and likewise
by the Vision wherein Adam at the close of the Poem sees his Off-spring
triumphing over his great Enemy, and himself restored to a happier
Paradise than that from which he fell.

There is another Objection against Milton's Fable, which is indeed
almost the same with the former, tho placed in a different Light,
namely, That the Hero in the Paradise Lost is unsuccessful, and by no
means a Match for his Enemies. This gave Occasion to Mr. Dryden's
Reflection, that the Devil was in reality Milton's Hero. [5]

I think I have obviated this Objection in my first Paper. The Paradise
Lost is an Epic [or a] Narrative Poem, [and] he that looks for an Hero
in it, searches for that which Milton never intended; [but [6]] if he
will needs fix the Name of an Hero upon any Person in it, tis certainly
the Messiah who is the Hero, both in the Principal Action, and in the
[chief Episodes.] [7] Paganism could not furnish out a real Action for a
Fable greater than that of the Iliad or AEneid, and therefore an Heathen
could not form a higher Notion of a Poem than one of that kind, which
they call an Heroic. Whether Milton's is not of a [sublimer [8]] Nature
I will not presume to determine: It is sufficient that I shew there is
in the Paradise Lost all the Greatness of Plan, Regularity of Design,
and masterly Beauties which we discover in Homer and Virgil.

I must in the next Place observe, that Milton has interwoven in the
Texture of his Fable some Particulars which do not seem to have
Probability enough for an Epic Poem, particularly in the Actions which
he ascribes to Sin and Death, and the Picture which he draws of the
Limbo of Vanity, with other Passages in the second Book. Such Allegories
rather savour of the Spirit of Spenser and Ariosto, than of Homer and
Virgil.

In the Structure of his Poem he has likewise admitted of too many
Digressions. It is finely observed by Aristotle, that the Author of an
Heroic Poem should seldom speak himself, but throw as much of his Work
as he can into the Mouths of those who are his Principal Actors. [9]

Aristotle has given no reason for this Precept; but I presume it is
because the Mind of the Reader is more awed and elevated when he hears
AEneas or Achilles speak, than when Virgil or Homer talk in their own
Persons. Besides that assuming the Character of an eminent Man is apt to
fire the Imagination, and raise the Ideas of the Author. Tully tells us
[10], mentioning his Dialogue of Ol