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.
Dr. Blair's parallel between Homer and Milton, throws more light upon the true character of Milton's mind, so far as sublimity is concerned, than anything I have seen. "Homer's (sublimity) is generally accompanied with fire and impetuosity; Milton's possesses more of a calm and amazing grandeur. Homer warms and hurries us along; Milton fixes us in a state of astonishment and elevation. Homer's sublimity appears most in the description of actions; Milton's in that of wonderful and stupendous objects." I would further apply a remark which I have seen in the "table talk" of Coleridge, the poet, upon the sublimity of Schiller, and that of Shakspeare. "Both are sublime, but Homer's is the material sublime."
These remarks are confined to his sublimity; but beauty, tender beauty, was on the catalogue of his excellencies. I heard a lady once liken Milton's mind to a sea shell. The wildest and most terrible blasts, the gentlest and most honeyed breathings issue from the same secret depths.
Milton has many singularities. One which, Addison I believe, praises, is a habit of repeating in the answer the words of the question. Take for example, these lines in Comus:
| "Was I deceived, or did a sable cloud Turn forth her silver lining on the night? I did not err: there does a sable cloud Turn forth her silver lining on the night."17 |
17 The reader will remember a beautiful instance of this in "Alroy," a work brimful of genius.
He was also a pedant; but pedantry should only call forth censure, when coupled with weakness. He used inversion to excess; about the propriety of which no two critics agree. And any other faults than these excusable ones, it would be difficult to discover.
In his Sampson Agonistes, he manifested great solidity and power: in his Lycidas, the most exquisitely pathetic elegance; in his Comus, a fine wandering philosophy. All these qualities were united in his Paradise Lost, and (in not so great a degree, however,) in the "Paradise Regained."