advanced by accidental hints, and sometimes slowly improved by steady meditation. For this reason also I have placed the dramatick plans of Paradise Lost at the conclusion of the poet's sublimer "heroick song;" and have subjoined, to the tragedy of Samson Agonistes, the plans of Milton's other intended dramas. Of the tragedy or mystery there are two plans. Moses рoλoyi, recounting how he assumed his true bodie; that it corrupts not, because of his [abode] with God in the mount; declares the like of Enoch; and Eliah; besides the puritie of the place, that certain pure winds, dews and clouds, præserve it from corruption; whence exhorts to the sight of God; tells they cannot see Adam in the state of innocence by reason of thire sin. Justice, Mercie, Wisdome, debating what should become of Man, if he fall. ACT II. Heavenly Love. Evening-Starre. Chorus sing the marriage song, and describe Paradice. ACT III. Lucifer contriving Adam's ruine. Chorus feares for Adam, and relates Lucifer's rebellion and fall. Conscience cites them to God's examination. Chorus bewailes, and tells the good, Adam hath lost. ACT V. Adam and Eve driven out of Paradice: præsented by an Angel with Labour, Grief, Hatred, Envie, Warrę, Famine, Pestilence, Sicknesse, Discontent, Ignorance, Fear; Mutes to whom he gives thire names; likewise Winter, Heat, Tempest, &c. The next sketch, as Dr. Johnson has remarked, seems to have attained more maturity; and is entitled Adam unparadiz'd. The Angel Gabriel, either descending or entering; shewing, since the globe was created, his frequency as much on Earth as in Heaven; describes Paradise. Next, the Chorus, shewing the reason of his coming to keep his watch after Lucifer's rebellion, by command from God; and withal expressing his desire to see and know more concerning this excellent and new creature, Man. The Angel Gabriel, as by his name signifying a prince of power, tracing Paradise with a more free office, passes by the station of the Chorus ; and, desired by them, relates what he knew of Man; as the creation of Eve, with thire love and marriage ". After this, Lucifer appeares after his overthrow, bemoans himself, seeks revenge upon Man. The Chorus prepare resistance at his first approach. At last, after discourse of enmity on either side, he departs; whereat the Chorus sing of the battell and victorie in Heaven against him and his accomplices: as before, after the first Act, was sung a hymn of the Creation". Heer again may appear Lucifer, relating and insulting in what he had don to the destruction of Man. Man next, and Eve, having by this time bin seduc't by the Serpent, appears confusedly cover'd with leaves. Conscience, in a shape, accuses him. Justice cites him to the place, whither Jehovah called for him. In the mean while, the Chorus entertains the stage, and is informed, by some Angel, [of] the manner of his fall. Heer the Chorus bewails Adam's fall. Adam then and Eve returne, and accuse one another; but especially Adam layes the blame to his wife; is stubborn in his offence. Justice appears; reasons with him, convinces him. The Chorus admonishes Adam, and bids him beware Lucifer's example of impenitence'. The Angel is sent to banish them out of Paradise; but, before, c It appears plain, in the next paragraph, that Milton intended to have marked the division of the Acts in this sketch, as well as in the preceding. Peck has divided them; and closes the first Act with Adam and Eve's love, &c. See his Mem. of Milton, 1740, p. 40. d End of the second Act. End of the fourth Act. e End of the third Act. causes to pass before his eyes, in shapes, a mask of all the evills of this life and world. He is humbl'd, relents, dispaires. At last appeares Mercy, comforts him, promises the Messiah; then calls in Faith, Hope, and Charity; instructs him. He repents; gives God the glory, submitts to his penalty. The Chorus briefly concludes ". Compare this with the former draught'. See my note on Par. L. B. xi. 489. End of the fifth Act. i The reader may compare the allegorical characters, and their offices, in this and the preceding draught, with those in the Italian drama by Andreini; of which an ample account has been given in The Inquiry into the Origin of Paradise Lost. Phillips, the nephew of Milton, has told us, that Paradise Lost was first designed for a tragedy, and that in the fourth book of the Poem "there are ten verses, which, several years before the Poem was begun, were shewn to me, and some others, as designed for the very beginning of the said tragedy." Life &c. 1694, p. xxxv. These verses are the opening of Satan's celebrated address to the Sun. "O thou, that with surpassing glory crown'd," &c. Where see my, note. N°. II. LAUDER'S INTERPOLATIONS. The following interpolations were publickly confessed by Lauder, in a printed "Letter to the Rev Mr. Douglas &c. 1751," pp. 4-12; except the eighth, and the lines noticed, with the twenty-first, in the Psalterium, &c. These, however, are marked as such in Mr. Bowle's copy of Lauder's Essay with the manuscript remarks of the acute detector. i. THE word "Pandœmonium” interpolated in Masenius. 66 ii. Angeli hoc efficiunt, cælestia jussa secuti ;" a line interpolated in Masenius, to correspond with Par. Lost, B. x. 668. "Some say, he bid his Angels turn ascance," &c. iii. Infernique canes populantur cuncta creata;" a line interpolated in Masenius, to answer these of Milton, Par. Lost, B. x. 616. "See, with what heat these dogs of Hell advance iv. "Quadrupedi pugnat quadrupes, volucrique volucris ; |