untouched. From hell we flee to Paradise, a region as lovely as hell is terrible, and which, to those who do not know the universality of true genius, will appear doubly wonderful, when considered as the creation of the same mind, which had painted the infernal world.

Paradise and its inhabitants are in sweet accordance, and together form a scene of tranquil bliss, which calms and soothes, whilst it delights, the imagination. Adam and Eve, just moulded by the hand and quickened by the breath of God, reflect in their countenances and forms, as well as minds, the intelligence, benignity, and happiness of their Author. Their new existence has the freshness and peacefulness of the dewy morning. Their souls, unsated and untainted, find an innocent joy in the youthful creation, which spreads and smiles around them. Their mutual love is deep, for it is the love of young, unworn, unexhausted hearts, which meet in each other the only human objects on whom to pour forth their fulness of affection; and still it is serene, for it is the love of happy beings, who know not suffering even by name, whose innocence excludes not only the tumults but the thought of jealousy and shame, who, "imparadised in one another's arms," scarce dream of futurity, so blessed is their present being. We will not say that we envy our first parents; for we feel that there may be higher happiness than theirs, a happiness won through struggle with inward and outward foes, the happiness of power and moral victory, the happiness of disinterested sacrifices and wide-spread love, the happiness of boundless hope, and of " thoughts which wander through eternity." Still there are times, when the spirit, oppressed with pain, worn with toil, tired of tumult, sick at the sight of guilt, wounded in its love, baffled in its hope, and trembling in its faith, almost longs for the "wings of a dove, that it might fly away" and take refuge amidst the "shady bowers," the "vernal airs," the "roses without thorns," the quiet, the beauty, the loveliness of Eden. It is the contrast of this deep peace of Paradise with the storms of life, which gives to the fourth and fifth books of this poem a charm so irresistible, that not a few would sooner relinquish the two first books, with all their sublimity, than part with these. It has sometimes been said, that the English language has no good pastoral poetry. We would ask, in what age or country has the pastoral reed breathed such sweet strains as are borne to us on "the odoriferous wings of gentle gales" from Milton's Paradise ?

We should not fulfil our duty, were we not to say one word on what has been justly celebrated, the harmony of Milton's versification. His numbers have the prime charm of expressiveness. They vary with, and answer to, the depth, or tenderness, or sublimity of his conceptions, and hold intimate alliance with the soul. Like Michael Angelo, in whose hands the marble was said to be flexible, he bends our language, which foreigners reproach with hardness, into whatever forms the subject demands. All the treasures of sweet and solemn sound are at his command. Words, harsh and discordant in the writings of less gifted men, flow through his poetry in a full stream of harmony. This power over language is not to be ascribed to Milton's musical ear. It belongs to the soul. It is a gift or exercise of genius, which has power to impress itself on whatever it touches, and finds or frames, in sounds, motions, and material forms, correspondences and harmonies with its own fervid thoughts and feelings.

We close our remarks on Milton's poetry with observing, that it is characterized by seriousness. Great and various as are its merits, it does not discover all the variety of genius, which we find in Shakspeare, whose imagination revelled equally in regions of mirth, beauty, and terror, now evoking spectres, now sporting with fairies, and now "ascending the highest heaven of invention." Milton was cast on times too solemn and eventful, was called to take part in transactions too perilous, and had too perpetual need of the presence of high thoughts and motives, to indulge himself in light and gay creations, even had his genius been more flexible and sportive. But Milton's poetry, though habitually serious, is always healthful, and bright, and vigorous. It has no gloom. He took no pleasure in drawing dark pictures of life; for he knew by experience, that there is a power in the soul to transmute calamity into an occasion and nutriment of moral power and triumphant virtue. We find nowhere in his writings that whining sensibility and exaggeration of morbid feeling, which makes so much of modern poetry effeminating. If he is not gay, he is not spirit-broken. His "L' Allegro" proves, that he understood thoroughly the bright and joyous aspects of nature; and in his "Penseroso," where he was tempted to accumulate images of gloom, we learn, that the saddest views which he took of creation, are such as inspire only pensive musing or lofty contemplation.

From Milton's poetry, we turn to his prose. We rejoice that the dust is beginning to be wiped from his prose writings, and that the public are now learning, what the initiated have long known, that these contain passages hardly inferior to his best poetry, and that they are throughout marked with the same vigorous mind which gave us "Paradise Lost." The attention to these works has been discouraged by some objections, on which we shall bestow a few remarks.

And first, it is objected to his prose writings, that the style is difficult and obscure, abounding in involutions, transpositions, and Latinisms; that his protracted sentences exhaust and weary the mind, and too often yield it no better recompense than confused and indistinct perceptions. We mean not to deny that these charges have some grounds; but they seem to us much exaggerated; and, when we consider that the difficulties of Milton's style have almost sealed up his prose writings, we cannot but lament the fastidiousness and effeminacy of modern readers. We know that simplicity and perspicuity are important qualities of style; but there are vastly nobler and more important ones, such as energy and richness, and in these Milton is not surpassed. The best style is not that which puts the reader most easily and in the shortest time in possession of a writer's naked thoughts; but that which is the truest image of a great intellect, which conveys fully and carries farthest into other souls the conceptions and feelings of a profound and lofty spirit. To be universally intelligible is not the highest merit. A great mind cannot, without injurious constraint, shrink itself to the grasp of common passive readers. Its natural movement is free, bold, and majestic, and it ought not to be required to part with these attributes, that the multitude may keep pace with it. A full mind will naturally overflow in long sentences, and, in the moment of inspiration, when thick-coming thoughts and images crowd