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Page 121, line 2, for Quie" read “Chie".
123,

1, for Balduchino" read “ Balducchino"
7, for Guarda di nobili read “ Guardia di nobili,"

22, for “couldread "would.
99, column 1, line 51, for “Cabinet read “ Calmet's."

2, line 31, for “ pavements” read “ fragments."

line 40, foi “ Captain Gaswyne" read “ Captain Gascoyne."

line 43, for “ The part” read “ The fact."
Page 123, line 29, for “Basili" read Basilicas."
Page 101, Stanza XI. Read the first lines as follows:

“ Strange to the ear the oriental name
of this fair river. Winding serpentine
The Kandian capitol it doth entwine,
And sleepeth quiet in the sun's bright beam.
O'er bare rocks roll the waters of the stream,
Which with their roughness the dashed wave refine

And purify."
Page 104, Stanza XVI,—line 9, for “ o'verhanging" read “morning:-

coLOMBO:

SAİNTED AT THE HERALD ERROS

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In verbis tenuis, cautusque serenlis,
Hoc aiget, hoc spernat promissi carminus auctor.

Horat: De Arte Poetica, 45.

Would you to fame a promised work produce,
Be delicate and cautious in the use

And choice of words.- Francis.

as

In discussing the character and merits of Paradise Regained, it is scarcely possible not to refer, and that frequently, to Paradise Tuosi. On this mighty producuon of genius the smaller, but not less perfect. poen may be said to be as an attendant slar; the moon upon the earth,_" which else

Night would inrade; bat there the neighbouring moon,
So call that opposite fair star, her aid
Timely interposes."

Par. Lost. III 726. Milton himself was apparently of this opinion after the produce tion of his greater poem of Paradise Lost. The origin, however, of Paradise Regained is attributed to the suggestion of Ellwood, the the quaker, to whom Milton lent his Paradise Lost in manuscript. "I pleasantly said to him," says Ellwood, Thou hast said much of Paradise Lost, but what hast thou to say of Paradise Found ?” "On this hint he spake." Paradise Regained was marvellously, and almost as it were instantaneously, produced.

am

more

) Nor is the fastre of Paradise Regained at all diminished by the superior splendor of the mightier orb of Milton's genins. The light of both is « light from heaven." 1 at a loss to guess, – says an admirable judge of the question, *

*- " what there is of excellence wanting in this poem,”. We have already examined its liigher claims to our admiration, and to that species of immortality mlich the lollier creations of genius demand from the successive generations of mankind. We will now descend to the peculiar beauty and propriety of the style.

As, we have seen, action and mystery are the elements of Paradise Lost, so moral wisdom,

“ With her best nurse, CONTEMPLATION,"is to be found, as in her " sweet retired solitude,” in the calm and heanzisul porm of Paradise Regained. There is a sublime dignity in profound contemplation. The ferulity and depth of thought, and the superi. or clevation of feeling denrand fewer words. But those words should be select and faultless. The nianner should be dignified to a degree of awe. It is so in Milton. What can be finer than the pregnant conciseness, which is truly sublime, of our Lord's replies to some of Satan's most elaborately artlol speeches ? What

dignified and mcre awful than the calm self possession of his answer to the taimt of Satan when he set him on “the highest pinnacle" of the lemple ?

* Also it is written “ Tempt not the Lord thy God he said ; and stond." . The remainder of this passage is so spirited ; it shers such exquisite art in the poet, hy the rapid transition from the nervous and compressed style in which he describes the sublime and composed atiirude of Jesus, to the violent fall of the arch-apostate spirit; and it exhibits so happy a specimen of the style of Paradise Lost, appropriate to the action of the scene, that I cannot better illustrate my theory than by a transcription of the following.

< But Satan smitten with amazement fell.
As when earth's son Anteus, to compare
Small things with greatest, in Irassa strove
With Jove's Alcides, and oft foild still rose,
Receiving from bis mother earth new strength,
Fresh from his fall, and fiercer grapple join'd,
Throttled at length in th' air, expir'd and fe'l;
So after many a foil the tempter proud,
Renering fresh assaults, amidst his pride

Fell whence he stood to see his victor fall,

And as that Theban monster that propos'd
Her riddle, and him who solv'd it not, devour'd,

• Sir Egerton Brydgos.

That once found out and solr'd, for grief and spite
Cast herself beadlong from th' Ismenian steep;
So struck with dread and anguish fell the fiend,
And to his crew that sat consulting, brought
Joyless triumphals of his hop'd success,
Ruin, and desperation, and dismay,
Who durst șo proudly tempt the Son of God,
So Satan fell; and straight a fiery glob
Of angels on full sail of wing flew nigh,
Who on their plumy vans receiv'd him soft
From his uneasy station, and upbore
As on a floating couch through the blithe air,
Then in a Aow'ry ralley set him down
On a green bank, and set before him spread
A table of celestial food, divine,
Ambrosial fruits, fetch'd from the tree of life,
And from the fount of life ambrosial drink,
That soon refresh'd him wearied, and repair'd
What lunger, if aught hanger had impair'd
Or thirst; and, as he fed, angelic quires
Sung heav'nly anthems of his victory
Over temptation and the tempter proud."

Paradise Regained. B. 4. 560-595. The parallel passage of Paradise Lost, descriptive of the more terrible fall of Satan from heaven, noble as it is, is scarcely if at all finer, though the action is more dreadful and sublinie, ihau these magnificent lines.

“ Him the Almighty Power
Hurled headlong flaming from the ethereal sky,
With bideous ruin and combustion, down
To bottomless perdition ; there to dwell
In adamantine chains and penal fire,
Who durst defy the Omnipotent to arms."

Par : Lost B. 1. 44. Is the above cited passage from Paradise Regained “composed in a lower and less striking style” than any single passage of Paradise Lost ?-Surely not. Here is no decay of the poet's faculty divine," nor is there “wanting the accomplishment i verse," which were displayed in his best and most vigorous days. In barmony of numbers, in sublimity of thought, and in beaniy of diction, it stands unrivalled by,- at least not interior 1,--any breathing of bis own celestial lyre. His classical allusions to Anlæus and Hercules, and the Theban Splinx, whom we almost see

"Cast herself beadlong from the Ismeuian steep;"

and the splendid similes which are made of them, are in his rery highest, and the very highest style of poetry. Yet we are told that Paradise Regained is without “ allusion to poets either ancient or modern."* If the transition from the STANDING of Jesus to the Fall of Satan be, as by all it must be allowed to be, striking and admirable, --how exquisite is the, as immediate, change of the style, from the apostate's plung of

“'Rain and desperation and dismay," to the reception of Jesus by

“ A fiery globe
Of angels on full sail of wing-
Who on their plumy rans received him soft
From his uneasy station, and upbore

As on a floating coucb, through the blithe air." The verse itself moves as on angel-wings; and as the gates of heaven,

“ Harmonious sound, On golde» binges moving."

Par: Lost B. II1. 206. The conception of this entire passage is as just and noble as the execution is perfect. The analogy with the Paradise Lost seems never to be lost sight of. One circumstance is peculiarly striking, and has not, so far as I remember, been noticed. The Tree of Life was forfeited by Adam's non-resistance of the Devil's templa. tion, and his conquest by the Templer. But immediately after the • Victory" of the “ second Adam”

“ Over temptation and the Tempter proud," He is refresbed with

" A table of celestial food, divine

Ambrosial fruits, fetched from the TREE OF LIFE." There is an angelic feast, though served up by human hands, for the entertainment of the angel kaphael in Paradise Lost; of wbich an able critic, to whose edition of Miliou I have tre

• See the Supplement to Tood's Edition of this poem. ? t It may be remarked, on the subject of Milton's versification, (of which we may have occasion to say more hereafter) that this passage of the opening of the gates of heaven, is one among almost innumerable instances of the perfection of his taste and of his ear. To the Angel Raphael, in the fifth Book, Heureu's

gate self-opened wide

On golden hinges turning.To the Messiah it is

“ On golden hinges moring." The change of the one word of“ turning” for “ moving," improves, the melody in the somewhat comparative degree to the relative importance of the persons of the Angel Rophael, and of MESSIAH. None but the greatest uzastors buvo such exquisite louches.

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