In the meantime, I cannot but consider, with much commiseration, the melancholy state of one who has had such a part of himself torn from him, and which he misses in every circumstance of life. His condition is like that of one who has lately lost his right arm, and is every moment offering to help himself with it. He does not appear to himself the same person in his house, at his table, in company, or in retirement; and loses the relish of all the pleasures and diversions that were before entertaining to him by her participation of them. This additional satisfaction, from the taste of pleasures in the society of one we love, is admirably described in Milton, who represents Eve, though in Paradise itself, no further pleased with the beautiful objects around her, than as she sees them in company with Adam, in that passage so inexpressibly charming: "With thee conversing, I forget all time; All seasons, and their change; all please alike. Sweet is the breath of morn, her rising sweet With charm of earliest birds; pleasant the sun, When first on this delightful land he spreads His orient beams, on herb, tree, fruit, and flower, Glistering with dew; fragrant the fertile earth After short showers; and sweet the coming on Of grateful evening mild; the silent night, With this her solemn bird, and this fair moon, And these the gems of Heaven, her starry train. But neither breath of morn when she ascends With charm of earliest birds; nor rising sun On this delightful land; nor herb, fruit, flower, Glistering with dew; nor fragrance after showers; Nor grateful evening mild; nor silent night, With this her solemn bird, nor walk by moon, Or glittering star-light, without thee is sweet." The variety of images in this passage is infinitely pleasing; and the recapitulation of each particular image, with a little varying of the expression, makes one of the finest turns of words that I have ever seen: which I rather mention because Mr. Dryden has said, in his preface to Juvenal, that he could meet with no turn of words in Milton. It may further be observed, that though the sweetness of these verses has something in it of a pastoral, yet it excels the ordinary kind, as much as the scene of it is above an ordinary field or meadow. I might here, as I am accidentally led into this subject, show several passages in Milton that have as excellent turns of this nature as any of our English poets whatsoever; but shall only mention that which follows, in which he describes the fallen angels engaged in the intricate disputes of predestination, free-will, and fore-knowledge; and, to humour the perplexity, makes a kind of labyrinth in the very words that describe it.