creed which is susceptible of being preached and defended in argument, as to allege no superiority in moral virtue to his God over his Devil. He mingled as it were the elements of human nature as colours upon a single pallet, and arranged them into the composition of his great picture, according to the laws of epic truth; that is, according to the laws of that principle by which a series of actions of intelligent and ethical beings, developed in a rythmical tale, are calculated to excite the sympathy and antipathy of succeeding generations of mankind. The writer who would have attributed majesty and beauty to the character of victorious and vindictive omnipotence, must have been contented with the character of a good Christian; he never could have been a great epic poet. It is difficult to determine, in a country where the most enormous sanctions of opinion and law are attached to a direct avowal of certain speculative notions, whether Milton was a Christian or not, at the period of the composition of Paradise Lost. Is it possible that Socrates seriously believed that Æsculapius would be propitiated by the offering of a cock? Thus much is certain, that Milton gives the Devil all imaginable advantage; and the arguments with which he exposes the injustice and impotent weakness of his adversary, are such as, had they been printed, distinct from the shelter of any dramatic order, would have been answered by the most conclusive of syllogisms—persecution. As it is, Paradise Lost has conferred on the modern mythology a systematic form; and when the immeasurable and unceasing mutability of time shall have added one more superstition to those which have already arisen and decayed upon the earth, commentators and critics will be learnedly employed in elucidating the religion of ancestral Europe,
