114 



conviction.* We must honour liis manliness, but we cannot but regret 

 that it should have contributed to increase the disproportions between 

 his genius and his permanent fame, wliich his unhappy choice of 

 subject produces. 



We have novr in succession discussed the subject, the design 

 and the poetical apparatus of the " Paradise Lost." It remains, 

 that we should speak of the language, the materials as it were 

 of the structure, of which we have examined the site, the style 

 and the decorations. Oil setting out I looked upon this part of my 

 enquiry as the principal one, but I have been tempted to enlarge so 

 much on the remarks, which were intended at first to be merely in- 

 troductory, that I am afraid I shall have to contract this topic into 

 narrower bounds than at first projected. I shall be the more easily 

 permitted to do so, as aU grammatical and lexicographical remarks 

 are naturally of a less coherent and continuous flow, and, necessitating 

 a frequent reference to texts, are perhaps less adapted for a lecture like 

 the present. 



As to the remarks I am going to make, I can only claim the merit 

 of systeraatisation and more detailed analysis. The broad facts have 

 long been felt and stated correctly, nor could they have remained 

 doubtful, as the peculiarity of Milton's language distinguishes him from 

 every author that either preceded or followed him. Language is the 

 material which the poet employs to embody his productions, and to 

 bring them under our senses ; it is to him what stone and metal are to 

 the sculptor, canvass and colour to the painter. In proportion as his 

 subject is elevated, his language must rise above the level of familiar 

 parlance ; it must help to produce in us that illusion, that forgetfal- 

 ness of external circumstances and the realities of every day life, which 

 is essential for the enjoyment of poetry. It is evident, that the sacred 

 epic requires a diction, if less elevated than the ode, yet raised high 

 above the tone of common conversation or narrative. 



A powerful aid towards attaining this elevation is afforded by a dignified 

 metre, such as necessarily excludes vulgarity. The ancient classical 

 languages had in this respect a vast superiority over those of modern 

 Europe, not even excluding the German. In the perfection of prosodic 

 modulation they afforded material for the richest variety of metres, 

 without being compelled to have recourse to the jingling of rhyme. The 



• I entirely disagree with Mr. Macaulay, who says, (p. 23) : — " The peculiar art which 

 he possessed of commuDicating his meaning circuitously through a long succession of 

 associated ideas, and of intimating more than he expressed, enabled him to disguise those 

 incongruities which he could not avoid." 



