SEWARD.
They would call down the help, suggestion, and inspiration of heavenly guides, protectors, and monitors;—of Jupiter, to whom even their dim faith looked above themselves and beyond this apparent world, for the incomprehensible causes of things;—of Apollo, the God of Music and of Song;—of those divine Sisters, under whose especial charge that imaginative religion placed Poets and their works, the nine melodious Daughters of Memory;—of those three other gentle deities, of whom Pindar affirms, that if there be amongst men anything fair and admirable, to their gift it is owing, and whose name expresses the accomplishing excellence of Poesy, if all suffrages are to be united in praise: bright Sisters too, adored with altar and temple,—the Graces.
NORTH.
Milton, who had unremittingly studied the classical Art of Poetry, and who brought into the service of his great and solemn undertaking all the resources of poetical Art, which prior ages had placed at his disposal, whose learning, from the literature of the world, gathered spoils to hang up in the vast and glorious temple which he dedicated—He might, without offence to the devout purpose of his own soul, borrow from the devotion of those old pagan worshippers the hint, and partially the form, of those exordial supplications.
SEWARD.
He opens the Paradise Lost with Two Invocations. Both implore aid. But the aid asked in one and in the other is different in kind, as the Two Powers, of whom the aid is asked, are also wholly different. Let us look at these two Invocations in the order in which they stand.
“Of Man’s first disobedience, and the fruit
Of that forbidden tree, whose mortal taste
Brought death into the world, and all our woe,
With loss of Eden, till one greater Man