Our attention is first reflectively directed upon recognised Impersonations in Poetry. But we are very much accustomed to misunderstand the nature of Poetry; for we are much accustomed to look upon Poetry as an art of intellectual recreation, and nothing more. Only as a privileged Art—an Art privileged to think in a way of its own, and to entertain, for the sake of a delicate amusement and gratification, illusory thoughts which have never had belief belonging to them. And meeting with Impersonations in poetry, we set down Impersonations amongst the illusory thoughts thus imagined and entertained for intellectual pleasure, and which have never been believed. It is a mistake altogether. Poetry has its foundation in a transient belief. Impersonations have held very durable belief amongst men. When we reflect and take upon us to become cognisant of our own intellectual acts, we are bound to become cognisant of these illusions—to know that they must have temporary belief—that they must not have permanent belief.
SEWARD.
“Sing, Heavenly Muse.” Milton redeems the boldness of adventurously transplanting from a Pagan Mythology into a Christian Poem, and thus imparts a consecration of his own to a Heathen word; but the primitive cast and colouring remain, satisfying us that we must here understand an Imaginary Being.
NORTH.
The Seventh Book again opens with an Invocation for aid, and again to the same person.
We find in the opening verses the personality attributed with increased distinctness, and with much increased boldness. A proper name is given, and a new imaginary person introduced, and a new and extraordinary joint action attributed to the Two.
“Descend from Heaven, Urania—by that name
If rightly Thou art called—whose voice divine
Following, above the Olympian hill I soar,
Above the flight of Pegasean wing!