He knew that those who, with the best intentions, overlooked these schemes of reform, and contented themselves with pulling down the King and imprisoning the malignants, acted like the heedless brothers in his own poem, who, in their eagerness to disperse the train of the sorcerer, neglected the means of liberating the captive. They thought only of conquering when they should have thought of disenchanting.

"Oh, ye mistook! Ye should have snatched his wand
And bound him fast. Without the rod reversed,
And backward mutters of dissevering power,

We cannot free the lady that sits here

Bound in strong fetters fixed and motionless."

To reverse the rod, to spell the charm backward, to break the ties which bound a stupefied people to the seat of enchantment, was the noble aim of Milton. To this all his public conduct was directed. For this he joined the Presbyterians: for this he forsook them. He fought their perilous battle; but he turned away with disdain from their insolent triumph. He saw that they like those whom they had vanquished, were hostile to the liberty of thought. He therefore joined the Independents, and called upon Cromwell to break the secular chain, and to save free conscience from the paw of the Presbyterian wolf. With a view to the same great object, he attacked the licensing system, in that sublime treatise which every statesman should wear as a sign upon his hand and as frontlets between his eyes. His attacks were, in general, directed less against particular abuses than against those deeply-seated errors on which almost all abuses are founded, the servile worship of eminent men and the irrational dread of innovation.

That he might shake the foundations of these debasing sentiments more effectually, he always selected for himself the boldest literary services. He never came up in the rear, when the outworks had been carried and the breach entered. He pressed into the forlorn hope. At the beginning of the changes, he wrote with incomparable energy and eloquence against the bishops. But, when his opinion seemed likely to prevail, he passed on to other subjects, and abandoned prelacy to the crowd of writers who now hastened to insult a falling party. There is no more hazardous enterprise than that of bearing the torch of truth into those dark and infected recesses in which no light has ever shone. But it was the choice and the pleasure of Milton to penetrate the noisome vapours, and to brave the terrible explosion. Those who most

disapprove of his opinions must respect the hardihood with which he maintained them. He, in general, left to others the credit of expounding and defending the popular parts of his religious and political creed. He took his own stand upon those which the great body of his countrymen reprobated as criminal, or derided as paradoxical. He stood up for divorce and regicide. He attacked the prevailing systems of education. His radiant and beneficent career resembled that of the god of light and fertility.

"Nitor in adversum; nec me, qui cætera, vincit
Impetus, et rapido contrarius evchor orbi."

It is to be regretted that the prose writings of Milton should, in our time, be so little read. As compositions, they deserve the attention of every man who wishes to become acquainted with the full power of the English language. They abound with passages compared with which the finest declamations of Burke sink into insignificance. They are a perfect field of cloth of gold. The style is stiff with gorgeous embroidery. Not even in the earlier books of the Paradise Lost has the great poet ever risen higher than in those parts of his controversial works in which his feelings, excited by conflict, find a vent in bursts of devotional and lyric rapture. It is, to borrow his own majestic language, "a sevenfold chorus of hallelujahs and harping symphonies." We had intended to look more closely at these performances, to analyse the peculiarities of the diction, to dwell at some length on the sublime wisdom of the Areopagitica and the nervous rhetoric of the Iconoclast, and to point out some of those magnificent passages which occur in the Treatise of Reformation, and the Animadversions on the Remonstrant. But the length to which our remarks have already extended renders this impossible.

We must conclude. And yet we can scarcely tear ourselves away from the subject. The days immediately following the publication of this relic of Milton appear to be peculiarly set apart, and consecrated to his memory. And we shall scarcely be censured if, on this his festival, we be found lingering near his shrine, how worthless soever may be the offering which we bring to it. While this book lies on our table, we seem to be contemporaries of the writer. We are transported a hundred and fifty years back. We can almost fancy that we are visiting him in his small lodging; that we see him sitting at the old organ beneath the faded green hangings; that we can catch the quick twinkle

of his eyes, rolling in vain to find the day; that we are reading in the lines of his noble countenance the proud and mournful history of his glory and his affliction. We image to ourselves the breathless silence in which we should listen to his slightest word, the passionate veneration with which we should kneel to kiss his hand and weep upon it, the earnestness with which we should endeavour to console him, if indeed such a spirit could need consolation, for the neglect of an age unworthy of his talents and his virtues, the eagerness with which we should contest with his daughters, or with his Quaker friend Elwood, the privilege of reading Homer to him, or of taking down the immortal accents which flowed from his lips.

These are perhaps foolish feelings. Yet we cannot be ashamed of them; nor shall we be sorry if what we have written shall in any degree excite them in other minds. We are not much in the habit of idolizing either the living or the dead. And we think that there is no more certain indication of a weak and ill-regulated intellect than that propensity which, for want of a better name, we will venture to christen Boswellism. But there are a few characters which have stood the closest scrutiny and the severest tests, which have been tried in the furnace and have proved pure, which have been weighed in the balance and have not been found wanting, which have been declared sterling by the general consent of mankind, and which are visibly stamped with the image and superscription of the Most High. These great men we trust that we know how to prize; and of these was Milton. The sight of his books, the sound of his name, are pleasant to us. His thoughts resemble those celestial fruits and flowers which the Virgin Martyr of Massinger sent down from the gardens of Paradise to the earth, and which were distinguished from the productions of other soils, not only by superior bloom and sweetness, but by miraculous efficacy to invigorate and to heal. They are powerful, not only to delight, but to elevate and purify. Nor do we envy the man who can study either the life or the writings of the great poet and patriot, without aspiring to emulate, not indeed the sublime works with which hi genius has enriched our literature, but the zeal with which he laboured for the public good, the fortitude with which he endured every private calamity, the lofty disdain with which he looked down on temptations and dangers, the deadly hatred which he bore to bigots and tyrants, and the faith which he so sternly kept with his country and with his fame.

MACHIAVELLI. (MARCH, 1827.)

Euvres complètes de MACHIAVEL, traduites par J. V. PÉRIER. Paris: 1825.

THOSE who have attended to the practice of our literary tribunal are well aware that, by means of certain legal fictions similar to those of Westminster Hall, we are frequently enabled to take cognisance of cases lying beyond the sphere of our original jurisdiction. We need hardly say, therefore, that in the present instance M. Périer is merely a Richard Roe, who will not be mentioned in any subsequent stage of the proceedings, and whose name is used for the sole purpose of bringing Machiavelli into court.

We doubt whether any name in literary history be so generally odious as that of the man whose character and writings we now propose to consider. The terms in which he is commonly described would seem to import that he was the Tempter, the Evil Principle, the discoverer of ambition and revenge, the original inventor of perjury, and that, before the publication of his fatal Prince, there had never been a hypocrite, a tyrant, or a traitor, a simulated virtue, or a convenient crime. One writer gravely assures us that Maurice of Saxony learned all his fraudulent policy from that execrable volume. Another remarks that since it was translated into Turkish, the Sultans have been more addicted than formerly to the custom of strangling their brothers. Lord Lyttelton charges the poor Florentine with the manifold treasons of the house of Guise, and with the massacre of St. Bartholomew. Several authors have hinted that the Gunpowder Plot is to be primarily attributed to his doctrines, and seem to think that his effigy ought to be substituted for that of Guy Faux, in those processions by which the ingenuous youth of England an- ' nually commemorate the preservation of the Three Estates. The Church of Rome has pronounced his works accursed things. Nor have our own countrymen been backward in testifying their opinion of his merits. Out of his surname.

they have coined an epithet for a knave, and out of his Christian name a synonyme for the Devil.*

It is indeed scarcely possible for any person, not well acquainted with the history and literature of Italy, to read without horror and amazement the celebrated treatise which has brought so much obloquy on the name of Machiavelli. Such a display of wickedness, naked yet not ashamed, such cool, judicious, scientific atrocity, seemed rather to belong to a fiend than to the most depraved of men. Principles which the most hardened ruffian would scarcely hint to his most trusted accomplice, or avow, without the disguise of some palliating sophism, even to his own mind, are professed without the slightest circumlocution, and assumed as the fundamental axioms of all political science.

It is not strange that ordinary readers should regard the author of such a book as the most depraved and shameless of human beings. Wise men, however, have always been inclined to look with great suspicion on the angels and dæmons of the multitude: and in the present instance, several circumstances have led even superficial observers to question the justice of the vulgar decision. It is notorious that Machiavelli was, through life, a zealous republican. In the same year in which he composed his manual of King-craft, he suffered imprisonment and torture in the cause of public liberty. It seems inconceivable that the martyr of freedom should have designedly acted as the apostle of tyranny. Several eminent writers have, therefore, endeavoured to detect in this unfortunate performance some concealed meaning, more consistent with the character and conduct of the author than that which appears at the first glance.

One hypothesis is that Machiavelli intended to practise on the young Lorenzo de Medici a fraud similar to that which Sunderland is said to have employed against our James the Second, and that he urged his pupil to violent and perfidious measures, as the surest means of accelerating the moment of deliverance and revenge. Another supposition which Lord Bacon seems to countenance, is that the treatise was merely a piece of grave irony, intended to warn nations against the arts of ambitious men. It would be easy to show that neither of these solutions is consistent with many passages in the Prince itself. But the most decisive refutation

Nick Machiavel had ne'er a trick,

Tho' he gave his name to our old Nick.

Hudibras, Part III. Canto I.

But, we believe, there is a schism on this subject among the antiquarians.