Mile-End-Green, near Stepney, where they will receive further satisfaction.

This is to give notice, that the Spectator has taken upon him to be visitant of all boardingschools where young women are educated; and designs to proceed in the said office after the same manner that visitants of colleges do in the two famous universities of this land.

All lovers who write to the Spectator, are desired to forbear one expression which is in most of the letters to him, either out of laziness or want of invention, and is true of not above two thousand women in the whole world: viz. She has in her all that is valuable in woman.'

•

T.

No. 315. SATURDAY, MARCH 1, 1711-12.

Nec Deus intersit, nisi dignus vindice nodus
Inciderit-

HOR. Ars Poet. ver. 191...

Never presume to make a god appear,
But for a business worthy of a god.

ROSCOMMON.

HORACE advises a poet to consider thoroughly the nature and force of his genius. Milton seems to have known perfectly well wherein his strength lay, and has therefore chosen a subject entirely conformable to those talents of which he was master. As his genius was wonderfully turned to the sublime, his subject is the noblest that could have entered into the thoughts of man. Every thing that is truly great and astonishing; has a place in it. The whole system of the intellectual

world; the chaos, and the creation; heaven, earth, and hell; enter into the constitution of his poem.

Having in the first and second books represented the infernal world with all its horrors, the thread of his fable naturally leads him into the opposite regions of bliss and glory.

If Milton's majesty forsakes him any where, it is in those parts of his poem where the divine persons are introduced as speakers. One may, I think, observe, that the author proceeds with a kind of fear and trembling, whilst he describes the sentiments of the Almighty. He dares not give his imagination its full play, but chooses to confine himself to such thoughts as are drawn from the books of the most orthodox divines, and to such expressions as may be met with in scripture. The beauties, therefore, which we are to look for in these speeches, are not of a poetical nature, nor so proper to fill the mind with sentiments of grandeur, as with thoughts of devotion. The passions which they are designed to raise, are a divine love and religious fear. The particular beauty of the speeches in the third book, consists in that shortness and perspicuity of style, in which the poet has couched the greatest mysteries of Christianity, and drawn together, in a regular scheme, the whole dispensation of Providence with respect to man. He has represented all the abstruse doctrines of predestination, freewill and grace, as also the great points of incarnation and redemption, (which naturally grow up in a poem that treats of the fall of man) with great energy of expression, and in a clearer and stronger light than I ever met with in any other writer. As these points are dry in themselves to the generality of readers, the concise and clear

manner in which he has treated them is very much to be admired, as is likewise that particular art which he has made use of in the interspersing of all those graces of poetry which the subject was capable of receiving.

The survey of the whole creation, and of every thing that is transacted in it, is a prospect worthy of Omniscience, and as much above that in which Virgil has drawn his Jupiter, as the Christian idea of the Supreme Being is more rational and sublime than that of the Heathens. The particular objects on which he is described to have cast his eye, are represented in the most beautiful and lively manner:

Now had th' Almighty Father from above
(From the pure empyrean where he sits
High thron'd above all height) bent down his eye
His own works and their works at once to view.
About him all the sanctities of heaven

Stood thick as stars, and from his sight receiv'd
Beatitude past utt'rance. On his right
The radiant image of his glory sat,
His only Son. On earth he first beheld
Our two first parents, yet the only two
Of mankind, in the happy garden plac'd,
Reaping immortal fruits of joy and love;
Uninterrupted love, unrival'd love,
In blissful solitude. He then survey'd
Hell and the gulf between, and Satan there
Coasting the wall of heav'n on this side night,
In the dun air sublime; and ready now
To stoop with wearied wings and willing feet
On the bare outside of this world, that seem'd
Firm land embosom'd without firmament;
Uncertain which, in ocean, or in air.

Him God beholding from his prospect high,
Wherein past, present, future he beholds,
Thus to his only Son foreseeing spake.'

Satan's approach to the confines of the creation is finely imaged in the beginning of the speech which immediately follows. The effects of this

speech in the blessed spirits, and in the divine person to whom it was addressed, cannot but fill the mind of the reader with a secret pleasure and complacency:

"Thus while God spake, ambrosial fragrance fill'd
All heav'n, and in the blessed spirit elect
Sense of new joy ineffable diffus'd.

Beyond compare the son of God was seen
Most glorious; in him all his Father shone
Substantially express'd; and in his face
Divine compassion visibly appear'd,

Love without end, and without measure grace.'

I need not point out the beauty of that circumstance, wherein the whole host of angels are represented as standing mute: nor shew how proper the occasion was to produce such a silence in heaven. The close of this divine colloquy, with the hymn of angels that follows upon it, are so wonderfully beautiful and poetical, that I should not forbear inserting the whole passage, if the bounds of my paper would give me leave:

'No sooner had th' Almighty ceas'd, but all
The multitude of angels with a shout!

(Loud as from numbers without number, sweet
Às from blest voices) utt'ring joy, heav'n rung
With jubilee, and loud hosannas fill'd

Th' eternal regions, &c. &c.'.

Satan's walk upon the outside of the universe, which at a distance appeared to him of a gobular form, but upon his nearer approach looked like an unbounded plain, is natural and noble; as his roaming upon the frontiers of the creation, between that mass of matter which was wrought into a world, and that shapeless unformed heap of materials which still lay in chaos and confusion, strikes the imagination with something astonishingly great and wild. I have before spoken of the Limbo of Vanity, which the poet places upon

this outermost surface of the universe, and shall here explain myself more at large on that, and other parts of the poem, which are of the same shadowy nature.

Aristotle observes, that the fable of an epic poem should abound in circumstances that are both credible and astonishing; or, as the French critics choose to phrase it, the fable should be filled with the probable and the marvellous. This rule is as fine and just as any in Aristotle's whole Art of Poetry.

If the fable is only probable, it differs nothing from a true history; if it is only marvellous, it is no better than a romance. The great secret, therefore, of heroic poetry is to relate such circumstances as may produce in the reader at the same time both belief and astonishment.

This is

brought to pass in a well chosen fable, by the account of such things as have really happened, or at least of such things as have happened according to the received opinions of mankind. Milton's fable is a master-piece of this nature; as the war in heaven, the condition of the fallen angels, the state of innocence, the temptation of the serpent, and the fall of man, though they are very astonishing in themselves, are not only credible, but actual points of faith.

The next method of reconciling miracles with credibility, is by a happy invention of the poet; as in particular, when he introduces agents of a superior nature, who are capable of effecting what is wonderful, and what is not to be met with in the ordinary course of things. Ulysses's ship being turned into a rock, and Æneas's fleet into a shoal of water nymphs, though they are very surprising accidents, are nevertheless probable when we are told, that they were the gods who thus transformed them. It is this kind of machinery