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If true, here only, &c*.


And in the original draught of the spirit's prologue to
Comus, he had painted these delicious islands with the
utmost luxuriance of fancy.
In Lycidas,

WEEP NO MORE, wofull shepherds, WEEP NO MORE,
For Lycidas, your forrow, is not dead.

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Where other groves, and other streams along,
With nectar pure his oozy locks he laves,
In the BLEST KINGDOMS meek of joy and love,
There entertain him all the saints above,
In folemn troops, and sweet societies,
Who Sing, and singing in their glory move.

Henceforth thou art the GENIUS OF THE SHORE.

The fame cast of thought dictated fimilar sentiments on a similar occafion.

Par, Loft. 4. 520.

+ Ibid. 8. 635.

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Nec te Lethæo fas quæfiville sub Orco,
Nec tibi conveniunt lacryma, NEC FLEBIMUS ULTRA,
Ite procul lacrymæ, PURUM COLIT ÆTHERA Damon,
thereos haurit latices.

Quin tu cæli poft jura recepta

Seu tu nofter eris Damen, five ÆQUIOR AUDIS
Diodotus, quo te divino nomine cunéti

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En etiam tibi VIRGINEI servantur HONORES;
Ipfe caput nitidum cinctus rutilante corona,
Lætaque frondentis geftans umbracula palma,
Cantus ubi, choreisque furit lyra mista beatis *.

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The notion of the spirit being present at the celestial fymphony, the UNEXPRESSIVE SONG, is again defcribed in the latin poem ad Patrem.

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Spiritus athereos qui circinat aureus orbes,
Nunc quoque sydereis intercinit ipse choreis,
IMMORTALe melos, et INENARRABILE carmen.

* Epitaphium Damonis,

In Comus.

How charming is divine philosophy!
Not harsh and crabbed, as dull fools fuppose,
But musical as is Apollo's lute.

So in Paradise Regained,

Hard are the ways of truth, and rough to walk,
Smooth on the tongue discours'd, pleasing to th’ear,
And tureable as fylvan pipe or fong *.

So also in the Tractate of Education. “ I shall not

. detain you longer in the demonstration of what we should not do; but strait conduct you to a hill-fide, where I will point ye out the right path of a virtuous and noble education, laborious indeed at the first afcent, but also so smooth, so green, so full of goodly prospect, and melodious sounds, that the harp of Orpheus was not more charming t.”

It may not be disagreeable, to give a sketch of the analogy between some passages in Milton's poetical and prose works, hitherto not compared. The following is a most beautiful fimile in Paradise Lost.


As when a scout,
Through dark and desert ways with peril gone,

# B. 1. v. 478,

+ Edit. Lond, 1725, 12mo. pag. 344.



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All night, at last by break of chearfull dawn,
Obtains the brow of some high-climbing hill,
Which to his eye discovers unaware
The goodly prospect of some foreign land,
First seen, or some renown'd metropolis,
With gliftering spires, and pinnacles adorn'd,
Which now the rising fun gilds with his beams.

Its ground-work is laid in the following passage from his History. « By this time, like one who had set out on his way by night, and travelled through a region of smooth or idle dreams, our history now arrives on the confines where daylight and truth meet us with a clear dawn, representing to our view, though at a far distance, true colours and shapes t."

In L'Allegro.

Where the great fun begins his state,
Robed in flames and amber light
The clouds in thousand liveries dight.

So in a very puerile description of the morning, in one of his Prolusions, “ Ipfa quoque tellus, in adventum solis, cultiori fe induit vestitu, nubesque juxta variis CHLAMYDATÆ coloribus, &c 1."

# B. 3. V. 543.

+ Birch's Edit. Milton's Profe Works, vol. | Ibid, vol. 2. pag. 586.

3. pag. 12,

In the poem, At a vacation exercise in the College, &c.

The deep transported mind may soar
Above the wheeling poles, and at heav'ns door
Look in.

Then passing through the sphears of watchfull fire
And misty regions of wide air next under,
And hills of snow, and lofts of piled thunder.

So in another Prolusion, written perhaps about the same time. « Nec dubitatis, auditores, etiam in cælos volare, ibique illa multiformia nubium spectra, niviumque coacervatam vim contemplemini..... Grandinisque exinde loculos inspicite, et armamenta fulminum perscrutemini *."

In Arcades, the genius thus divinely speaks of the music of the spheres.

Listen I
To the celestial fyrens harmony,
That fit upon the nine-enfolded spheres.
And fing to those that hold the vital sheares,
And turn the adamantine spindle round,
On which the fate of gods and men is wound.
Such fweet compulfion doth in mufick lie,
To lull the daughters of neceffity,

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