This sort of explicit criticism, in a small way, is rather unsatisfactory; so let us look at a specimen of implicit on Milton. In Todd's edition are detailed the names of the translators of "Paradise Lost" into rhyme and prose. "We must not" says Sir Walter, "confound with these effusions of gratuitous folly an alteration or imitation planned and executed by John Dryden." We must not; therefore let "his gratuitous folly" stand aloof from theirs, and be judged of in itself. "The State of Innocence" is AN OPERA! "Had the subject been of a nature which admitted its being actually represented, we might conceive that Dryden, who was under engagements to the theatre, with which it was not always easy to comply, might have been desirous to shorten his own labour _by adopting the story, sentiments, and language of a poem_" (how kind and cool) "which he so highly esteemed, and which might probably have been new to the generality of his audience. But the _costume_ of our first parents, had there been no other objection, must have excluded 'The State of Innocence' from the stage; and, accordingly, it was certainly never intended for representation." One cannot well help agreeing with Sir Walter in this pleasant passage; nevertheless, might not the opera have been indited with a view to representation? With what more _rational_ purpose could it have been "planned and executed"? The stage directions are full and minute; and, if meant for perusal only, and to be part of the poem, they are beyond the ridiculous. As, for example--
"Scene I. represents a chaos, or a confused mass of matter; the stage is almost wholly dark. A symphony of warlike music is heard for some time; then from the heavens (which are opened) fall the rebellious angels, wheeling in air, and seeming transfixed with thunderbolts. The bottom of the stage being opened, receives the angels, who fall out of sight. Tunes of victory are played, and an hymn sung; angels discovered alone, brandishing their swords. The music ceasing, and the heavens being closed, the scene shifts, and, on a sudden, represents hell. Part of the scene is a lake of brimstone or rolling fire; the earth of a burnt colour. The fallen angels appear on the lake, lying prostrate; a tune of horror and lamentation is heard."