He cannot sail direct, with tract oblique In a note to Newton's edition of Milton, we are informed that the poem from which the above extracts are taken, consisted of four books,-the first of the creation-the second of the happy state of man-the third of the fall of man—and the fourth of the redemption of man by Jesus Christ. The last extract is quoted by the editor, as the only passage in the poem from which Milton might be supposed to have borrowed; yet he is reluctant to admit that the author of Paradise Lost was indebted at all to this performance. We do not see the reason of this partial exclusion, when his notes so abundantly testify to Milton's various imitations of the ancient and Italian poets. We have all presumptive, if not positive evidence, that Milton was acquainted with these obscure writers upon sacred subjects, as well as with the poets from whom it is acknowledged that he drew many of his thoughts. We proceed now to translate fully, from a work which Johnson considered the first draught,-the prima stamina of the Paradise Lost,*-Adamus exul, a tragedy written by the celebrated Grotius, at the early age of eighteen. We have Philips' authority, that Milton at first designed making a tragedy of Paradise Lost, beginning with those noble lines in the fourth book, where Satan addresses the Sun. The two following sketches or plans of a mystery, or tragedy, which were left, among other poetical projects in manuscript, in a library at Cambridge,† are of interest here, showing the evident hints upon which Milton first formed his imperfect conceptions, through his acquaintance with works of a similar kind to the one contemplated,-how far he has moulded together in his own performance, added to or improved the materials acquired by reading,—and to what degree of perfection a work may arrive, when an author, long choosing and beginning late, by dint of labor and meditation, having sipped and digested the sweets of every flower in the range * Preface to Lauder's pamphlet. See Hayley, p. 247. + Extracted from Johnson's Life of Milton. of his art, folds not the wings of his genius, until all the honey is made and the honeycomb properly built: Moses, poλoyi, recounting how he assumed his true body; that it corrupts not, because it is with God in the mount; declares the like of Enoch and Elijah; besides the purity of the place, that certain pure winds, dews and clouds, preserves it from corruption; whence exhorts to the sight of God; tells, they cannot see Adam in the state of innocence, by reason of their sin. Justice, Mercy, Wisdom, debating what should become of Man, if he fall. Chorus of Angels, singing a hymn of the Creation. Heavenly Love. Evening Star. ACT II. Chorus sing the marriage-song, and describe Paradise. ACT III. Lucifer, contriving Adam's ruin. Chorus, fears for Adam, and relates Lucifer's rebellion and fall. Conscience cites them to God's examination. Chorus bewails, and tells the good Adam has lost. ACT V. Adam and Eve driven out of Paradise. presented by an Angel with Labour, Grief, Hatred, Envy, War, Famine, Pestilence, Mutes. Sickness, Discontent, Ignorance, Fear, Death, To whom he gives their names. Likewise Winter, Heat, Tempest, comfort him, and instruct him. Chorus briefly concludes." "Such," says Johnson, "was his first design, which could have produced only an allegory, or mystery." The following sketch seems to have attained more maturity: ADAM UNPARADISED. The Angel Gabriel, either descending or entering; shewing, since this globe was created, his frequency as much on earth as in heaven; describes Paradise. Next, the Chorus, shewing the reason of his coming to keep his watch in Paradise, after Lucifer's rebellion, by command of God; and withal expressing his desire to see and know more concerning this excellent new creature, Man. The Angel Gabriel, as by his name signifying a prince of power, tracing Paradise with a more free office, passes by the station of the Chorus, and, desired by them, relates what he knew of man; as the creation of Eve, with their love and marriage. After this, Lucifer appears; after his overthrow, bemoans himself, seeks revenge on man. The Chorus prepare resistance at his first approach. At last, after discourse of enmity on either side, he departs: whereat the Chorus sings of the battle and victory in heaven, against him and his accomplices; as before, after the first act, was sung a hymn of the Creation. Here again may appear Lucifer, relating and insulting in what he had done to the destruction of man. Man next, and Eve having by this time been seduced by the Serpent, appears confusedly covered with leaves. Conscience, in a shape, accuses him; Justice cites him to the place whither Jehovah called for him. In the meanwhile, the Chorus entertains the stage, and is informed by some Angel the manner of the Fall. Here the Chorus bewails Adam's fall; Adam, then, and Eve, return; accuse one another; but especially Adam lays the blame to his wife; is stubborn in his offence. Justice appears, reasons with him, convinces him. The Chorus admonisheth Adam, and bids him beware Lucifer's example of impenitence. The Angel is sent to banish them out of Paradise; but before, causes to pass before his eyes, in shapes, a mask of all the evils of this life and world. He is humbled, repents, despairs: at last appears Mercy, comforts him, promises the Messiah; then calls in Faith, Hope and Charity; instructs him; he repents, gives God the glory, submits to his penalty. The Chorus briefly concludes. Compare this with the former draught." In these, the imperfect rudiments of Paradise Lost, Milton, no doubt, blended various hints from different works besides that of Grotius' tragedy. At present, in connection with the latter, we need only notice the evident appropriation by Milton of the title in his dramatic sketch: Adam unparadised, being nothing more than Adamus exul,-and shall leave to the reader to judge for himself, what degree of influence the performance from which we are about to select had in the shaping of Milton's earlier plan, or the construction of Paradise Lost. Post rerum creationem, et Angelorum labsum, homo in Paradiso constitutus est: datum ei in inferiorem orbem imperium, vetitumque, ne arboris, quæ scientiæ boni & mali symbolum erat, fructum carperet. Sathan, ut contra præceptum fieret; primùm hominem marem, simulatâ amicitiâ, adgreditur; deinde foeminam, Serpentis figurâ; quæ seducta virum ad peccati societatem impellit. Unde uterque horto expulsus est, & morti miseriæque mancipatus. Salus restituta spe, & fide venturi Messiæ.Scena est in Hedene, Babyloniæ regione, ubi erat hortus, ad ripam Euphratis. Sathan poλoyige. Chorus est ex bonis spiritibus, quos Angelos vocamus. ACTUS PRIMUS. Trimetri Iambici. [With some few references to Milton, for the sake of the English reader.*] SATHAN. Sacri Tonantis† hostis, exsul patriæ Coelestis, adsum; Tartari tristem specum * We stated in the foregoing portion of this article, that we have seen no more than the portions of this tragedy, published in the Gentleman's Magazine at the instance of Lauder, whose words these are. We shall be careful to point out those interpolations of which he was guilty, so far as we are enabled to correct the text by reference to the appendix in Newton's Milton, where they are mentioned. + Antagonist of Heaven's Almighty King. Milton. Нас spe citatus, clausa littoribus vagis Quidni? quum gravior orcus sub pedibus tremit* Funduntur imbres: nec trisulci fulminis Tepor benignus, verque perpetuum gravem Hell trembled as he strode. Milton. |