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liberty to him than any body else, were there not an objection to be made to his fortunes, in regard they do not answer the utmost mine may expect, and are not sufficient to secure me from undergoing the reproachful phrase so commonly used, that she has played the fool. Now, though I am one of those few who heartily despise equipage, diamonds, and a coxcomb; yet since such opposite notions from mine prevail in the world, even amongst the best, and such as are esteemed the most prudent people, I can not find in my heart to resolve upon incurring the censure of those wise folks, which I am conscious I shall do, if, when I enter into a married state I discover a thought beyond that of equalling, if not advancing my fortunes. Under this difficulty I now labour, not being in the least determined whether I shall be governed by the vain world, and he frequent examples I meet with, or hearken the voice of my lover, and the motions I find in my heart in favour of him. Sir, your opinion and advice in this affair is the only thing I know can turn the balance; and which I earnestly entreat I may receive soon; for, until I have your thoughts upon it, I am engaged not to give my swain a final discharge.

Besides the particular obligation you will lay on me, by giving this subject room in one of your papers, it is possible it may be of use to some others of my sex, who will be as grateful for the favour as, sir, your humble servant,

6 FLORINDA. · P. S. To tell you the truth, I am married to him already; but pray say something to justify me.'


You will forgive us professors of music if we make a second application to you, in order to promote our

design of exhibiting entertainments of music in York-buildings. It is industriously insinuated, that our intention is to destroy operas in general; but we beg of you to insert this plain explanation of ourselves in your paper. Our purpose is only to improve our círcumstances, by improving the art which we profess. We see it utterly destroyed at present; and as we were the persons who introduced operas, we think it a groundless imputation that we should set up against the opera itself. What we pretend to assert is, that the songs of different authors, injudiciously put together, and a foreign tone and manner which are expected in every thing now performed amongst us, has put music itself to a stand; insomuch that the ears of the people can pot now be entertained with any thing but what has an impertinent gaiety without any just spirit, or a languishment of notes without any passion

We hope those persons of
sense and quality, who have done us the honour
to subscribe, will not be ashamed of their patron-
age towards us, and not receive impressions that
patronizing us is being for or against the opera,
but truly promoting their own diversions in a
more just and elegant manner than has been
hitherto performed. We are, Sir,
Your most humble servants,


or common sense.

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There will be no performances in York-Build. ings until after that of the subscription.'




Reddere personæ scit convenientia cuique.

Hor. Ars. POET.
He knows what best befits each character.

We have already taken a general survey of the fable and characters in Milton's Paradise Lost. The parts which remain to be considered, according to Aristotle's method, are the sentiments and the language. Before I enter upon the first of these, I must advertise my reader, that it is my design, as soon as I have finished my general reflections on these four several "eads, to give particular instances out of the


which is now before us, of beauties and imperfections which may be observed under each of them, as also of such other particulars as may not properly fall under any of them. This I thought fit to premise, that the reader may not judge too hastily of this piece of criticism, or look upon it as imperfect, before he has seen the whole extent of it.

The sentiments in an epic poem are the thoughts and behaviour which the author ascribes to the persons whom he introduces, and are just when ihey are conformable to the characters of the several persons. The sentiments have likewise a relation to things as well as persons, and are then perfect when they are such as are adapted to the subject. If in either of these cases the poet endeavours to argue or explain, to magnify or diminish, to raise love or hatred, pity or terror, or any other passion, we ought to consider whether the sentiments hé makes use of are proper for those ends. Homer is .censured by the critics for his defect as to this particular in several parts of the Iliad and Odyssey; though, at the same time, those who have treated this great poet with Candour, have attributed this defect to the times n which he lived. It was the fault of the age, and not of Homer, if there wants that delicacy in some of his sentiments which now appears in the works of men of a much inferior genius. Besides, if there are blemishes in any particular thoughts, there is an infinite beauty in the greatest part of them. In short, if there are many poets who would not have fallen into the meanness of some of his sentiments, there are none who could have risen up to the greatness of others. Virgil has excelled all others in the propriety of his sentiments. Milton shines likewise very much in this particular; nor must we omit one consideration which adds to his honour and reputation. Homer and Virgil introduced persons whose characters are commonly known among men, and such as are to be met with either in history or in ordinary conversation. Milton's characters, most of them, lie out of nature, and were to be formed purely by his own invention. It shows a greater genius in Shakspeare to have drawn his Caliban than his Hotspur or Julius Cæsar; the one was to be supplied out of his own imagination, whereas the other might have been formed upon tradition, history, and observation

It was much easier therefore for Homer to find proper sentiments for an assembly of Grecian generals, than for Milton to diversify his infernal council with proper characters, and inspire them with a variety of sentiments. The loves of Dido and Æneas are only copies of what has passed between other persons. Adam and Eve, before the fall, are a different species from that of mankind, who are descended from them, and none but a poet of the most unbounded inyention, and the most exquisite judgment, could have filled their conversation and behaviour with so many apt circumstances during their state of innocence.

Nor is it sufficient for an epic poem to be filled with such thoughts as are natural, unless it abound also with such as are sublime. Virgil, in this particular, falls short of Homer. He has not indeed so many thoughts that are low and vulgar; but at the same time has not so many thoughts that are sublime and noble. The truth of it is, Virgil seldom rises into very astonishing sentiments, where he is not fired by the Iliad. He

every where charms and pleases us by the force of his own genius, but seldom elevates and transports us where he does not fetch his hints from Homer.

Milton's chief talent, and indeed his distinguishing excellence, lies in the sublimity of his thoughts. There are others of the moderns who rival him in every other part of poetry; but in the greatness of his sentiments he triumphs over all the poets, both modern and ancient, Homer only excepted. It is impossible for the imagination of man to distend itself with greater ideas

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