[Footnote 1:
See the fragment from the Leontium:—
[Greek: HOi_en men philos huios an_egagen Oiagrhoio
Agrhiop_en, THr_essan steilamenos kithar_en
Aidothen k. t. l.] Athen. xiii. s. 71—ED]
September 4. 1833.
DESTRUCTION OF JERUSALEM.—EPIC POEM.—GERMAN AND ENGLISH.—MODERN TRAVELS.—PARADISE LOST.
I have already told you that in my opinion the destruction of Jerusalem is the only subject now left for an epic poem of the highest kind. Yet, with all its great capabilities, it has this one grand defect—that, whereas a poem, to be epic, must have a personal interest,—in the destruction of Jerusalem no genius or skill could possibly preserve the interest for the hero from being merged in the interest for the event. The fact is, the event itself is too sublime and overwhelming.
* * * * *
In my judgment, an epic poem must either be national or mundane. As to Arthur, you could not by any means make a poem on him national to Englishmen. What have we to do with him? Milton saw this, and with a judgment at least equal to his genius, took a mundane theme—one common to all mankind. His Adam and Eve are all men and women inclusively. Pope satirizes Milton for making God the Father talk like a school divine.[1] Pope was hardly the man to criticize Milton. The truth is, the judgment of Milton in the conduct of the celestial part of his story is very exquisite. Wherever God is represented as directly acting as Creator, without any exhibition of his own essence, Milton adopts the simplest and sternest language of the Scriptures. He ventures upon no poetic diction, no amplification, no pathos, no affection. It is truly the Voice or the Word of the Lord coming to, and acting on, the subject Chaos. But, as some personal interest was demanded for the purposes of poetry, Milton takes advantage of the dramatic representation of God's address to the Son, the Filial Alterity, and in those addresses slips in, as it were by stealth, language of affection, or thought, or sentiment. Indeed, although Milton was undoubtedly a high Arian in his mature life, he does in the necessity of poetry give a greater objectivity to the Father and the Son, than he would have justified in argument. He was very wise in adopting the strong anthropomorphism of the Hebrew Scriptures at once. Compare the Paradise Lost with Klopstock's Messiah, and you will learn to appreciate Milton's judgment and skill quite as much as his genius.
[Footnote 1:
"Milton's strong pinion now not Heav'n can bound,
Now, serpent-like, in prose he sweeps the ground;
In quibbles angel and archangel join,
And God the Father turns a school divine."
1 Epist. 2d book of Hor. v. 99.]