English Literature: Its History and Significance for the Life of the English-Speaking World, William J. Long [suggested reading .txt] 📗

the presence of nature. To quote scattered lines of either poem is to do injustice to both. They should be read in their entirety the same day, one at morning, the other at eventide, if one is to appreciate their beauty and suggestiveness.

ComusThe "Masque of Comus" is in many respects the most perfect of Milton's poems. It was written in 1634 to be performed at Ludlow Castle before the earl of Bridgewater and his friends. There is a tradition that the earl's three children had been lost in the woods, and, whether true or not, Milton takes the simple theme of a person lost, calls in an Attendant Spirit to protect the wanderer, and out of this, with its natural action and melodious songs, makes the most exquisite pastoral drama that we possess. In form it is a masque, like those gorgeous products of the Elizabethan age of which Ben Jonson was the master. England had borrowed the idea of the masque from Italy and had used it as the chief entertainment at all festivals, until it had become to the nobles of England what the miracle play had been to the common people of a previous generation. Milton, with his strong Puritan spirit, could not be content with the mere entertainment of an idle hour. "Comus" has the gorgeous scenic effects, the music and dancing of other masques; but its moral purpose and its ideal teachings are unmistakable. "The Triumph of Virtue" would be a better name for this perfect little masque, for its theme is that virtue and innocence can walk through any peril of this world without permanent harm. This eternal triumph of good over evil is proclaimed by the Attendant Spirit who has protected the innocent in this life and who now disappears from mortal sight to resume its life of joy:

Mortals, that would follow me,
Love Virtue; she alone is free.
She can teach ye how to climb
Higher than the sphery chime;
Or if Virtue feeble were,
Heaven itself would stoop to her.

While there are undoubted traces of Jonson and John Fletcher in Milton's "Comus," the poem far surpasses its predecessors in the airy beauty and melody of its verses.

LycidasIn the next poem, "Lycidas," a pastoral elegy written in 1637, and the last of his Horton poems, Milton is no longer the inheritor of the old age, but the prophet of a new. A college friend, Edward King, had been drowned in the Irish Sea, and Milton follows the poetic custom of his age by representing both his friend and himself in the guise of shepherds leading the pastoral life. Milton also uses all the symbolism of his predecessors, introducing fauns, satyrs, and sea nymphs; but again the Puritan is not content with heathen symbolism, and so introduces a new symbol of the Christian shepherd responsible for the souls of men, whom he likens to hungry sheep that look up and are not fed. The Puritans and Royalists at this time were drifting rapidly apart, and Milton uses his new symbolism to denounce the abuses that had crept into the Church. In any other poet this moral teaching would hinder the free use of the imagination; but Milton seems equal to the task of combining high moral purpose with the noblest poetry. In its exquisite finish and exhaustless imagery "Lycidas" surpasses most of the poetry of what is often called the pagan Renaissance.

SonnetsBesides these well-known poems, Milton wrote in this early period a fragmentary masque called "Arcades"; several Latin poems which, like his English, are exquisitely finished; and his famous "Sonnets," which brought this Italian form of verse nearly to the point of perfection. In them he seldom wrote of love, the usual subject with his predecessors, but of patriotism, duty, music, and subjects of political interest suggested by the struggle into which England was drifting. Among these sonnets each reader must find his own favorites. Those best known and most frequently quoted are "On His Deceased Wife," "To the Nightingale," "On Reaching the Age of Twenty-three," "The Massacre in Piedmont," and the two "On His Blindness."

Milton's Prose. Of Milton's prose works there are many divergent opinions, ranging from Macaulay's unbounded praise to the condemnation of some of our modern critics. From a literary view point Milton's prose would be stronger if less violent, and a modern writer would hardly be excused for using his language or his methods; but we must remember the times and the methods of his opponents. In his fiery zeal against injustice the poet is suddenly dominated by the soldier's spirit. He first musters his facts in battalions, and charges upon the enemy to crush and overpower without mercy. For Milton hates injustice and, because it is an enemy of his people, he cannot and will not spare it. When the victory is won, he exults in a paean of victory as soul-stirring as the Song of Deborah. He is the poet again, spite of himself, and his mind fills with magnificent images. Even with a subject so dull, so barren of the bare possibilities of poetry, as his "Animadversions upon the Remonstrants' Defense," he breaks out into an invocation, "Oh, Thou that sittest in light and glory unapproachable, parent of angels and men," which is like a chapter from the Apocalypse. In such passages Milton's prose is, as Taine suggests, "an outpouring of splendors," which suggests the noblest poetry.

AreopagiticaOn account of their controversial character these prose works are seldom read, and it is probable that Milton never thought of them as worthy of a place in literature. Of them all Areopagitica has perhaps the most permanent interest and is best worth reading. In Milton's time there was a law forbidding the publication of books until they were indorsed by the official censor. Needless to say, the censor, holding his office and salary by favor, was naturally more concerned with the divine right of kings and bishops than with the delights of literature, and many books were suppressed for no better reason than that they were displeasing to the authorities. Milton protested against this, as against every other form of tyranny, and his Areopagitica--so called from the Areopagus or Forum of Athens, the place of public appeal, and the Mars Hill of St. Paul's address--is the most famous plea in English for the freedom of the press.

Milton's Later Poetry. Undoubtedly the noblest of Milton's works, written when he was blind and suffering, are Paradise Lost, Paradise Regained, and Samson Agonistes. The first is the greatest, indeed the only generally acknowledged epic in our literature since Beowulf; the last is the most perfect specimen of a drama after the Greek method in our language.

Paradise LostOf the history of the great epic we have some interesting glimpses. In Cambridge there is preserved a notebook of Milton's containing a list of nearly one hundred subjects[167] for a great poem, selected while he was a boy at the university. King Arthur attracted him at first; but his choice finally settled upon the Fall of Man, and we have four separate outlines showing Milton's proposed treatment of the subject. These outlines indicate that he contemplated a mighty drama or miracle play; but whether because of Puritan antipathy to plays and players, or because of the wretched dramatic treatment of religious subjects which Milton had witnessed in Italy, he abandoned the idea of a play and settled on the form of an epic poem; most fortunately, it must be conceded, for Milton had not the knowledge of men necessary for a drama. As a study of character Paradise Lost would be a grievous failure. Adam, the central character, is something of a prig; while Satan looms up a magnificent figure, entirely different from the devil of the miracle plays and completely overshadowing the hero both in interest and in manliness. The other characters, the Almighty, the Son, Raphael, Michael, the angels and fallen spirits, are merely mouthpieces for Milton's declamations, without any personal or human interest. Regarded as a drama, therefore, Paradise Lost could never have been a success; but as poetry, with its sublime imagery, its harmonious verse, its titanic background of heaven, hell, and the illimitable void that lies between, it is unsurpassed in any literature.

In 1658 Milton in his darkness sat down to dictate the work which he had planned thirty years before. In order to understand the mighty sweep of the poem it is necessary to sum up the argument of the twelve books, as follows:

Argument of Paradise LostBook I opens with a statement of the subject, the Fall of Man, and a noble invocation for light and divine guidance. Then begins the account of Satan and the rebel angels, their banishment from heaven, and their plot to oppose the design of the Almighty by dragging down his children, our first parents, from their state of innocence. The book closes with a description of the land of fire and endless pain where the fallen spirits abide, and the erection of Pandemonium, the palace of Satan. Book II is a description of the council of evil spirits, of Satan's consent to undertake the temptation of Adam and Eve, and his journey to the gates of hell, which are guarded by Sin and Death. Book III transports us to heaven again. God, foreseeing the fall, sends Raphael to warn Adam and Eve, so that their disobedience shall be upon their own heads. Then the Son offers himself a sacrifice, to take away the sin of the coming disobedience of man. At the end of this book Satan appears in a different scene, meets Uriel, the Angel of the Sun, inquires from him the way to earth, and takes his journey thither disguised as an angel of light. Book IV shows us Paradise and the innocent state of man. An angel guard is set over Eden, and Satan is arrested while tempting Eve in a dream, but is curiously allowed to go free again. Book V shows us Eve relating her dream to Adam, and then the morning prayer and the daily employment of our first parents. Raphael visits them, is entertained by a banquet (which Eve proposes in order to show him that all God's gifts are not kept in heaven), and tells them of the revolt of the fallen spirits. His story is continued in Book VI. In Book VII we read the story of the creation of the world as Raphael tells it to Adam and Eve. In Book VIII Adam tells Raphael the story of his own life and of his meeting with Eve. Book IX is the story of the temptation by Satan, following the account in Genesis. Book X records the divine judgment upon Adam and Eve; shows the construction by Sin and Death of a highway through chaos to the earth, and Satan's return to Pandemonium. Adam and Eve repent of their disobedience and Satan and his angels are turned into serpents. In Book XI the Almighty accepts Adam's repentance, but condemns him to be banished from Paradise, and the archangel Michael is sent to execute the sentence. At the end of the book, after Eve's feminine grief at the loss of Paradise, Michael begins a prophetic vision of the destiny of man. Book XII continues Michael's vision. Adam and Eve are comforted by hearing of the future redemption of their race. The poem ends as they wander forth out of Paradise and the door closes behind them.

It will be seen that this is a colossal epic, not of a man or a hero, but of the whole race of men; and that Milton's characters are such as no human hand could adequately portray. But the scenes, the splendors of heaven, the horrors of hell, the serene beauty of Paradise, the sun and planets suspended between celestial light and gross darkness, are pictured with an imagination that is almost superhuman. The abiding interest of the poem is in these colossal pictures, and