Of Milton's other writings we have left ourselves no room to speak; and though every one of them, or almost every one of them, would well repay a careful criticism, yet few of them seem to throw much additional light on his character, or add much to our essential notion of his genius, though they may exemplify and enhance it. "Comus" is the poem which does so the most. Literature has become so much lighter than it used to be, that we can scarcely realize the position it occupied in the light literature of our forefathers. We have now in our own language many poems that are pleasanter in their subject, more graceful in their execution, more flowing in their outline, more easy to read. Dr. Johnson, though perhaps no very excellent authority on the more intangible graces of literature, was disposed to deny to Milton the capacity of creating the lighter literature: "Milton, madam, was a genius that could cut a colossus from a rock, but could not carve heads upon cherry-stones." And it would not be surprising if this generation, which has access to the almost infinite quantity of lighter compositions which have been produced since Johnson's time, were to echo his sentence. In some degree, perhaps, the popular taste does so. "Comus" has no longer the peculiar exceptional popularity which it used to have: we can talk without general odium of its defects; its characters are nothing, its sentiments are tedious, its story is not interesting. But it is only when we have realized the magnitude of its deficiencies that we comprehend the peculiarity of its greatness. Its power is in its style. A grave and firm music pervades it; it is soft, without a thought of weakness; harmonious and yet strong; impressive as few such poems are, yet covered with a bloom of beauty and a complexity of charm that few poems have either. We have perhaps light literature in itself better, that we read oftener and more easily, that lingers more in our memories; but we have not any, we question if there ever will be any, which gives so true a conception of the capacity and the dignity of the mind by which it was produced. The breath of solemnity which hovers round the music attaches us to the writer. Every line, here as elsewhere, in Milton excites the idea of indefinite power. And so we must draw to a close. The subject is an infinite one, and if we pursued it, we should lose ourselves in miscellaneous commentary, and run on far beyond the patience of our readers. What we have said has at least a defined intention: we have wished to state the impression which the character of Milton and the greatest of Milton's works are likely to produce on readers of the present generation,--a generation different from his own almost more than any other.