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P R E F A C E*
AN ESSAY ON
MILTON'S USE AND IMITATION OF THE
MODERNS IN HIS PARADISE LOST.
[First published in the Year 1750.)
T is now more than half a century since the
PARADISE Lost, having broke through the clouds with which the unpopularity of the author, for a time, obscured it, has attracted the general admiration of mankind; who have endeavoured to compensate the errour of their first neglect, by lavish praises and boundless veneration. There seems to have arisen a contest, among men of genius and literature, who
“ * It is to be hoped, nay, it is expected, that the elegant and " nervous writer, whose judicious sentiments, and inimitable style
points out the author of Laurler's Preface and Postscript, will no “ longer allow one to plume himself with his feathers, who appears
so little to have deserved his assistance; an assistance which I
am persuaded would never have been cornmunicated, had there “ been the least suspicion of those facis wisich I have been the in" strument of conveying to the worid in these sheets."— Milton tindicated from the charge of plagiarism brought against him by Mr. Lauder, and Lauder himself convicted of several forgeries and gross impositions on the publick. By John Douglas, M. A. Rector of Eaton Constantine, Salop. 8vo. 1751, p. 77. VOL. VIII.
should Essay upon
should most advance its honour, or best distinguish its beauties. Some have revised editions, others have published commentaries, and all have endeavoured to make their particular studies, in some degree, subservient to this general emulation.
Among the inquiries to which this ardour of criticism has naturally givenoccasion, none is more obscure in itself, or more worthy of rational curiosity, than a retrospection of the progress of this mighty genius, in the construction of his work; a view of the fabrick gradually rising, perhaps from small beginnings, tillits foundation rests in the centre, and its turrets sparkle in the skies; to trace back the structure, through all its varieties, to the simplicity of its first plan; to find what was first projected, whence the scheme was taken, how it was improved, by what assistance it was executed, and from what stores the materials were collected, whether its founder dug them from the quarries of nature, or demolished other buildings to embellish
This inquiry has been, indeed, not wholly neglected, nor, perhaps, prosecuted with the care and diligence that it deserves. Several criticks have offered their conjectures ; but none have much endeavoured to enforce or ascertain them. * Mr. Voltaire tells us, without proof, that the first hint of PARADISE Lost was taken from a farce called ADAMO, written by a player; † Dr. Pearce, that it was derived from an Italian tragedy, called Il Paradiso Perso; and * Mr. Peck, that it was borrowed from a wild romance. Any of these conjectures may possibly be true, but, as they stand without sufficient proof, it must be granted, likewise, that they may all possibly be false ; at least they cannot preclude any other opinion, which without argument has the same claim to credit, and may perhaps be shown, by resistless evidence, to be better founded.
the Civil Wars of France, and also upon the Epick Poetry of the European Nations, from Homer down to Milton, 8vo. 1727, p. 103. E.
+ Preface to a Review of the Text of the Twelve Books of Milton's Paradise Lost, in which the chief of Dr. Bentley's Emendations are considered. 8vo. 1733. E.
It is related, by steady and uncontroverted tradition, that the PARADISE Lost was at first a TRAGEDY, and therefore, amongst tragedies, the first hint is properly to be sought. In a manuscript, pub. lished from Milton's own hand, among a great number of subjects for tragedy, is ADAM UNPARADISED, or ADAM In Exile; and this, therefore, may be justly supposed the embryo of this great poem. As it is observable, that all these subjects had been treated by others, the manuscript can be supposed nothing more than a memorial or catalogue of plays, which, for some reason, the writer thought worthy of his attention. When, therefore, I had observed, that ADAM IN Exile was named amongst them, I doubted not but, in finding the original of that tragedy, I should disclose the genuine source of ParaDISE Lost. Nor was my expectation disappointed; for, having procured the ADAMUS EXUL of GroTius, I found, or imagined myself to find, the first draught, the PRIMA STAMINA of this wonderful poem.
Having thus traced the ORIGINAL of this work, I was naturally induced to continue my search to the
* New Memoirs of Mr. John Milton. By Francis Peck. 4to. 1740. P. 52 E.
4 COLLATER AL RELATIONS, which it might be supposed to have contracted, in its progress to MatuRITY : and having, at least, persuaded my own judgment that the search has not been intirely ineffectual, I now lay the result of my labours before the publick; with full conviction, that in questions of this kind, the world cannot be MISTAKEN, at least cannot long continue in errour.
I cannot avoid acknowledging the CANDOUR of the author of that excellent monthly book, the GentleMAN'S MAGAZINE, in giving admission to the specimens in favour of this argument; and his IMPARTIALITY in as freely inserting the several answers. I shall here subjoin some extracts from the xviith volume of this work, which I think suitable to my purpose. To which I have added, in order to obviate every pretence for cavil, a list of the authors quoted in the following Essay, with their respective DATES, in comparison with the DATE of PARADISE Lost.
POSTSCRI P T.
WHEN this Essay was almost finished, the splendid Edition of PARADISE Lost, so long promised by the reverend Dr. Newton, fell into my hands; of which I had, however, so little use, that as it would be injustice to censure, it would be flattery to commend it : and I should have totally forborn the mention of a book that I have not read, had not one passage at the conclusion of the life of MilTON, excited in me too much pity and indignation to be suppressed in silence.
“ Deborah, Milton's youngest daughter,” says the Editor, “ was married to Mr. Abraham Clarke,