50 powers And wisdom at one entrance quite shut out. works is an unphilofophical expreffion. If fo, and if the fentence must terminate at blank, why may we not read? Presented with an univerfal blank; All nature's works to me expung'd and ras'd, that is, all nature's works being, in respect to the univerfal blank, or abfence of light from me, expung'd to me and ras'd. Pearce. It is to be wifh'd that fome fuch emendation as this was admitted. It clears the fyntax, which at prefent is very much embarass'd. All nature's works being to me expung'd and ras'd, and wisdom at one entrance quite fout out is plain and intelligible; but otherwise it is not easy to say what the conjunction And copulates wisdom to; And wifdom at one entrance quite but out. 49. ras'd.] Of the Latin radere; the Romans who writ on waxed tables with iron ftiles, when they ftruck out a word, did tabulam radere rafe it out. Light and the bleffings of it were never drawn in more lively colors and finer ftrokes; nor was the fad lofs 55 Now of it and them ever fo paffionately and fo patiently lamented. They that will read the most excellent Homer, bemoaning the fame misfortune, will find him far fhort of this. Herodotus in his life gives us fome verses, in which he bewailed his blindness. Hume. 52. Shine inward,] He has the fame kind of thought more than once in his profe works. See his Epift. to Emeric Bigot. Orbitatem certe luminis quidni leniter feram, quod non tam amiffum quam revocatum intus atque retractum, ad acuendam potius mentis aciem quam ad hebetandam, fperem? Epift. Fam. 21. See also his Defenfio Secunda, p. 325. Edit. 1738. Sim ego debiliffimus, dummodo in mea debilitate immortalis ille et melior vigor eò fe efficacius exerat; dummodo in meis tenebris divini vultûs lumen eò clarius eluceat ; tum enim infirmiffimus ero fimul et validiffimus, cæcus eodem tempore et perfpicaciffimus; hac poffim ego infirmitate confummari, hac perfici, poffim in hac obfcuritate fic ego irradiari. Et fane haud ultima Dei cura cæci fumus; nec Now had th' almighty Father from above, 60. 61. and from his fight receiv'd Beatitude paft utterance; ] Our author here alludes to the beatific wifion, in which divines fuppofe the Beatitude past utterance; on his right Of mankind, in the happy garden plac'd, In blissful folitude; he then furvey'd Hell and the gulf between, and Satan there Coasting the wall of Heav'n on this fide Night 65 70 In the happiness of the Saints to or air, but without firmament, withconfift. Thyer. 62. ho on his right The radiant image of his glory fat, His only Son; ] According to St. Paul, Heb. I. 3. His Son being the brightness of his glory, and the exprefs image of his perfonfat down on the right hand of the majefty on high. Let the difcerning linguift compare the preceding defcription of God with that by Taffo, Cant. 9. Stan. 55, 56, 57. Hume. 72. In the dun air] This is the aer bruno of the Italians, who almoft conftantly exprefs a gloomy dufky air in these terms. Thyer. 75. Firm land imbofom'd, without firmament, &c.] The univerfe appear'd to Satan to be a folid globe, incompass'd on all fides I but uncertain whether with water out any sphere of fixed ftars over it, as over the earth. The sphere of fixed ftars was itself compre hended in it, and made a part of it. 77. Him God beholding from his profpect high, Wherein past, prefent, future he beholds,] Boethius, an author not unworthy of our poet's imitation, defcribing the Deity ufes exactly the fame terms. Qui cum ex alta providentiæ fpecula refpicit, quid cuique eveniat. De Conf. Philof. L. 4. Quæ fint, quæ fuerint, veniant que Ib. L. 5. Metr. 2. Thyer. 79. Thus to his only Son foreseeing Spake.] If Milton's majefty forfakes him any where, it is in thofe parts of his poem, where the divine Perfons are introduced as speakers. In the dun air fublime, and ready now To stoop with wearied wings and willing feet Him God beholding from his profpect high, Only begotton Son, feest thou what rage 75 80 Prefcrib'd, of Christianity, and drawn toge- fpeakers. One may, I think, observe that the author preceeds with a kind of fear and trembling, whilft he defcribes the fentiments of the Almighty. He dares not give his imagination its full play, but chooses to confine himself to fuch thoughts as are drawn from the books of the most orthodox divines, and to fuch expreffions as may be met with in Scripture. The beauties therefore, which we are to look for in these speeches, are not of a poetical nature, nor fo proper to fill the mind with fentiments of grandeur, as with thoughts of devotion. The paffions, which they are defign'd to raise, are a divine love and religious fear. The particular beauty of the fpeeches in the third book ing of all thofe graces of poetry, confifts in that shortness and per- which the fubject was capable of fpicuity of ftile, in which the poet receiving. Satan's approach to the has couch'd the greatest mysteries confines of the creation is finely Prefcrib'd, no bars of Hell, nor all the chains 85 Upon his own rebellious head. And now imaged in the beginning of the fpeech, which immediately follows. Addifon. 101.-4 both them who stood and them who fail'd;] Both the antitheton and the repetition in the next line fhow that the author gave it, 90 95 Such both them who stood and them who fell; Freely they stood who stood, and fell who fell. Bentley. 108. (reafon alfo is choice)] The author had exprefs'd the fame fentiment before in profe. "Many "there be that complain of divine "Provi |