[ 48 ] [Jan. 



Milton's annotators and commentators. 



It is worthy the industry of the m£^n of taste and erudition to dis- 

 cover the origin, trace the progress, and illustrate the works of those 

 who have diffused round their countrj^ a Iialo of glory, formed from 



" Thoughts that breathe and words that burn." 

 The various qualifications necessary to perform this task are seldom 

 concentrated in one man. This conclusion is arrived at, by examining the 

 labours of editors and commentators of past ages, and of the present 

 day. The annotations of each are tinctured with his prejudices, receive 

 a tone from his natural disposition, and refer to those acquirements 

 which he has chiefly studied. The cautious and enlightened reader of 

 any celebrated work, with the comments of various authors, will quickly 

 perceive the truth of this remark ; and, while avoiding the partiality or 

 pecuHarity of each, will cull from the many what will yield him the 

 most correct information. 



These preliminary remarks are intended to prepare the mind of the 

 reader for some observations which, from their novelty, might otherwise 

 abruptly startle his existing opinions. If they should be perused by a 

 tyro in this kind of learning, they may warn him to think for himself, 

 and receive with caution the affirmations of men, Avhose opinions are 

 protected by the magic of a name, but not generally supported by the 

 voice of truth or the deductions of reason. 



The comments on the poetical works of Milton, in Mr. Todd's excel- 

 lent edition, amount, on a moderate calculation, to tivelve or foiaieen 

 thousand ! almost as many as the number of lines the principal poems 

 consist of. The references in these remarks are to the Sacred Writings, 

 the poetical, oratorical, rhetorical, and historical productions of Greece 

 and Rome — to Saxon, Italian, and English poets, of every class and age, 

 up to the time of the protectorate of Cromwell. It is stated in tivo-thirdx 

 of these comments, that these various authors Milton " remembered — "was 

 obliged to — took from — icas indebted to — copied — imitated — had an eye 

 toxiiards — plainli/ borrmved /" until every thought and every beauty is said, 

 at least, to have had a prototype to which he was indebted. Even when 

 he describes the angels — 



" Who, in their course, 

 Melodious hymns about the sovran throne 

 Alternate all night long," 



he is said to have had in mind " the choral service of cathedrals!" 



Since these extraordinary declarations are supported by those who 

 are justly deemed illustrious for their works, it will be right to try the 

 soundness of the foundations on which they have built. 



Milton, when he composed the Paradise Lost, was blind — 



" In darkness, and with dangers compassM round, 

 And sol'tudc." 

 Wliile speaking, he trusts " unblamed," of the eternal " pure ethereal 

 stream" of light, he touchingly exclaims — 



" But thou 



Revisil'st not tliese eyes, that roll in vain 

 To find thy piercing ray, and find no dawn ; 

 So thick a drop serene hath quench'd their orbs. 

 Or dim suffusion veil'd." 



