writ, the author has numberless allusions to them through the whole course of this book. The great critic I have before mentioned, though an heathen, has taken notice of the sublime manner in which the lawgiver of the Jews has described the creation in the first chapter of Genesis; and there are many other passages in Scripture which rise up to the same majesty, where the subject is touched upon. Milton has shewn his judgment very remarkably, in making use of such of these as were proper for his poem, and in duly qualifying those strains of eastern poetry which were suited to readers whose imaginations were set to an higher pitch than those of colder climates.

Adam's speech to the angel, wherein he desires an account of what had passed within the regions of nature before the creation, is very great and solemn, The following lines, in which he tells him, that the day is not too far spent for him to enter upon such a subject, are exquisite in their kind:

And the great light of day yet wants to run
Much of his race, though steep; suspense in heav'n
Held by thy voice, thy potent voice he hears,
And longer will delay to hear thee tell
His generation, &c.

The angel's encouraging our first parents in a modest pursuit after knowledge, with the causes which he assigns for the creation of the world, are very just and beautiful. The Messiah, by whom, as we are told in scripture, the heavens were made, goes forth in the power of his Father, surrounded with an host of angels, and clothed with such a ma jesty as becomes his entering upon a work which, according to our conceptions, appears the utmost exertion of Omnipotence. What a beautiful description has our author raised upon that hint in one of the prophets! And behold there came four chariots

out from between two mountains, and the mountains were mountains of brass :'

'About his chariot numberless were pour'd
Cherub and seraph, and potentates and thrones,
And virtues, winged spirits, and chariots wing'd
From the armoury of God, where stand of old
Myriads between two brazen mountains lodg'd
Against a solemn day, harness'd at hand,
Celestial equipage! and now came forth
Spontaneous, for within them spirit liv'd,
Attendant on the Lord: Heav'n open'd wide
Her ever-during gates, harmonious sound!
On golden hinges moving

I have before taken notice of these chariots of God, and of these gates of heaven; and shall here only add, that Homer gives us the same idea of the latter, as opening of themselves; though he afterwards takes off from it, by telling us that the hours first of all removed those prodigious heaps of clouds which lay as a barrier before them.

I do not know any thing in the whole poem more sublime than the description which follows, where the Messiah is represented at the head of his angels, as looking down into the chaos, calming its confusion, riding into the midst of it, and drawing the first outline of the creation:

On heav'nly ground they stood, and from the shore
They view'd the vast immeasurable abyss
Outrageous as a sea, dark, wasteful, wild,
Up from the bottom turn'd by furious winds
And surging waves, as mountains to assault
Heav'n's height, and with the centre mix the pole.
"Silence, ye troubled waves; and, thou deep, peace;
Said then th' omnific Word, "Your discord end :"
Nor staid, but on the wings of cherubim
Up-lifted, in paternal glory rode

Far into Chaos, and the world unborn;
For Chaos heard his voice. Him all his train
Follow'd in bright procession, to behold

Creation, and the wonders of his might.
Then stay'd the fervid wheels; and in his hand,
He took the golden compasses, prepar'd
In God's eternal store to circumscribe
This universe and all created things:
One foot he centred, and the other turn'd
Round through the vast profundity obscure,
And said, "Thus far extend, thus far thy bounds,
This be thy just circumference, O world!"

The thought of the golden compasses is conceived altogether in Homer's spirit, and is a very noble incident in this wonderful description. Homer, when he speaks of the gods, ascribes to them several arms and instruments with the same greatness of imagination. Let the reader only pursue the description of Minerva's ægis, or buckler, in the fifth book, with her spear, which would overturn whole squadrons, and her helmet that was sufficient to cover an army drawn out of an hundred cities. The golden compasses, in the above-mentioned passage, appear a very natural instrument in the hand of him whom Plato somewhere calls the Divine Geometrician. As poetry delights in clothing abstracted ideas in allegories and sensible images, we find a magnificent descriptoin of the creation, formed after the same manner, in one of the prophets, wherein he describes the Almighty Architect as measuring the waters in the hollow of his hand, meting out the heavens with his span, comprehending the dust of the earth in a measure, weighing the mountains in scales, and the hills in a balance. Another of them describing the Supreme Being in this great work of creation, represents him as laying the foundations of the earth, and stretching the line upon it and, in another place, as garnishing the heavens, stretching out the north over the empty place, and hanging the earth upon nothing. This last noble

thought Milton has expressed in the following

verse:

And earth self-balanced on her centre hung.'

The beauties of description in this book lie so very thick, that it is impossible to enumerate them in this paper. The poet has employed on them the whole energy of our tongue. The several great scenes of the creation rise up to view one after another, in such a manner, that the reader seems present at this wonderful work, and to assist among the choirs of angels who are the spectators of it. How glorious is the conclusion of the first day!

Thus was the first day ev'n and morn:

Nor past uncelebrated, nor unsung

By the celestial choirs, when orient light
Exhaling first from darkness they beheld;

Birth-day of heav'n and earth! with joy and shout
The hollow universal orb they fill'd,

We have the same elevation of thought in the third day, when the mountains were brought forth, and the deep was made:

'Immediately the mountains huge appear
Emergent, and their broad bare backs up-heave
Into the clouds, their tops ascend the sky:
So high as heav'n the tumid hills, so low
Down sunk a hollow bottom broad and deep,
Capacious bed of waters

We have also the rising of the whole vegetable world described in this day's work, which is filled with all the graces that other poets have lavished on their description of the spring, and leads the reader's imagination into a theatre equally surprising and beautiful.

The several glories of the heavens make their appearance on the fourth day:

'First in his east the glorious lamp was seen,
Regent of day, and all the horizon round
Invested with bright rays, jocund to run

His longitude through heaven's high road; the gray
Dawn, and the Pleiades before him danc'd,
Shedding sweet influence. Less bright the moon,
But opposite in levell'd west was set

His mirror, with full face borrowing her light
From him, for other lights she needed none
In that aspect, and still the distance keeps
Till night; then in the east her turn she shines,
Revolv'd on heaven's great axle, aad her reign
With thousand lesser lights dividual holds,

With thousand thousand stars, that then appear'd
Spangling the hemisphere

One would wonder how the poet could be so concise in his description of the six days' works, as to comprehend them within the bounds of an episode, and, at the same time, so particular, as to give us a lively idea of them. This is still more remarkable in his account of the fifth and sixth days in which he has drawn out to our view the whole animal creation, from the reptile to the behemoth. As the lion and the leviathan are two of the noblest productions in the world of living creatures, the reader will find the most exquisite spirit of poetry in the account which our author gives us of them. The sixth day concludes with the formation of man, upon which the angel takes occasion, as he did after the battle in heaven, to remind Adam of his obedience, which was the principal design of his visit.

The poet afterwards represents the Messiah retnrning into heaven, and taking a survey of his great work. There is something inexpressibly sublime in this part of the poem, where the author de