whether the poem can be properly termed HEROIC, and who is the hero,
are raised by such readers as draw their principles of judgment
rather from books than from reason. Milton, though he entitled
"Paradise Lost" only a "poem," yet calls it himself "heroic song."
Dryden petulantly and indecently denies the heroism of Adam, because
he was overcome; but there is no reason why the hero should not be
unfortunate, except established practice, since success and virtue
do not go necessarily together. Cato is the hero of Lucan; but
Lucan's authority will not be suffered by Quintilian to decide.
However, if success be necessary, Adam's deceiver was at last
crushed; Adam was restored to his Maker's favour, and therefore may
securely resume his human rank.

After the scheme and fabric of the poem, must be considered its
component parts, the sentiments and the diction.

The SENTIMENTS, as expressive of manners, or appropriated to
characters, are, for the greater part, unexceptionably just.

Splendid passages, containing lessons of morality, or precepts of
prudence, occur seldom. Such is the original formation of this
poem, that, as it admits no human manners till the Fall, it can give
little assistance to human conduct. Its end is to raise the
thoughts above sublunary cares or pleasures. Yet the praise of that
fortitude, with which Abdiel maintained his singularity of virtue
against the scorn of multitudes, may be accommodated to all times;
and Raphael's reproof of Adam's curiosity after the planetary
motions, with the answer returned by Adam, may be confidently
opposed to any rule of life which any poet has delivered.