IX. To praise such men as Shakspeare and Milton, is like praising Hercules. However, I am not one of those who think it idle to cry out "O deare moon, O choyce stars!" when we look upon these in their loveliness. And, leaving this question of the utility or inutility of panegyric, to be discussed elsewhere, I will continue pari passu upon the same track which I have hitherto pursued.—Of,
| "A genius universal as his theme; Astonishing as chaos; as the bloom Of blowing Eden, fair; as heaven, sublime," |
Milton was fully equal to the vast labor, at his daring in undertaking which, his friend old Andrew Marvel so marvelled. Like Amphion, he sung of the wonders of creation; of Gods and immortal essences. His Satan is a magnificent creation; a personification of all gloom and all grandeur. Vast strength, angelic fashioning, revenge that nothing can soothe, endurance that never shrinks, the intellect of heaven and the pride of earth, ambition immeasurably high, and a courage which quails not even before God, go to constitute a creation essentially ideal. Satan is not like Macbeth or Lear, real in himself, literally true, and only lifted into poetry by circumstance: but he is altogether moulded in a dream of the imagination. Heaven, and earth, and hell, are explored for gifts to make him eminent and peerless. He is compounded of all; and at last stands up before us, with the starry grandeur of darkness upon his forehead, but having the passions of clay within his heart, and his home and foundation in the depths below. It is thus gleaning, as it were, from every element, and compounding them all in one grand design, which constitutes the poetry of the character. Perhaps Ariel and Caliban are as purely ideal, as the hero of Milton, and approach as nearly to him as any other fiction; but the latter is incontestably a grander formation, and a mightier agent, and moves through the perplexities of his career, with a power that defies competition. And these are his comrades of Pandemonium: Moloch, who changed the pleasant valley of Hinnom into black Gehenna; Belial, the "manna tongued," than whom "a fairer person lost not heaven;" Azaziel, Chemos, Peor, and the wonderful Astarte;
| "To whose bright image, nightly by the moon, Sidonian virgins paid their vows and songs." |
Rimmon, too—he so dreaded by the "men of Abbana and Pharphar;" and the wily Mammon,
| "The least erected spirit that fell From heaven.... ... admiring more, The riches of heaven's pavement, trodden gold, Then aught divine or holy else enjoyed; A vision beatific." |
These, all these, are splendid creations of the human intellect; and how rich and poetic is his account of Mulsiber, who "dropt from the zenith like a falling star." Of this description it has been written, that "music and poetry run clasped together down a stream of divine verse." But it is most in his Satan, that Milton's way becomes the "terribile via" of Michael Angelo, which no one before or since has been able to tread.
Comparisons have been instituted between Milton and Dantè; but however excellent the Florentine may be, he had not the grasp, nor the soaring power of the English poet. The images of Dantè, pass by like the phantasms on a wall, clear indeed, and picturesque; but although true, in a great measure to fact, wanting in reality. They have complexion and shape, but not flesh or blood. Milton's earthly creatures have the flush of living beauty upon them, and shew the changes of human infirmity. They inhale the odors of the garden of Paradise, and wander at will over lawns and flowers: they listen to God; they talk to angels; they love, and are tempted, and fall! and with all this there is a living principle about them, and (although Milton's faculty was by no means generally dramatic,) they are brought before the reader, and made, not the shadows of what once existed, but present probable truths. His fiercer creations possess the grandeur of dreams, but they have vitality within them also, and in character and substance are as solid as the rock.16
16 Vide art. "Poetry," No. 82, Edin. Rev. April, 1825. This article is another proof how difficult a matter it is to write of poetry, without becoming poetical.
His "Il Pensoroso," L'Allegro, and many of his sonnets, are enriched by an antique vein. "Barbaric pearl and gold," crusted with age, mingle with the airy and twinkling gems of his fancy. His spirit was, at times, idle, dreaming, and voluptuous. He sometimes seems as though he had slumbered through summer evenings in caves or forests, by solitary streams, or by the murmuring ocean.