be room for such a numberless assembly in this capacious hall. But it is the poet's refinement upon this thought, which I most admire, and which is indeed very 15 noble in itself. For he tells us, that notwithstanding the vulgar, among the fallen spirits, contracted their forms, those of the first rank and dignity still preserved their natural dimensions. Thus incorporeal spirits to smallest forms Reduced their shapes immense, and were at large Of that infernal court. But far within, The character of Mammon, and the description 20 of the Pandæmonium, are full of beauties. There are several other strokes in the First Book wonderfully poetical, and instances of that sublime genius so peculiar to the author. Such is the de 9 scription of Azazel's stature, and of the infernal standard, which he unfurls; as also of that ghastly light, by which the fiends appear to one another in their place of torments. The seat of desolation, void of light, Save what the glimmering of those livid flames 5 The shout of the whole host of fallen angels when drawn up in battle array: The universal host up-sent A shout that tore hell's concave, and beyond Frighted the reign of Chaos and old Night. The review, which the leader makes of his infernal army: He through the armed files Darts his experienced eye, and soon traverse Their visages and stature as of gods, Their number last he sums, and now his heart The flash of light, which appeared upon the 10 drawing of their swords; He spake and to confirm his words out flew Of mighty cherubim : the sudden blaze Far around illumined hell. The sudden production of the Pandæmonium; Anon out of the earth a fabric huge The artificial illuminations made in it: From the arched roof Pendent by subtle magic, many a row There are also several noble similes and allusions in the First Book of Paradise Lost. And here I must observe, that when Milton alludes either to 5 things or persons, he never quits his simile till it rises to some very great idea, which is often foreign to the occasion that 11 gave birth to it. The resemblance does not, perhaps, last above a line or two, but the poet runs on with the hint, till he has 10 raised out of it some glorious image or sentiment, proper to inflame the mind of the reader, and to give it that sublime kind of entertainment, which is suitable to the nature of an heroic poem. Those, who are acquainted with Homer's and Virgil's 15 way of writing, cannot but be pleased with this kind of structure in Milton's similitudes. I am the more particular on this head, because ignorant readers, who have formed their taste upon the quaint similes, and little turns of wit, which are so much 20 in vogue among modern poets, cannot relish these beauties which are of a much higher nature, and are therefore apt to censure Milton's comparisons, in which they do not see any surprising points of likeness. Monsieur Perrault was a man of this vitiated 5 relish, and for that very reason has endeavoured to turn into ridicule several of Homer's similitudes, which he calls "comparisons à longue queue""long-tailed comparisons." I shall conclude this paper on the First Book of Milton with the answer 10 which Monsieur Boileau makes to Perrault on this occasion; "Comparisons," says he, "in odes and epic poems are not introduced only to illustrate and embellish the discourse, but to amuse and relax the mind of the reader, by frequently disengaging him 15 from too painful an attention to the principal subject, and by leading him into other agreeable images. Homer," says he, "excelled in this particular, whose comparisons abound with such images of nature as are proper to relieve and diversify his 20 subjects. He continually instructs the reader, and makes him take notice, even in objects which are every day before our eyes, of such circumstances as we should not otherwise have observed." this he adds, as a maxim universally acknowledged, 25" that it is not necessary in poetry for the points of the comparison to correspond with one another exactly, but that a general resemblance is sufficient, and that too much nicety in this particular savours of the rhetorician and epigrammatist." 30 Το In short, if we look into the conduct of Homer, Virgil, and Milton, as the great fable is the soul of each poem, so to give their works an agreeable variety, their episodes are so many short fables, and their similes so many short episodes; to which you may add if you please, that their metaphors are so many short similes. If the reader considers the comparisons in the First Book of Milton,-of the sun in an eclipse, of the sleeping leviathan, of the 5 bees swarming about the 12 hive, of the fairy dance, in the view wherein I have placed 13 them, he will easily discover the great beauties that are in each of those passages. No. 317. TUESDAY, MARCH 4. [1712.] Fruges consumere nati.-HOR. AUGUSTUS, a few moments before his death, 10 asked his friends who stood about him, if they thought he had acted his part well; and upon receiving such an answer as was due to his extraordinary merit, "Let me then," says he, "go off the stage with your applause"; using the expression 15 with which the Roman actors made their exit at the conclusion of a dramatic piece. I could wish that men, while they are in health, would consider well the nature of the part they are engaged in, and what figure it will make in the minds of those they leave 20 behind them: Whether it was worth coming into the world for, whether it be suitable to a reasonable being; in short, whether it appears graceful in this life, or will turn to an advantage in the next.1 Let the sycophant, or buffoon, the satirist, or the good 25 companion, consider with himself, when his body |