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In the same sublime manner Expectation is persona. lized in Milton. VI, 306.

While ExpecTATION ftood * In horror." So VICTORY is personalized, In K. Richard III. Ad V.

-- VICTORY fits on our helms.e'

Again, In Antony and Cleopatra, A& I.

" On

o Sit lawrell'd Victory."

Hence Milton. VI, 762.

" At his right hand Victory Sat eage-wing d." In the IV th book, where Satan falls into those doubts with himself, and passions of fear and despair, Milton uses the fame image, as Shakespeare in describing the perturbed and distracted state of Macbeth. “ And like a devilish engine back recoils

Upon himself: horror and doubt distract • His troubled soul.” B. IV, 16.

" Who then thall blame “ His pefter'd senses to recoyl and start " When all that is within him does condemn

“ Itself for being there ?” Macbeth, Aet V. Milton, in the description of Eve's bower (B. IV, 703.] says,

« Other creatures here “ Beast, bird, insect or worm, durft enter none ;

« Such was their awe of Man." So in the song, inserted in A Midsummer Night's Dream, Act II. Insects and worms are forbid to approach the


Bower of the Queen of Fairies. Callimachus has a thought not unlike, speaking of the place where Rhea brought forth Jove.

*Ένθεν ο χώρος Ιερός: εδέ τί μιν κεχρημένον Ειλειθυίης

Ερπελών, έδε γυνή επινίσσεται. Hym. I, 11. Inde locus eft facer : neque prægnans aliquod animal, neque mulier eum adit ulla. Efrélòy, is whatever walks or creeps, bird, beaft, infeet or worm, as Milton expresses it ; who doubtless had both Callimachus and Shakespeare in his mind. And this is very usual for Milton, in the compass of a few lines to ride the beauties of various authors, and hence to make them his own by his properly applying and improving them as his divine subject required. This having not been, as I know of, fufficiently attended to, I will inftance in one or two passages.

“ Like that Pygmean race Beyond the Indian mount ; or Fairy elves, Whose midnight revels by a forest fide, or Or fountain, some belated peasant sees 66 r dreams he sees ; while over-head the moon

56 Sits arbitress, &c." Milton is speaking of the fallen Angels, who had reduced their immense shapes-first he says they resembled the Pyg.

See Homer Il. 7. 6. and Eukath. fol. 281.

.Or Fairy elves Whose midnight revels by a forest fide “ Or fountain, &c."

mean race.

Shakespeare in A Midsummer Night's Dream, A& II.

“ And never since that middle Summer's spring - That we on hill, in dale, forest or mead,


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“ By paved fountain, or by rulhy brook, • Or on the beached margent of the sea

“ To dance our ringlets to the whisling wind, &c." Again, the following in Milton. --Some belated peasant sees or dreams he sees : is literally from Virgil, Aen. VI, 454. Aut videt aut vidise putat. And, - while over head the Moon fts arbitrefs : from Horace. L. I Od. IV.

Jam Cytherea Choros ducit Venus, IMMINENTE LUNA. Milton, B. V. *.5.

or Which th' only found « Of leaves, and fuming rills, (Aurora's fan)

Lightly dispers'd, and the fhrill matin song « Of birds on every bough. This is partly Virgil. VIII, 456.

Evandrum ex humili te&to lux fufcitat alma,

Et MATUTINI VOLUCRUM sub culmine CANTUS. And partly Tasso (B. VII. st 5.) thus rendered by Fairfax, " The birds awakt her with their morning song, “ Their warbling muficke pierst her tender eare, The murmuring brooks, and whistling winds among The ratling boughes and leaves their parts did beare, &c." From Virgil Milton has literally the matin fong of birds : from Tasso, the found of leaves and rills : his own addition is, Aurora's fan : a pretty poetical image applied to the fanning winds among the leaves of the trees, and the cooling fumes arifing from the rills. I will add but one passage more which has already been cited.

“ Heav'n open'd wide “ Her ever-during gates, harmonious found « On golden hinges moving."

B. VII, 203.

This, by way of contrast, should be compar'd with B. II,


66 On a sudden

open fly “ With impetuous recoil and jarring found " Th’infernal doors, and on their hinges grate 6 Harsh thunder."

The reader, if he has any ear, will plainly perceive how the sound of these verses corresponds to the sense ; and how finely they are improved from Virgil. Aen. VI, 573.

Tum demum horrifono Asridentes cardine sacrae

o Panduntur portae.Hell gates grate harsh thunder ; the gates of Heaven open with harmonious found. This (co omit Homer and the Psalmist mentioned already) he had from Amadis de Gaul, B. IV. Ch. XI. where he describes the palace of Apolidon. And the Witty Rabelais (B. V. Ch. 37.) has the self-fame image. In these two last instances here brought no mention is made of Shakespeare, but this small digreffion, perhaps, the reader will excuse as it shews in a new light some fine passages of our epic poet.


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