of virtue,15 mixed with infirmities, fall into any misfortune, it does not only raise our pity, but our terror; because we are afraid that the like misfortune 16 may happen to ourselves, who resemble 5 the character of the suffering person." I 17 shall only remark in this place, that the foregoing observation of Aristotle, though it may be true in other occasions, does not hold in this; because in the present case, though the persons who 10 fall into misfortune are of the most perfect and consummate virtue, it is not to be considered as what may possibly be, but what actually is our own case; since we are embarked with them on the same bottom, and must be partakers of their happiness or 15 misery. In this, and some other very few instances, Aristotle's rules for epic poetry (which he had drawn from his reflections upon Homer) cannot be supposed to square 18 exactly with the heroic poems 20 which have been made since his time; 19 since it is evident to every impartial judge his rules would still have been 20 more perfect, could he have perused the Æneid which was made some hundred years after his death. 25 In my next, I shall go through 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. 15 1712, man of virtues. 16 1712, like misfortunes. 17 1712, I shall take another opportunity to observe, that a person of an absolute and consummate virtue should never be introduced in tragedy, and shall only remark in this place, that this observation of Aristotle, etc. 18 1712, quadrate exactly. 19 1712, time; as it is plain his rules. 20 1712, would have been still. No. 285. SATURDAY, JANUARY 26. [1712.] Ne quicunque Deus, quicunque adhibebitur heros, Migret in obscuras humili sermone tabernas: Aut dum vitat humum, nubes et inania captet.-HOR. HAVING already treated of the fable, the characters and sentiments in the Paradise Lost, we are in the last place to consider the language; and as the learned world is very much divided upon Milton as to this point, I hope they will excuse me if I appear 5 particular in any of my opinions, and incline to those who judge the most advantageously of the author. It is requisite that the language of an heroic poem should be both perspicuous and sublime. In pro- 10 portion as either of these two qualities are wanting, the language is imperfect. Perspicuity is the first and most necessary qualification; insomuch that a good-natured reader sometimes overlooks a little. slip even in the grammar or syntax, where it is 15 impossible for him to mistake the poet's sense. Of this kind is that passage in Milton, wherein he speaks of Satan. God and His Son except, Created thing nought valued he nor shunned. and that in which he describes Adam and Eve. Adam the goodliest man of men since born His sons; the fairest of her daughters, Eve. It is plain, that in the former of these passages, 20 according to the natural syntax, the Divine Per sons mentioned in the first line are represented as created beings; and that in the other, Adam and Eve are confounded with their sons and daughters. Such little blemishes as these, when the thought 5 is great and natural, we should, with Horace, impute to a pardonable inadvertency, or to the weakness of human nature, which cannot attend to each minute particular, and give the last finishing to every circumstance in so long a work. The ancient 10 critics therefore, who were acted by a spirit of candour, rather than that of cavilling, invented certain figures of speech, on purpose to palliate little errors of this nature in the writings of those authors who had so many greater beauties to atone 15 for them. If clearness and perspicuity were only to be consulted, the poet would have nothing else to do but to clothe his thoughts in the most plain and natural expressions. But since it often happens that the 20 most obvious phrases, and those which are used in ordinary conversation, become too familiar to the ear, and contract a kind of meanness by passing through the mouths of the vulgar, a poet should take particular care to guard himself against idio25 matic ways of speaking. Ovid and Lucan have many poornesses of expression upon this account, as taking up with the first phrases that offered, without putting themselves to the trouble of looking after such as would not only be natural,1 but also 3o elevated and sublime. Milton has but a few 2 failings in this kind, of which, however, you may 1 1712, have been natural. 21712, but few failings. 3 meet with some instances, as in the following passages. Embryos and idiots, eremites and friars, White, black, and grey, with all their trumpery, Here pilgrims roam. A while discourse they hold, No fear least 4 dinner cool; when thus began "Who of all ages to succeed, but feeling For this we may thank Adam.'" The great masters in composition know very well that many an elegant phrase becomes improper for a poet or an orator, when it has been debased by 5 common use. For this reason the works of ancient authors, which are written in dead languages, have a great advantage over those which are written in languages that are now spoken. Were there any mean phrases or idioms in Virgil and Homer, they 10 would not shock the ear of the most delicate modern reader, so much as they would have done that of an old Greek or Roman, because we never hear them pronounced in our streets, or in ordinary conversation. 15 It is not therefore sufficient, that the language of an epic poem be perspicuous, unless it be also sublime. To this end it ought to deviate from the common forms and ordinary phrases of speech. The judgment of a poet very much discovers itself 20 in shunning the common roads of expression, with 31712, you may see an instance or two in the following passages. 41712, lest dinner. out falling into such ways of speech as may seem stiff and unnatural; he must not swell into a false sublime, by endeavouring to avoid the other extreme. Among the Greeks, Eschylus, and some5 times Sophocles were guilty of this fault; among the Latins, Claudian and Statius; and among our own countrymen, Shakespeare and Lee. In these authors the affectation of greatness often hurts the perspicuity of the style, as in many others the en10 deavour after perspicuity prejudices its greatness. 15 20 Aristotle has observed, that the idiomatic style may be avoided, and the sublime formed, by the following methods. First, by the use of metaphors: such are those in Milton.5 Imparadised in one another's arms. And in his hand a reed Stood waving tipt with fire. The grassy clods now calved. Spangled with eyes. In these and innumerable other instances, the metaphors are very bold, but just. I must however observe, that the metaphors are not thick-sown in Milton, which always savours too much of wit; that they never clash with one another, which, as Aris25 totle observes, turns a sentence into a kind of an enigma or riddle; and that he seldom has recourse to them where the proper and natural words will do as well. 8 7 1712, several other instances, the metaphors are very bold but beautiful, 8 1712, seldom makes use of them. |