Harvard Classics, Volume 28, - [feel good fiction books .TXT] 📗

now compose long narratives to "justify the ways of God to men." The more orthodox we are, the more we shrink from it, the more we hesitate at such a task, the more we allege that we have no powers for it. Our most celebrated defenses of established tenets are in the style of Butler, not in that of Milton. They do not profess to show a satisfactory explanation of human destiny: on the contrary, they hint that probably we could not understand such an explanation if it were given us; at any rate, they allow that it is not given us. Their course is palliative: they suggest an "analogy of difficulties"; if our minds were greater, so they reason, we should comprehend these doctrines,—now we cannot explain analogous facts which we see and know. No style can be more opposite to the bold argument, the boastful exposition of Milton. The teaching of the eighteenth century is in the very atmosphere we breathe: we read it in the teachings of Oxford; we hear it from the missionaries of the Vatican. The air of the theology is clarified. We know our difficulties, at least: we are rather prone to exaggerate the weight of some than to deny the reality of any.

We cannot continue a line of thought which would draw us on too far for the patience of our readers. We must, however, make one more remark, and we shall have finished our criticism on "Paradise Lost." It is analogous to that which we have just made. The scheme of the poem is based on an offense against positive morality. The offense of Adam was not against nature or conscience, nor against anything of which we can see the reason or conceive the obligation, but against an unexplained injunction of the Supreme Will. The rebellion in heaven, as Milton describes it, was a rebellion not against known ethics or immutable spiritual laws, but against an arbitrary selection and an unexplained edict. We do not say that there is no such thing as positive morality,—we do not think so; even if we did, we should not insert a proposition so startling at the conclusion of a literary criticism. But we are sure that wherever a positive moral edict is promulgated, it is no subject, except perhaps under a very peculiar treatment, for literary art. By the very nature of it, it cannot satisfy the heart and conscience. It is a difficulty; we need not attempt to explain it away,—there are mysteries enough which will never be explained away. But it is contrary to every principle of criticism to state the difficulty as if it were not one; to bring forward the puzzle, yet leave it to itself; to publish so strange a problem, and give only an untrue solution of it: and yet such, in its bare statement, is all that Milton has done.

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.

[1] The Life of John Milton, narrated in connection with the Political, Ecclesiastical, and Literary History of his time. By David Masson, M. A., Professor of English Literature in University College, London, Cambridge: Macmillan.

An Account of the Life, Opinions, and Writings of John Milton. By Thomas Keightley; with an Introduction to "Paradise Lost." London: Chapman & Hall.

The Poems of Milton, with Notes by Thomas Keightley. London; Chapman & Hall.

[2] Review of Lockhart's Scott.

[3] "L'Allegro."

[4] "Life of Milton."

[5] Sonnet xix.

[6] "Though fallen on evil days, On evil days though fallen, and evil tongues."
—"Paradise Lost," Book vii.

[7] John Henry Newman's "Call of David."

[8] "Apology for Smectymnuus."

[9] "Reason of Church Government," introduction to Book iii.

[10] Philips.

[11] Translated by Keightley from "Defensio Secunda."

[12] Wordsworth, "Tintern Abbey."

[13] "Life of Milton."

[14] Philips.

[15] "Defense of the People of England," Chap. iv.

[16] "Paradise Lost," Book vii.

[17] Richardson.

[18] Book v., Raphael to Adam.

[19] Imitation of Horace's Epistle to Augustus, Book ii., Ep. i.

[20] Book iv.

[21] "Essay on Satire."

SCIENCE AND CULTURE BY THOMAS HENRY HUXLEY

INTRODUCTORY NOTE

Thomas Henry Huxley (1825-95) was born at Baling, near London, and having studied medicine went to sea as assistant surgeon in the navy. After leaving the Government service, he became Professor of Natural History at the Royal School of Mines and Fullerian Professor of Physiology at the Royal Institution, and later held many commissions and received many distinctions in the scientific world. His special field was morphology, and in it he produced a large number of monographs and several comprehensive manuals.

It is not, however, by his original contributions to knowledge that Huxley's name is best known to readers outside of technical science, but rather by his labors in popularisation and in polemics. He was one of the foremost and most effective champions of Darwinism, and no scientist has been more conspicuous in the battle between the doctrine of evolution and the older religious orthodoxy. Outside of this particular issue, he was a vigorous opponent of supernaturalism in all its forms, and a supporter of the agnosticism which demands that nothing shall be believed "with greater assurance than the evidence warrants"—the evidence intended being, of course, of the same kind as that admitted in natural science.

Huxley's interests thus extended from pure science into many adjoining fields, such as those of theology, philosophy (where he wrote an admirable book on Hume), and education. Of his attitude toward this last, a clear idea may be gained from the following address on "Science and Culture," a singularly forcible plea for the importance of natural science in general education.

In all his writings Huxley commands a style excellently adapted to his purpose: clear, forcible, free from mannerism, yet telling and often memorable in phrase. Whatever may be the exact magnitude of his services to pure science, he was a master in the writing of English for the purposes of exposition and controversy, and a powerful intellectual influence on almost all classes in his generation.

SCIENCE AND CULTURE[1]

Six years ago, as some of my present hearers may remember, I had the privilege of addressing a large assemblage of the inhabitants of this city, who had gathered together to do honor to the memory of their famous townsman, Joseph Priestley; and, if any satisfaction attaches to posthumous glory, we may hope that the manes of the burnt-out philosopher were then finally appeased.

No man, however, who is endowed with a fair share of common-sense, and not more than a fair share of vanity, will identify either contemporary or posthumous fame with the highest good; and Priestley's life leaves no doubt that he, at any rate, set a much higher value upon the advancement of knowledge, and the promotion of that freedom of thought which is at once the cause and the consequence of intellectual progress.

Hence I am disposed to think that, if Priestley could be amongst us to-day, the occasion of our meeting would afford him even greater pleasure than the proceedings which celebrated the centenary of his chief discovery. The kindly heart would be moved, the high sense of social duty would be satisfied, by the spectacle of well-earned wealth, neither squandered in tawdry luxury and vainglorious show, nor scattered with the careless charity which blesses neither him that gives nor him that takes, but expended in the execution of a well-considered plan for the aid of present and future generations of those who are willing to help themselves.

We shall all be of one mind thus far. But it is needful to share Priestley's keen interest in physical science; and to have learned, as he had learned, the value of scientific training in fields of inquiry apparently far remote from physical science in order to appreciate, as he would have appreciated, the value of the noble gift which Sir Josiah Mason has bestowed upon the inhabitants of the Midland district.

For us children of the nineteenth century, however, the establishment of a college under the conditions of Sir Josiah Mason's trust has a significance apart from any which it could have possessed a hundred years ago. It appears to be an indication that we are reaching the crisis of the battle, or rather of the long series of battles, which have been fought over education in a campaign which began long before Priestley's time, and will probably not be finished just yet.

In the last century, the combatants were the champions of ancient literature, on the one side, and those of modern literature on the other; but, some thirty years[2] ago, the contest became complicated by the appearance of a third army, ranged round the banner of physical science.

I am not aware that any one has authority to speak in the name of this new host. For it must be admitted to be somewhat of a guerilla force, composed largely of irregulars, each of whom fights pretty much for his own hand. But the impressions of a full private, who has seen a good deal of service in the ranks, respecting the present position of affairs and the conditions of a