UNIVERSITY OF CALIFORNIA AT LOS ANGELES UNiVEKSi'l'Y of CALIFUKNXA -V 1 LOS ANGELES LIBRARY STUDIES IN THE MILTON TRADITION BY JOHN WALTER GOOD A. B. Erskine College, 1902 A. M. Erskine College, 1904 THESIS Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in English IN THE GRADUATE SCHOOL OF THE UNIVERSITY OF ILLINOIS 1913 Reprinted from tlie Cnivei'sity t>f Illinois Studies in Languages and r.iteraturc Volume 1. Nos. 3 and 4 28 • 7 7 2 i 3 2 :: s CONTENTS CHAPTER I Introductory Survey of the Field ii 1 Milton's reputation during Restoration Period ii 1 General sense of neglect, with special credit to the services of Addison.... 12 2 Attempted explanation of neglect 13 3 Research into questions of reputation IS 2 Common views of Milton's influence 17 1 Productive influence denied to his Epics 18 -^ 2 Influence worked out along the lines of the Romantic Movement laid ''^ down by Professor Phelps and Professor Beers 18 y 3 The Nature and Purpose of the present Studies 22 CHAPTER II Publication of Milton's Works 24 ^- I Paradise Lost 25 2 Paradise Regained 31 3 Samson Agonistes 34 4 Comus 35 5 Lycidas (^ 6 L' Allegro and // Penseroso (Companion Poems) >2S'~/' 7 Other Minor Poems - - 40 8 English Poems in Latin Translations (184-192) 41 9 The Prose Works 43 10 Summaries 34 49 CHAPTER III Poetical Tributes to Milton 51 -^ CHAPTER IV BiOGRAP'fiicAL Treatment of Milton 112 1 Allusions before Paradise Lost (1667) 112 2 John Aubrey's Notes _ 1 13 3 Earliest Life (Dr. Paget?) 113 4 William Winstanley (1687) 114 5 Anthony A. Wood (1691-2?) US 6 Gerard Langbaine (1691) IIS 7 Addison (1694), Yalden (1698), Blount (1694) 116 8 Edward Phillips (1694) 1 16 9 John Toland ( 1698) I16 10 Gilbert Burnet, History of My Oivn Times (1700?) 118 11 A Complete History of Europe (1705) I18 12 Bp. White Kennet, Complete History of England (1706) 119 13 Thomas Ellwood, The History (1714) 119 14 Giles Jacob, The Poetical Register (1719-20) 119 15 Elijah Fenton ( 1725) 120 16 Daniel Neal, History of the Puritans (1733) 122 5 17 Jonathan Richardson (1734) 123 18 Rev. Thomas Birch, D.D. (1738) 124 ig Rev. Francis Peck (1740) 127 20 Martha Whincop ( 1747) - 127 21 Rev Thomas Newton, D.D. (1749) 128 22 Theophilus Cibber (1753) 129 23 David Hume, History of England (1756) 130 24 William Harris. Histories (1753-1766) 132 25 Mrs. Cath. Macaulay Graham, History of England (1763) I33 26 John Bell (1777, 1796) I33 27 Dr. Samuel Johnson (1779) 134 28 Dr. Robert .Anderson (1783) 136 29 William Hayley (1794), J. Bell (1796) 137 30 Rev. John Evans (1799) 137 31 Rev. Henry J. Todd, D.D. (1801) 137 32 John Aiken (.1798-99) 138 33 Concluding Summary 138 CH.^PTER V Criticism to 1730. Rank Established 140 — I Early indifference to the Minor Poetry 140 2 Early antagonism to the Prose Writings 142 3 Gradual and triumphant rank through Paradise Lost 143 1 Friendly and favorable notices 144 2 .■\dvantageous political changes 145 3 Advancement by formal criticism 146 1 Condemnation by ultra-classicists 146 2 Attitude of Dryden, inspiring confidence 146 3 Moral reformation and John Dennis _ 148 4 Enthusiasm of Cliarles Gildon 150 5 Neo-Classical attitude 150 1 Richard Steele 151 2 Joseph Addison 152 3 Voltaire 155 4 Pomfret, Hughes, Bysshe, Budgell, Gay, &c 157 5 General recognition of Milton's superior genius 158 6 Paradise Lost considered a Divine Poem 159 f 4 Defense of Blank Verse 160 „- I Milton versus Dryden 160 2 Thomas Rhymer, and extreme opposition 162 _ 3 Inferior rank allowed. Deluge of couplets 162 4 Blank verse exalted. Thought vs. Form. Rhyme condcnuied 163 I. Gildon, Watts, Benson, Roscommon 164 2 Phillips, Lansdowne, Atterbury 164 4 Concluding Summary _ 166 V CHAPTER VI Controversies and Explanations. 1730-1765 167 1 Minor Poems made familiar 167-173 """ 2 Prose Works made popular I73-I7S 3 The Epics defended and explained 175 1 Critical editions 176-179 1 Hume (169s) 29, 148, 176 2 Tonson-Addison ( 1719) 176 3 Fenton ( 1725 ) 177 \^4 Bentley (Controversy) (1732) 176-179, 185 5 Hawkey ( 1747) 1/9 2 Critics and Commentators 179-182 ^\ 1 Clarke (1731) 1/9 8 "F.T." (1739) 180 j 2 Swift (1732) 179 9 Smith (1739) 180 ' 3 Jortin (1734) 179 10 Peck (1740) 180 4 Richardson (1734) 179 11 Paterson (1744) 181 5 Shenstone (1735) 180 12 Green (1745) 181 ' 6 Pemberton (1738) 180 13 Stillingfleet (174—) 182 ' 7 Benson (1713, 39) 180 3 Critical editions continued 182 1 Newton (1749) 182 4 Donaldson (1762) 182 1 2 Callander (1750) 182 s Wood (1765) 182/ 3 Marchant (1751) 182 4 Critics of Paradise Regained 182-183 1 Phillips (1694) 182 4 Warburton (1738) 183 2 Meadowcourt (1732) 183 5 Anonymous (1741) 183 3 Jortin (1734) 183 6 Newton (1752) 183 5 Popular re-action 183-184 6 Religious Controversy (Appendix E) 184 7 Lauder Controversy 184-192 8 Later Criticism 192-197 1 Goldsmith (1757) 192 8 T. Warton (1754) 194 2 Hughes (1750) 193 9 J. Warton (1756) 194 3 Johnson (1751) 193 10 Poetical Scale (175S) 195 4 Hurd (1751) 193 II Lyttelton (1760) 196 5 J. Warton (1753) 193 12 W. Massey (1761) 197 6 Cooper (1755) 194 13 W. Dodd 197 7 D. Swift (1755") 194 14 J. Scott 197 9 Familiar Use in Illustrations 197-199 1 Johnson (i7S5) 198 5 D. Webb (1762) 198 2 Burke (1756) 198 6 Watkinson (1761) 199 3 J. Moor (1760) 198 7 H. Blair 199 4 Kames (1762) 198 8 Leland (1764) 199 10 Blank Verse Controversy 200-208 I Poetical criteria. Content vs. Form 200-202 j 1 "Old Man" (1737) 200 I 2 Pemberton (1738) 201 / 3 J. Mason (1749) 201 7 4 Johnson ( 1755) 201 5 Karnes and Webb 201 2 Poetical liberties of blank verse vs. rhyines 202-208 1 Blank verse poetry cited 203 2 Critical authority cited : 1 A. Hill (1/54) 203 2 J. Byrom (1755) 203 3 J. Warton (1756) 204 4 R. Colvill (1757) 204 5 T. Newcomb (1757) 204 6 Dr. Young (1758) 204 7 Kanies and Webb - 206 CHAPTER VII Romantic Application of Milton 209 1 Interests in Minor Poems — mainly scholarly 209 1 Samson Agonist es _ 209 2 L'AUcgro and // Penscroso 211 3 Lycidas and Camus. Dr. Johnson 212 4 Re-action against Johnson. Warton, Scott, &c 213 2 Influence of Milton's larger message upon Romanticism 217 <_^ I Social interests. Correspondence 218 1 Gray, the Wartons, Mason, Cowper 218 2 Horace Walpole _ 219 — 2 Religion _ 220 1 Support of orthodoxy, but more of liberalism 220 2 Influence upon radicalism 220 ~ 3 Encouragement to mysticism 221 3 Political agitation 222 1 Relation to modern freedom _ _ 222 2 Particular force of the Epics 223 3 Identification with Whig interests 224 4 Double support to political radicalism 225 1 In treatment of social and political evils 225 2 In dreams of future golden age of democracy 229 •"" 4 Poetical Form 230 1 Confidence in blank verse 230 2 Limitations assigned to rhyme. Milton's Verse 230 3 Opposition — Goldsmith, RufThead, Darwin, Johnson 232 4 Re-action of liberals — Mason, Knox, KoUctt, Cowper 233 5 Triumphant study of blank verse. Summary 234 .S Standards of literary criticism , 235 1 Milton's excellence unassailable 235 2 Standard of merit — used by Johnson, Warton, Mickle, Mason 236 6 Inner spirit of Romanticism 237 1 Orientalism _ 237 2 Gothic! sni 237 , 3 Medieval Romances 237 \l 4 Descriptive tendencies. Mystic view of Nature 238 8 7 The spirit of Poetry 239 1 Heroic couplets 239 —^ 2 Springs of poetic activity 239 3 Imaginative element 239 4 "High seriousness" 240 3 Ideality the source of Milton's power. Vision of Moral Order 241 «• I Dream of ideal liberty 241 1 \/2 Emphasis upon universal relations of Man 243 3 Exaltation of inner righteousness 244 4 Vivid and powerful mysticism 245 5 Moral end of education 246 6 The "Divine" inspiration of Poetry 247 7 Summary - 248 Conclusion 249 APPENDIX A Milton's History of Britain 251 B Milton's Blindness 252 C Mrs. Macaulay's Estimation of Milton 255 D Addison's Critique in the i8th Century 256 E Controversy about Milton's Religion 259 F Notes on Milton's Sources 261 G Religious Titles 263 H Educational Titles 265 I Milton's Eden and English Landscape Gardening 268 J Milton's Monument, Grave and Family 274 BIBLIOGRAPHY 279 CHAPTER I Introductory Survey op the Field The question of Milton's popularity during the Restoration Period has had an interesting development. The earliest recorded opinions on this subject seem to belong to the generation that succeeded the Restor- ation, and almost unanimously proclaim Milton unpopular during that period. The men who seem most responsible for this early view are Sir Richard Blackmore and John Dennis. While Addison had formally assumed a general popularity in the Introduction^ to his Spectator Papers on Milton, yet it soon became conventional to speak of Addison as therein introducing Milton to the English reading public. As early as 1716, there is little doubt that Sir Richard Blackmore had some special reference to Addison in the following quotation : "It must be acknowledged that till about forty j'ears ago, Great Britain was barren of critical learning, the' fertile in excellent writers; and in particular had so little taste for epic poetry and was so unacquainted with the essential properties and true beauties of it that 'Paradise Lost', an admirable work of that kind, published by John Milton, the great ornament of his age and country, lay many years unspoken of and entirely disregarded till at length it happened that some persons of great delicacy and judgment found out the merit of that excellent poem and by communicating it to their friends propagated the esteem of the author who soon acquired universal applause."- The address of John Dennis To Judas Iscariot, Esq.(i. e. Mr. Booth), On the Degeneracy of the Public Taste (May 25, 1719) deals largely with the neglect of Milton, affirming that "the great Qualities of Milton were not generally known among his Countrymen till the Paradise Lost had been published more than thirty years."^ In 1721 Dennis declared that ''Paradise Lost had been printed forty J'ears before it was known to the greatest part of England that there was such a book."* These statements readily appear not to refer exclusively to the work of Addison. Nor are they now understood as 'Spectator, No. 262. Dec. 31, 171 1. ^Sir Richard Blackmore (d. 1729). Essays, 1716. Quoted by C. W. Moulton, Lib. Lit. Criticism. IL p. 258. ^Letters, 1721. L 70-80. *John Dennis (1657-1734). Letters, 1721, \, 174. IJ 12 THE MILTON TRADITION [104 intended to be more tlian comparatively true. The high standards of Dennis especially were far in advance of his age ; and such men seriously consider only just artistic appreciation.' But their words seem not to have had this important qualifieation in tlie mind of their earliest readers. Just ten years later (1731), tlie same opinion is set forth by Aaron Hill, who speaks ironically of the judicioiis English nation receiving great glory "from our stupid insensibility to such a prodigious Genius as Milton's, who had been thirty years dead before the force of his Poetry began to take Life among us." Then he deprecates the false taste that makes England ridiculous to foreign nations, in that she now exalts Blackmore, and rewards "a rumbling Rhapsody which debases kings into Prize-fighters, and does indignity to Ilinuan Nature," whereas there was only "Contempt expressed by the same wise Judges, a little before, for that God-like fire, in the Paradise Lost, where the Divine Nature seems heightened, till it appears more Divine, and man is rendered capable of giving Glory to the Angels."" For neglecting to conform to this degenerate taste of the Restor- ation Period, says tlie introductory paper of The True Patriot,' "Milton himself lay long in obscurity, and the world had nearly lost the best poem which it hath ever seen." With this general sentiment Horace Walpole is in agreement when he asserts (ITf)?), that "Milton was forced to wait till the world had done admiring Quarles."' In the "Epistle Dcdicatori/," referred to above, Aaron Hill had spoken plainly of the national disgrace in that some great man of means did not seize the opportunity of rendering liimself innnortal by a noble patronage of the great Milton. This thought runs through the lines of Moses Mendes, in his Epistle to Mr. S. Tucker (1767) : All this I grant : but does it follow then, That parts have drawn regard from wealthy men ? Did Gay receive the tribute of the great? No, let his tomb be witness of his fate: For Milton's days are too long past to strike; The rich of nil times ever were alike." This sen.se of an early neglect, wliieli caused Milton to be regarded "A. W. Verity. Milton's Samson Agonistcs. Introduction, l.x-lxi. "Aaron Mill (1684-1750). Advice To The Poets. A Poem. 1731. x. 'Quoted in the Gent. Mag. Jan., 1746. 16 :g. •H. Walpole (i7i7-i797). To George Montagu. Aug. 25. 17^7. F.crdu, n' avait guere recueille que le silence et r indifference. Ce fond solide et vraiment anglais avait ete submerge par la litterature futile de la Restauration." Again he says of Addison's attempt to revive neglected native English literature : "II parla avec admiration a ses lectures de Shakespeare, de Spenser, de Bacon, de Ben Jonson, surtout de Milton, au chef d'oeuvre duquel il ne consacra pas moins de dix-huit articles qui sont, apres r edition de Tonson dont j'ai deja parle, la premiere reparation faite par I'Angle- terre au pauvre grand poete mort dans I'eubli.''^^ Eobert Poscher, in his Andrew Marville Poetische Wcrke (1908), holds that Milton was little known and recognized before the work of— Addison." Professor Courthope (1909) affirms that Addison's "Papers on Milton achieved the triumph of making a practically unknovtTi poem- one of the most popular classics in the language."^'* Thus tenacious has been the idea of Milton 's early neglect, and of his later popular installa- tion by Addison, in its hold upon the English mind. Granting for the time this neglect, the next impulse was to explain it. With a love for Milton that was little short of idolatry, the Eigh- teenth Century felt that there was some special degeneracy in an age that failed to recognize the merits of a Milton. Hence there was a vital loPoetic Tribute No. 179. Chapter III below. iiPages 152-155 and Appendix D. '^T. S. Perry, Eng. Lit. in the l8th Cent., pp. 34, 40, 162. i^Alex. Beljame. Addison: Le Public et Les Hommes de Lettres, pp. 315-317. i^Weiner Beitrage, Englischen Philogogie, vol. xxviii (1908). p. 118. '''W. J. Courthope, Addison: Eng. Men of Letters Srs., v., p. 181. J4 THE MILTON TRADITION - [106 connection between this inquiry, and the great political, social, and ecclesiastical attempts to pry into and reconstruct seventeenth century English History. There was a general tendency to publish, and repub- lish every item accessible that bore upon English life during those (roublous times; and it seems that no opportunity was missed of empha- sizing the bearing of each new publication upon tlie status of Milton. Often there was more emotion than scholarship applied to this problem, giving rise to such execrations as that of Aaron Hill already cited, and of others whose feelings will appear in later j)ages of this discussion. The nation became sensitively critical of Restoration mor- ality and politics. Thus the MontJihj Review pronounced Buckingham's Character of Charles II (1750) good and adequate, but extreme, if at all, on the charitable side.'" The nation eoidd never be reconciled to the trifle which Milton received for Paradise Lost; yet it was agreeil tliat tlie price paid "was more than the purchaser had any reasonable prospect of being speedily reimbursed" in such an age.'" Perhaps this national feeling is connecteil not remotely with the demand for Butler's Satires, in Tliyer"s edition of Th( (lenuine Remains in 1759.'" But during the latter half of the Eighteenth Century mere feeling gave place to sober investigation and scholarly judgment. Students of the problem began to grapple with the real questions of historical causes and effects. On a large .scale tliis appears in the histories of the Seven- teenth Century, of which this period producetl a considerable n\imber. But in a more limitctl manner sucli studies appeared in the periodical literature and essays of the time. In tlus less pretentions numiier. Mrs. Barbaidd attemitted to explain tile unpojiularity of ^Milton on a historieal basis of imlitieal views and literary taste.'" Most critics, knowing the moral austerity of Milton, tended to explain his unpopularity on purely moral grounds. One ascribes the innnoral condition of the Ilt'storation to a deep natural tendency of the human mind to re-aet from any overstrained condition.-" This period pr4'sented, in so far as court intlnence was dominant, a solid immoral front to Puritanism, and to all that Milton held dear. Another finds that "Milton liimself was imder a]iiireliension that liis ])oem was "Mo. Rev., May, 1750, 3:38-4;- ^'H^ks. of Jas. Thomson. Mo. Rev., April, 1762, 26:298-305. "Sam'l Butler (1612-1680), The C-iiuiiic h'l-iiKiiiix in I'l'rs,- ii;i(/ Prose. In »' vols. By R Thyer. I.ondon, I7.S9- '•Mrs. Anna L. Barbauld (1743-1825). ll'orhs. liosloii, iSj6, v. .?, Criliial Es- says on the Taller, Sfeelnlor, <.'re., pp. 95-96. The same argiiincnt of low taste appi-ars in Milton .ifler .?(io Years (II). By "P. E. M." The iXalioit, 87 :542-54S. "R. Smith, Mieroeosiii, No. 13, Feb. ly. 17!^;. /?'■"■ Ils.wyists, ed. /S.'", vol. xxviii, pp. 77-83. 107] INTRODUCTORY SURVEY OP THE FIELD 15 produced too late for admiration, if not for excellence."-' Rev. Thomas Munro discovers a kind of debased consistency running through the wits of this period, whose loves and writings alike were characterized by immorality. "They seemed to have agreed, as it were, with universal consent, that a tale of humor was sufficient knowledge, good-fellowship sufficient honesty, and a restraint from the extremes of vice sufficient virtue."-- William Hayley affirms that "the indecent acrimony with which Milton carried on his literary controversies is in part justly im- puted to the spirit of the times. "-^ Tlius would Hayley lay the very sin of Milton for which the age hated him at the very door of tliat age. But Joseph Warton insisted upon emphasizing the factors of literary- " taste as the proper solution. In his Works of Alexander Pope (1797), he says, "It was too great attention to French criticism that hindered our poets, in Charles II 's time, from comprehending the genius, and l>^ acknowledging the authority of Milton ; else, without looking abroad, they might have acquired a manner more correct and perfect than the French authors could or can teach them."'* This general sketch will serve to show one line of activity that engaged considerable attention throughout the Eighteenth Centui'y. Much material on this subject will appear incidentally in the following pages. A more important line of activity is now to be mentioned. It is that of real research into the problem of Milton's early popularity. This has been a process of constant evolution toward formal proof that Milton was not, in view of the facts, so unpopular as he has been supposed. In 1713, John Hughes, in dedicating his edition of Spenser's Works to Lord Sommers, said, "It was your Lordship encouraging a beautiful edition of Paradise Lost that first brought that incomparable poem to be generally kno^vn and esteemed."-^ Jonathan Richardson, in 1734, ob- served the "current opinion that the late Lord Sommers first gave this Poem a reputation," but undertook to show, by several anecdotes, that the poem was "known and esteemed .... before there was sueli a man as Lord Sommers." This author, however, accorded high praise to the 2iMj.. Frere, Microcosm, No. 25, May 7, 1787. Brit. Essayists, ed. 1827, vol. xxviii, pp. 146-150. ==Rev. Thos. Monro (1764-1815), Olio Podrida, No. 21, Aug. 4, 1787. Brit. Essayists, 1827, vol. x.xviii, pp. 316-323. 23Wm. Hayley (1745-1820), The Ptl. IVks. of J. Milton. Quoted in the Mo. Rev., Feb., 1795, 97 (16) :I2I-I2S. 2*Jos. Warton (1722-1800), The IVks. of A. Pope, 9 vols. London, 1797. Vol. I, p. 265. 2'John Hughes (1677-1720). Wks. of Spenser, 3 vols. London, Tonson, 1713. "Dedication," p. v. Cf. Tribute 85, p. 74 below. 16 THE MILTON TRADITION [108 work of Addisou iu this eomiectiou.-" la his Life of Milton (1738), Thomas Birch argued that this inagiiifieeiit odition of Paradise Lost in 1688 was uot a cause but a proof of popuhirity, and cited auioug other evidences the famous subscription list in support of his contention.-' Birch was, as it seems, the first biograplier to do real research work in connection with a Life of Milton. From that time almost every account of ^Milton contributed something, incidentally at least, in the way of additional facts. But the next formal effort to show Milton's early popularity was in the Life of Milton by Dr. Samuel Johnson (1779). lie held that Paradise Lost had to force "its way in a kind of subterranean current through fear and silence" until the restraints of public appreciation were removed in the revolution of 1688. But he argued from tlie publisher's contract with Milton that 3,000 copies were sold during the first eleven years.-'* The contribution to this study by Thomas Wart on (1728-1790) marked one aspect of advancement upon all preceding works. In his Preface to Milton's Minor Poems (1785, and 1791), Warton devoted large space to a comparison between the early popixlarity of the Major and the Minor Poems of Jlilton. Succeeding Lives of Milton touch upon this prol)liiu :-'■' but the next substantial eontrib\ition was in the thorough scholarship manifested in The Life of Milton, prepared by II. J. Todd, for his Variorum Edition of Milton's Poetical Works (1801). Todd left little room to doubt a reasonable popularity of Paradise Lost at an early date ; and liis conclusions were reinforced by the findings of William Godwin in his Lives of John and Edward Phillips (1809). The results of these labors were followed and enlarged upon by Professor Masson, in his exhaustive History of the Life and Times of John Milton (1859-1880). He devotes a large section of his last volume, less exlianstivp than tlie other parts of tlie work, to "Tlie Posthumous Rejmtation of Jlilton." This reputation rests, according to Masson, largely ujion Paradise Lost, whose extraordinary merits "about the be- ginning of 1669 .... began to be a matter of talk among the critics and court-wits, and tlien through the boundless praise of it by Dryden and Lord Bnckhunst."-'" -'J. Richardson, Father and Son. Life of Milton. Exflaiuitory Notes, &c. 1734- PP- cxvii-cxix. 2'Rcv. Thos. Birch (1705-1766). An Account of the Life and Writings of Mr. John Milton. Prose Wks. (1738). I. pp. xlvii, &c. This suhscri|ition list contains 500 names, amonR whicli arc cmnitcd tlic licst lli.it Ijik'^hkI li.ul in that generation. "Saml. Johnson (1709-1784). Life of Milton. (G. B. Hill.) T. 141-44. "Sec the Chapter on Biography of Milton. '"David Masson (1822-1907). Life of Milton. VI. 77S-840. 109] INTRODUCTORY SURVEY OP THE FIELD 17 Later biographers, as well as literary historians, have been content, as a rule, with the labors of Professor Masson. Mark Pattison's Milton (1879) is concerned more witli condensation than expansion. Dr. Rich- ard Garnett's Life of Milton (1890) adds a valuable Bibliography, compiled from the British Museum Catalogue, by Mr. John P. Anderson. Professor W. L. Phelps says that Addison "was not the first man to bring Milton into notice. Editions of Milton had been regularly supply- ing a quiet but steady demand.""^ Mr. Elton holds that "during the days of Dryden, Milton was not an influence — he was only a reputation, and his repute was that of one misunderstood."^- Professor Beers agrees that "a course of what Lowell calls 'penitential reading' in Res- toration criticism will convince anyone that the names of Chaucer, Spencer, Shakespeare, and Milton, already stood out distinctly as those of the four greatest English poets. "^^ Filon has a section devoted to the "Gloire posthume de Milton," which emphasizes the quality of Milton's few admirers, and accounts for their number on the basis of literary taste.'* In 1909, Mr. R. D. Havens took up this question of Milton's early reputation for formal treatment in some sections of his Harvard Thesis, and made substantial contributions to the subject. He finds (1) that Milton's high rank was almost immediately established, that he was early and persistently ranked with Waller and Cowley, and even pro- nounced superior to either of them; and (2) that his early rank is based almost exclusively upon the Major Poems, and Paradise Lost in particular. He estimates that 4,000 copies of it were sold before 1680.^' The preceding sketch of Miltonic interest during the Restoration period^' is a sort of back-ground upon which to represent the no less interesting question of Milton's influence upon Eighteenth Century life ^'^The Beginnings of the English Romantic Movement (1893). p. 88. '-Oliver Elton, The Augustan Ages. (1899.) p. 206. ^^H. A. Beers, Hist. Eng. Rom. in the 18th Cent. p. 69n. 2*Pierre Marie Augustin Filon, Histoire de la Littcrature Anglaise. 4 ed. 1909. Hachette, Paris. 3'R. D. Havens, Seventeenth Century Notices of Milton, and Early Refutation of Paradise Lost. Englische Studien, igog. 40:175 ff. The present writer has veri- fied most of the materials in these papers, and acknowledges himself much indebted to this excellent piece of research done by Mr. Havens. 3«There are other writings on this subject. Among them, the Diet. Natl. Biog. ("Milton," p. 482), and the Ency. Brit., ed. nth ("Milton," p. 489), follow Masson. Professor Saintsbury deals in a general way with Milton's early repu- tation. A Hist, of English Prosody (II, 474), and The Canih. Hist. Eng. Lit. (VII, chap. V.)- Prof. Edw. Dowden has a good summary in his Milton in the Eighteenth Century (1701-1750). Proc. of the Brit. Academy, igoy-S. 18 THE MILTOX TRADITION' [110 and letters. Here, however, there is a conspicuous absence of many-sided opinions. As early as 1819, Thomas Campbell, while allowing that Paradise Lost was not early neglected, had denied to it any productive influence upon literature at the time of its appearance. It "attracted no crowd of imitators, and made no visible change in the poetical practice of the age. Milton stood alone and aloof above liis times ; the bard of immortal subjects, and as far as there is perpetuity in language, of immortal fame."" Eighty years later, as already stated, Mr. Elton declared that Milton was, during the days of Dryden, not an influence, but a reputation. These very words may be used to indicate what seems to be the prevailing opinion respecting the position of Milton's Epics during tlie Eighteentli Century. It is usually held that the Paradise Lost especially enjoyed a great reputation, but was not pre-eminently a productive influence. The question of Milton's influence upon this period has been worked out almost entirely along tlie lines of the Romantic movement. And from tliis point of view, there has been a striking unanimity in limiting the discussion of that influence almost exclusively to the Minor Poems, and even to a very few of them. The responsibility for this general view seems to rest largely upon Professor Plielps and Professor Beers, who have gone into this subject more than others, and have said what most other writers have been content to repeat, or at least not to contradict. In 1893, Professor Phelps published his popular book on The Be- ginnings of the English Romantic Movement, in whicli lie considers the movement essentially one of revolt against Augustan standards. Chap- ter III of this book deals with the literary "Reaction in Form." In this he devotes a few pages (36 fF.) to the use of blank verse in the Eighteenth Century, concluding that "the reaction in form most natur- ally took the shape of blank verse for long poems; so that the sympa- thizers with the Romantic Movement, consciously or luiconseiously, found themselves defending blank verse, while the classicists attacked it vigorously." Hut lie develo])S Milto'n's influence in Chapter V, which deals with "The Literature of Melancholy." His view in this chapter is set forth in the following introductory statement: "We do not today think of Milton as a Romantic poet; his great epic would more naturally place him in the ranks of the Classicists; and his remarkable de- votion to the study of Greek and Latin authors, with the powerful influence they had upon him, would seem to separate him widely from Romanticism. To the nun of the eighteenth century, however, his message was Romantic. He was shunned and practically neglected hy the Augustans, whose Classicism was so •""Thos. Campbell {1777-1844). F.ssay on Rng. Poetrv. Sl>ccimcns, 1819. I. 238. i>^ 111] INTRODUCTORY SURVEY OP THE FIELD 19 thoroughly Horatian ; and tliose who admired him did so more on account of the bulk of his epic and its theological theme, than from a genuine love and apprecia- tion of his poetry. The young Romanticists claimed Milton for their own ; his name was a rallying cry ; and they followed him in thought, language, and versi- fication. His influence cannot be traced out in detail so clearly as Spenser's; but it was a quickening force, as any one who reads eighteenth century minor poetry may see for himself. I have already spoken of his influence on the Reaction in Form ; his blank verse was steadily imitated and did much toward dethroning the couplet ; his octosyllabics were still more effective, and his sonnets leavened Eng- lish poetry after 1750. But it was not so much in form as in tliought that Milton affected the Romantic Movement ; and although Parndise Lost was always rever- entially considered his greatest work, it was not at this time nearly so efl^ective as his minor poetry ; and in the latter it was // Penscroso — the love of meditative comfortable melancholy — that penetrated most deeply into the Romantic soul." (p. 87.) Shortly after tlie appearance of Professor Phelps's book, Pro- fessor Courthope brought out his History of English Poetry, in which he mentions only the prominent eighteenth century writers of blank verse, pays his compliments to Professor Phelps, and follows him rather closely in his own chapter on "The Early Romantic Movement."^* In 1898, W. Macneile Dixon, in his chapter on "The Romantic Revival," gives little more than a passing notice to the eighteenth century interests in blank verse poetry, mentioning only Thomson and Young. "From this time (1742)," he says, "blank verse grew in favor with the more imaginative writers." Then he develops the influence of Milton wholly through the Minor Poems, after the manner of Phelps and Courthope.'^ The next year. Professor Beers presented with force the same gen- eral view in his History of English Romanticism (1899, 1906). He says, ' ' The only important writer who had employed blank verse in landramatic poetry between the publication of Paradise Regained in 1672, and Thomson's Winter in 1726, was John Philips." (p. 104). "It has been mentioned that Paradise Lost did much to keep alive the tradition of English blank verse through a period remarkable for its bigoted devotion to rhyme, and "especially to the heroic couplet. Yet it was, after all, Milton's early poetry, in which rhyme is used — though used so differently from the way in which Pope used it — that counted most in the history of the Romantic Movement." (p. 148). In thorough consistency with this point of view. Professor Beers tends to pass in hurried sttmmary reviews those blank verse poems that do not especially fall in with his theory, (cf. p. 124), and to dwell only upon those that seem imbued with the spirit of Milton's earlier poetry. 2*Vol.. v.. Chapter xii, and p. 363. 39/„ 7-/,^. Rcfublic of Letters. Pp. 166-202. 20 THE MILTOX TRADITION [112 He has indeed traced this line of ililtouic influence with exactness, as it appears to him in the following statement: "The Influence of Milton's Minor Poetry first became noticeable in the fifth decade of the Century, and in the work of a new group of lyrical poets, Collins, Gray, Mason, and the brothers, Joseph and Thomas Warton. To all of these Milton was master." (151.) Jlore definitely, he says: "The poem of Milton which made the deepest impression upon the new school of poets was // Pcnseroso. This little master- piece, which sums up in imagery of 'Attic choice' the pleasures that Burton and Fletcher and many otliers had found in the indulgence of the atrabilious humor, fell in with a current of tendency. Pope had died in 1744, Swift in 1745, the last important survivors of the Queen Anne wits ; and already the reaction against gayety had set in. in the deliberate and exaggerated solemnity which took pos- session of all departments of verse, and even invaded the theatre That elegiac mood, that love of retirement and seclusion, wliich have been remarked in Shenstone, become now the dominant note in English poetry. The imaginative literature of the years 1740-60 was largely the literature of low spirits. The gen- eration was persuaded, with Fletcher, that 'Nothing's so dainty sweet as lovely Melancholy.' But the muse of their inspiration was not the tragic Titaness of Diirer's painting, 'The Melancholia that transcends all wit,' (but) rather the 'mild Miltonic maid,' Pensive Meditation. There were various shades of somber- ness, from the delicate gray of the Wartons to the funereal sable of Young's Night Thoughts (1742-44) and Blair's Grave (1743)." (pp. 162-3.) In 1906, Charles Cestre followed in the foot-prints of these English literary historians. Discussing "La Revolution et les Origines du Ro- mantisme, "■"' he says: "II se produisit dans la seconde moitie du XVIII' siecle, en Angleterre, un mouvement de renovation litterraire, du au contre-coup, dans les lettres, des forces latentes qui preparaient le progres social. (Here he discusses the works of the Wartons, Gray, Collins, Mason, Young, Blair, and Bowles.) lis ne se debar- rasserent pas de la conventions. A I'ancienne ils en substituerent une nouvelle, sans trouver le secret de la poesie sincere et vraie. lis rcmplacercnt le theme moral par la theme sentimental, I'appareil de I'antiquite par I'apparcil du moyen- age. la mode de I'abstraction par la mode de la 'Melancolie.' lis ne s'affranchirent pas de I'autorite. Au lieu d'imiter Pope, ils imitcrent Spenser et Milton ; ils virent le nioyen-age surtout a travers la chevalerie de The Faerie Quceiie et ils reproduisirent a satiete les traits et les images 'melancoliques' de ]l Penscroso." (He then speaks of Thomson's and of Young's deficiencies in the use of blank verse, and of the corruption of vocabulary which came through these revivals of the past.) Mr. Gos.se, in his History of Eighteenth Ccntnrii TAtcrature (p. 2), holds that, throughout the i)eriod 1660-1780, the "heroic couplet was the moral and hahitual fnnti in wliicli poetry, except on the stage, moved *"La Revolution l-raiuaise i-l Les Fortes Aiiglaise (iQOC)). Chapter V, Section iii, 262-265. 113] INTRODUCTORY SURVEY OF THE FIELD 21 in its serious moments ; ' ' and consequently lie treats other modes briefly as so many exceptions and abnormalities. Two Papers, read in honor of Milton in 1908, show only a slight variation from the conventional view of Milton and his influence upon the Eighteenth Century. But tlie following variations of tliought are only general introductory statements, and are not developed in the Papers from which they are taken. The first of these is from Milton's Fame On The Continent, by Professor J. G. Robertson.''^ He suggests that, "To Paradise Lost was due, to an extent that has not yet been fully realized, the change which came over European ideas in the eighteenth century with regard to the nature and scope of epic poetry; that work was the mainstay of those adventurous critics who dared to vindicate in the face of French classicism the rights of the imagination over the reason as the creative and motive, force in poetry." The other Paper, Milton In The Eighteenth Century (1701-1750), by Edward Dowden,^- was a little more definitely analytical. The writer considers that, "The influence of Milton on the literature of the eighteenth century was threefold — an influence on poetic style, independent in a great degree of poetic matter and therefore not wholly favourable to literature, during the first half of the century, felt in the main by writers who were not in a high sense original ; secondly, an influence alike on sentiment and style, which formed one of the many affluents of the Romantic Movement of the second half of the century, or, to be more exact, from about 1740 onwards ; thirdly, an influence on thought, appearing at irregular intervals, but always associated with political liberalism or radicalism, from Birch and Benson and James Thomson to Hollis, Archdeacon Blackburne, and William Godwin in England, and to Mirabeau in France. The first of these modes of influence is chiefly connected with Paradise Lost, the sec- ond with Milton's earlier poems, the third with his Prose Writings." Later in his Paper, Mr. Dowden says, "The poetry of the second half of the century went Milton-mad under the influence of the minor poems, and in particular of L'AUegro and // Penseroso."'^^ In the same year (1908), Professor Saintsbury presented only the conventional features of the subject, in liis History of English Prosody, with an evident tendency to disparage the quality of eighteenth century blank verse." Mr. Seccombe followed (1909) the others in emphasizing the influence of the Minor Poems.*^ Schipper almost ignores eighteenth *^Procs. Brit. Acad. igoy-oS, p. 319. *=Same, pp. 275, 280. <^Mr. Dowden's "Milton-mad" seems, however, to have been coined just after the mid-century, and was originally applied to the writers of blank verse. Cf. Tribute 134, p. 86 below. **Vol. II, Book viii, Chap. ii. "Blank Verse After Milton." ••^Thos. Seccombe, The Age of Johnson (1748-1798), p. 283. 22 THE MILTOX TRADITION [114 century blank verse in his History of English Versification (1910)." The latest writer consulted falls into the conventional procession with more than ordinary enthusiasm. This is doubtless due in large measure to the nature of his general subject. The reference is to Mr. Edward Bliss Reed, who, in his English Lyrical Poetry (1912), says, "More than any other piece of writing. // Pcnscroso inspired the poetry of the mid-century. We feel its quiet melancholy from Gray's Elegy to the humblest verses forgotten in the columns of the Gciitloiian's Maga:iiie. while its personifi- cations, "spare Fast," "retired Leisure," the "cherub Contemplation," are undoubt- edly responsible for the endless train of allegorical figures that stalk througli the Odes of the period." (p. 358). This statement he then illustrates very liberally from the Odes of Collins, the Wartons, and others. Thus it would ai)pear that Professor Plielps and Professor Beers may congratulate themselves on their juH'stige in this particular field of early Romanticism. Both of their books have been popular, and called for in later editions. The path that they cleared out for themselves as pioneers has become a well-trodden literary highway. Without a large measure of truth in their early findings, this eminence could never have been possible. No one can doubt that, from their own respective points of view, and within the self-imposed limitation of their own peculiar definitions of Romanticism, as Revolt (Phelps), or Revival of the Middle Ages (Beers), each of them has said much that is true. But do these conventional views sjjcak the whole truth? Do they even speak the real truth of ililton's iiifiueiiee upon the movements of the Eighteenth Century? To one who has gone over the facts, apart from all definitions and theories of the Romantic or any other move- ment, the above questions are inevitable. No one. thus acquainted with the field, can doubt that, within the self-defined limits of these writers, the}' have used mere facts conservatively. The emphasis upon those special features of Milton's influence might be made much stronger. There is little doul)t that each writer did judiciously select, from an ex- tended accumulation of materials, that wliicli was ehoicest for his own purpose. But one is forced to feel that this very principle of selection, which is on its other side one of exclusion, has been ])owerful in over- estimating the comparative influence of the Minor Poems over that of the Major. Such an influence u])on a writer is inevitable, and often even unconsciously powerful, and most apt to be so wlien the ju-inciple of selection is directed by a more or less fixed definition. To avoid it under these circumstances wonld almost re(|uire one to be more than human. Certainly tliis eomiiiirative exaltation of tlie IMiiior Poems may be challenged, when one breaks away from (lediiitions, and loolis at the ■•"Jakob Schippcr, // Hist, of Eng. Vcrsifxcalion. O.xford, 1910. He seems to recognize only Thomson among the eighteenth century writers of bl.ink verse. 115] INTRODUCTORY SURVEY OF THE FIELD 23 influence of Milton in all its comprehensiveness, and multiplicity. Neither Milton nor the Romantic Movement is to be cramped within the compass of particular definitions. The Movement itself was an expres- sion of the eighteenth century life, as broad, as deep, and as powerful, as the hidden springs of life itself. From the facts that follow, two things would seem to appear as reasonably conclusive as to the real influence of Milton upon eighteenth century life, and consequently and immeasura- bly upon the Romantic Movement. The first is, that the influence of Milton was powerfully felt upon all the multiplied forms and phases of eighteenth century life. The second is, that by far the mightiest element of this Miltonic influence came, directly or indirectly, from the Major Poems, and from Paradise Lost in particular. The genesis of this treatment was an attempt to investigate the sub- ject in respect to the conventional view of Milton's influence upon the Eighteenth Century. But the wealth of materials involved has argued convincingly for a historical sketch of some of the various lines of Mil- tonic interests. This larger aim will bring into the work materials that the original purpose would have excluded. But the materials that are relevant will speak their own conclusion respecting the original question. CHAPTER II The Publication of Milton's Works The most direct approach to the interest in Milton during the period under consideration is from the standpoint of tlie Printing Press and the Book-store. It is the husiness of these institutions to study the trend and possibilities of public taste, and to direct tlioir business ven- tures according to the demands of to-day or the probable demands of to-morrow. Success depends upon satisfying, or creating and satisfy- ing, public demands by setting before tlu> reading public what it desires to read. This simple business princijile furnislu'S a very definite check upon one side of the Miltonic interests of this period. It shows how great were the general demands for Milton's works as a whole; and, what is more important for tlefinite study, it shows the relative demands for the several different parts of Milton's Poetry and Prose Works. This chajiter deals witli the facts concerning the publication of Milton's Works. In order to clearness and brevity, the more important pieces of poetry and prose are to be presented separately, sliowing what was done with each piece of the Works. The several complete and par- tial editions have been carefully aimlyzed, and their j)arts treated sepa- rately. Yet the plan of representation is such as to keep the unity of these composite editions constantly before the eyes of the reader.* *This unity depends upon tlie first cohinin of figures marked ".\," which refers to tlie same edition wherever these numbers are found in succeeding pages. Under the editions of Paradise Lost the essential facts of most of the numbered editions are given, such as tlie date, publisher, place, title and form, and the editor wherever there is one mentioned. These facts for most of the remaining num- bered editions are given under Paradise Regained, where there is added, with numbers, the four editions of the Poems on Several Occasions separately printed. By means of these reference figures the reader may easily identify any publica- tion of the smaller poems with the complete or partial editions of the poetical Works of Milton. The list under Paradise Regained is further iiscil to bring into clear view the several editions of The Complete Poetical Works, Paradise Re- gained and the Minor Poems, as well as the four editions of the Minor Poems separately printed. 24 117] THE PUBLICATION OF MII.TOX S WORKS 25 Section 1 Publication of Paradise Lost Title, &c. P. L., 10 bks., 4to. Same, 2nd title-page. Same, 4th " Same, Stli ? P. L., 12 bks., 8vo. Same. P. L., fol. P. L. P. L., fol. Ptl. Wks., fol. Ptl. Remains (Gildon), 8to. Ptl. Wks., 2v., 8vo. Ptl. Wks,, 2v., 8vo. With Philips's Cyder. Ptl. Wks., 2v, i2mo. P. L., pp. 315. i2mo. Ptl. Wks., 2v., 4to. Ptl. Wks., 2V., l2rao. P. L. Ptl. Wks., 2v. (Fenton), 8vo.i Ptl. Wks., 2v. " 8vo. P. L., &c., 8vo. Ptl. Wks., 2v., 8vo. Ptl. Wks., 8vo. P. L. (Bentley), 4to. P. L., 8vo. P. L., 8vo. P. L., i2mo. Ptl. Wks., 2v., 8vo. Ptl. Wks., 2v., 8vo. P. L., Prose (G. S. Green), 8vo. Ptl. Wks., 3v., i2mo. Ptl. Wks., 2v. (Hawkey) 8vo. P. L. revised (Hawkey), 8vo. P. L., 2v. (Newton), 4to. P. L.. 2v. (Newton), 8vo. P. L. (■=ed. i6;2. pp. 317), 8vo. P. L., Bk. I, pp. 16;. Ptl. Wks., 2v., l2mo. P. L., 2v. (Marchant), l2mo. 11725. Elegancies Taken Out of Milton's Paradise Lost, in The Shepherd- ess's Golden Manuel. 8vo., selected by "Theagines." A Date Publisher Place 2 I 667 P. Parker London 3 I 668 " " 4 668 S. Simmons " 5 I 669 " (( 6 1 672? ? ? 10 1 674 S. Simmons London II ] 678 " ** 14 1 688 J. Tonson *' IS 1 691 ? ? 16 692 ? tt 17 1 695 J. Tonson n 19 ] 698 " 11 20 705 " *' 21 707 " tt 22 1709 H. Hills ii 23 1711-3 J. Tonson " 24 719 u tt 25 1720 " " 26 [721 " fi 27 724 ? Dublin 28 725 J. Tonson London 29 1727 " " 30 1727 ? ? 31 1730 J. Tonson London 32 731 " " 33 [732 (( 34 1737 " " 35 1738 (( *' 36 1739 Stationers " 37 1741 J. &R. Tonson *' 39 1743 ** it 40 1 745 T. Osborne tt 41 1746-7 J. &R. Tonson London 42 1747-2 S. Powell Dublin 44 1747 " *' 45 1749 Tonson-Draper London 46 1750 " " 47 17.SO R.&.\.Foulis Glasgow 48 1750 " *' 49 I7SI J. & R. Tonson London 50 1751 R. Walker it 26 THE MILTON 'I;RADITI0N [118 51 1 752 52 752 S. Powell Dublin 55 753 Tonson-Draper London 57 754 " '* 58 754 Ganeau Paris 59 755 T. Osborne (?) " 62 757 J. & R. Tonson London 63 758 J. Baskerville Birmingham 64 1 758 " '( 65 759 •4 " 66 1 760 Hitch & Hawes London 6- 1 761 ? ? 68 761 ? Glasgow 69 761 T. Thompson London 70 1 762 A. Donaldson Edinburgh 71 763 J. & R. Tonson London 72 763 J. Wood Edinburgh 73 765 " 74 765 W. & W. Smith Dublin 73 766 J. Tonson London 76 1 767 A. Donaldson Edinburgh 77 1767 T.Osborne (?) London 78 ( 1770) •> " 79 770 T.Osborne (?) " 80 770 J. Beecroft " 81 1 770 ■' " 82 770 K.& A.Foulis Glasgow 83 771 ■• " 86 773 J. Beecroft London 87 773 J. Exchaw Dublin 88 1 773 Edinburgh 89 773 A. Kincaid " 91 775 p ■> 92 775 R. Bladon London 93 775 ? ? 94 775 ? Phila.. Pa. 95 776 J. Bell Edin.-Lond. 96 777 J. Cool I' London 98 778 W. Slraban 99 778 " '* 100 779 S. Johnson " 102 782 J. Bell *' 103 785 .1. Wilson Kilmarnock 106 78S j. P. & C. Riving - ton London 107 ym ** " 108 1790 S. Johnson " P. L. 2v., " i2mo. Ptl. Wks., 2v. (Hawkey), 8vo. Ptl. Wks., 2v., lamo. P. L., 2v. (Xewton), 4to. P. L., 2v., i6mo. P. L., Prose (Green), 8vo. P. L., 2v. (Newton), 8vo. Ptl. Wks., 2v. (Xewton-Text), 8vo. Ptl. Wks., 2v. (N.-Text), 4to. Ptl. Wks., 2v. (X.-Text), 4to. Ptl. Wks., 2v., l2mo. Ptl. Wks., 3v. (Xewton), 4to. P. L. P. L., pp. 324, 8vo. Ptl. Wks., 2v., 8vo. Ptl. Wks., 4v. (Newton), 8vo. P. L., Xew ed., pp. xiii. 304, i2mo. P. L.. 2v., i2nio. P. L., "17th ed.," i2mo. Ptl. Wks., 4v. (Xewton), 8vo. Ptl. Wks., 2v.. 8vo. P. L., Prose (Green), 8vo. P. L.. Prose, 8vo. P. L.. Prose (Green), 8vo. Ptl. Wks., 4v. (Xewton), 8vo. P. L., pp. Ixx, 319, i2mo. P. L., pp. 466, fol. P. L., 2v., i2mo. Ptl. Wks., 4v. (Newton), 8vo. Ptl. Wks., 4v. (Newton), 8vo. Brit. Poets, vol. t-4. P. L. (altered), pp. 444, 8to. Ptl. Wks., 4v. (Newton), 4to. P. L. & P. R., 2v., i2mo. P. L. (Newton), i2mo. P. L. (first Anier. ed.) Pts. of Gr. Brit., vol, 35-38, i2mo. P. L. (Newton), pp. 332, i2nio. P. L., pp. Ixxi, 319, i2mo. P. L., 2v., 8vo. Eng. Poets, vols. 3-5, Svo, Pts. of Gr. Brit., v. 35-.^8, i2nio. P. L., pp. xvi. 304, i2mo. P. L., lllus. (Gillies), i2mo. P. L., 2v. (Newton), Svo. Eng. Poets, v. 10-12. 8vo. 1191 THE PUBLICATION OF MILTON S WORKS 27 109 1790 For Booksellers " no 1709 J. F, & C. Riving ton 112 1791 John Wesley, ed, " "3 1793 R. Anderson Edinburgh 114 1792 J. Raeknian Bury St. Ed, 115 1793 " 116 1793 B. White & Son London 117 1793 Jos. Ritson, ed. 119 > 794-7 Boydell-Xichol " 120 1794 T.& H. Richter " 121 1794 ijj I 795-6 T. Longman London 1^3 1795-6 C. Cooke 124 1795 J. Raekman " 125 1795 C. M.. editor " 12; 1796 J. Parsons t( 128 1799 T. Heptinstall " 130 1801 J. Johnson '* I'tl. Wks., 2v., i2nio. r. L., 2v. (Xewton), l2mo. Extracts P. L., pp. 335, l2nio. Brit. Poets, v. 5, 8vo. P. L., Bk. I (Loflft), 4to. Same, Bks. ML P. L., lllus. (Gillies), i2mo. P. L., Bk. I (Eng. Anthology), 8vo. Ptl. Wks. (Cowper-Hayley), fol. P. L., pp. 493, L. P., 4to. P. L. (Eng. &Ital.),8vo. Ptl. Wks., 2v., 8vo. Ptl. Wks., 2v. (Newton), i2mo. P. L., Bks. I-IV. (Lofft). 4to. P. L., 3v., i2mo. P. L., 2v. (Newton), 8vo. P. L., pp. xlix, 371, 8vo. Ptl. Wks., 6v. (H. J. Todd), 8vo. Paradise Lost was first published as "A Poem, in Ten Books," in 1667, with Milton's name in the title-page. The printing and sale of the jioem were in the hands of Peter Parker. Numbers 2-6 above represent only parts of the original edition, which was placed on the market by installments. When the first part was sold, a new installment would be bound, with a new title-page bearing the date of the binding, and offered for sale. In this way, the first edition of the poem came to be represented by nine different title-pages. To one of those issues of the poem, in 1668, Milton added the Preface on the Verse, and the Argument. About the same time the publication of the poem passed into the hands of S. Simmons, who owned the copyright. He issued number 4 to be sold by S. Thompson, and number 5 to be sold by T. Helder. Wlien the first edition was exhausted, a "second edition revised: and augmented" by Milton himself, appeared in the year of his death (1674). The third edition was published in 1678; the fourth, in 1688. Beyond this date, it is difficult to speak with much certainty about the numhcrs of editions. Numbers do not seem to represent a single series of editions. One may find a "6th" edition of Paradise Regained, in 1695, and "the 4th"' edition in 1705. There was a "7th edition" of the Minor Poems in 1727, and a "7th edition, corrected," in 1730. The confusion of the early editions of Paradise Lost was so great that even Richardson felt unable to clear up the matter, in his Life of Milton, as early as 1734.- At a distance of two centuries, one can only hope for 'Life of Milton, 1734, p. cxvii. 28 THE MILTON TR.VDITION [120 au approximate correctness, eveu in the most careful study of those early "editions." After 1670, Faithborne's portrait of Milton was ready to occupj- a conspicuous place in the book." The edition of 1688 was almost an event of national history, in that it was connected with the Whig inter- ests of that year. This magnificent edition was published by M. Flesher, for Jacob Tonson, in large folio, under subscription, and financed by Lord Dor.set. This was the first ornamented edition of the poem, and Mr. Perry says that this edition was one of the first books ever published by subserii)tion.* It was a splendid piece of work, and became a house- hold treasure.^ The subscription list contained 500 of the best names in England at that time, and speaks convincingly of the early recog- nition of Paradise Lost. The number of copies in the early editions is largely a matter for conjecture. The contract between Milton and the publisher specified that none of the first three editions were to go beyond fifteen hundred copies. It seems that about thirteen hundred copies were sold during the first eighteen months after tlie publication of the poem in 1667. Dr. Johnson thouglit that 3,000 copies were sold during the first eleven years." Mr. Havens estimated that there were probably 4,000 copies of Paradise Lost in circulation in the year 1680. The purely literary interest in the poem must, therefore, have been considerable befoi'e the popularizing movement of 1688. The distinctly commercial aspects of the poem are not without historical interest. According to Masson," Samuel Simmons, upon pay- ing Milton five pounds down, and five jiounds for each of three suc- ceeding editions, was to obtain full possession of the copyright of Paradise Lost. Milton received ten pounds, and, after his deatli, Sim- mons, by composition with Milton's widow, closed the contract by paying her eight jiounds more. In 1680 or 1681, Simmons sold his copyright to Brabazon Aylmer for twenty-five pounds. He, in turn, sold one- half interest in the copyright to Jacob Tonson, at more than one huu- di'cd per cent advance upon the price paid to Simmons.' On March 24, 1691, Ton,son bought of Aylmer the other half of tlie cop>Tight "at au advanced ]iriec." About this time, Tonson also came into control, if not into full po.ssession, of the other i)oems of I\lilton. In a conunercial sense, at least, Milton had, by these transactions, fallen upon prosperous ■■■Br. Mil. Cat. "Milton," P. L., ed. i668. *T. S. Perry, ILiig, Lit. in llic iS Century, p. 252. "C/. Tributes 19 and 20, p. 58 below, "Johnson, Life of Milton. (G. I?. Mill). T, i-i>-i44- ''History of Milton. 6780-78;. "Tonson bought the first half on August ly, 1683. 121] THE PUBLICATION OK MILTON 'S WORKS 29 times. Jacob Tonsou, notwitlistandiug liis "leering looks, bull-faced, and freckled fair" appearance, was a thoroughgoing business man. He kept the copj'right in his own possession, pushed the publication and sale of the poetry, especially of Paradise Lost, and made a fortune out of liis interest in the great English Poet." Tonsou made the poem attractive in form and appearance. He produced it in all sizes, from the handy pocket edition quarto, to the large ornamented edition folio. He used the best materials available, and probably engaged the best talent for the work of engraving and binding that the times could afford. He was constantly on the alert for new and helpful additions to the work in the way of notes and illustrations. He planned with Patrick Hume the first annotated edi- tion of the poem (1695). The Tonsons, by constantly encouraging critical activities upon the poem, did much to prepare the way for the 'Three Jacob Tonsons continued the printing business for almost a century. The succession was: Jacob Tonson (1656-1737); his nephew, Jacob Tonson (d. 1736) ; his son, Jacob Tonson (d. 1767) succeeded by Andrew Millar; succeeded by Thomas Cadell. For forty years the Tonsons had a monopoly on Milton's poetry, and grew rich from the traffic therein. (Masson, 6:788; and Johnson's Life of Milton (Hill), 1, 160, note 4). The Elder Tonson had a large painting of himself, made by Sir Godfrey Kneller (1646-1723), sitting with a folio of Paradise Lost resting against his left arm ; a full page reproduction of which may be seen in Mr. Pope, His Life and Times, by Geo. Paston (Emily Morse Symonds), London, 1909, p. 22. This first Tonson was "close" in business matters ; but the third was very generous and more liberal, "a man who is to be praised as often as he is named." (Johnson, ref. above). He paid Newton £630 for Paradise Lost (1749), and £105 for Paradise Regained (1752). (Gent. Mag., May, 1787, p. 76). From these proceeds, Newton "brought a large contribution" for Mrs. Foster, Milton's grand-daughter, and Tonson gave £20 (Johnson, above). The very document of the original Contract between Milton and Simmons became an article of commercial value. This Contract was still in the hands of the third Tonson in 1750 (Newton's Life). After Tonson's death (1767), their printing business ceased, and their papers were scattered. The Contract was lost from sight until 1824. At that time it was sold, by a tailor, with other Tonson papers, to Septimus Prowett, a London book-seller, for £25. These papers Prowett sold at auction, Feb. 28, 1826, when the Contract alone was bought by Pickering, for £45, 3s. He sold it for £60 to Sir Thomas Lawrence, at whose death (1830) it fell again into the hands of Pickering, who sold it again to the poet Rogers. Rogers had acquired possession of Dryden's contract for the Fables, and Goldsmith's contract with James Dodsley (March 31st, 1763) for The Chronological History of the Lives of Eminent Persons of Great Britain and Ireland. All three of these Contracts Mr. Rogers presented, as a gift to the Nation, to the British Museum, where they are kept together (Masson, Life of Milton, vi, p. 51 in. John Foster, The Life and Times of Oliver Goldsmith, 2 vols., 1871, p. 274, 339n). 30 THE MILTOX TRADITION' [122 first variorum edition of Paradise Lost, edited by Tlioraas Newton, and published by Touson and Draper iu 1749. Paradise Lost was first published in Dublin iu 1724, which was a quarter of a century before any other poem of Milton, except the adai)tations of Comus and Samson, was printed in Ireland. There were three editions of Pafadise Lost in Scotland (A47, 48, 68), before the Minor Poems were published in that country (1762). The first of these editions (A47) harks back to an edition of 1672, no other mention of which has been found. The second (A48) contained an elaborate commentary on Book 1 of the Epic. The mid-century period (Chapter vi below) was a time of great activity among editors and commentators, and almost every edition of Paradise Lost was supplied with some kind of notes or criticism. The plan persisted to some extent throughout the century. The accumulat- ing materials of this kind were used by Newton for the first variorum edition (1749), and by Todd for the second variorum edition (1801). In 1765, W. & W. Smith published in Dublin a "seventeenth edi- tion'" of Paradise Lost with a Glossary and otlier helps (A74). Just what was meant by this "seventeenth edition" seems impossible to deter- mine; for the number seems not to harmonize with any of the earlier numbering of editions. Tlu^ Scotch editions indicate an especial interest in the poem. Poulis, of Glasgow, made an effort to furnish to his eountrynuMi an e.xtra finely jjrinted folio edition of Paradise Lost, in 1770 (A82). A presentation copy of this edition, now in the British Museum, was sent by the binder, J. Scott, to King George the Third. Toward tlie end of tlie century, tliere was a tendency in the direction of elaborate engraving for the ornamentation of the poem. This ten- dency produced many beautiful title-pages (Cf. A125 and 126). and excellent illustrations. Tlie tendency itself was a part of that general interest which resulted in the Milton Gallery, by Puseli.'" ">The possibility of subjects for tlic painter from Paradise Lost was early realized. Regiiining with Tonson's folio edition of i688, the Epic was usually "ornamented witli sculptures." Steele showed some special interest in this aspect of the poem in his Tatlcr papers (Chapter v below). J. Richardson, who was him- self a painter, has, in bis Explanatory Notes (1734), a reference from the "Table of Principal Siil)jects" to "Pictures," pp. 544-545. These arc word-pictures, 44 in number, hut were suggestive for the brush. The World (No. ui, April J4, 1755), in An Imaginary Visit to Parnassus, represented a marble temple, adorned with line scenes painted from Homer, Virgil, and Paradise Lost. But it was left for John Henry Fuscli (1741-1825) to work out these suggestions into the "Milton Gallery." "His art-loving family was on intimate terms with the literary circle at Zurich, which claims to have started the Romantic Movement in general literature, represented by J. J. Bodmer, J. J. Breitingcr. and the painter- poet, Solomon Gessner, who stood sponsor to the infant Heinrich." Iniscli studied 123] the publication of milton 's works 31 Section 2 Publication op Paradise Regained Turning from the greater Epic to the less, one faces a proportionate decrease in editions that holds good for almost every phase of interest in the two Epics. While in the case of Paradise Lost, the tendency was to multiply the number of spearate editions, and to spare no means of exalting the merits of that great poem, in the case of Paradise Regained the tendency was to publish the lesser Epic as a part of The Poetical Works of Milton. But even in this connection, the smaller Epic was exalted as the second most considerable part of Milton's poetry. It was declared to be inferior only in comparison with the Paradise Lost." at the Collegium Carolinum at Zurich, of which Bodmer and Breitinger were professors. He knew English, French. Italian, Greek, and Latin. He was an ardent student of Shakespeare, Richardson, Milton, Dante, Rousseau, and the Bible, all of which furnished materials for his pencil. Fuseli went to England in the end of 1763, and was in Rome in 1770-8, where he sketched some of the ideas of Milton, Dante, and Shakespeare, which were afterwards worked into his more famous pictures. Later he revisited Zurich, and then returned to England. He was a friend to Dr. Armstrong (Art of Healtli, ii, 236). In 1780. he painted the Ithurial scene from Milton (Cf. Steele, Tatlcr, 237, Oct. 14, 1710). The "Milton Gallery" was the outcome of the elaborate edition of Milton, proposed by Johnson in 1790, to rival that of Boydell's Shakespeare. Cowper was to have edited the work. Fuseli was to have painted the pictures. Sharp, B'arto- lozzi, Blake, and others, were to have made tlie engravings. But the project failed. Fuseli, however, transformed his enthusiasm into the "Milton Gallery," which was opened May 26, 1799, with forty pictures. It was closed after two months; but was opened next year, with seven new pictures, at the vacated rooms of the Royal Academy, in Pall Mall. Most of the scenes were taken from Paradise Lost. The Lazar House, and the Deluge seem to have been very attractive to this imaginative artist. But the Gallery was, in general, felt to be unsatisfactory, because of its "wild extrava- gance" (Lionel Gust, D. N. B. "Fuseli"). Miss Seward applauded this undertaking of Fuseli, in her Anecdotes of Some Distinguished Persons, chiefly of the present, and preceding centuries, iwl. iv, 1796. See Mo. Rev., April, 1797, 103(22) :38s-392. Thomas Green visited the Gallery on June 3, 1799, and criticized Fuseli as "rather bombastic than sublime" (Extracts from Diary). John Flaxman (1755-1826), the painter, drew his subjects from Dante, rather than from Milton, for three reasons, (i) He was unwilling to interfere with Fuseli. (2) Because Dante supplied more figures. (3) He had heard that Michael Angelo had made a number of designs in the margin of a copy of Dante. Yet Fla.xman regarded "Milton the very greatest of poets." (H. C. Robinson, Diary, Jan. 17, 181 1, I, 319). "Giles Jacob (1686-1744). An Account of the Lives of Our Most Considerable English Poets. 1720. II, 106. 32 THE MILTON TRADITION [1-J4 The general attitude toward the Paradise Regained will appear in the list of editions, and the eommeuts that follow. A Date jnth irimt Separate Editions I (1645. Poems on Several Occasions). / 1671 S.A. J. Starkey, London. P. R., 4 Bks. 8 vo. 8 672 S.A. " " Same. 9 673 (1673. Poems on Several Occasions). 12 680 S.A. J. Starkey, London. P. R. &c., pp. 132. 13 1688 S.A. R. Taylor, •' P. R., S. A., 2 parts. i- ■ 695 Ptl. Wks. iS 695 Minor Poems Tonson?, London, fol. "6111 ed." 19 1698 Ptl. Wks. 20 1705 Ptl. Wks. 21 707 Ptl. Wks. 23 7 1 1-3 Ptl. Wks. 25 1720 Ptl. Wks. 26 1721 Ptl. Wks. 28 725 Ptl. Wks. 29 727 Ptl. Wks. 31 1730 Ptl. Wks. 32 1731 Ptl. Wks. 37 741 Ptl. Wks. 38 t742 Minor Poems. Tonson, London. Svo. 39 743 Ptl. Wks. 41 746-7 Ptl. Wks. 42 747-2 Ptl. Wks. 43 747 Minor Poems R. Foiilis. Glasgow. 12 mo. 49 751 Ptl. Wks. 52 752 Ptl. Wks. 53 752 Minor Poems. Tonson {\ewton"). London. 4 to., pp. 6 54 752 Minor Poems. R. & .\. Foulis, Glasgow. i2nio., pp. 380. 55 753 Ptl. Wks. 56 753 Minor Poems. Tonson-Draper (Newton). L. Svo. 6o 755 Minor Poems. J. Wood, Glasgow. 8vo., pp. 315. 6i 756 Minor Poems. J. & R. Tonson. London. i2mo., pp. 351. 63 758 Ptl. Wks. 64 758 Ptl. Wks. 65 1 759 Ptl. Wks. 66 760 Ptl. Wks. 67 761 Ptl. Wks. 70 1 762 Ptl. Wks. ;i 763 Ptl. Wks. 75 1 766 Ptl. Wks. -6 767 Ptl. Wks. 8o ] 770 Ptl. Wks. 84 1 771 The Recovery of Man: or Paradise Reijained. in Prose. 1 77 1. i2mo. London, 125] THE PUBLICATION OF MILTON 's WORKS 33 Minor Poems. R. & A. Foulis (Newton). Glasgow. 2 vols., i2nio. Ptl. Wks. Ptl. Wks. Ptl. Wks. Minor Poems. Newton edition, ^to. Ptl. Wks. P. Lost. Ptl. Wks. Minor Poems. W. Strahan (Newton), "new ed." 4to., 690. Ptl. Wks. Paradise Regained, in Four Books, unto., pp. 108. Tophis and Burney, London. Ptl. Wks. Minor Poems. W. Strahan (N.), London. 2 vols, 8vo. (1785. Poems OH Sev. Occasions, ed. T. Warton). Ptl. Wks. Ptl. Wks. (1791. Poems on Sev. Occasions. 2nd ed. Warton). Ptl. Wks. Paradise Regained, in Four Books. i2mo., pp. 94. J. Catnach. Alnwick. Ptl. Wks. Ptl. Wks. Ptl. Wks. Paradise Regained, with Notes, &c. By Chas. Dunster. 4to., pp. iv, 280. Cadell & Davies, London. Paradise Regained. 4to., pp. vi, 280. R. H. Evans, London. Notes, &c., by C. Dunster. Ptl. Wks. Paradise Regained, a Poem in Four Books, with Milton's name on the title-page, was published, with Samson Agonistes, in 1671. It seems that this edition was re-issued in 1672. The two poems were published together in a new edition in 1680, and again in 1688. The smaller Epic next appeared as a part of Milton's Poetical Works in 1695. From that time, Paradise Regained became the chief element in a second part of the complete poetical works. The division into two parts was due, in large measure, to the extra attention given to Paradise Lost. That poem, with its accumulation of critical materials, which began early to assume importance, was set off, as a first part of the works, against a second part whose title usually read : Paradise Regained . ... To Which is added Samson Agonistes, the Poems on Several Occasions, and the Tractate of Education. Under this arrangement of Milton's poetry, the editions of Para- 8s 1772 86 1773 87 1773 88 1773 90 1774 91 1775 92 1775 95 1776 97 1777 100 1779 10 1 1779 102 17S2 104 1785 los 108 1790 109 1790 III 113 1793 118 1793 119 1794-7 122 1795-6 123 1795-6 126 1795 129 (1800) 130 1801 34 THE MILTON TR^UJITION [126 disc Lost might easilj- be multiplied, and the Minor Poems were almost uniformly subordinated to the lesser Epic. The two preceding lists of editions may be summarized as in the following table : Manner of printing Paradise Paradise Minor Lost Regained Poems In Poetical Works 42 42 42 In separate editions 53 44 P. R. + Minor Poems 12 12 P. L. + P. R I I With Samson Agonistcs 4 In Prose editions 5 I Total editions loi 64 58 Section 3 Publication op Samson Agonistes Of Samson Agonistes, little needs to be said, more than appears in the list of editions. The poem first appeared, witli Paradise Bcgaincd, in 1671, and subsequently in tlie same combination, in 1672?, 1680, and 1688. It became a part of The Poetical Works in 1695, and seems never to have been printed in separate edition, except in the adapted forms, as indicated in tlu> following list of editions: A7 1671 I- 1695 21 1707 28 1725 27 1741 8 1672 18 1695 23 1713 29 1727 38 1742 X2 1680 19 1698 25 1720 31 1730 13 1688 20 170S 26 1721 32 1731 1742 Hamilton Adaptation.'- J. Hardy London. pp. 22, 4to. 1742 " " " " pp. 23, 4to. 1742 " " J.&R. Ton.son " pp. 23, 4to. 1743 " " " " pp. .32, 8vo. 39 1743 41 1-47 42 1752 43 1747 1749 Oxford Adaptation. ? 8vo. 1751 Hamilton .Xdaptation. Toiison &c. London 8vo. 49 I 75 I 54 1752 60 1755 64 1758 52 '752 55 1753 61 1756 6s 1759 53 1752 56 1753 63 1758 1750 Hamilton Adaptation. J. & R. Tonson London 8vo. 66 1760 67 1761 1762 Hamilton Adaptation. J. & R. Tonson London 4to. ^'Samson Agonistes. An Oratorio, in three acts. As performed in the Theatre Royal. Altered from Millnn (by N. Hamilton). Set to music by Mr. Handel. 127] THE PUBLICATION OP MILTON 'S WORKS 35 70 1762 71 1763 1765 ? Adaptation. ? Salisbury 4to. 75 1766 85 1772 88 1773 95 1776 102 1782 76 1767 86 1773 90 1774 97 1777 104 178s 80 1770 87 1773 91 1775 100 1779 1788 Tr. into Greek, 1)y G. II. Glasse. Oxford. Faulder. 8vo. 108 1790 113 1793 122 1796 123 1796 130 1801 109 1790 119 1797 1797. Brit. Theatre, v.34. J. Bell London 8vo. Section 4 Publication op Comus Comns, "as adapted for the stage," appeared in many separate editions. But apart from tliese adaptations, there seem to liave been only five editions of the Mask separately printed. The first of these separate editions were the first two editions of the poem. The third was in 1747. The last two were at the very end of the Eighteenth Century. The Mask was, however, printed in various forms, as follows : 1637 Comus, as acted at Ludlow, 1634 1638 Comus. .^I 1645 19 1698 9 1673 20 1705 17 1695 21 1707 18 1695 23 1713 1738 Dalton Adaptation. 1738 *' 1738 '* 1738 a 37 1741 38 1742 V, 1634- H. Lawes. 4to. J. Hughs. 4to. 25 1720 31 1730 26 I72I 32 1731 28 1725 29 1727 R. Dodsley. London. 8vo. 8vo. 8vo. S. Powell. Dublin. 8vo. 39 1743 London. 12m 43 1747 A. Millar. London. 12m 1744? Dalton Adaptation. 1747 Coiiitis (Original Text) 41 1747 42 1747 1750 Dalton Adaptation. '^^Cowus, a Mask: (3 acts) as altered by John Dalton, from Milton's Mask. pp. 52. In 1737, P. Rolli published Sabrina, a Masque: (in three acts and in verse. Founded on the Comus of Milton), pp. 61. Italian & English. J. Crichley. Lon- don. 8vo. 36 THE MILTON TRADITION [128 49 I7SI 54 1752 52 1752 55 1753 53 1752 56 1753 60 I75S 61 1756 63 1758 64 1758 65 1759 1759 Dalton Adaptation. 1760 A. Millar. Lx)ndon. 8vo. 8vo. 66 1760 67 1761 70 1762 1762 Dalton Adaptation. A. Millar. London. 8vo. 71 1763 75 1766 76 1767 80 1770 1772 Colman .Adaptation ? London. 8vo. (2 acts) 85 1772 86 1773 87 1773 88 1773 1774 Colman Adaptation ? London. 8vo. 90 1774 91 1775 95 1776 97 1777 1776 Colman Adaptation. J. Bell. London. Br. Theatre. 9 1777 1777 J. Wenman ? i2mo. 8vo. 100 1779 102 1782 1784 Colman Adaptation. 104 178s 105 1785 1786 Colman Adaptation. 1789 V. Kno.x, editor. 108 1790 109 1790 1791 Dalton Adaptation. "3 1793 "9 1794 1797 Dalton Adaptation. 1798 H. J. Todd, editor. 1799 Dalton Adaptation. 1799 T. Warton, editor. 1801 V. Knox, editor. 130 1801 J. Bell. ? Ill 1791 J. Bell. 122 1795 J. Bell. VV. Bristow. J. Bell. E. Harding. London. i2mo. Supple- ment Br. Theatre, v. 4. Kdin. Lond. Lond. 123 1795 Lond. Br. Stage, v. 4. Etc. Extracts. Br. Thca. v. i. Br. Thca. v. I. Canterbury. 8vo. London. Br. The v. I. pp. 124. 8vo. " Elc. Extracts. Comvs was written by Milton, acted at LvuUow Castle, in 1()34, and printed by Henry Lawes in 1637. The next year, J. Huphs brought out a seeoiid ('(litioii. Tlie Musi; Ijccanic at once a jinrt of tlie Poems on Several Ocinxions (1045). As sncli alone was it iiriiited for exactly 129] THE PUBLICATION OF MILTON 's WORKS 37 one hundred years. In 1738, it was adapted for the stage, in three acts, by the Rev. John Daltou. This Adaptation was popular both on the stage and on the market, resulting in many editions, and one or more attempts later to share the glory that came to Dr. Dalton. Dodsley's edition in 1741 was the sixth, and in aU probability the Adaptation was printed by him in other editions in 1739 and 1740. There seems also to have been an edition in 1744, for BeU's edition in 1799 is said to follow the Adaptation of 1744. It is noteworthy, that this popular Adaptation seems to have been the first of Milton's Minor Poems published in Ireland, and this event occurred when the poem was about one hundred years old. It maj' have been the popularity of this early Adaptation that provoked some conservative spirit to bring out an edition of the original text of the Ludlow Masque in 1747. This edition seems, however, not to have hindered the popularity of the Dalton Adaptation, which con- tinued to re-appear at intervals to the very end of the century. In 1772, George Colman transformed Milton's Comus into a Masque of two acts, for the Theatre-Royal in Covent Garden. The music for this Masque was composed by Dr. Arne ; but even this excel- lent support of music did not enable this Adaptation to attain the measure of popularity enjoyed by that of Dr. Dalton. From this account, it appears that the original Comus was printed sixty-three times, and the several adaptations eighteen times, making a total of eighty-one editions for Comus during the period covered by this discussion. Section 5 Publication op Lycidas Lycidas never had many attractions for the stage, though there was an unsuccessful attempt to turn it into a "musical entertainment" on one occasion. The poem was, however, more popular in the miscel- laneous collections of poetry than any of the Minor Poems thus far considered. Lycidas, in various ways, appeared as follows: 1638 Lycidas, Memorial Volume. T. Buck & R. Daniel. Cambridge Al 1645 17 169s" 19 1698 21 1707 9 1673 18 169s 20 170S 23 1713 1716 Dryden's Miscellany, 4th ed. (Inserted by Fenton). 25 1720 26 1721 28 1725 29 1727 1727 Dryden's Miscellany, 5th ed. "In 1694, Lycidas was translated into Latin by G. Hog, and printed in quarto, pp. 19. 38 THE MILTON TRADITION [130 31 1730 53 1752 67 1 761 90 1774 32 1731 54 1752 70 1762 91 1775 37 1 741 55 1753 71 1763 95 1776 38 1742 56 1753 75 1766 97 1777 39 1743 60 1755 76 1767'^- 100 1779 41 1747 61 1756 80 1770 102 1782 42 1752 63 1758 85 1772 104 1785 43 1747 64 1758 86 1773 105 1785 49 I7SI 65 1759 87 1773 52 1752 66 1760 88 1773 1789 Knox's Elegant Extracts, ed. 1809. Rook iv. No. 3. 108 1790 109 1790 III 1791 113 1793 1793 Ritson's English Anthology. I, 45. (Has i sonnet). 119 I797> 122 1796 123 1796 130 i8oi 1801 Kno.x's Elegant E.rtracts. Section 6 Public.vtion op the Comiwxion Poems L 'Allegro and II Penseroso By far the most popular of Milton's Minor Poems during the Eight- eenth Century were the Companion Poems, L'Allcgro and II Penseroso. But with all their popularity, tliese pooms were ]iublishecl in very few separate editions, as is indicated in the following list, wlicre both poems appear together unless otherwise indicated. A I 1645 17 1695 19 1698 21 1707 9 1673 18 1695 20 1705 23 1 71 3 1716 Dryden's Miscellany, 4th ed. (By Fenton). 25 1720 26 1721 28 1725 29 1727 1727 Dryden's Miscellany, 5th cd. 31 1730 .•?2 1 73 1 '°In 1767, there was printed Lycidas: a Musical Entertainntcnt, As it is per- formed at the Theatre Royal in Covent Garden. The ll'ords altered from Milton. By W. Jackson. London. Svo. "Milton's Lycidas is liere applied to the Intc breadi made in the Royal Family, by the death of the Duke of York. Tlie design was absurd, and the performance was treated as such a piece of impertinence deserved." The idea of "mourning amusements" was ridiculed. Mo. Rev. Nov., 1767. 37 :,393- "In 1797, J. riumptrc published Miltonis Poema I.ycida.i, Graece redditum, pp. 27. Cambridge. 410. 131] THE PUBLICATION OP MILTON 's WOKKS 39 1740 Jennens-Handel Adaptation. 1740 " " " "Another edition." 37 I 741 39 1743 42 1752 38 1742 41 1747 43 1747 1750 Jennens-Handel Adaptation. London. 8vo. 1751 L'Allegro-Il Penseroso, pp. 22. Foulis, Glasgow. 4to. 49 1751 1752 L'Allegro, Translated into Latin, with English Text. By Christopher Smart, Poems on Several Occasions, 2v. 8vo. 1752. vol. II, 113 ff. 52 1752 53 1752 54 1752 55 1753 56 1753 '754 Jennens-Handel Adaptation (With Dryden's Song for St. Cecilia's Day). Tonson. 4to., pp. 20. I7S4 60 1755 63 1758 65 1759 67 1761 71 1763 61 1756 64 1758 66 1760 70 1762 75 1766 1763 Smart's Poems on Several Occasions. 4to. 1766 Translation into French. 1767 Goldsmith's The Beauties of Englisit Poesy. Nos. 2-3. 95 1776 76 1767 8s 1772 87 1773 90 1774 80 1770 86 1773 88 1773 91 1775 1776 Goldsmith's The Beauties of English Poesy. 97 1777 100 1779 1779 Jennens-Handel Adaptation. (Warton's Milton, 1791, xii.) 1782 Translation into German Prose. English opposite, pp. 31, 8vo. Mann- heim. 102 1782 104 1785 105 1785 1789 Knox's Elegant Extracts. 108 1790 109 1790 III 1791 1791 Poems of the late C. Smart. 2v. Reading. i6mo. 1793 Ritson's English Anthology. 1. 32, 38. 113 1793 1794 J. Roach's Beauties of the Poets of Gr. Brit. v. 3. 179s Smart's Poems (Anderson, 11:185). Only Latin Trans. 119 1797 122 1796 123 1796 1799 T. Warton. Account of the Origin of Comus, with Comus and Companion Poems. London. 8vo. 40 THE illl.TOX TRADITIOX [132 1801 Knox's Elegant Extracts. 130 1801 L' Allegro and II Penseroso were written during Milton's quiet re- tirement at his father's home at Horton. They seem, however, not to have been printed until the Poems on Several Occasions, in 1645. From that setting, they were first removed for the fifth edition of Dryden's Miscellany in 1716. In 1740, these poems were re-arranged by Charles Jennens (1700- 1773 ) , and set to music by his friend, Mr. Handel, whom Tlioraas War- ton thought more honoured than honouring in thus having his music "married to immortal verse."^' This oratorio arrangement of the poems was very popular, and the i)oems in this form went through man}' separate editions, as shown in the preceding list. Ilandel's name was often associated with this connection between his music and Milton 's popular poems, and it may have been the repTitation of this combina- tion that led to the translation of the Companion Poems into French (1766), and into German (1782). In 1751, R. & A. Foiilis printed, in Glasgow, what seems to have been the only edition of the Companion Poems, apart from the adapta- tions, that was separately printed during the period under discussion. In all their forms, these poems appeared in print, according to the above tabulation, seventy-nine times up to the year 1801. Section 7 Publication of the Sm.uxer Pieces of Milton's MiNOK Poems It is sufficient only to make a general mention of tliese smaller pieces of Milton's poetry. Very early most of them were gathered into the Poems on Several Occasions, in 1645. Some of them, of course, were written later, and additions were made to the second edition of the Minor Poems in 1673. Some additions were made in later editions of the Poetical Works, but none have been noticed after the edition of 1711-13. Few of tliese smaller poems ever appeared otherwise than in com- bination with the other Minor Poems. In 1692, JulH Mazirini, Cardi- nalis, Epitaphium: Aidhore John Milton was included in Gildon's Miscellaneous Poems on Several Occasions. Ten years later (1702), Directions to a Painter concerning the Dutch War, by Sir John Den- ham, 1667, appeared in Poems on State Affairs; but tlie editor claimed that this poem was "believed to be writ by Mr. Milton.'"" The Jiatiii and Italian poems of Milton came to have considerable '''Milton's Poems on .Scv. Occs., cd. 1791, p. xii. '"forms on Affairs of State, 5th cd., 1702. I, 24 aiul "Index." 133] THE PUBLICATION OF MILTON 'S WORKS 41 interest before the eud of the Eighteenth Century. The Latin poems were not granted the rank of classical poetry without considerable de- bate. For the non-Latin reading public some of these were translated into English, and printed in that form. In this form Mansus appeared among the poems of the Rev. Joseph Sterling, a student and imitator of Milton, about the year 1789 ; but the translation was neither faithful to the original nor otherwise possessed of much merit.^" In 1776, Milton's Italian Poems had been "translated, and ad- dressed to a Gentleman of Italy." This was the work of the Rev. Jolm Langhorne, who addressed his Translations to Sig. Mozzi, of Macerata, an Italian gentleman of taste and genius. Contemporary criticism was favourable to the publication, exalting both Milton's excellence in the use of foreign languages, and Dr. Langhorne 's ability to produce an elegant version in the spirit of the original.-" Thomas Warton concerned himself in the Latin and Italian poems of Milton to the extent of almost two hundred pages in his editions of the Minor Poems in 1785 and 1791. Between the two editions by War- ton, Philip Neve, in his Cursory Remarks (1789), took pains to empha- size the large biographical content of these poems, and to indicate some Latin and Italian sources.-^ In 1791, the poet William Cowper began a complete poetical translation of the Latin-Italian poems of Milton for the Cowper-Hayley edition of Milton's Complete Poetical Works, which was published in 1794-7.-- This work seems to have taxed the strength of the poet, whose health at the time was declining, and much interesting matter on the progress and difficulties of the work appeared in liis Letters to various friends. Section 8 Publication of Milton's English Poems in Latin AND Geeek Translations The translation of Milton into the Classical Languages began early, and resulted in several separate editions of his more important poems. Here, as usual, however, the Major Epic absorbed the larger share of interest. Paradise Lost, Book I. was translated, by Mr. Power, into Latin and published in 1686, and again in 1691. The Translation seems to have been completed, published in folio 1692, and a copy of it presented, ^■^Poems by the Rev. /— 5— Cr. Rev. May, 1789, 67 :368. -"Milton's Italian Poems, &c. T. Beckett, London, 4to. 1776. pp. 16. Mo. Rev. Nov,, 1776, 55:383-5. Cr. Rev. Nov., 1776, 42:389. See Chalmers, Eng. Poets, 1810, 16:462-3, 473-5. ^'Philip Neve, Cursory Remarks (1789), pp. 116-120, -^The Poetical Works of IVm. Cowper, 3 vols., edited by J. Bruce, 1S96, vol. Ill, 147-214, for these Translations. 42 THE MILTON TRADITION [134 by Dr. Bentley, to the Trinity College Library.- ■ Tlie whole of Paradise Lost, together with Paradise Regained and Samson Agonistes, w-as trans- lated by W. Hog, in 1690.-* Another complete translation of Paradise Lost was published in 1702. This was the work of M. Bold, which re-appeared in 1717, and in a quarto edition in 1736. In the year 1736, Ricliard Dawes (1708- 1766) produced a Greek translation of Paradise Lost, Book I., which for want of popularity was called in by the author.-'' Perhaps earlier than this Greek version, Samuel Say (1676-1743) had translated the opening part of Paradise Lost into Latin hexameter.-" Robert Pitt, a brother to Christopher Pitt, after being elected fellow of Wadham in 1719, displayed scholarly taste in a Translation into Latin of five books of Milton's Paradise Lost.-' In 1741-44, Joseph Trapp (1679-1747) published, at liis own ex- pense and heavy loss, a ponderous two volume Translation of Paradise Lost into Latin. -^ Slore successful was the two volume edition by Wil- liam Dobson, which appeared in 1750-53. This was pronounced "a great work, whether we regard the sublimity and excellence of the original poem, or its length, and the frequent difficulty of translating it." This work was said to have been "executed in a happy manner. "-° Fourteen years later the Critical Review thought that Dobson "deserves a public reward from his countrj-, for having extended and immortalized the fame of the great English poet Milton, in his admirable Translation of Paradise Lost."^" In perfect harmony with tlie above sentiment, was that of Dr. James Beattie, when he affirmed tliat "many of the finest performances of Pope, Dryden, and Milton, liave appeared not ungracefully in a Roman Dress. "^' That these Translations really had some measure of general interest was evident from the fact that llie Gentleman's Maga- zine planned to print specimens from six translations for general com- parison. Five only were i)rinted, at first, and some of those indicated translations other than tliose considered in the |)i-fei'ding discussion. "- After the mid-century, no new Ijulin version of cither Epic seems to =3Nichols, Lit. Illus., I, 8o. ^'Printed by John Darby, London. 8vo., lOyo, pp. xx.wi, 510. "Cr. Rev., May. 1782, 53:353-4. -"Poems . . . Tzvo Essays. Pub. 1745. "T. Scccombe. D. N. B., "Chr. Pitt." ="Gent. Mag., June. 1744, 14 •..344. N\'. V Cnnrlncy. D. N. R. "Tr.ipp." '"Mo. Rev., Feb., 1754. 10:136-144. '"Cr. Rev., July, 1757, 4:90. "On the IJlilily of Classical l.cartiiin;. Hssay on irulli, esody, To Milton. It has 87 lines. Nichols, Sel. Col. of Pins. 1/80. 6:121-124. 70 THE MILTOX TRADITION [162 Soiled by rude touch, — enough then to admire. Silent admire; and be content to feel. 6/ Adieu, celestial nymph, adieu ! 1741 Shakespeare no more, thy sylvan son. Nor all the art of Addison, Pope's heaven strung lyre, nor Waller's ease, Nor Milton's mighty self must please. 68 Milton, whose genius, like his subject high, 1742 Gave him beyond material bounds to fly ! And manl}' Shakespeare, whose extensive mind Could fathom all the passions of mankind. 69 'Tis 'Virtue only can the bard inspire, 1743 And fill his raptur'd breast with lasting lire: Touch'd by th' ethereal ray each kindled line Beams strong : still 'Virtue feeds the flame divine ; Where e'er she treads she leaves her footsteps bright In radiant tracts of never-dying light : These shed the lustre o'er each sacred name. Give Spencer's clear, and Shakespeare's noble flame ; Blaze to the skies in Milton's ardent song. And kindle the brisk-sallying fire of Young. 70 Now mark the strength of Milton's sacred lines, 1743 Sense rais'd by genius, fancy rul'd by art. Where all the glory of the Godhead shines, And earliest innocence enchants the heart. 71 Apollo of old on Brittania did smile, 1743? Then Chaucer and Spenser harmonious were heard. Then Shakspere, and Milton, and Waller appear'd. •'Sir Wm. Blackstone (1723-1780). The La-iycr's Farewell To His Muse. Dodsley, Col., vol. iv. Campbell, Brit. Pis., 1819, 6,408-411. Southey, Speeinieiis, 3:188-192. "sSaml. Boyse (1708-1749). The Triumph of Nature. Gent. Mag., June-Aug., 1742, 12:324, 380, 435. Chalmers, Eng. Pts., 14:534-8. ^°John Brown (1715-1766). On Honor. To the Lord I'iscouiit Lonsdale, Anderson, Br. Pts., 10:884-7. Bell, Fug. Ptry., 1:27-37- 'ojas. Hammond (i7io?-i742). Elcpy A7F. To Delia. Chalmers, Eng. Pts., II :14s. "Sir Chas. Ilamliurg (1708-1759'). To Mrs. Jiindon at Bath. Bell, Fug. Poetry, 6:i34-i35- 163] POETICAL TRIBUTES TO MILTON 71 72 With Finger tap'd against my Nose, Before I measur'd first five Feet of Prose; 1744 This was blank verse — so far, at least, I've gain'd my point — now for the rest ; But sure this Rhiming might be spar'd, Bless'd Milton ! who wou'd never own The Fetters under which I groan : But he, Great Bard! with Sense profound. Makes ev'ry lofty Page abound, And charms with something more than Sound. We, a degen'rate scribbling Tribe, Are forc'd with Sounds the ear to bribe ; And Wit's so scarce in these hard Times, 'Tis cheaper far to deal in Rhimes : With jingling Rhimes together ty'd, A shameful Dearth of Sense we hide. 73 Now in Elysium lap'd, and lovely scenes, 1744 As blissful Eden fair ; the morning work Of Heav'n and Milton's theme ! where Innocence Smil'd and improv'd tlie prospect. 74 Last came a bard of more majestic tread, 1744 And Thyrsis bight by dryad, fawn, or swain. Whene'er he mingled with the shepherd train ; But seldom that; for higher thoughts Iie fed; For him full oft the heav'nly Muses led To clear Euphrates, and the secret mount. To Araby, and Eden, fragrant climes, All which the sacred bard would oft recount : And thus in strains, unus'd in sylvan shade, To sad Musaeus rightful homage paid. 75 But, Morpheus, on thy dewy wing, 174s Such fair auspicious visions bring, As sooth'd great Milton's injur'd age. When in prophetic dreams he saw The tribe unborn with pious awe Imbibe each virtue from his heav'nly page. '^Anonymous. A Poetical Epistle to Daniel IVr — y, Esq. Norfolk Ptl. Mis- cellany. 1744. I : 166-170. ^^Wm. Thompson (1712-1766). Sickness. Written in 1744, published in 1745. Book iii. Chalmers, Eng. Pts., IS :46. '*Wm. Mason (1724-1797). Musaeus: A Monody To the Memory of Mr. Pope. Chalmers, Eng. Pts.. 18:323-325. This was written in 1744, and published in 1747. ^'Jas. Scott (1733-1814). Ode ix. To Sleep. Odes on Sev. Occasions. Lon- don, 1745. 72 THE MILTON TRADITION [164 76 Queen of my song, harmonious Maid, 174s Ah why hast thou withdrawn thy aid? Say, goddess, can the festal board, Or young Olympia's form ador"d ; Say, can the pomp of promis'd fame Relume thy faint, thy dying flame? Or have melodious I'.irs tlie p'nver To give one free poetic hour? Or from amid the Elysian train The soul of Milton shall I gain To win thee back with some celestial strain ! mighty mind ! O sacred flame I My spirit kindles at his name. 77 Beyond Creation's utmost bound Written Whilst Milton's genius took its flight, 1745 The Bard in his arm-chair was found. Contented — even with loss of sight. 78 The sprightly lark's shrill matin wakes the morn; 1745 Grief's sharpest tliorn hard pre.ssing on my breast, 1 strive, with wakeful melody, to cheer The sullen gloom, sweet Philomel ! like thee. And call the stars to listen ; ev'ry star Is deaf to mine, enamour'd of thy lay, Yet be not vain ; there are who thine excel, And charm through distant ages. Wrapt in shade, Pris'ner of darkness ! to the silent hours How often I repeat their rage divine. To lull my griefs, and steal my lieart from woe! I roll their raptures, but not catch their tire. Dark, thous^h not blind, like tliee, Maeonidcs! Or, Milton, tliee ! ah, could I reach your strain ! Or his who made Maeonides our own. Man, too, he sung; immortal man I sing. 79 But let the sacred genius of the night 1745 Such mystic vision send, as Spenser saw, or Milton knew, '"Mark Akenside (1721-1770). Ode .r. To The Muse. Chalmers, Eng. Pts., 14:104. ''Richard Graves (1715-1804). The Elbow-Chair. Written in 1745. Euphrosyne: or, Amuscnirnls on the Road of Life. 2 vols. London, 1776. and ed., 1780, vol. I, 68-71. This reference has a foot-note explaining Milton's manner of study. '"Edw. Young (1683-1765). Niyhl Thouiihls. Night T, 4,18-45,3. "Thomas Warlon (1728-1790). The Pleasures of .Melancholy. Written 1745, published 17.17 Chaliiicrs, Eng Pts., 18:95-97. 165] POETICAL THIHUTES TO MILTON 73 When ill abstract thought he hrst conceiv'd All Heav'n in tumult, and the seraphim Come tow'ring, arm'd in adamant and gold. 80 What lust of power from the cold North 1746 Could tempt those Vandal-robbers forth, Fair Italy, thy vine-clad vales to waste ! They weeping Art in fetters bound, And gor'd her breast with many a wound, And veil'd her charms in clouds of tliickest night; Sad Poesy, much-injured maid. They drove to some dim convent's shade. And quenched in gloomy mist her lamp's resplendent light. There long she wept, to darkness doom'd, 'Till Cosmo's hand her light relum'd, That once again in lofty Tasso shone ; Since has sweet Spenser caught her fire, She breathed once more in Milton's lyre. And warm'd the sou! divine of Shakespeare, Fancy's son. 81 How nearly had my spirit past, 1746 Where Maro and Musaeus sit List'ning to Milton's loftier song. With sacred silent wonder smit ; While, monarch of the tuneful throng. Homer in rapture throws his trumpet down, And to the Briton gives his amaranthine crown. 82 Nor an holier place desire 1747 Than Timoleon's arms acquire. And TuUy's curule chair, and Milton's golden lyre. 83 Then turn, and while each western clime 1747 Presents her tuneful sons to Time. So mark thou Milton's name ; And add, "Thus differs from the throng The spirit which informed thy awful song, Which bade thy potent voice protect thy country's fame." '"Joseph Warton (1722-1800). To A Gentleman on His Travels Through Italy. Odes on Various Subjects, London. 1746. *'Same. Odes, \T\(>. Ode to Health. '=Mark Akenside (1721-1770). Ode xvii. On A Sermon Against Glory. 1747. ^^Same. Ode xviii. To the Right Honorable Francis Earl of Huntingdon. 1747. For both odes, see Chalmers, Eng. Pts., 14:108-109. The latter alludes to Milton's "Defence of the People of England." Compare his own introduction to his reply to Morus. 74 THE illl.TOX TKADITIOX [166 S4 Frown not, ye royal shades, that Milton's name 1748 Among your sacred tombs a place does claim, Great Brunswick reigns, whose throne's on freedom raised, He, like Augustus, can hear Catoes praised. 85 As seated pensive in mv lonelv bow'r, 1748 " . ' . Three venerable forms appcar'd, and spread An awful pleasing vision round my head. Somers, a champion bold in Freedom's cause, The just assertor of Brittania's laws, From heav'n descended, like celestial dews. To glad the subject, and to cheer the muse; Who to our Milton's great remains was kind. When to tlie poet's worth the land was blind ; To whom alone we owe what Edcit yields. That vies with Temple and Elysian fields ; In spite of evil tongues, and evil times. He sav'd the manly and majestic rhymes (= numbers). 86 The Muse at Cam. — 1748 "Here will I rest," she cry'd; "my laurel here. Eternal blooms ; here hangs my golden lyre. Which erst my Spenser tun'd to shepherd's ear, And loftiest Milton smote with genuine epic fire." 87 Had unambitious mortals minded nought, 1748 But in loose joy their time to wear away. Great Homer's song had never fir'd tlic breast To thirst of glory, and heroic deeds; Sweet Maro's muse, sunk in inglorious rest. Had silent slept amid the Mincian reeds; Our Milton's Eden had lain wrapt in weeds, Our Shakespeare stroU'd and laugh'd with Warwick swains. '♦Anonymous. To Be Put Under Milton's Tomb in U'estniinster Abbey. Gent. Mag., Mar., 1748, 18:134. "•Anonymous. The Progress of Corruption. A Satire. Gent. Mag.. June, 1748. 18:276. The other two were Cowper, "the learned and the good," and "the late Lamented Talbot." ""Bishop Richard Hurd (1720-1808). On the Peace of Ai.v La Chafelle. 1748. G. Pcarcb, Continuation, 1783, 2:279-282. "Jas. Thomson (1700-1748). The Castle of Indolence. Canto II, stanzas SI and 52. 167] POETICAL TRIBUTES TO MILTON 75 88 Should some strange poet in his piece affect 1748? Pope's nervous style, with Gibber's jokes bedecked, Prink Milton's true sublime with Cowley's wit, > And garnish Blackmore's Job with Swift's conceit, Would you not laugh ! 89 High on some cliff, to Heaven up-pil'd, 1749? Of rude access, of prospect wild, Where, tangled round the jealous steep, Strange shades o'erbrow the valley deep, And holy genii guard the rock. Its glooms embrown, its springs unlock, While on its rich ambitious head. An Eden, like his own, lies spread, I view that oak, the fancied glades among. By which as Milton lay, his evening ear. From many a cloud that dropp'd ethereal dew, \igh spher'd in Heaven its native strains could hear! On which that antient trump he reach'd was hung ; Thither oft his glory greeting, From Waller's myrtle shades retreating, With many a vow from Hope's aspiring tongue. My trembling feet his guiding steps pursue ; In vain — Such bliss to one alone, Of all the sons of soul was known. And Heaven, the Fancy, kindred powers. Have now o'erturn'd th' inspiring bnwers, Or curtain'd close such scene from every future view. 90 Let Granta boast the patrons of her name. 1749 Still let her senates titled slaves revere, Nor dare to know the patriot from the peer ; No longer charm'd Virtue's lofty song. Once heard sage Milton's manly tones among. Where Cam, meandering thro' the matted reeds, With loitering wave his groves of laurel feeds. ssRobert Dodsley (1703-1764). The Art of Preaching. In Imitation of Horace's Art of Poetry. Anderson, Br. Poets, 11:98-102. s!>Wm. Collins (1721-1759). Ode On The Poetical Character. Branson's Ed. Ath. Press Srs., pp. 41-43. Chalmers, Eng. Pts., 13:199. One feels the first line here, and especially of Hayley (No. 171, below), to be an echo of Milton lines {Para. Lost, II, SS/fif) : Others apart sat on a hill retired, In thoughts more elevate, and reasoned high Of Providence «°Thos. Warton (1728-1790). The Triumph of Isis. Chalmers, Eng. Poets, 18:89-91- 76 THE MILTON TRADITION [168 91 An academic leisure here I find 1749 With learning's love to discipline mj' youth ; By Virtue's wholesome rule to form my mind, To seek and love the wise man's treasure, truth. Oft to thy hallow'd sons enthroned hie, O peerless poesie ! Sounding great tlioughts my raptur'd mind delight; He first, the glorious child of libertie. Maeonian Milton, beaming heavenly bright. 92 With Nature's Shakespeare rove 1750? Thro' all the fairy regions, or oft fly With Milton, boundless, thro' ethereal worlds. 93 Ye patriot crowds, who burn for England's fame, 1750 Ye nymphs, whose bosoms beat at Milton's name, Apr. 5 Whose generous zeal, unbought by flattering rhymes, Shames the mean pensions of .Augustan times ! Immortal patrons of succeeding days. Attend this prelude of perpetual praise; Let Wit condemn'd the feeble war to wage With close Malevolence, or Public Rage ; Let Study, worn with virtue's fruitless lore. Behold this theatre, and grieve no more. This night, distinguished by your smiles, shall tell That never Briton can in vain excell : The slightest arts futurity shall trust. And rising ages hasten to be just. At length our mighty bard's victorious lays Fill the loud voice of universal praise; And baffled Spite, with hopeless anguish dumb. ' Yields to Renown the centuries to come ; With ardent haste each candidate of fame. Ambitious, catches at his towering name ; He sees, and pitying sees, vain wealth bestow Those pageant honours which he scorn'd below. While crowds aloft the laureate bust behold, . Or trace his form on circulating gold. Unknown — unheeded, long his offspring lay, "Rev. Robert Potter (1721-1804). A FamveU Hyinnc to the Country. Stanza xiii. Bell, Fug. Poetry, 11:105-119. •-Robert Shields (d. 1753). The Power of licouly. C. Pearch, Continuation, 1:194-212. Shields wrote this poem on Johnson's Irene, probably about 1750. "•''Saml. Johnson (1709-1784). Prologue to Coinus. This was spoken by David Garrick, April 5, 1750, when Coinus was acted for the benefit of Milton's Grand- daughter, Mrs. Elizabeth Foster. For an account of this event see Appendix J. 169] POETICAL TRIBUTES TO MILTON 77 And Want hung threatening o'er her slow decay. What though she shine with no Miltonian fire, No favouring Muse her morning dreams inspire? Yet softer claims the melting heart engage, Her youth laborious, and her blameless age ; Hers the mild merits of domestic life. The patient sufferer, and the faithful wife. Thus graced with humble Virtue's native charms, Her grandsire leaves her in Brittania's arms. Secure with peace, with competence to dwell, While tutelary nations guard her cell. Yours is the charge, ye fair! ye wise! ye brave I Tis yours to crown desert — beyond the grave. 94 Oft Phoebus self left his divine abode, 17SI And here enshrouded in a shady bow'r. Regardless of his state lay'd by the God, And own'd sweet Music's more alluring pow'r. On either side was placed a peerless wight. Whose merit long had fiU'd the trump of Fame; This, Fancy's darling child, was Shakespeare bight. Who pip'd full pleasing on the banks of Tame; That, no less fam'd than He, and Milton was his name. Now Spenser 'gan. Of jousts and tournaments, and champions strong ; Now Milton sung of disobedient Man, And Eden lost : the bards around them strong. Drawn by the wond'rous magic of their princes' song. At length, on blest Parnassus seated high, Their temple circled with a laurel crown, Spenser and Milton met her scowling eye, And turn'd her horrid grin into a frown. See Phoebus' self two happy bards atween ; See how the god their song attentive hears; This Spenser bight, that Milton, well I ween ! Who can behold unmov'd like heart-tormenting scene? 95 Some Village-Hampden that with dauntless Breast 1751 The little Tyrant of his Fields withstood; '^Robert Lloyd (1733-1764). The Progress of Envy. The Ptl. Wks., 2 vols., 1774, 1:132-146. Chalmers, Eng. Pts., 15:94-97. '^Thos. Gray (1716-1771). The Elegy. The proper najjies in these lines originally read "Cato," "Tully," and "Caesar." The change is due to changing national feelings. 78 THE MILTOX TRADITION [170 Some mute, inglorious Milton here may rest, Some Cromwell guiltless of his country's Blood. 96 Fairest flower, all flowers excelling, 1751? Which in Milton's page we see; Flowers of Eve's embower'd dwelling Are, my fair one, types of thee. 97 .\nut not to one in this benighted age 1752 Is that diviner inspiration giv'n. ""Nath. Cotton (1705-1788). To A Child of fhc Years Old. Various Pieces III Verse and Prose, 2 vols., 1791, 1:71. Also Chalmers, Eng. Poets, 18:20. "'Mark Akenside (1721-1770). Bk. II., Ode x. To Thomas Edwards, Esq. On the Late Ed. of Mr. Pope's Works. Chalmers, Eng. Poets, 14:115. Cr. Rev.. May, 1766, 21 :389-39i. "'Moses Mendes ( -1758). The Seasons. Stanza i. Bell, Fug. Poetry, n : 63-78. G. Pearch, Continuation, 2:217-230. The allusion here is to Jas. Thomson, buried at Alcon. ""Anonymous. Imitation of Ode i.r, Bk. iz\ of Horace. Nichols, New Found- liny Hospital for Wit., 5:46-50. '""Christopher Smart (1722-1771). Tlie Hop-Garden, Bh. I. Poems, i~oi, 1:152. Chalmers, Eng. Poets, 16:38. '"'Thos. Gray (1716-1771). Stanzas To Mr. Rich. Bcutley. 171] POETICAL TRIBUTES TO MILTON 79 That burns in Shakespeare's or in Milton's page, The pomp and prodigality of heav'n. 102 Should the weak things this truth discover, 1753 How few coquettes would keep a lover; And yet, so plain (though blind you know) Milton could see it years ago. 103 Oft too with Spenser let me tread 1753 The fairy field where Una strays ; Or loll in Pleasure's flow'ry bed, Or burst to heav'n in Milton's higli-wrought lays ; Or on Ariel's Airy wing, Let me chase the young-eyed spring. 104 His frailties are to ev'ry gossip known : 1753 Yet Milton's pedantries not shock the town. H solid merit others pine unknown; Sunk in dead night the giant Milton lay, 'Till Sommers' hand produc'd him to the day. Judge for yourself The lords who starved old Ben were learnedly fond Of Chaucer Their sons, whose ears bold Milton could not seize, Would laugh o'er Ben Their spawn, the pride of this sublimer age. Feel to the toes and horns grave Milton's rage. Though lived he now he might appeal with scorn To lords, knights, 'squires, and doctors, yet unborn; Or justly mad, to IMoloch's burning fane Devote the choicest children of his brain. 105 But, ah, how void yon peasant's mind ! I7S3 In vain to him is Maro's strain. And Shakespeare's magic powers in vain. In vain is Milton's fire. ^''-Miss Courtney. To Miss Anne Conolly. Bell, Fugitive Poetry, i :33-34. '"^John Ogilvie (1733-1813). The Day of Judgment, with (six other Odes, &c.). Ode on Sleep, stanza 5. Poems on Several Subjects, 1769, 2 vols., 1 195. Mo. Rev., Dec, 1759, 21 :467-469. '"^John Armstrong, M.D. (1709-79). Taste. An Epistle to A Young Critic, 1753- Chalmers, Eng. Poets, 16:538-540. io5\Vm. J. Mickle (1735-1788). Knozvledge. An Ode. Pearch, Continuation, 1783, 3:21-29, p. 23. 80 THE MILTON TRADITION [172 106 The verse adorn again 1/55 Fierce War, and faithful Love, And Truth severe, by fairy Fiction drest. In buskin'd measures move Pale Grief and pleasing Pain, With Horror. Tyrant of the throbbing breast. A Voice as of the Cherub Clioir. Gales from blooming Eden bear ; And distant warblings lessen on my ear. That lost in long futurity expire. 107 Let them rally their heroes, send forth all their powers, 1/55 Their verse-men, and prose-men; then match them with ours; First Shakspear and Milton, like gods in the fight. Have put their vi-hole drama and epic to flight. And Johnson, well-arm'd like a hero of yore. Has beat forty French, and will beat forty more. 108 This, Milton for his plan will choose : 1/55 Wherein resembling Milton's Muse? Milton, like thunder, rolls along In all the majesty of song: While his low mimics meanly creep, Nor quite awake, nor quite asleep ; Or, if their thunder chance to roll, 'Tis thunder of the mustard bowl. The stiff expression, phrases strange, The epithet's preposterous change, Forced numbers, rough and unpolitc, Such as tlie Judging ear aff'right, Stop in mid verse, ye mimics vile ! Is 't thus ye copy Milton's style? His faults religiously you trace, But borrow not a single grace. How few, (say, whence can it proceed?) Who copy Milton, e'er succeed ! But all their labours are in vain: And wherefore so? The reason's plain. Take it for granted, 'tis by those '""Thos. Gray (1716-1771). The Bard. The :illusions are to Spenser, Shake- speare, Milton, and succeeding poets, ""'David Garrick (1717-1779). Efiigrniii on Joluisou's Dictionary and the French Academy. Pll. IVks., 2 vol., 1785, 2:506. Anderson, Br. Poets, 11:799- '""Robert Lloyd. To . . . About To Publish A Volume of Miscellanies, 1755- PtI. IVks.. 1/71, 1:105-6. Chalmers, Eng. Poets, 15:90-91. 173] POETICAL TRIBUTES TO MILTON 81 Milton's the model mostly chose, Who can't write verse, and won't write prose. 109 Genius of Milton, wake ! 175s In all thy native majesty appear, Sublime, concise, and clear, As when thy strains, heav'n's battlements did shake. Or, as when o'er the urn Of Lycidas, thou pourdst the plaintive song, Or, come like Mirth, with airy train. lio Rise, hallow'd Milton ! rise, and say, 2. ed. How, at thy gloomy close of Day ; 1756 How, when "deprest of age, beset with wrongs;" How, "fall'n on evil days and evil tongues;" When darkness, brooding on thy sight, Exiled the sov'reign lamp of light ; Say, what could then one chearing hope diffuse? 111 The proverb still sticks closely by us, 1756 -Vi' dictum, quod non dictum prius. The only comfort that I know Is, that 't wras said an age ago, Ere Milton soar'd in thought sublime, Ere Pope refin'd the chink of rhyme. 112 Th' immortal Bard, 1756 Who sightless sung, in never dying strains. Revolted Angels, and fair Eden's loss. In vain would strike his Epic lyre, to raise Th' inactive spirit of this drowsy isle. To that unconquerable height, to which Our venerable ancestry aspired. 113 How sweet with her, in wisdom's calm recess, 1756? To brighten soft desire with wit refined? Kind Nature's laws with sacred Ashly trace. And view the fairest features of the mind ! '"^H. Kiddell. The Genius of Milton. An Invocation. Gent. Mag., Nov.. 1755. 25:518. iio\Yjn Mason (1724-1797). To Memory. Odes, 2nd. ed., 1756. "Well imag- ined . . . tho' too long." Cr. Rev., Apr., 1756, i :2o8-2i4. ^Robert Lloyd. An Epistle To Mr. Cohnan, 7756. Ptl. IVks., 1774, I 1165-170. Chalmers, Eng. Pts., 15 -.102-103. 'i-Joseph Reed (1723-1790). A British Philippic. Mo. Rev., July, 1756, 15: 85-86. "^Thos. Blacklock (1721-1791). The JVish: An Elegy. Poems, 2. ed., 1769. Chalmers, 18:202. Bell, Eng. Poetry, 8:122. Pearch, 2:194. 82 THE illLTON TRADITION [174 Or borne on Milton's flight, as Heaven sublime, View its full blaze in open prospect glow ; Bless the first pair in Eden's happy clime, Or drop the human tear for endless woe. 114 Fancy dreams. 1757 Rapt into high discourse with prophets old. And wandering through Elysium, Fancy dreams Of sacred fountains, of o'ershadowing groves, Whose walks with god-like harmony resound : Fountains, which Homer visits : happy groves. Where Milton dwells : the intellectual power. On the mind's throne, suspends his graver cares. And smiles : the passions, to divine repose. Persuaded yield : and love and joy alone Are waking; love and joy, sucli as wait An angel's meditation. 115 Thus form'd, our Edwards. Henrys, Churchills. Blakes. 1757 Our Lockes, our Newtons, and our Millons, rose. What other Paradise adorn but thine, Britannia? 116 Though foremost in the lists of fame 1757 We matchless Milton place. Yet long will Pope's distinguished name The Muse's annals grace. 117 Fool that I was! My Milton lost! 1757 Old Homer's youngest son ! Luss ! be forever sunk beneath Ben's horrors pil'd around. Sun's 'livening ray ne'er pierce thy gloom. Thy hideous deep be drain'd. Fishes to devilish snakes be turn'd: Boat-man to Cerebus. "*Mark Akenside. The Pleasures of the hnaniiuitioii. Rk. I., lines 161-173. Chalmers, F.ng, Pts., 14:80-97. '■'■■John Dyer (1700-1758). The Fleeee. Hk. 1. Chalmers, 13:228. ""J. Duncombe. Ode to the Rl. Hon. John Earl of Corkc. See Cr. Rev., Oct., 1767, 24:266-275. "'Robert Colvill { -1788). Upon Losing Milton's Paradise Lost, al Luss. situated upon Lnrh Lomond at the foot of Ben Loivnwn, and a (]ronl> of other vast Mountains: an Ode. See Mo. Rev., March, 1758, 18:277-278. 175] POETICAL TRIBUTES TO MILTON 83 Mouth of the hellisli gulf be thou: Its mortal damp thy air. All o'er thy plains Volcanos thick Their burning sands disgorge. Birds never warble chearful note; Nor roam the humming bee. Herds never graze, nor sheep, nor goats ; Nor human voice be heard. Crags other echo ne'er repeat Than dismal Furies yell. Mercury laughed, and jeering cried, "I Milton from thee filch'd." So did .Xpollo bid : and see ! For thee a laurel holds. ii8 He looks the guardian genius of the grove. 1758 Mild as the fabled form that whilom deign'd, At Milton's call, in Harelield's haunts to rove. Blest spirit, come ! the' pent in mortal mold, I'll yet invoke thee by that purer name. Oh come, a portion of thy bliss unfold, From folly's maze my wayward step restrain. 119 Who reads Lost Paradise all knowledge gains, 1759 That book of Milton ev'ry thing contains, 120 Say, can these untaught airs acceptance find 1760 Where Milton, wond'rous bard! divinely sung? Or yield a taste of pleasure to the mind That raptur'd soars with Hervey or with Young' 121 Ode To The Muses. ( Not found, but see the 1760 note below.) "*Wm. Mason (1724-1797). Elegy II. Written in the Garden of a Friend, 175S. Chalmers, 18:335-336. "^Thos. Marriott. Female Conduct: being an Essay on The Art of Pleasing. The above lines are a part of his advice to his fair pupils to read the best poets, particularly Shakespeare and Milton. The Critic makes some objection to the matter of fact in these lines. Mo. Rev., Feb., 1759, 20:135-141. '-"Theodosia (Anne Steele). To Lysander. Poems on Subjects Chiefly Devo- tional, 1760, re-issued 1780. Mo. Rev., April, 1760, 22:321-324. •^iMichael Wodhull (1740-1816). Ode To The Muses. 4to. Payne &• Crop- ley. There is said to be "considerable poetic merit in these lines, which reflect credit on the taste of the bard, and on the memory of the most amiable of the British poets." (Cr. Rev., Sept., 1760, 10:246-8.) The poet associates Milton with Homer and Virgil. (Mo. Rev. Appdx., 1760, 23:525-526.) 84 THE JIILTON TRADITION [176 122 Lo! this the land, whence Milton's ^luse of fire, 1761 High soar'd to steal from Heaven a seraph's lyre; And told the golden ties of wedded love In sacred Eden's amaranthine grove. 123 "Here Contemplation holds lier still abode. 176 — Here oft my Milton in the midnight gloom, Has caught the lofty sentiment rehn'd. Here oft songlit Science in her cloister'd dome, Hence fiU'd the mighty volume of his mind. Here learnt above tlic duller sons of earth, In all tlie dignity of thought to rise, Here plann'd the work, tliat told creation's birth, Hence gain'd his native palace in the skies. But rais'd to join the aerial choir on Iii.ijh, That chaunt harmonious at the Almighty's throne, Mov'd at the pensive world's complaintive sigh, I to direct them sent this second son." When leading in her hand a reverend sage. Her heavenly accents thus my ears addrest : "Receive the instructor of a darken'd age. Religion's friend, and piety's high-priest."' She ceas'd, and to my fancy's longing sight. No more was given, the glorious form to see, She fled along the tliick'ning sliades of night. And left the world to Darkness, Young, and nie. 124 Sonic hate all rhyme ; some seriously deplore 1762 That Milton wants that one encliantmcnt more. 125 But oft when Midnight's sadly solemn kncll 1762 Sounds long and distant from the sky-topt tower ; '=-Thos. Warton (1728-1790). On The Marrnigc of the Kiiip. 'lo Her Majesty. Chalmers, Eng. Pts., 18:92-93. The Critical Kevieiv selects this passage for publication (Jan.. 1762, 13:28). Here is a specific connection between Paradise Lost and occasional poetry, that praises Milton's ability to celebrate an event. '^'Stephen Panting, of Wellington, in Shropshire, l^our Elegies: Morning, Noon, Evening, Night. Mo. Rev., Feb., 1762, 26:152-3. Penseroso like, he woos Contemplation in the solitary night, and has the above answer. It is interesting to note how Paradise Lost, the Night Thonghis, and Gray's Elegy come here together. '•-■*Wm. Whitehead (1715-1785). A Charge To The Poets. Chalmers, l"ng. Poets, 17:231-2,^4. ''"John Ogilvie (1733-1813). Ode on Melancholy. Poems on .Ser. .Siibjcils. 1769, 1:74, Cr. Rev., Oct., 1762, 14:293-301. 177] POETICAL TRIBUTES TO MILTON 85 Calm let nic sit in Prospero's lonely cell, Or walk with Milton thro' the dark Obscure. 126 And thou, sweet queen, 1762 That nightly wrapt thy Milton's liallow'd ear In the soft ecstacies of Lydian airs ; That since attun'd to Handel's higli-wound lyre The lay by tliee suggested ; couldst not thou Soothe with thy sweet song the grim fury's breast? 127 O for the Muse of Milton, to record 1762 The honours of that day, when full conven'd, Hibernia's senate with one voice proclaim'd A nation's wide applause ! 128 Nor lists dull Death to the melodious lyre, 1762 Nor heeds the raptur'd poet's heavenly song; Quench'd in the dust is Milton's muse of tire, And mute is Dryden's once harmonious tongue. 129 E'en there (in the future Canada) shall 1763 Some second Newton trace creation's laws Through each dependence to the sovereign cause; Some Milton plan his bold impassioned theme. Stretched on the banks of Orellana's stream ; Another Shakespeare shall Ohio claim. And boast its floods allied to Avon's fame. 130 For thee, great prince, the bard shall twine the wreath, 1763 For thee the painter bid the canvass breathe ; O ! would indulgeant heaven my soul inspire With Raphael's warmth, or Milton's sacred fire. Then should thy name to latest ages live With all the ornaments that verse could give. »=«John Langhorne (1735-1779). To The Memory of Mr. Handel. Chalmers, Eng. Pts., 16:424-5. Allusion to Handel's setting the Companion Poems to music, 1740. See pages 169-170 below. i^'Same. The Viceroy: Addressed to the Ear! of Halifax. Chalmers, Eng. Pts., 16:435-437. This, and 130 below, connect Milton again with occasional poetry. i='Rev. Reginald Heber (1728-1804). An Elegy Written Among the Tombs of Westminster Abbey. Very popular. Mo. Rev., May, 1762, 26:356-358. Pearch, Continuation. 1783, 2:135-141. Bell, Fug. Poetry, 9:36-42. i=^John Law. Christ's College. Cambridge Verses on Peace. 176s. Cr. Rev., Sept., 1763, 16:183-191. ''"Chas. Foot. Same occasion and reference. 86 THE MILTON TRADITION [178 131 With Milton. Epic drew its latest breath. J763 132 Education, as "Mrs. Pedia'' speaks: 1763 '"In system'd song I ne'er was tuned before, Though without me no Genius e'er could soar. Milton disdained me not; but had he sung, My name with Eve's, around the world had rung.'' 133 Genius! 176 — O'er Time it triumphs, winged with native force; Nor Past, nor Future, circumscribe its course. Mark how it leads a Milton's mental eye. Thro' the vast glories of primeval sky ; — When Time itself was yet without a name; And Present, and Eternal were the same ! 134 Some Milton-mad (an affectation B4. Glean'd up from college education) 1764 Approve no verse, but that which flows In epithetic measur'd prose. With trim expressions gaily drest Stol'n, misapply'd, and not confest. And call it writing in the stile Of that great Homer of our isle. Whilom, what time, efsoons, and erst, (So prose is oftentimes beverst) Sprinkled with quaint fantastic phrase, Uncouth to ears of modern days. Make up the metre which they call Blank, classic Blank, their .'Ml in .Ml. Can only blank admit sublime? Go, read and measure Dryden's rliyme. Admire the magic of his song. See how his numbers roll along. With ease and strengtli and varied pause, Nor cramp'd by sound, nor metre's laws. "iR d B y, Esq. Efisllc lo Lord Mehomb. Lloyd's (St. James) Mj^., March, 1763, 2:1-8. "2Jas. Elphinston (1721-1809). Educaliou. in Four Boolcs. Mo. Rev. IVb , 1763, 28:103-108. >"Saml. Bishop (1731-1795). Genius. PtI. Whs. (ed. Thos. Clare). London, 1796, I :22I-225. '"Robert Lloyd (1733-176.1). On Rliynie. A Familiar F.pislle lo A Friend. PH. Wks., 1771, 2:105-118. pp. 112-114. 179] POETICAL TKIHUTES TO MILTON 87 Is harmony the gift of rhyme? Read, if you can, your Milton's chime; Where taste, not wantonly severe, May find the measure, not the ear. As rhyme, rich rhyme, was Dryden's choice, And blank has Milton's nobler voice, I deem it as the subjects lead. That either Measure will succeed. That rhyme will readily admit Of fancy, numbers, force and wit ; But tho' each couplet has its strength. It palls in works of epic length. 13s Now lukewarm Ode in placid anger flows, 1764? No frenzy rouses, and no rapture glows; Unless . . . where FANCY, with a Milton's art. Spreads all her beauties, and o'er-powers the heart. 136 Heaven claims its bards 1764 Thus he, who grew immortal as he sung The blissful pair in Eden's happy clime ; Rehearses now. with rapture on his tongue. To gods the wonders of his theme sublime. 137 Or when, of earthly Story tir'd. 1765 To higher Knowledge I aspir'd, Through young Creation rang'd along, Imparadised in Milton's song. 138 Is this the land that boasts a Milton's fire, 1765 And magic Spenser's wildly- warbling lyre? (and Shakespeare, Pope, Gray, Shcnstone, Young, Akenside) And shall a Bufo's most polluted name Stain her bright tablet of untainted fame! ^^^Anonymous. The Laureat. A Poem, [iiscribcd to the Memory of C. Churchill. Cr. Rev., Feb., 1765, 19:87-90. i.?6VVm. Stevenson, M.D. To the Memory of William Shenstonc, Esq. Cr. Rev., .Aug., 1765, 20-133. i^'Geo. Keate (1729-1797). The Temjtle-Studcnt: An El>istle To A Friend. Ptl. Wks., 17S1, I :203-235, p. 234. '3'Jas. Beattie (1735-1803). On the Rc/'ort of A Monument To Be Erected in IVestminster Abbey, To the Memory of A Late Author. This author was C. Churchill, and this poem, in Beattie's own words, was "composed to gratify pri- vate resentment." Brit. Poets: Akenside and Beattie, Riverside ed., 1S64, pp. 145- 152. 88 THE MILTOX TRADITION [180 139 But now a Garden, like that Eden fair, 1765 Where first weak Eve the wily Foe beguiled, Unbounded, floating to the balmy air. In all the pride of glowing Beauty smiled. On loaded trees the clustering fruitage liung. Ambrosia dropping from the mellow bough ; The plumy races harmonious anthems sung, Or sipped the nectar'd rill that streamed below. What Summer views in all her gay domain. What Fable's airy pencil e'er bestowed, Whate'er Elysium's happy fields contain. In rich profusion crowned this blest abode. Nor yet wild-scattering spread tlie exhaustless store, But Taste to range the copious growth combined ; Wild Fancy stooped to Reason's gentle lore. And Nature's boon informing Art refined. One tree o'er all sublime in grandeur stood : So towers on Lebanon's exalted brow A Cedar old, and sees the rising w^ood Around its venerable Parent grow. Beneath its shade, where sighed the dying gale. Reposed an Inmate of th' ethereal skies : With wavy radiance flamed his feathered mail. And flashed keen lightning from his dazzling eyes. His hand an apple held, delicious sight ! Not like the fruit that youthful Paris gave ; Smooth was the glossy rind, with vermeil bright, Like Venus blushing from tlic silver wave. Of power to cleanse the tainted heart from sin. O'er the pure frame to bid corruption cease. Tune the calm thoughts to harmony within. And soothe the boiling passions into peace. '^'John Ogilvie (1733-1813). Soliludc: or, The Elysium of the Pods. Poems on Sev. Subjects, 1760, 2:217-221. For contemporary criticism, sec Cr. Rev., May, 1766, 21:363-369. Mo. Rev., Feb., 1766, 34:116-124. The Introduction to this Poem is important as an attempt to justify the rela- tive position and worth assigned tlie several poets. The author is giving "in a short compass the character, merit, and discriminating excellencies of the most eminent British Poets." .As such, Milton appears only as an c/'ic Md. though Ogilvie has pilfered inuch from Milton's smaller poems. V 181] POETICAL TRIBUTES TO MU-TON 89 A Bard was near ; and glittering by liis side The Child of magic song, the melting Lyre, Whose frame with Music's sweetest breath supplied, Wakes o'er the kindling soul celestial fire. Awhile in converse high the Angel Guest Held him : — then sweeping o'er the sounding strings, Such strains he pour'd, as mid the climes of rest Thrill the high Audience when Urania sings. As when an Hermit, whose sequestered cave Deep in the shade of pathless wilds is thrown. Sees the dim Spectre from the gloomy grave Aroused, and hears the more than mortal tone; Or ardent marks some bright ethereal band. That tell the wonders of the world above; How Earth obedient to the great Command Arose : How Angels hymn the Source of Love I Awe, Hope, and Transport seize him as he hears : Such Passions rose when first the Bard began. Sung how th' Eternal form'd the rolling spheres. Or stamp'd the breathing dust, and cali'd it MAN. To Heav'n high-soaring burst th' exalted song. Of impious deeds I heard, and dire alarms ; Two mighty hosts I saw, tremendous throng ! Tower in refulgent mail, and azure arms. Radiant they trod in panoply divine : Their Chiefs, dark-frowning in the van, afar Like promontories moved : — the dreadful sign Was given, and rush'd th' angelic tribes to war. 'Twas Thou, Omnipotent ! whose parent care Then held each link of Nature's beauteous chain ; Else had yon worlds amid the fields of air Been whirl'd, and Night resumed her dark domain. How swell'd the soul, as with its shaggy store Torn was the fix'd hill from the rocks below; As each strong arm th' inverted mountain bore. And hurl'd th' o'erwhelming ruin on the Foe ! Not long I gazed, when down the rending skies The rushing chariot of Jehovah came : I saw the wheels, instinct with living eyes. Wrapt in the Lightning's broad and sheeted flame. 90 THE MILTON TRADITION [182 Black thunder roar'd around th' avenging God ; While on the Whirlwind's wing before Him driven, The rebel crew beheld their dark abode, Then roU'd wild-howling o'er the verge of Heaven. Thus sung the Bard; and still to sight display'd, Rose with his strain each vivid scene to view ; To thought so just was Fancy's powerful aid. Her light so piercing, and her shades so true. 140 Here, Mighty Milton! in the blaze of noon, B4 Amid the broad effulgence, here I fix 1766 Thy radiant tabernacle. Nought is dark In thee, thou bright companion of the Sun ! Thus thy own Uriel in its centre stands Illustrious, waving glory round liim ! He, Fairest archangel of all spirits in heaven, As of the sons of men the greatest thou. 141 If he, who first the apple sung, "tlie fruit B4 Of that forliiddcn tree, whose mortal taste 1766 Brought death into the world, and all our woe," Unfading laurels won; a branch awaits, Philips, thy youthful brow, who apples sung Innocuous, and with freedom bade us quafl:' Their generous nectar, 'neath their parent shade, .^dvent'rous ; nor in less inferior strains. Like Milton too. you taught Britannia's song To shake the shackles off of tinkling rhyme. Emulate, unnervous. 142 The Captain's a zcortliy cjood sort of a man, Bath For he calls in upon us wlienever he can, 1766 -And often a dinner or supper he takes here, .'\nd Jenny and he talk of Milton and Shakespeare. 143 What honours, ye Britons! (one emblem implies) 1766? What glory to George shall belong! What Miltons, (the other) wiiat .'\ddisons rise, To make him immortal in song! nci\Vin. Thompson (171J-1766). In Milton's Alcove. '■"Same. In the Midst of an Applc-Trcc, Over Mr. PUilips's Cyder. See the Garden Inscriptions. Anderson, Brit. Poets, 10:993, 996. There was published, in 1766, a poem entitled The Authors, by D, Hayes, Esq., which has lines on Milton introducing Akenside; but the poem has not been acces- sible for the present work. See Cr. Rev., June, 1766, 21 :476-478. •••^Chrislopher Anstcy (1724-1805). The New Both Guide: or. Memoirs of the B-n-rd Family. In a series of Poetical Epistles. Bath, i.Soq. Letter ii. '*''Jolm Cunningham (1720-177.^'). .S'/(J)/J(/j on the Portmrdnes.'! of ■'Spring. Chalmers. Eng. Pts., 14:43"- 183] POETICAL TRIBUTES TO MILTON 91 144 Man formed for eternity, July Abhors annihilation, and the thought 1766 Of dark oblivion. Hence, with ardent wish And vigorous effort, each would fondly raise Some lasting monument, to save his name Safe from the waste of years. Hence Caesar fought; Hence Raphael painted; and hence Milton sung. 145 To Spencer much, to JMilton much is due; 1767 But in great Dryden we preserve the Two. What Muse but his can nature's beauties Iiit, Or catch that airy fugitive, call'd zvit:' 146 O Pope ! too great to copy, or to praise ; 1767 Milton alone could Eden lost re-gain ; And only thou portray Messiah's reign. 147 I cannot think but more or less 1768 True merit always gains success; The second name for epic song, First classic of the English tongue, Great Milton, when first appear'd. Was ill receiv'd and coldly heard. In vain did faction damn those lays Which all posterity shall praise. 148 The sun of science in its morning warm'd — 1768 How glorious, when it blazed in Milton's light, .'\nd Shakespeare's flame, to full meridian day. 149 Ah! What the transient sounds, devoid of thought, C1769 To Shakespeare's flame of ever-burning ire. Or Milton's flood of mind, till time expire Foredoom'd to flow ; as Heaven's dread energy, Unconscious of the bounds of place. "■•Michael Bruce (1746-1767). The Last Day. ,\nderson, Brit. Poets, 11: 1124-1128. "■'■Walter Harte (1709-1774). The Vision of Death. In Tlir Amaranth, or Religious Poems. Cr. Rev., Aug., 1767, 24:121-124. "•'Same. Macarius; or, The Confessor. Chalmers, Eng. Poets, 16:390-392. i*'Wm. Wilkie (1721-1772). Phchus and the Shepherd. Chalmers, Eng. Poets, 16:189. i*8Edw. Lovibond (1724-1775). Verses Written after Passing Through Fin- don, Sussex, 1768. Chalmers, Eng. Poets, 16:299. i"Wm. J. Mickle (1735-17S8). On The Neglect of Poetry, .\nderson, Brit. Poets, 11:670. Chalmers, Eng. Pts., 17 :5S3-4- 92 THE MILTON" TRADITION [184 150 One lattice glimmers in the dismal cell, 1769 Which cause, like the flames in Milton's liell, "Xo light, but rather darkness visible." 151 The poet, who would plan the perfect page, 1769 Above the themes that touch a trivial age. Say! to what purpose drinks he of the streams. That fills the fancy with inspiring dreams. If in that hour, when richest raptures roll, The pinch of poverty benumb his soul? For a day's meal had Milton felt a fear, Urania's voice had vainly reached his ear ; Thro' night's dark desert the fiend ne'er had stray "d, Xor earth-rent mountains cast their horrid shade. 152 From yonder realm of empyrean day 1769 Bursts on my ear th' indignant lay ; There sit the sainted sage, the bard divine, The few, whom genius gave to shine Through every unborn age, and undiscovered clime. 'Twas Milton struck the deep-toned shell, And, as the choral warblings round him swell. Meek Newton's self bends from his state sublime, And nods his hoary head, and listens to the rhyme. 153 Ye Muses quit your sacred streams. And aid me like the bard of yore, Hight, Milton, for like his, my theme In verse was never sung before. 154 No more the Grecian Muse unrivall'd reigns, C1771 To Britain let the nations homage pay: She felt a Homer's fire in Milton's strains. A Pindar's rapture from the lyre of Gray. 155 There silent mus'd on Shakespeare's tragic page. ""Francis Seighton. The Muse's Blossoms. Highly praised in the Mo. Rev., April, 1769, 40:.^02. It describes the lad's prison at school, where he was shut up for eating tarts when he should have been reading Homer. ""Thos. Neville. Iniiltitions of Juvenal and Pcrsius. Mo. Rev., Jan., 1770, 42:46. "2Thos. Gray. The hislallation Ode. "■•■■•AnonymoMs. Ode To Lord Edgecombe's Pici. The New I'oundling Hos- pital for Wit. 1784. 6:240. ""»Win. Cowpcr (1731-1800). Tabic Talk. Chalmers, Eng. Poets, 18:605-611, p. 600. 189] POETICAL TRIBUTES TO MILTON 97 1782 Thus Genius rose and set at order'd times, And shot a day-spring into distant climes, Ennobling ev'ry region that he chose ; He sunk in Greece, in Italy he rose ; And, tedious years of Gothic darkness pass'd, Emerg'd all splendour in our isle at last. 170 (Suggestion for painting) 1782 Bid Milton's Satan from the burning steep Call his wide legions, slumb'ring on the deep. 171 Apart, and on a sacred hill retired, 1782 Beyond all mortal inspiration fir'd, The mighty Milton Sits — an host around Of list'ning angels guard the holy ground ; -Amaz'd they see a human form aspire To grasp with daring hand a seraph's lyre, Inly irradiate with celestial beams. Attempt those high, those soul-subduing themes. And celebrate, with sanctity divine, The starry field from warring angels won. And God triumphant in his Victor Son. Nor less the wonder, and the sweet delight, His milder scenes and softer notes excite. When at his bidding Eden's blooming grove Breathes the rich sweets of innocence and love. With such pure joy as our fore-fathers knew When Raphael, heavenly guest, first met his view. And our glad sire, within his bower. Drank the pure converse of th' aetherial power, Round the blest bard his raptur'd audience tlirong, And feel their souls imparadis'd in song. If the Enthusiast higher hope pursues, O turn where Milton fiames with Epic rage. From earth she (the Muse) bears him to bright Fancy's goal. And distant fame illuminates his soul. ^'"John Scott (1730-1783). An Essay On Painting. To A Young Artist. Chalmers, Eng. Poets, 17:491-496. Scott's Collected Works, 1782. I'^Wm. Hayley. An Essay On Epic Poetry. To Mr. Mason. Hayley's Poems and Plays, London, I/85. Vol. Ill, pp. 73, 96. The Critical Review (Oct., 1782, 54:241-52) quotes the first of these as a choice selection. Cf. Tribute No. 8gn. 98 THE MILTON TRADITION [190 172 O ! was I blest with ench heart-melting trope, 1783 The wing of Milton, and the flow of Pope, Was all the melody of Warton's mine, And all the music of the tuneful Nine; To thee, Columba, ever, ever true, My softest song should flow, to soften you. 173 Hither the Muse would sometimes bend her way, 1783 Willing to loiter, but afraid to stay; Until bright spirits of etherial fire Raised the charm'd note, and waked the British lyre, Shakespeare and Milton ! Listening to their lays, How soon unfelt were Albion's clouded days. 174 I see a Homer and a Milton rise 1783 In all the pomp and majesty of song. Which gives immortal vigour to the deeds Atchieved by heroes in the field of fame. 175 Tho' his contention with the scribbling crowd C1784 Was like the Sun contending with a cloud. Which the next wind would hastily disperse. And leave the day as radiant as his verse. 176 Hence, free from warlike toils and stern debate, 1785 These friendly rivals of a parent state, By growing virtues their descent shall prove. Each liberal art aspiring to improve, Till other Lockcs and Miltons shall be born. Ages remote to polish and adorn. •''Miles Parkin. Columbia, A Ptl. Epistle, heroic and Satirical, to the Rt. Hon. Chas. Earl Cornwallis. 4to. Debrctt. To urge reconciliation between Eng. and Amcr., Cr. Rev., Oct., 1783, 56:311-2. "•''Fred. Howard (1748-1825). 5th Earl of Carlisle. The Father's Revenge. A Tratjedy. London, 1800. >'at jioem, whieli apjieaivd in 1667. Jlilton was always famous, or infamous, aceonling to the temper of his judges; and, if Aubrey may be trusted, the aged poet was even wearied by the multitude of liis visitors. But after all is said that is favorable to his condition, still Milton was poor, blind, in obscurity, and comparatively ncglceted, while tlie King and his court disgraced them- selves and the nation in their revelries and sin. The contrast was sharp ; and the memories of these facts fell as a sore affliction upon the Miltou- loving England of a century later. During these years, it was the enemies of Milton, and not his friends, that spoke loud enough to be heard at the distance of two centuries. David Masson, in his exhaustive Ilistori/ of Milton aud His Time (636n), has summarized the biographical allusions to Milton before the jjublication of Paradise Lost. Those in Healli's Chronicle (166.S), South's S(rmons, and Ilacket's JAfc of Archlmhop Williams (written 1661-70, published 1692), all describe Milton in terms of viru- ](>nt political hatred, and regret that he was not hang(>d. Two other 205] THE BIOGEAPHICjUj treatment op MILTON 113 allusions are cited as more respectful. One of them is from Hobbes, whom Milton dislikeil for theological reasons but esteemed as a man of great parts. Hobbes, therefore, returned this feeling of Milton in that allusion of the Behemoth, which has more of respect than sympathy. The otlier allusion was bj' Samuel Butler, who was in sympathy neither with Milton, nor with the immorality of the Restoration (Trib. 5). Naturally, real biographical interest in Milton did not become active until after his death (1674). But almost immediately after that event, there was considerable interest in this direction. Among the first efforts of this kind wei'e those of John Aubrey (1626-1697), who collected ma- terial for a formal Life of Milton. But this collection of Notes never got beyond a very amorphous outline stage. He gave a list of Milton's works, and added a note of praise upon the Panegyricks on Cromwell and Fairfax. Of Milton himself, Aubrey said, "Whatever he wrote against monarchic was out of no animosity to the king's person, or out of any faction or interest, but out of a pure zeale to the liberty of mankind, which he thought would be greater under a free state than a monarchiall government. ' '' Aubrey was a friend of Milton, and the modern reader deeply regrets that this sketchy outline was never worked out into a full account of the great poet from first hand knowledge. The Life was not written, nor did the Notes get into print until long after that time. Instead, they were placed in the Ashmolean Miiseum, whence the manuscript was taken by William Godwin, for his Lives of John and Edward Phillips (1809). The Notes were, however, promised (Jan., 1675) to Anthony A. Wood for his Athenae et Fasti Oxoniensis. In May of that year, Aubrey also assured Wood that "Mr. Marvell has promised me to write minutes for you of Mr. John Milton." But these minutes seem never to have been written. - The first Life of Milton was written by a hand now unknown, and apparently incapable of being found out with any considerable degree of certainty. The manuscript was discovered by the Rev. Andrew Clark, LL.D., in 1889, among the papers of Anthony A. Wood, in the Bodleian Library. Mr. E. S. Parsons, who has given an interesting dis- cussion of this Life, together with the text itself, in the English Historical Review,^ was not able to determine the author. He believed the MS. to be in the author's own handwriting, which Mr. Parsons was unable to identify with that of any one of Milton's friends who might have been supposed to write such an account of the poet. If the manuscript was ^A. Clark. Aubrey's Brief Lives, 1669-1696. 2 vols. Oxford, 1898. "Milton," vol. II. pp. 60-70. =David Masson, Life of Milton, 6 -.778. Br. Mus. Cat. "William Godwin." 'Jan., 1902, 17:95-110. 114 THE MILTON TRADITION [206 corrected, or transcribeil by another hand than that of the author, Mr. Parsons believed that the Life was probably the work of Dr. Nathan Paget (1615-1679), the close personal friend and physician of Milton.* If this conjecture be true, the Life was written within five years of the great poet's death (1674) ; and, in any case, it was written before 1691, for it was one of the obvious sources of Wood's Fasti in that year. This earliest biographer of ililton wrote from a full heart of per- sonal sympathy with the great politician and poet. The author's out- look upon life seems to have been from Milton's point of view, and the emphasis upon the moral and tlie religious side of the poet's life indicated intimate personal relations. The biographer even held it highly improb- able that one of such exalted morality could easily err in matters of re- ligious doctrine. Tlie writer developed the setting of the several pieces of Milton's prose writings in a manner tliat was favorable to the great author. This Life gave no hint of the iMinor Poems, an indication that the work was independent of, if not prior to, Aubrey's Notes, who mentions those poems as twice printed (i.e. 1645, 1673). This friend of Milton did, liowever, mention, with some emphasis. Paradise Lost. Paradise Regained, and Samson Agonistes. and paused to affirm tliat the first and second of these "more especially taught all virtue." But this friendl.y activity was rather exceptional in the field of early Milton biograi)hy. Milton's promiiienee in the Commonwealth, and his celebrity as a writer in defence of tliat movenu'iit, made him an object of especial detestation in the earl,y days of the Restoration. It was tlien customary to try for court favour by vilifying the Puritans. Milton was tlierefore a man iinieh written against for .several decades after the Restoration. The very atmosphere of tlie English court was one of political ani- mosit}'. By none was this more deeply breathed than by William Win.stanley' (1628-1698). In 1687 he published his Lives of the Most Famous English Poets, a work in which he won for himself a notorious immortality, by venting his s])l(>en against Milton, in the following pas- sage, apparently designed bs tale for easy quotation: "John Milton was one whose natural parts might deservedly give him a place amongst the principal of our English poets, having written two heroic poems and a tragedy, namely Paradise Lost, Paradise Regained, and Samson Agonistes. But his fame has gone out like a candle in a snuff, and his memory will always stink, which might have ever lived in honorahle repute, had he not hecii a notorious «Dict. Natl. Biog. "Paget." Masson, Life of Milton, iv, 151. 207 I THE BlOCiRAPHICAL TREATMENT OF MILTON 115 tr;utur aiul most inipiimsly and villainously bcly'd that blessed martyr 'Charles the First.' "■"■ The "Account of Milton," given by Anthony A. Wood (1632-1695), ill his Athenae Oxoniensis ct Fasti, was little more sympathetic than that of Wiiistanley. Wood drew his facts largely from the anony- mous Life and Aubrey's notes, and his spirit of virulence from the common animosity of Toryism. Wood's biographical sense of values seems to have obliged liiin to recognize Milton's greatness and potential goodness, but the ' ' Account ' ' showed no sympathy with the career of the great politician and poet. Wood felt that all of Milton's exalted powers were either prostituted or misapplied. In his "Account of Edward Phillips," Wood styled Milton "the ilefender of the murder of King Charles I." Wood was even more severe in saying that "John Phillips early imbib'd the rankest antimonarchial principles from that villainous leading incendiary John Milton, his uncle." In the more formal account of the poet, Wood found Milton "at length arrived to that monstrous and unparalleled height of profligate impu- dence, as in print to justify the most execrable murder of him the best of kings, — afterwards being made Latin Secretary to the Parliament, we find him a commonwealth's man." With Milton's poetry Wood seems to have had little concern. He did comment, somewhat indifferently, upon Milton's studious habits in College, and added that he "wrote then several poems." Beyond this comment, Wood mentioned the 1673 edition of the Minor Poems, and the Major Poems, only as so many historical facts."* Naturally Gerard Langbaine (1656-1692), in his Account of the Dramatic Poets (1691), gave more attention to Comus and Samson Agonistes than to any other of Milton's poems. In his biographical sketch of the poet, however, Langbaine expressed the usual antipathy toward Milton the politician. He mentioned by name several of the undramatic poems and prose pieces of Milton ; but confessed that he knew little about the poems, and proved his ignorance most convineinglj' in his misstatements of obvious facts. lie regretted that Milton's principles were not as good as his parts; for then "he had been an excel- lent person ; but his demerit towards his Sovereign has very much sullied his Reputation." This comment of Langbaine was changed, in a later edition of the Dramatic Poets (1699), edited by Charles Gildon, to read '•This work of Winstanley was not unread in the eighteenth century. The British Museum copy (C. 45, d. 13) has MS. notes by Bishop Percy. David Lloyd, Canon of St. Asaph, selected from it certain "Lives" for his State Worthies (1766). "Ath. Oxoii. ct Fasti. Edited by Philip Bliss. 4 zrols. London, 1S20. "Edw. Pliillips," 4:760-769. "Milton," 2:480-486. These accounts were written about 1691-2. The Fasti was added to the Ath. O.ron., in the edition of 1721. 116 THE MILTON TRADITION [208 as follows: Miltoii was "an author of that excellence of genius and learning, that none of any age or nation, 1 think, has exeel'd him.'" This change was due largely to the dift'erence in literary temperament between Langbaine and Gildon, but it indicated a change of emphasis whicli began to assert itself during the last decade of the century. Mil- ton the poet began to emerge above the confusion of political strife. This distinction between Milton as politician and as poet was sharply drawn by Addison, in his poetical Account of ]\Iilton (1694, Trib, 21), and by Yalden, when Milton's Prose was published with his poems (1698, Trib. 23). In the same j-ear that Addison's Account appeared (1694), Sir Thomas Pope Blount (1649-1697) published his Dc Re Poctica, which, in many references, considered Milton mainly as a poet. The second Part, called Characters and Ce)isures. devoted four pages to "John Milton," basing the criticism almost entirely ui)on Paradise Lost, Para- dise Regained, and Samson Agonistes, thougli Milton was allowed to have international fame from "his other (prose?) works, both Latin and English.* In this same year (1694) a new dei)arture appeared in the biography of Milton. That was the publication of his Life with his Letters of State, edited by his nephew Edward Phillips (1630-1696?). This Life was intended to be a sort of introduction to the Letters, and naturall.v laid special emphasis upon the political side of Milton's career. Phillips printed in this Life four of the Sonnets, closely connected with Milton's political activities — those To Cromwell, Fairfax, Vane, and To Skinner upon his Blindness. The biographer showetl himself familiar with all the Minor Poems, but singled out Lticitias alone for special mention. He devoted considerable attention to the common view, tliat J'aradise Regained was "generally censured to be much inferior to the other," and was the authority for Milton's impatient fondness for this younger offspring of his Muse." This Life was, of course, sympathetic, and became even more valuable to later biographers of Milton. The new plan of furiushing a biograpliical introduction to Milton's Works was followed by John Toland (1670-1722), who i)repared a new Life of Milton for his edition of the Prose Works (1698). This lAfc was printed .separatelx- the next year, at whicli time Amyntor; or A Defence of Milton's Life also appeared from the same pen. The neces- sity for this latter work, Toland regarded with a measure of surprise. '.-}» Acct. of the lln upon the merits of Paradise Lost, as the climax in the career of a great productive genius. Step by step he traced the development of that genius toward its final expression. That development was really the staiulpoint from which he viewed the early manuscripts of Camus and Lycidas. He emphasized Milton's early aml)itions to write a great work, and obst-rved the ])roph- ecy of tluit future greatiu'ss, in the Italian Ode by Antonio Francini (Trib. 4), and by others (xvii). He indicated the persistent interest of Milton in King Arthur, as stated in Mnnsus (xviii), and in the Epitaphium Damonis, where the epic purpose had become evident (xix). lie cited Milton's elaborate statement of his lofty juirpose in Th( h'((ison of Church Government (1641) ; and later gave the manusci'ipt outlines of the proposed Tragedy on the Fall of Man (xx-xxi and xxxix-xlix). The liioprapher, after stating the usual traditions about the writing and i)ulilication of Paradise Lost, laid new empliasis upon the early reputation of the poem, and subsecpient Miltonic interests, "Tiiis poem of our autlior," .said Birch, "lias met with an Approbation, which will continue as long as a true taste for Poetry shall remain among man- 219] THE BIOGRAPHICAL TREATMENT OF MILTON 127 kind." This double statemeut of fact and prophecy was supported by five folio pages of criticism, extracted from those whose praises showed a rising tide of esteem, at liome and abroad, for the matchless Paradise Lost:-" While these multiplied labours were engaging the energies of Birch, the Rev. Francis Peck (1692-1743) produced New Memoirs of the Life and Poetical Works of Mr. John Milton (1740).=' This co- piously filled volume, as might be expected from its varied contents, gave a fairly just account of Milton and his poetical works. Larger proportions of attention were bestowed upon the several poems than in any previous Life of the Poet. The work is noteworthy for three special points of interest. The first is the strong defence of Milton's ability in rhyme, against the strictures of Dryden upon the Juvenile Poems. The second is that Peck was among the first to illustrate the writings of Shakespeare and Milton "by extracts from contemporary writers, in accordance with the model subsequently followed by Stevens and Ma- lone. "=* The third is the new method of analj'ziug the poems Lycidas, Camus, L'Allegro, II Penseroso, and the Nativity Ode, in a manner not unlike that emplo.yed later by Dr. Johnson, in his celebrated treatment of Milton. In 1747, Martha Whincop, widow of the late Thomas Whincop (d. 1730), the author of Scandcberg; or. Love and Liberty, A Tragedy, edited that work, and added a "List of Dramatic Authors, and All Dramatic Pieces, to 1747." This List, though in her name, was proba- bly revised, if not written, by the dramatist and compiler, John Mottley (1692-1750).=" It has a portrait of Milton, immediately under which, the sketch opens with the statement: "This Gentleman has rendered his name immortal by liis Poem, called Paradise Lost, the finest Piece -"Life of Milton, (xlix-lv). He cited Edw. Phillips, Dryden. Addison, Atter- bury (To Pope, Nov. 8, 1717), Gildon, Voltaire, Lcttrcs Critiques a Mr. le Conite sur le Paradis Perdu & Reconquis, (Paris, 1731), Richardson, and VVarburton (Div. Legation). ='This volume contained, besides the Memoirs, (1) An Examination of Mil- ton's Style ; (2) Explanatory & Critical Notes on divers Passages in Milton and Shakespeare, by the author ; (3) Baptistes : a Sacred and Dramatic Poem, in defence of Liberty, as written in Latin by Mr. George Buchanan, and translated into English by Mr. John Milton, (4) The Parallel, or Archbishop Land and Cardinal Wolsey Compared — a Vision by Milton; (5) The Legend of Sir Nicholas Throckmorton, Kn., who died of poison 1570; (6) Herod the Great, by tlie Editor ; (7) The Resurrection, a poem in Imitation of Milton, by a Friend ; and (8) A Discourse on the Harmony of the Spheres, by Milton, with Preface and Notes. In the same year (1740), Peck also published Memoirs of Oliver Cromwell. 28Thos. Seccombe, D.N.B., "Peck." ^^Dict. Natl. Biog. Both writers. 128 THE MILTON TR^VDITION [220 in the English Language." After some statemeuts about Milton's polit- ical controversies, his international reputation, and his blindness, the writer added the prosaic statement, that "He wrote two dramatic pieces," which are merely named. The most considerable editor of Milton's poetry during the Eight- eenth Century, was the Rev. Thomas Newton, D.D. (1704-1782), who published his variorum edition of Paradixr Lost, May 20, 1749. As an introduction to this edition, Newton compiled a new Life of Milton. The author began this Life with the statement tliat most of his mate- rials had come from the labours of the earlier biographers. But these materials were generally presented in a fresh manner, and often sup- plemented by valuable information from other sources. But it is possi- ble to refer clauses, and even whole sentences, to the different preceding Lives. Newton was a careful writer, condoning where he could not conscientiously praise the course pursued by I\Iilton ; and this work probably had a direct bearing upon the hostile re-action of Dr. Johnson against Milton in the Life of 1779. Newton's Life of Milton was very popular, having been usually included in the numerous editions of his variorum edition of Paradise Lost.^" In view of this editorial woi"k, no elaborate criticism of the poems was to be expected in the introductory Lift of tlie Poet. Newton did not agree with Milton's political and religious views, as appears from the following statement; but his conservative estimate of Milton in this connection was a tribute to his character and influence. After exalting Milton's genius and learning, the biographer continued: "Hut his great parts and learning liave scarcely gaincil more admirers, than his political principles have raised him enemies. And yet the darling passion of his soul was the love of liherty ; this was his constant aim and end, however he might be mistaken in tlie means. He was indeed very zealous in what was called the good old cause, and with his spirit and resolution it is somewhat wonderful, that he never ventured his person in the civil war. but tho' he was not in arms, he was not unactivc, and thought, I suppose, that he could be of more service to the cause by his pen tlian by his sword. He was a thorough republican, and in this he thought like a Greek or Roman, as he was very conversant with their writ- ings." (,xlv).'" '"Newton's Life appeared as follows ( Chap 45 I "49 7° 1762 57 1754 71 1763 63 1758 74 1765 64 1759 75 1766 66 1760 76 1767 "The Poetical Works, John Exshaw, Dublin, 1773 hap. H., sect I) 80 1770 98 1778 81 1770 99 1778 86 1773 107 1790 87 »773 125 1795 96 1777 Italian 1794 (ublin, 1773. Vol I. 221] THE BIOGRAPHICiUj TREATMENT OF MILTON 129 "In matters of religion too lie has given as great offense or even greater than by his political principles. But still let not the infide! glory : no such man was ever of that party. He had the advantage of a pious education, and ever expressed the profoundest reverence of the Deity in his words and actions, was both a Christian and a Protestant, and studied and admired the Holy Scriptures above all other books whatsoever; and in all his writings he plainly showed a religious turn of mind, as well in verse as in prose, as well in his works of an earlier date, as in those of later composition, (xlvi). Newton regarded the Areopagitica as "perhaps the best vindication, that has been published at any time or in any language, of that liberty which is the basis and support of all other liberties, the liberty of the press" (xvi). He commented favorably upon the recent adaptations of some of the poems by Handel, and praised the Minor Poems, in the words of Peuton, as sufficient to render Milton's name immortal (xvii). He devoted something like five pages to Paradise Lost, describ- ing it as "generally esteemed the noblest and most sublime of modern poems, and equal at least to the best of the ancients, the honor of this country, and the very envy and admiration of all others" (xxxvii). Newton laid some new emphasis upon the Miltonic interests up to the time of his own writing. But the matters indicated are now obvious to all students of the period, and his work is of small value in this field. He also emphasized the interests of Milton's Family, an emphasis closely connected with the mid-century interest in Milton's grand-daughter, Mrs. Elizabeth Foster. In this field of study, Newton was, as a rule, more definite and correct, than his predecessors had been. But even here he suffered one correction at the hands of the notorious William Lauder.^- With these multiplied biographical materials at command, Theo- philus Gibber (1703-1758) had no occasion for difficulty in compiling his account of Milton, for The Lives of the Poets (1753). Such a work would hardly be expected to present any strongly original features ; but this account has the interest of a very strong nationalistic spirit in the following praise of Paradise Lost: "The British Nation, which has produced the greatest men in every profession, before the appearance of Milton could not enter into any competition with antiquity, with regard to the sublime excellence of poetry — (The) ancients had still a poet in reserve superior to the rest, who stood unrivalled by all succeeding times, and in Epic poetry, which is justly esteemed the highest effort of genius. Homer had no rival. When Milton appeared, the pride of Greece was humbled, the competition became more equal, and since Paradise Lost is ours, it would, perhaps, be an ^-"P. S." to An Essay on Milton's Imitation of the Moderns. L., 1749. 130 THE MILTON TR.VDITION [222 injury to our national fame to yield the palm to any state, whether ancient or modern."'^ Tlie national pride in Jlilton was, at the mid-century, almost bound- less. His genius as a poet was the wonder of the Ages. His genius as a political writer was asserting itself against all prejudices. His pro- found conceptions of liberty were taking fast hold of men. His own integrity, his unselfisli service even to the limit of extreme sacrifice, his high place in public life, his exalted conceptions of personal and na- tional liberty, and his genius in poetry, rendered the thought of Milton in.separable from the liistory, progress, and destiny of English political and literary life. David Hume, who felt little sj-mpathy with the Puritan movement, in his History of England (1756), recognized Mil- ton's inherent greatness, destined to shine in the heaven of merit, when prejudice had once cleared away. Hume's estimation is as follows: It is, however, remarkable that tlie greatest genius by far that shone out in England during this period, was deeply engaged witli those fanatics, and even prostituted his pen in theological controversy, in factious disputes, and in justifying the most violent measures of the party. This was John Milton, whose poems are admirable, though liable to some objections, his prose writings disagreeable, though not altogether defective in genius. Nor are all his poems equal : his Paradise Lost, his Comus, and a few others, shine out amidst some flat and insipid compositions. Even in the Paradise Lost, his capital performance, there are very long passages, amounting to near a third of the work, almost wholly destitute of harmony and elegance, nay, of all vigor of imagination. This natural inequality in Milton's genius was much increased by the inequalities in his subject; of whch some parts are of themselves the most lofty that can enter into human conception; others would have required the most labored elegance of composition to support them. It is certain that this author, when in a happy mood, and employed on a noble subject, is the most wonderfully sublime of any poet in any language, Homer, and Lucretius, and Tasso not excepted. More concise than Homer, more simple than Tasso, more nervous than Lucretius, had he lived in a later age, and learned to polish some rudeness in his verses ; had he enjoyed better fortune, and possessed leisure to watch the returns of genius in himself; he had attained the pinnacle of perfection, and borne away the palm of epic poetry. It is well known that Milton never enjoyed in his lifetime the reputation which he deserved. His Paradise Lost was long neglected: prejudices against an apologist for the regicides, and against a work not wholly purged from the cant of former times, kept the ignorant world from perceiving the prodigious merit of that perforMiaiicc. Lord Sommcrs, by encouraging a good edition of it, about twenty years after the author's death, first brought it into request; and Tonson, in his dedication of a smaller edition, speaks of it as a work just beginning to be known. Even during tlie prevalence of Milton's party, he seems never to have '■■'This account may have been only a step removed from Dr. Johnson. Most of these f.ivcs were compiled by Robert Shields (d. I7.'i.l), who was then working on Johnson's Dictionary. 223] THE BIOGRAPHICAL TREATMENT OF MILTON 131 been much regarded ; and Whitlocke talks of one Milton, as he calls him, a blind man, who was employed in translating a treaty with Sweden into Latin. These forms of expression are amusing to posterity, who consider how obscure Whitlocke himself, though lord-keeper and ambassador, and indeed a man of great ability and merit, has become in comparison with Milton. It is not strange that Milton received no encouragement after the restoration: it is more to be admired that he escaped with his life. Many of the cavaliers blamed extremely that lenity towards him, which was so honorable in the king, and advantageous to posterity. It is said that he had saved Davenant's life during the protectorship; and Davenant in return afforded him like protection after the restoration ; being sensible that men of letters ought always to regard their sym- pathy of taste as a more powerful band of union, than any difference of party or opinion as a source of animosity. It was during a state of poverty, blindness, dis- grace, danger, and old age, that Milton composed his wonderful poem, which not only surpassed all the performances of his contemporaries, but all the compositions which had flowed from his pen during the vigor of his age and the height of his prosperity. This circumstance is not the least remarkable of all those which attend that great genius. He died in 1674, aged sixty-six. ^^ This estimate of Milton was not, however, entirely satisfactory to the Milton enthusiasts of the Eighteenth Century. The Critical Review seems to have taken most delight in voicing the opposition. Hume was "the professed panegyrist of the Stewart family," and the Review dis- credited his ability to see the Revolution from the standpoint of sincerity on the part of Milton and Cromwell.^'* The Review had "a better opinion of Milton, ' ' than that given by Hume f^ and felt a special relish in the Observations on Mr. Hume's History of England, by J. Towers. This author asserted that Hume even studiously endeavoured to dimin- ish the reputation of the most celebrated English geniuses. He charged that it was Hume's custom to bestow praise, and then, "with great dexterity, to throw out such insinuations, (and) so (to) magnify defects, real or imaginaiy, as almost wholly to overturn what he had said" in favour of his character under discussion. Milton was considered to be so treated in this passage of Hume's History. ■•'' But with inconsistency permissible only in a Review, this great oracle of praise and abuse, showed itself capable of greater severity against Milton, than Hume had ever felt, as will appear in the following narrowed bitterness : "Every body knows with what acrimony and rancour Milton wrote against the Character of Charles, and in defense of the most infamous of all mankind ; and '*David Hume (1711-1776). History of England, from the Invasion of Julius Caesar, to the Abdication of James II, 1688. N. ¥., Harper's, 1850, vol. v, 529-530. 3=Cr. Rev., Feb., 1783, 55:155". 3*Cr. Rev., Dec, 1756, 2:385-404. ^'Cr. Rev., April, 1778, 45 :289-292. 132 THE MILTON TRADITION [224 how industrious he was in picking up, and hardy in affirming for truth, every low insinuation which mahce could invent, or prejudice beheve. Those are stains in the moral character of Milton, which all the splendour of his intellectual merit will never brighten. It is the peculiar misfortune of the Stuart family, that two of the greatest geniuses, which the island has produced, happened interested in the cause of their enemies. These were Buchanan and Milton, two men, not more celebrated for their talents, than remarkable for the bitterness and asperity of their resentment. Buchanan assisted the bastard Murray in traducing and betraying his sovereign and benefactress. Milton insulted the ashes of his murdered king with calumny and reproach; and, with all his professed attachment to the natural rights of mankind, acted as secretary to the usurper and tyrant Cromwell, who destroyed the liberties, and trampled upon the constitution, of his country."^* The occasion of this bitterness against Milton was the publication of An Historical and Critical Account of the Life and Writings of Charles I, King of Great Britain (1758), by William Harris (1720- 1770), which was then under review. Harris eonsiilered "Milton a name at all times to be mentioned with honor,"" but felt that he had misrepresented Charles I as being lewd. The Monthly Review thought, however, that "it is no sliglit presiuuption of tlie un worthiness of the Stuart family, that Milton and Buchanan, the two greatest Geniuses of their ages, were their most violent enemies.""''' The way in which Harris supported the cause of Miltonic interests was not so much in the matter of small encomiums, as in the larger conceptions of his work. He represented the school of historical and political thought tliat was opposed to that sui)ported by Ilume, the defender of the interests of the Stuart Kings. Harris had planned a series of Histories on James I (pub. 1753), Charles I (1758), Oliver Cromwell (1762), Cliarlt^s II (1766), and James II (unwritten because of illness). The obvious purpose of the author was to comjjass tlie whole movement of national politics, from the rise of Puritanism under James I, to the triumph of the Whig Party in the Revolution of 1688. Little of this treatment was sympathetic with tlic royalty of that troublous period. Harris belonged to tlie group of iiithieiitial writers, considered below in Chapter VI, who were insisting upon the merits of Milton's political views as a means of national reform and progress. Harris was him.self a nonconformist tradesman, llollis and Bircli were his [jcrsonal friends. They secured for iiini the "I).!).'" from the Uni- versity of Glasgow, and rendered him valuable service in his Histories. His historical method was that of M. Bayle, who drew "from original writings and State-Pai)ers."" This i)lan was adopted, according to the ••'"Cr. Kev., .Xi.ril, 1758, 5:320-3^1. =»Mo. Rev.. May, i;58, 18:452-461. 225] THE BIOGRAPHICAL TREATMENT OF MILTON 133 Critical Review in the reference already cited, iu the ease of Charles I, for the purpose of vilifying that unfortunate sovereign. The total effect of Harris's labours was the development of a semi-radical atmosphere, by a consecutive account of that eventful period, favourable to the advancement of the Miltonic influences.*" Another historian who did much, in the same general way, for the cause of Milton's political influence was Miss Catherine Macaulay, later Mrs. Graham, who wrote a History of England from the Accession of the Stuarts, that was, in general, as little sympathetic as those by Har- ris. She had a passion for liberty, which was begotten and nourished by the ancient sources of political wisdom that inspired the mind of the great Milton. In the introduction to the first volume of her History (1763). she said: "From my early youth, I have read with delight those histories, that exhibit liberty in its most exalted state, the annals of the Roman and Greek republics. . . . Liberty became the object of a secondary worship in my delighted imagination." Under this inspiration, she became a recognized champion of lib- erty. Like Carlyle, and most other dreamers of better things in the political world, Miss Macaulay used the selective method in treating history, utilizing historical materials very largely to illustrate and en- force her own convictions. The field chosen for the work now considered furnished large scope for such selection, and she entered upon the work with characteristic enthusiasm. One can feel a conscious antipathy to the work of Hume, wlieu she says that she writes "to do justice to the memory of our illustrious ancestors, still having an eye to public lib- ertj'." She spoke of "party" as "that hell of liberty," and .stood firm for the limitation of royal power. ' ' Whosoever attempts, ' ' she affirmed, "to remove the limitations necessary to render monarchy consistent with liberty, are rebels iu the worst sense; rebels to the laws of their country, the law of nature, the law of reason, and the law of God." She hated Cromwell, as a usurping tyrant, but honored Milton, as one of the greatest champions of liberty, and fondly dreamed upon his devotions and sacrifices in that greatest of causes.*^ In 1777 John Bell (1745-1831) considered Milton "too well known to need a Life" iu the British Theatre." But the customary way of subduing tlie harsher elements of Milton's public and private life, together with overmuch praise of him as the champion of English lib- ^''Harris's Histories were popular. .Ml of them were reprinted in 1772, and his works were collected in 1814. ■"'For her feeling toward Milton, see Appendix C. Her influence for liberty must have been considerable, if one may judge from contemporary interests in her views. Cr. Rev., 1763, 16:321-330; and April, 1790, 69:386. Mo. Rev., Nov., 1763, 29-372-3S2; May, 1769, 40:355. *^British Theatre, ed., 1779, I, iv-v. 134 THE MILTON TRADITION [226 erty, had led Dr. Johnson to feel that a good solid Tory Life of Milton was iiiueb in demand. Johnson seems to have felt very early the power- ful bearings of Jlilton's infiiieuee upon public life and was never wholly sjonpathetic. On the contrarj% in 1749, he joined hands, to the regret of all his admirers, with Lauder's attack upon "The blind worshipers" of tliat eminent poet.*^ Since that time, the growth of tlemocracy, lib- eralism in religion, and the Romantic tendencies in literature, had exasperated the Doctor against the adoration of Milton. Perceiving that ]\Iilton's influence was central to the new and powerful "move- ment,'" Dr. Johnson threw himself across the current of that movement, in an un.sympathetic Life of Milton (1779), which appealed to almost every possible source of prejudice against the poet-politician.''^ Johnson showed himself familiar with all that had been said about Milton ; and the Life moves with a stately flow of ideas indicative of mastery. The biographer succeeded also in marshaling his materials directly upon his desired goal of writing Milton down. Looked at in broken segments, the life of Milton is at times open to adverse criticism. His integrity stands unshaken, more perhaps than that of any other man, only in the full circle of his career and message to the world. Of this fact Dr. Johnson undoubtedly took no small advantage. With an air of caudoiir and fidelity, he seems to have studied tlie jjossibilities for prejudice against Milton, and to have left unused no opportunity for suggestions and insinuations that reflected upon the character of the man. Evidently the biograi)lu'r"s intention was to counteract the influ- ence of Milton by contradicting, wherever possible, the accepted estima- tion of the man and his works. Upon Milton as the author of Paradise Lost Johnson bestowed judi- cious praise. Tliat poem he would not have written other than in blank verse. With patriotic pride tliat overrides all prejudice, the Doctor speaks of the poem in these words: **Chapter vi, p. 190. ^''Johnson's Life of Milton, with all its Tory bitterness, then regarded an out- rage upon the poet, is today tlic best known of all the Lives of Milton written dur- ing the Eighteenth Century. This Life has been published thus : 1779 A98 ((EiKj. Poets). 1793 I.ifes, 4 vols. 1781 Lives, 4 vols. 1796 ll'ork-s. u vols. 1783 Lives. 4 voh. 1796 A 125 (Parson). 1787 Works (Hawkins) 1797 Abridged edition. 1790 A 106 (Eng. Poets). 1800 Lives. 4 vols. 1790 Lives, 6 vols. 1801 Lives. 3 vols. 1790-1 Lives. 4 vols. 1801 IVorhs. In the nineteenth century— 1804-6, 1806, :8io, 1816, 1818, 1819, i8.'5, 1826, 1840, 1847. i8S4, 1854, 1858, 1864-5, 1868, 1878, 1886, 1888, 190S. 227] THE BIOGRAPHICAL TREATMENT OF MILTON 135 "I am now to examine Paradise Lost, a /loem which, considered with respect to design, may claim the first place, and with respect to performance the second, among the productions of the human mind (170). . . . The moral of other poems is incidental and consequent; in Milton's only it is essential and intrensick. His purpose was the most useful and most arduous : 'to vindicate the ways of God to man'; to shew the reasonableness of religion, and the necessity of obedience to the Divine Law {Life of Milton, Hill, vol. I, p. 171). "In this part of his work (the Fable) Milton must be confessed to have equalled every other poet. He has involved in his account of the Fall of Man the events which preceded, and those that were to follow it : he has interwoven the whole system of theology with such propriety that every part appears to be neces- sary, and scarcely any recital is wished shorter for the sake of quickening the progress of the main action" (171). Johnson exalts Milton's subject as involving "the fate of worlds" ; and his persons as clothed with a "greatness" before which "all other greatness shrinks away." "The weakest of his agents are the highest and noblest of human beings. . . . Of the other agents in the poem the chief are such as it is irreverence to name on slight occasions. The rest were lower powers . . . .which only the controul of Omnipotence restrained from laying creation waste, and filling the vast expanse of space with ruin and confusion. To display the motives and actions of beings thus superiour, so far as human reason can examine them or human imagination represent them, is the task which this mighty poet has undertaken and per- formed" (172). The questions of character, probability, supernatural machinery, episodes, and integrity of design, Johnson disposed of very briefly, as either involved in the nature of the subject or else fully meeting the Aristotelian requirements (172-5). The sentiments, too, were found "for the greater part unexceptionably just" (176). In Milton every line breathes sanctity of thought and purity of manners, except when the train of the narration requires the introduction of the rebellious spirits; and even they are compelled to acknowledge their subjection to God in such a man- ner as excites "reverence and confirms piety" (179). Johnson recognizes some "defects and faults" in Paradise Lost, but refused to make long citations ; "for what Englishman", said he, "can take delight in transcribing passages, which, if they lessen the reputation of Milton, diminish in some degree the honour of our country?" (181). After some cen^sures, which are in the main just enough, the Criticism closes with this statement: "Such are the faults of that wonderful performance Paradise Lost; which he who can put in balance with its beauties must be considered not as nice but as dull, as less to be censured for want of candour than pitied for want of sensibility." (188). But otherwise the Poet fared not so well in these Tory hands. Johnson denied to Milton any serious concern in liberty for others than him.self.*" Referring to Milton's spirit of controversy, the biographer ^"Johnson's Lives of the English Poets: Milton (1779). Edited by G. B. Hill, vol. I. (paragraphs) 36 and 170. 136 THE MILTOX TRADITION [228 said, "Such is his malignity 'that hell grows darker at his frown.' "*' Johnson considered Milton as a slave to Cromwell, "his services and his flatteries (sold) to a tyrant.''^* He regarded ililton's theology as mainlj^ negative, played heavily upon the dangers of being "of no church," and severely assailed Milton's religious life.*^ "His political notions were those of an acrimonious and surly republican." "Milton's republicanism was, I am afraid, founded in an envious hatri'd of great- ness, and a sullen desire of independence."'"' In the worst light possible the author represented Milton the politician and man of affairs. For the poetiw, other than Paradise Lost. Johnson had small praise. Comus was considered tlie best of the early poems, but a dramatic failure for want of probability. In reading the Companion Poems Johnson admitted a genei-al pleasure, and allowed them to be "two noble efforts of the imagination". But beyond these notes of praise he found little to commend. Outside of I^aradise Lost Johnson denied to i\lilton tlie rank usually attributed to him. Except in the case of Comus, the biographer denied that the Minor Poems furnish any definite promise of the future excel- lence of Paradise Lost, though he had felt a forecast of the Epics in the Pro.S(! Writings. Wliile granting to the earlier jioetry the evidence of genius, in "that thej* liave a cast original and unbori'owed," he denied that their peculiarity was excellence: "if they differ from the verses of others, they differ for the worse; for they are too often distinguished for repulsivi* hai-sliness." He denied to the whole group of Minor Poems any independent vitality, and thought their popularity due to the reputation and influence of the Major Poems. He even carried his contradictions to the extreme of selecting Lycidas, which most other biograiihcrs had specially praised, as the sjjccial object of his bitterest con(k'iiiiiation. Even Johnson him.self must have been surprised at the results of this biograpliical and critical venture. His madness, so full of Tory method, .served only to bring the wrath of the Milton-loving English people U|)0ii liis own head. Under tliis general re-aetioii may l)e sum- marized what remains that was distinctive in the biographical interests of the century. Four years after Jolmson's al)nse of Milton, Dr. Robert Anderson (1750-1830) pul)lislied tlie fifth volume of Tlu Works of ihv British Pods, which contains the Poetical Works of Milton, with an introduc- tory Life, Iiy the editor. The Life was written in a spirit of symjiatliy "Ibid., 50. *"/&i"rf.. 173. "/foiU, 165-167. '■xibid., 168-169. 229] THE BIOGKAITIICAI. TREATMENT OF MILTON 137 with Miltou. Dr. Anderson displayed both a keen sense of poetical values, and a just sense of historical facts. The work was justly praised by contemporary criticism,'' and was doubtless felt to be a defence of Milton from the aspersions of Dr. Johnson. "'- The defence of Milton was very seriously undertaken, in a con- structive manner, by William Hayley (1745-1820), in his Life of Milton, written for the great Cowper-Hayley Edition of Milton's Poetical Works, printed by Boydell and Nichol, in 1794. This Life was justly popular, both for its intrinsic merits, and its excellent justification of Miltou from the strictures and abuses of Dr. Johnson.''^ The place that this Life occupied in the thought of the time, may very well be suggested by the following notice of the work in the Monthly Review: "Though the memory of few authors has received the homage of more biographical tributes than that of Milton, yet the public will probably think them- selves obliged to the spirited undertakers of the present splendid edition of his poetical Works, for having engaged a writer so justly esteemed as Mr. Hayley, to compose a new life of that 'immortal man,' who was the glory of his age and country. "According to Mr. Hayley's own declaration, his chief purpose (is) to give such a delineation of Milton's life as might 'rather make him more beloved than more admired;' and to exhibit him as no less 'a model of superior virtue,' than as an example of unrivalled genius.' "After all, is it necessary that the serious, the learned, the lofty, the sublime Milton, the severe disciplinarian, the zealous champion, — in fine, the writer of Para- dise Lost, should be the most amiable of mankind?" Milton was held to be "adorned with every graceful endowment, highly and holily accomplished."''* John Bell prefixed an outline sketch of Milton's life to Samson Agonistes, in the British Theatre (vol. 34, 1796). Three years later, the Eev. John Evans (1767-1827) published a sketch of the Life and Writ- ings of John Milton, with an edition of Paradise Lost (1799). The period closed with the Life of Milton, more learned and comprehensive than any that had gone before, prepared by the Rev. Henry J. Todd, for his variorum edition of Milton's Poetical Works (1801). One scarcely feels like closing the account of Milton's Life with- "Cr. Rev., Jan., 1799, n.s. 2:40-50. ^-A Volume of Letters from Dr. Berkeithout to his Son at the University (1790), has short biographical Sketches of Bacon, Milton, Newton, and Locke, designed to show that, in spite of wasteful methods, still one may acquire much learning at Oxford and Cambridge. Cr. Rev., July, 1791, n.s. 2: 323-329. '•^The Life of Milton, by Hayley, was printed with The Poetical Works (1794) ; with the Conjectures on the Origin of Paradise Lost, London, 7796, Dublin, 1797, Basil, 1799; and with Adam: a Sacred Drama (1810). '^■'Mo. Rev., Feb., 1795, 97(16) :I2I-I25. Cf. Mar., 1796, 100(19) :252-2S5. Cr. Rev., May, 1795, n.s. 14:1-13. 138 THE MILTON TRADITION [230 out citing the following passages from John Aiken's Letters on Taste for Poetry (1798-99), wliicli sliow that confidence was restored, and Milton triumphant: "It is not my purpose to go through an enumeration of the principal poets of different nations who have contributed to raise and purify the sentiments of man- kind ; but it would be unpardonable to pass in silence the first of the list, our immortal Milton. The unparalleled sublimity which distinguislies his conceptions on all topics, so peculiarly marks his moral and religious ideas, that if it be possible for verse to operate as a charm against all that is mean, groveling, and corrupt in our nature, his are the strains from which this benefit might be expected. Of his Paradise Lost, Dr. Johnson testifies that 'every line breathes sanctity of thought and purity of manners,' and though his Coiiius and Saiuson Agonistes are not well calculated for dramatic effect on the stage, yet in the closet, the first, by its lofty morality, and the second by its preceptive wisdom, are capable of affording instruction and pleasure in a supreme degree. A relish for the works of Milton is not only a test of sensibility to the more exquisite beauties of poetry; but a kind of measure of the exaltation of the mind in its moral and religious sentiments."'-' These biographies, as a rule, show more marks of enthusiasm than of seliolarship, the obvious tendency being to repeat the more prominent outlines of the poet's life, with a filling of details that was visually determined by the temper of the biographer. The Lives were not with- out some evidence of research, and the total residts of this kind were sufticient to make possible the exhaustive labours of Professor David Masson in the Nineteenth Century. The very personal element in these Lives was perhaps a better index to the Miltonie interests of the eight- eenth century than more .scholarly labours might have been. These indexes into the mind and heart of the eighteenth century show a constantly gi'owing sympathy with Milton. Old prejudices more and more passed away. Political animosities were gradually softened, except for party reasons among tlie Tories, on account of jMilton's rising ^^Lctters of a Father to His Sou {lygS-ijij), vol. II. Letter v, 268-70. Aiken did not hesitate to expose Johnson's inconsistency in criticizing Milton and Watts. "It is properly observed by Dr. Jolmson,'' said ,\ikiii. "that Milton's excellence in these particulars was greatly owing to his familiar acquaintance with the Scriptures: and indeed the subjects of Paradise Lost and Paradise Regained arc so entirely scriptural, that he could not fail of imbibing their spirit as he wrote. How extraordinary, then, does it appear, that the above mentioned critic, whose veneration for the Hebrew writing can scarcely be questioned, should ex- press such an unqualified disapprobation of that alliance of poetry with devotion which is so peculiarly their characteristic." Here he quoted Johnson's strictures on Watts' devotional poetry as "unsatis- factory," and poinlcil out the highly poetic and liginalive charactir i^f the Old Testament Poetical Rooks. 231] THE BIOGRAPHICAL TREATMENT OP MILTON 139 influence. The man Milton emerged from political confusions and bio- graphical obscurity. The Poet rose into full splendour. Finally Milton i was known, loved, and honored throughout the nation. The biographers of Milton tended at first to find the man in his prose writings, and Milton was therefore pre-eminently a politician and a controversalist. Later they found the man more especially in his verse. Then he was pre-eminently a poet, — the pride of England, and the envy of other nations. Finally his biographers found the full man in his prose and his poetry, a man with one great message, the champion of what he thought sublimely good for all nations and for all times. Then Milton was the poet-politician, who walked on the earth, but breathed a celestial atmosphere, who saw things in their eternal rela- tions, and spoke, with authority, to Man, of Man, and for Man. With complete unanimity Milton's biographers exalt Paradise Lost as the greatest achievement of his life. For almost half of the period under consideration, attention to the Minor Poems was largely directed toward their historical significance. They were mere facts in Milton's early life. Among the early poems, those that did receive a measure of special notice were Comiis and Lycidas. This notice was always favour- able, until Dr. Johnson made these particular poems the special object of his bitterness. But one is made to feel that Johnson's attack upon Milton was a sort of bitter farewell, which hurt the Doctor's reputation more than it did that of Milton. On the side of mere historical facts, the Minor Poems tended to lose their distinction in view of the increasing volume of biographical content that was discovered in the Epics and Samson Agonistes. But this was compensated, in part at least, by the growing attempt to trace the poetical genius of Milton in those earlier stages of development. But his biographers came more and more to find the serious Milton, who was so much adored, in the sublime spiritual unity of his whole message of virtue and liberty, — which message, flashing at times in the earlier poems, was worked out by Milton in the labours of the civil strife, and finally glorified by liis poetical genius in his post-Restoration poetry. The Minor Poems did come to have considerable interest for bio- graphical criticism; but this rising interest must always be seen in its proper proportions. It is not always remembered, that where biogra- phers accord the praise of paragraplis and pages to the Minor Poems, they are at the same time writing whole commentaries on Paradise Lost and even on Paradise Regained. Such formal propoi'tions of praise as those worked out by Richardson, Peck, Newton, and Johnson, must be duh' observed if one would arrive at any just estimate of the relative values of the several poems in tlie minds of the biographers of Milton. CHAPTER V. Criticism of Milton. To 1730. Milton's Rank Established The general title of Criticism is given to this, and the succeeding chapters under this running title, because that is the dominant element in this new survey of the period under review. The term is used, how- ever, in its wider connotation, to include any forui of individual or na- tional expression that tends to define the values of Milton. The sub-title of this chapter indicates the main thing accomplished by sucW critieisni\ up to about the year 1730. This was the time when most of the concern I for JMilton was expended upon the question of liis place and rank among I the men of letters. — -^ During this earlier period the Minor Poetry of Milton scareelj' formed a consideration in respect to his reputation. The Poems on Several Occasions were jjublished in 1()4.'3, and again in 1673. Some of them were utilized by Robert Baron, iu the Cyprian Academy (1649) ; and by Joshua Poole, in The English Parnassus (1657, 1677). They were known, and noticed to some extent iu biograi)hy' and criticisms ; but they are consi)icuous luainly for the want of attention they received during this period. Humphrey Moseley, printer of tlu' 1645 edition, recognized the unusual merit of these poems, and commended them very highly in his "Preface To Tlie Reader."- Previous to tliis edition, Coniiis had been "viewed witii singular delight," and praised, by 8ir Henry Wotton (1568-1639), for a "certain Doric delicacy in the songs and odes," in a Letter To Milton, wliieli the young Poet took pride in having printed in tliis first edition of liis i)oeuis.' Lycidas had also beeu complimented as 'See Chapter iv, on Biography. -Quoted with coniniciidation, by Thos. Birch, in his Life of Milloii (1738^. Comp. Prose ]Vks. of Milton (173S), I, x.wi. See p. 126 above. "Milton had sent Wotton a copy of the Masque, and this Letter (April i,i, 1638) was the old friend's re-action to the poem. L. P. Siiiitli, Life and Letters of IVollon, I, 220; II, 381. Thomas Warton criticised this Letter as not reaching "to the higher poetry of Coitius," which he defined as the "graver and more majes- tic tones, the solemnity and variety of its peculiar vein of original invention." Milton's Poems, ed. 1791, p. iv, and 1 18-122. 140 233] CRITICISM OF MILTON 141 it appeai'ed to Wartoii,^ in that it was placed last iu the original volume "In Memory of Edward King." But by the time Milton's Poems ap- peared in 1645, England was too seriously concerned with other mat- ters to give much attention to poetry. After the Restoration, the poems were not generally re-discovered. Milton's friends knew and mentioned them; but the edition of 1673 created no perceptible stir even among Milton's admirers. About this time, or later, Waller, who found in Paradise Lost "some fancy and bold invention," but was "better pleased" with Lycidas, sent a copy of that poem to St . Evremond . who was then in England. St. Evremond read the poem with delight, and reported it "to b e in the true s pJTit_Q£_ pastoral po etry, the old Arcadian enthusiasm," and to be _£apficially -> fixc ellenlTin "the various and easy flow oLit" ""inbers . TTwell adapted to the ten der kind of imagery, tho' not expressi ve of tlie-first strong inTjTressions of grief. ' "> Late in the century (1693) Dryden called attention to these Juve- nalia as a proof of Milton's inability to handle rhyme." Congreve, in The Mourning Muse of Alexis, Sung at Comus' feast ; While, in a ring, the jolly rural throng Have sat and smiled to hear my cheerful song.' Toland exalted Comus and Lycidas, briefly but definitely, in his Life of Milton (1698) ; and Addison mentioned Comus, with favor, some years later.* Addison cited also Milton's description of Laughter, in L' Allegro, as "finely" drawn; and a'year later, in "sweet retirement," he "natu- rall.y fell into the repetition of some lines out of a poem of Milton's, which he entitles II Pcnscroso, the ideas of wliich wei-e exquisitely suited to (his) present wanderings of thought."'' Langbaine dared to indicate Dryden's indebtedness to Samsoit Agonistes (1691),'" and Charles Gil- ■•Warton's Milton, p. 38. ^Letters of M. De St. Evremond (1610-1703) and Mr. Waller (1606-1687). London, 1710. Letters xxviii and xxix, pp. 98-107. See W. M. Daniels, St. Evre- mond on Englcterre, 1907. '^Origin & Progress of Satire (1693). Essays (Ker), II, 29-30, 'Wm. Congreve (1670-1729). Chalmers, Eng. Poets, 10:269-271. ^Poems by Allan Ramsay, 1731. II, 99. Gent. Mag., 8:152. ^Spec. 249, Dec. 15, 1711 (Allegro, 11-40); 425, July 8, 1712 (Penseroso, 61-72, 147-54) • Warton's Milton, 1791, pp. ix-x. ^"Essay on Dryden (From the Eng. Dra. Poets). J. E. Spingarn, Crit Essays of the 17th Cent., Ill, 131. Half a century later it was felt that Dryden had made too free use of Samson in the .4ureng-Zebe. Lloyd's St. Jas. Mag., Oct., 1762, I : 149-152- 142 THE MILTON TRADITION [234 dou found in it an excellent variety of iminbers;" while Bishop Atter- bury, a friend of Pope, but an admirer of Milton and blank verse, 'felt that Samson was written "in the very spirit of the Ancients," and was "capable of being improved, with little trouble, into a perfect model and standard of tragic poetry," and, therefore, recommended Pope to "polish" tlie tragedy into this ideal form.'- As early as 1691, a writer in The Athcnum Mercury attempted to decide the rank and relative merits of Milton and Waller. The former was pronounced ' ' the fullest and loftiest ; ' ' the latter ' ' the neatest and most correct Poet we ever had." This judgment of Milton was based mainly upon Paradise Lost, which was splendidly treated at some length. Samson was also exalted ; "and, to say nothing of his Paradise Regained, whereof he had only finished the most barren parts, in his Juvenile Poems, those on Mirth and ilelancholy, ati Elegy on his Friend that was drowned and especially a Fragment of the Passion, are incompara- ble."" Bej'ond this estimate, there was iio advance until that of Elijah Fenton, in his Life of Milton (1725). Fenton had recommended Lycidas and the Companion Poems for Dryden's Miscellany (1716). These, with Comus, he declared in the Life, were sufficient to insure Milton's im- mortality. The attitude toward Milton's Minor Poems was thus one of com- parative indifference. That toward his Prose Writings was positively detrimental, as a rule, to any sort of savory reputation. Tliis earlier period covers the life-time of two generations, neither of which was ever reconciled to Milton's politics. The first of these generations, somewhat maliciously prolonging the old controversies which had called forth most of Milton's Prose Works, read those works mainly for purposes of refutation. It was not enough tliat Milton's works should be burned :" they must also be answered. One may find, therefore, such publications as The Dignity of Kingship Asserted, in Reply to Milton's Common- ivealth (1660);'" and The Freeholders Grand Inquest (1679), with its reflections concerning the Original of Clovernment upon Mr. Milton against Salmasius. The chief characteristic of these, and similar ])ub- "The Complete Art of Poetry, 171S, pp. 300-303. i=Francis Attcrbury. The Bishop of Rochester To Pope. The U'hs. of Pope (Elwin-Courthope), IX, p. 49. ^^The Athenian Mercury (Jan. 16, 1691). Athenian Oracle (1702), 1:477. '*The Defence of the English People and Icon Basilikc were burned in France (1651), and in England, by the common hangman, .\ur. 13. 1660. '"By George Searlc. For other snch matters, see Clarcndon'.s Letter to Gauden (March 13, 1666) ; and the Letter to the Archbishop of Contcrhury Concerning the Authorship of Icon Basilike. Todd, Life of Milton, p. 21 ; Johnson's Life of Cow- ley (Hill), I, S6. 235] CRITICISM OP MILTON 143 lications, was personal and political malice. There were, of course, some who dared to be friends with Milton, even in relation to his Prose. Andrew Marvell, whose friendship found many forms of expression, feeling perhaps that there was little else to defend at that time, undertook a spirited defence of Milton's scholar- ship, in a licply to Parker.^" The change that came with the Revolu- tion (1688) made it possible for Phillips to publish Milton's Le^iers of State (1694), a privilege denied to Aylmer in 1674. While Phillips had a conciliatory introduction, yet he ventured to prophesy the future his- torical value of these Letters. Four j-ears later the daring and liberal pen of John Toland commended the political writings of Milton in the Life of that author (1698). But the old attitude, as a rule, was dominant. The fathers with their feelings of personal animosity had passed away. But their chil- dren were still convinced that Milton had prostituted his great powers in those political and other controversial writings." An important example of this indiscriminate condemnation was evident in the words of Aaron Hill, at the very end of this earlier period (1730). He de- clared that he would venture to pick out his friends and enemies by setting them to read Milton and Cowley. He would "be afraid of his heart, who, in the fame and popularity of Milton, could lose sight of his malice and wickedness ; ' " and he would not fear to throw open his breast to one, "who, in contempt of the fashion we are fallen into, of decrying the works of Cowley, could have the courage to declare himself charmed, by both the Muse and the Man.'"^^ All this political malice was a burden upon Milton's literary shoul- ders, — a burden too heavy even for him, had there not been some source of strength j-et unmentioned. His literary treasures had otherwise, probably, been buried out of sight, to adorn in time, of course, the labors of modern research and criticism. But the saving power was present, as was implied in the last quotation. That power which carried MiltoiT aloft in spite of all opposition was Paradise Lost, the immortal reposi- tory of all that Milton stood for in poetry, scholarship, politics, and religion. That poem proved to be Milton in irresistible form, the power that brought triumph to its author and to all else that he wrote. In 1667, Milton published "Paradise Lost, a Poem in Ten Books;" but the poem seems to have attracted at the first no special attention. The publisher had paid only a few pounds for the manuscript, and, ^"C. D. Cleveland, CoJiifeiidiuiii of Eng. Lit., i86g, p, 286. Cf. Phillips' Milton (1694), p. xxxviii. ''Cf. Tributes, 21, 23, 32. i^Aaron Hill (1684-1750). To Mr. Richardson (June i, 1730). Rich. Corrcsp., I, 1-4. 144 THE MILTON TRADITION [236 Pp perhaps, had felt for a time tliat the purchase was a bad bargain. The first edition was partitioned into as many as nine issues, it seems, and put on the market only as there was demand for the work. Wliile the poem was gradually coming to be moi"e widely read and freely discussed, the reputation of the work was largely in the hands _qf Milton's personal friends. Thomas EUwood (1639-1713), a student and admirer of jMilton, recorded half a century later that he had read this poem in the manuscript, and had made tiie suggestion whicli led to the writing of Paradise Regained,^^ which appeared with Samson Ago- iiistes in 1671. The j'ear that Paradise Lost was published, Dryden is^ said to have declared that "This uuui cuts us all out, and the ancients too.'" Ricliardson recorded that others atlmired the poem while it was still wet from the press.-" But the first printed praise was that of Ed- ward Phillips, Milton's nephew, who, in e.Kalting "the sublimity of the subject . . . the majesty of the style . . . the beauty of its images and descriptions," represented himself as voicing the sentiments of others quite capable of critical judgment.-' Among those just critics, one may reckon the names of John Aubrey, who collected notes for an earl.y Life of Milton ; of Dr. Paget, who may have written the earliest Life of Mil- ton ; and of Andrew Marvell, who, besides being interested in the biogra- phy of ililton, published, with Dr. Barrow, tiic exalting Commendatory Verses of the poem, in tlie edition of 1674.'-- ]\Iilton himself had added the Argutiu nts and the critical Preface on The Verse in 1668; and for tliis last authentic edition he revised certain parts of the poem, and re- divided it into twelve books. No great length of time had passed, however, before Milton seems to have been widely read, and echoes from Paradise Lost poured in from all sides. Besides the Tributes in another cluiiiter, Thomas Otway, in his KpistU to Mr. Duke, about tliis time, alluded to the iinu)cent garden- scenes in Eden.--' The Vision of Purgatory (1680) placed Milton in that dismal region, to be sure;-* but the English Theophrastus represented ^oHist. of Thos. Ellwood, by his oti.')i Hand (C. G. Crump, 1900). p. 145. ="These stories are told by Richardson, Life (1734), but some of them are discredited by Masson. -'Edw. Phillips (1630-1696). Phnisiuin Poclicarum ilirsarits. Quoted in the Lives of the Phillifses (Godtvin), iHi^. p. 145. In the Theiilniiii Poctarum (1675), by Phillips, Milton also received due notice. =-'Chap. iv on Biography, and Tributes 7 and 8. Marvell was remembered for this early appreciation in 1720. See an .\cct. of him, by Giles Jacob. An Hist. Acct. of our most celebrated Eng. Poets (1720), II, p. 98. Also Atterbury To Pope (Nov. 8, 1717), quoted by Birch, Life of Milton (1738), I, p. i. '•■"Thos. Otway (1652-1685). Chalmers, Eng. Poets, 8:295. 2So), ed. J. Swift, 1730, I, p. 245. After .'Xriosto, Tasso, and .Spenser, lie knew "none of the moderns tli:it lirive made any atchievcmciit in Ifcroick Poetry worth recording." 239] CRITICISM OF MILTON 147 tioii that Paradise Lost should occupy in tlie ranks of literature.''* Dry- den attempted to regularize the poem by turning it into heroic couplets, aud certainly must have felt the feebleness of his effort at improvement. Paradise Lost was not created according to the rules; nor indeed was it subject to them. This fact pressed itself upon Dryden's consciousness, though he was never just at ease as to what conclusion should follow. In general, Drydeu recognized Milton as a great genius ; and did not hesitate to say so upon occasion. "Dryden," according to one eighteenth century writer, "unfolded first the beauties and power of Milton, who raised England's glory to the top in respect of sviblime poetry. "^'^ Very early Dryden cited "Homer, Virgil, Tasso, or Milton's Paradise, ' ' as authority for good epic usage, and spoke of ' ' Homer, Divine Virgil, and Milton" in the same manner.^" He did not believe that Horace, "had he now lived, would have taxed Milton, as our false critics have presumed to do, for his choice of a supernatural argument. "^^ Dryden found "flats" in Milton,'** disapproved his blank verse, ^^ cen- sured certain aspects of his diction,*" and even discredited the truly heroic character of his subject.*' But above all this, Dryden applauded the majesty of Milton, admired "the heights of his invention, and the strength of his expression,"*- pronounced "Spenser and Milton nearest, in English, to Virgil and Horace in Latin,"*'' and dared "not condemn so great a genius as Milton."** He said, "It is as much commendation as a man can bear, to own him excellent ; all beyond it is idolatry. ' '* Such criticism of Paradise Lost could not but be effective in estat lishing the rank of Milton. The national re-action was one of confidence. Sir Thomas Pope Blount (1649-1697), in his Remarks upon Poetry ^*Mt. Havens gave the following list of Dryden's principal discussions of Milton {Englische Studien, 1909, 40:193). He used the Scott-Saintsbury edition. (i) State of Innocence and Fall of Man (1677), Preface, v. 111-112, 116-124. (2) Preface to the Second Miscellany (i6Ss), xii, 300-301. (3) Dedication of the Aeneis (idgy), xiv, 143-145, 201-2, 214-15. (4) Epigram (1688), xi, 162. (5) Origin & Progress of Satire (1693), xiii, 15, 17, 18, 30, 38, 39, 115-8. (6) Preface to Fables (1700), xi, 209. 3*Edw. Watkinson, Nature & Tendency of Criticism. Cr. Rev., June, 1763, i6:i-S. ^^Apology for Heroic Poetry (1677). Essays (Ker), I, 182, 189-190. 3'Same, I, p. i. ^^Origin . . . Satire. Essays (Ker), H, 29. Cf, H, 268. ^^Same, H, pp. 29-30. ^"Preface to Sylvia (1685). Essays (Ker), H, 268. *^ Origin . . . Satire. *-Same as 40. *^Dedication of Aeneis. Essays (Ker), H, 223. **Same, H, 212. *'Same as 40. 148 THE MILTON TRADITION [240 (Characters and Censures) (1694), devoted a brief but formal section to "John IMiltou."" In this the author suinnied up, with assurance, the situation of Milton, "whose natural Parts did deservedlj- give him a place amongst the principal of our English Poets." This dictum was based upon tlie two Epics and Samson.*^ Charles Leslie (1630-1722) felt obliged to discuss at some length Paradise Lost, in the "Preface" to his own History of ^in and Heresy (1698), which deals in part with the same subject.*' But no one was quicker to perceive the practical side of this growing confidence in Lliltou, than the printer Jacob Ton- son. Accordingly, Tonson employed Patrick Ilinne to prepare an anno- tated edition of Paradise Lost to supply the new demand. This edition, ■with "copious and learned Notes, or Commentary by P. H., with a table of the most remarkable parts of the poem, under the heads of Descrip- tions, Similes, and Speeches," was published in 1695. This was the "first attempt to illustrate an English classic by copious and continued notes," and in this work Hume left a monument to himself as "the father of comparative criticism."*'* By the last decade of the century the forces of gen(>ral moral reform were begiiniing to be felt. This agitation affected literature, and served to exalt Paradise Lost as it had never been exalted up to tluit time. The leader of tliis movement for reform in literature, wlio most ardently espoused the cause of Milton, was John Dennis (1657-1734). Under him, and his associates in critical theory. Paradise Lost began to estab- lish itself in relation to some of the literary problems of all time. The need of this general reform was felt on all sides. Tlie re-action from the restraints of Puritanism had sunk the nation to a low moral level. With this moral tlecay, Literature in general had declined. The stage in particular was very bad, even unendurable as it appeared to some of the writers on reform.'"' Lito the midst of this movement Dennis threw himself with full force. His well digested theory of literary reform was fundamentally at variance witli most of the views tliat were then aeeejited. The very foundation of his poetic theory was the fundamental and inseparable union between poetry and religion. The pseudo-classical theory then in ^"'Ed. 1694. pp. 135-8. Blount added, parentlictitally, a reference to Mihon's "other works, botli in Latin and Englisli, liy wliicli liis fame is suflioientl.\ kimwii to all the learned of Europe." *''The History of Sin and Heresy, attempted from the rirsi War that they raised in Heaven, throuyh their I'arious Successes and Priu/ress upon Earth, to the Final Victory nz'er them, and their eternal Condemnation in Hell. Theol. Jl'hs. (OxfJ, rSs.'. 7 vols., 7:437-5'3- <"Allil)onc, Diet, of Authors. "Ilnnic." Bhichwnod's .^tan.. 4:658-662. *"TIic most considerable attack upon the stage was -■/ .S7i(ir/ View of the Immorality and I'rofhaneness of the Stage (169S), by Jeremy Collier (1650-17261. 241] CRITICISM OF MILTON 149 vogue claimed that literary excellence was attainable by rules. The general idea was to return to nature, as they of that school commonly argued. But by this maxim they meant nature methodized. The An- cients had followed nature at first hand, and had attained all that she had to contribute to literary excellence. From those ancient attain- ments the rules of excellence had been deduced. Now that these deduc- tions were made and accepted as authority, t\\e problems of literary reform lay in the direction of closer conformity to these rules. The problem was, therefore, almost purely a rational problem. Such was the thought of the day. But Dennis thought otherwise. As it appeared to him, the inspira- tion and source of literature was ultimately in the passions. The prob- lem of literary reform was, therefore, one of moral reform and religious exaltation. The confirmation of this theory he found satisfactorily set forth in the exalted character of Milton, and in his most exalted Paradise Lost. In both theory and practice, Dennis was an avowed disciple of Milton. But this theory of Dennis led him, in his arguments for reform, to exalt Paradise Lost from another point of view. His theory of the union of poetry and religion led him to exalt the Ancients above the Moderns, because the former found their superior inspiration in the vital forces of their religion. But those ancient religions were Pagan, and therefore false. Tlie greater attainment Dennis believed possible to the poet who drew upon Christianity, which is Truth. As proof of what was possible in this better way, Dennis constantly held up Paradise Lost as a thing scarcely less than inspired from Heaven. From that exalted Source, Milton had attained a sublime excellence that was at- tainable in no other way. The critical work of Dennis has been so well treated by Dr. H. G. PauP" that extended discussion here would be superfluous. Strong sympathy with Milton, both in theory and practice, was inevitable. The discussions of Milton by Dennis would make a splendid volume, in quality as well as quantity; for the thought of Dennis toward Milton belongs more to the rising tides of Romanticism, than to the age of Pope and Swift. That age Dennis pronounced degenerate, and found the proof in the comparatively low appreciation of Paradise Lost. On the positive side of his criticism, there is one brief passage that seems to sum up his exalted attitude toward Milton : "He who is familiar with Homer, and intimate with Virgil requires something that is far above the Level of Modern authors, something that is great and wonderful. If I were to recommend a British Poet to one who had been habituated to Homer and Virgil, I would for the Honour of my country, and of ■■"John Dennis, His Life and Criticism. Columbia Dissertation, 1910. 150 THE MILTON TRADITION [242 my own Judgment advise him to read Milton; who very often equals both the Grecian and the Roman in their extraordinary Quahties, and sometimes surpasses them, is more lofty, more terrible, more vehement, more astonishing, and has more impetuous and more divine Raptures. "■"^ One of the most considerable satellites of Deimis was Charles Gildon (1665-1724). He had by uo means the grasp of theory that Dennis had ; but at heart Gildon was scarcely less an admirer of Milton. Like Dennis, Gildon cared little for rules, if only Paradise Lost yielded the fruits of literarj' enjoyment. Much of Gildon 's best criticism was in- spired by a desire to answer the objections made against Milton. As early as 1694, Gildon defended even Milton's "antient and con- sequently less intelligible words," and his style in general, as essential to his characterization. He justified the "servile creeping" lines as fitting their content, exalted Milton's treatment of all the characters from the Deity to the Devil, and lield the Faradisc Lost a work for Milton alone, and for liim only because of tluit inner illumination which came in consequence of his blindness. Gildon exalted the poem because of its pleasing effects upon the reader.'- In his Complete Art of Poetry (1718), Gildon claimed for Milton "no more than the second place" to Homer, and that England had no lack of national genius. He approved the spirit of Addison's Critique, and asserted tliat Milton "has equaled, if not excelled the Greek and Latin poets in many things. "■''' In the second volume of this work, Gildon made fifty-nine quotations from Milton, representing almost as many pages, and all of them from tlie epics. In The Laws of Poetry (1721 ), Gildon re])lied to Dryden's charge of "flats" in Milton. "Homer," Gildon said, "sometimes nods; Virgil has not everywhere the same vivacity and force ; and Milton, for many lines together, is far from being so elevated and lofty But then all tliese three great poets shine out again in tlii'ir own exalted lustre."^* Meantime it became necessary for the neo-classical school to define its feeling toward Paradise Lost, for the poem was no longer to be ignored. Dryden's attitude Imd been one of uncertain admiration. But the next generation of classicists seems to have understood that Dryden thought of Paradise Lost as a great work of an irregular genius; which, '•'Kc flections. Critical and Satirical, ttl^on a l.alc Rhafsmly. culled, .-In llssay Upon Criticism, liy Mr. Dennis, p. 17. '-To Mr. T. .9. In Vindication of Mr. Milton's Paradise Lost. Miscellaneous Letters and Essays (1694), 41-44. Spingarn, Crit. Essays in I'lh Cent., Ill, 198-200. '•^Tlte Comflete Art of Poetry. 1, pp. 108, 267-268. 269, ed. 1718. '■*Tlie Laws of Poetry (1721), p. 21. These last words of Gildon are much like those of I.eun.uil NWlstcd, Iransl.itor of Lon/iinus on the .Sublime (1712), who held it "undmibtedly Iruo of Milton, that no man ever had a genius so happily formed for the sublime." 1 No. Date. Para. Lost. References. 6 Apr. 23, 1 709 Aitken, Life, S'c. I, 55-56. 32 June 23, 1709 8:588-614 I, 263. 40 July 12, 1709 5: 12- 13 Br. Essayist, 1833. I , No. 40. 50 Aug. 4, 1709 8:507-509 79 Oct. II, 1709 4 :750-768 Aitken, II, 216. 98 Nov. 24, 1709 (Comus, 366-85) II, 233-234. 132 Feb. II, 1710 2:112 " III, 103. 149 Mar. 23, 1710 8: 39- 54 " III, 188. 217 Aug. 29, 1 7 10 9:1187-89 " IV, 114-118. 227 Sept. 21, 1710 4:358 ff. " IV, 166. 237 Oct. 14, 1710 4:797-819 " IV, 210-215. 263 Dec. 14, 1710 5: 1-30 IV, 340-341 \ 243] CRITICISM OF MILTON 151 though admirable, could uot attain first rank as literature. This cer- tainly became the crj^stallized attitude of the pseudo-classical school after Dryden, in all that they said about Milton's great Epic. Great, it was admitted. But it was not a heroic poem. It was not really an epic poem. It did not conform to the accepted rules and standards. Its rank, therefore, could not be the highest. Paradise Lost was to be regarded as an irregular production, scarcely subject to the accepted laws of literature. This important qualification seems to have pervaded all pseudo-classical thought of Milton. Milton was thus felt to be an irregular genius; but he was no less truly felt to be an uncommon genius. Moreover, Milton was an English genius; and even the classicists felt a national pride in this "great /* countryman, Milton." They, therefore, reveled frequently in tlie beau- ties of his isolated passages; they freely appropriated his thoughts and diction without acknowledgment; and they even discussed formally the measure of regularity to be found in his great poem. To this general class belonged Sir Richard Steele (1672-1729), whose treatment of Milton seems never to have had adequate attention. Henry R. Montgomery, in his Memoirs of Steele, has this sentence: "In these casual notices and quotations, Steele was among the first to direct attention to Milton's merits, long prior to Addison's more elabo- rate critique. "^^ During the years 1709 and 1710, Steele devoted at least twelve papers of the Tatler to Milton, all bvit one of which were concerned with Paradise Lost.^" In the very first of these (No. 6), Steele compared Paradise Lost with Dryden 's State of Innocence, much to the disparagement of the latter. Steele had an aptness for incidentally introducing a passage into such circumstances as would throw a flood of new light upon the ==2 vols., Edinburgh, 1865. II, 301. ''Steele's Tatler Papers on Milton. 152 THE MILTON TRADITION [244 passage thus introduced. He was charmed with what one may call the social element in Paradise Lost, and happily showed how that poem entered familiarly into social life. For example, he represented (40) an evening party of women saying that Milton had said some of "the tenderest things ever heard" in the love-speeclies of Adam and Eve. On another occasion, he represented a fan on which was painted Milton's picture of "our first parents in Paradise asleep in each other's arms" (6). He had Paradise Lost (iv, 750-768) quoted at a wedding, and thought the passage especially fitted for such an occasion (79). In almost all of his liberal quotations, Steele sliowed a special fondness for those moments of pose in the poem that would make good portraits. Every word of his treatment of Paradise Lost shows close study of the poem, careful visualization of its contents, and just appreciation of its literary values. After 1710, however, Steele seems to liave written nothing on Mil- ton. The reason for this abrupt cessation is both evident anil compli- mentary to the good judgment of his practical mind. During this year 1710, Addison liad been contributing a few papers to the Tatlcr which showed a higher order of genius for this particular work tlian Steele had been able to command. Moved, tlierefore, first of all, perhaps, for the largest results in this field of public activity, Steele gave over into the hands of his greater contemporary and fellow-worker the privilege of representing Milton before the public. So great has been tlie reputation of Addison's Critique on Paradise Lost, that it has come to stand, in general tliought, for Addison's con- tribution to the critici.sm of Milton. But this thought is far from the truth. Had Addi.son never written liis Critique, still lie would hold an important place among tlie early critics who lu'l])ed to giv«> Jlilton his rightful raid< in literature. Addison's poetical tribute to Milton was published in 1694 (No. 21, p. 58), and .sliowed some just apprcciiition of Milton "s rank as a poet. Probably Addison's first formal contribution was the />wfo»r.fe on An- cient and Modern Learning, which made a strong nationalistic appeal in behalf of Milton. The Discourse held that the circumstance of na- tional liero(!s made Homer and Virgil particularly charming to their own (countrymen. "And here, by tlie way, our !\Iil1cii has been more universally engaging in tlie choice of his Persons, than any other poet can possibly be. He has obliged all Mankind, and related the whole species to the two chief Actors in his Poem." This higher interest of Paradise Lost Addison su])port<'d by discussing at length the world- relations of Milton's characters.''' '■^Tliis Discourse was written e.irly. hut printed late. Much nf it was worked over ill other papers. Bohn ed., v. 214. 8th cd. Loud., 1739. 2451 CRITICISM OP MILTON 153 In the Periodical Papers,"'* Addisou rarely ever quoted Miltou with- out an exalting compliment. If Addisou contemplated the rewards of justice, his mind went at once to Milton's fine description of female virtue (102). If Death-Bed Scenes (114) suggested the community ele- ment in pleasure as well as in sorrow, he found nothing "so inexpressi- bly charming" as Milton's representation of Eve "no further pleased with the beautiful objects around her, than as she sees them in company with Adam." The "variety of images in this passage" was to Addison "infinitely pleasing," a fact mentioned because Dryden had said, in his preface to Juvenal, that he could meet with no turn of words in Milton. But Addison was able to "show several passages in Milton that have as excellent turns of this nature as any of our English poets what- soever." In proof of this, he cited Book II, 557-561, which he affirmed to have "a kind of labyrinth in the very words that describe" the fallen angels debating predestination. Almost every turn of thought in Addison's mind seems to have found some illustration in Paradise Lost; and he had the ability to make others feel this vital connection between Milton and all that was most worth thinking about in life. While on a walk in the country, Addison ^^Addison's Periodica Tatlcr Papers 1 Papers on Milton. Paradise Lost References 102 Dec. 3, 1709 8:546-559 114 Dec. 31, 1709 6 :639-656 2:557-561 Br. Essayists, 1S23. 3:No 2X8 .■^ug. 30, 1710 9:446-451 222 Sept. 9, 1710 4 760-762 Aitken. 4:138. ^237 Oct. 14, 1710 4:797-819 Br. Es., 1823. 4:No.237. spectator Papers 12 Mar. 14, 171 1 4 :675-688 89 June 12, 171 1 8:469-511 i6o Sept. 3, 171 1 237 Dec. I, 1711 2:557-561 249 Dec. IS, 1711 (Allegro. 11-40) 262 Dec. 31, 1711 Introduction to Critique. Jan. s-May 3 Critique. 393 May 31, 1712 4:148-156 Jun.2i-Jul.3 Pleasures of Imagination. 42s July 8, 1712 (Penseroso) Lines 61-72, 147-154- 463 Aug. 21, 1712 4:996-1015 Br. Es., 1823. io:No. 463 Guardian Papers 103 July 9, 1713 1 :726-730 138 Aug. 19, 1713 5 :33i-343 Br. Es., 1S23. i5:No. 138 Free! older Papers 32 Apr. 9, 1716 8:546-554 154 THE MILTON TRADITION [246 "could not but reflect upon a beautiful simile of Milton (218)." In a quiet evening's diversion at booie, this book was his choice of delights (237). He observed that the principle underlying gliost stories for children '"jMilton has finely described in tliis mixed communion of men and spirits in Paradise (12)." The melancholy aspects of eternal infe- licity he found well portrayed by Jlilton's master hand (Spec, 237). As for the delights of spring, none "have ob-served so well as Milton those secret overflowings of gladness which diffuse themselves through the mind of the beholder upon surveying the gay scenes of nature." In proof of this, Addison cited the passage where Milton "represents the devil himself as almost sensible to it (393)." The idea of weighing Wisdom and Riches assumed in Addison's mind the formal aspect of Milton's combat between the Arch-angel and the Evil Spirit (463). City fireworks (103), as w^ell as public courtesy (138), might be im- proved by attention to the excellencies of this wonderful book. Then, as if forgetting all thought connections, and being controlled by the idea of appreciation for its own sake, Addison would quote long irrelevant sections of Paradise Lost because he could not "forbear transcribing entire" such excellent materials (89). On the .side of formal criticism, Addison's estimation of Milton was judicious. In the paper On Great Natural Geniuses (160), Addison placed Milton in the class of geniuses who "have formed themselves by rules, and submitted the greatness of tluur natural talents to the cor- I'ections and restraints of art." To this class belong Plato, Aristotle, Virgil, Tully, IMilton, and Sir Francis Bacon. In tlie Essays on the Pleasures of the Imagination (paper vi), it was claimed that "Homer excelled in imagining what is great : Virgil in imagining what is beauti- ful ; Ovid in imagining what is new. Oui' own countryman, Milton, is very ])erfect in all these resi)ects. " Milton was held to be excellent in description, whether he portrayed the pleasant or the unpleasant, and effective in imaginative appeal, even through such emblematic persons as Sin and Death. Such was tlie active interest witli which Addi.son supported tlie rank of Milton before the I'wiglish public in his own writings outside of the formal critique. The celebrated Critique is, however, Addison's great contribution to the criticism of Milton. In the introduction to these Rrniarlcs. Addi- son made three things very dear: (1) That he did not need to write ]\Iilton into ])ul)lie favor; (2) That the works of JMilton luul been of constant interest to Addison; and (3) That these Papers were to deal witli a definite esthetic disfiissioii of the Poem, supplementary to the work already done in this [)artieular field of Miltonic criticism. Addi- son assumed the ejassieal stamlai'd in Ihrsc liiiii(irl,s, drawing n|)on 247] CRITICISM OF MILTON 155 Aristotle, Horace, and Longiniis, for the orthodox theory of poetry/'* By these standards Addison measured the claims of Paradise Lost to classical recognition, discovered, in part, its beauties, excellencies, and defects, and thus gave the Nation a full semester's work in the definite classical art of Milton. These Remarks were collected into a separate volume in 1719, translated into French 1729, German 1740, Italian 1742, and became a standard work on Milton from their first appearance. The immense circulation of the Spectator in England"" literally flooded the Nation with the choicest passages of Milton, stamped with just valuation by the best classical authority of the times. For this sanction the public mind was full}' read}', and the re-action was undoubtedly greater than is usually estimated. Tonson had just supplied the public with Paradise Lost in convenient form; and the loyal-hearted English heard Addison gladly, and then searched their Milton daily whether those things were so. There is little wonder that this re-action became to later historians and critics the touch-stone of Milton's unparalleled popularity."^ There can be no doubt about the solid contribution which these Papers made to the clearly defined rank of Milton, as seen from the pseudo-classical standpoint. Addison did not discover Milton; but he did definitely set forth the nature of Milton's literary rank in terms of the dominant thought of the times. Henceforth Milton afforded, in spite of his irregularities, ample opportunity for a just national exalta- tion. The substantial re-action called not immediately for multiiilied editions, but for a re-reading of Paradise Lost, and an enlarged appre- ciation of Milton along these autlioritative lines of glorification. When the Nation had caught up with this review of the poem, editions poured from the press in multiplied abundance.*- But the man, next to Tonson, who was keenest to utilize the imme- diate benefits of this renewed national exaltation of Milton was the classical Voltaire, who was then in England. He understood thoroughly the place that Milton now occupied in classical criticism and also in the •■^Ehon says that Aristotle, seen through the Traite du Pohnc cfique of Father Rcnce Bosstt (1675), was the standard by which Dennis and Addison "in- advertently" measured "the conformity of Milton to a just poetic." The Augustan Ages, pp. 143-4. ^"Spec. No. 10. 60,000 copies when only a week old. "'See Appendix D, for i8th century emphasis on this Critique. '^Editions — 1711, 1719, 1720, 1721, 1724, 1725, 1727 (two), 1730, 1731, 1732. Another expression of this re-action was Elegancies Taken Out of Para. Lost (1725), Another product was An Index of the Principal Matters in Para. Lost, prepared by Thomas Tickell (1686-1740), a friend to Addison, who had conducted through the press Tonson's edition of 1720, in which the Critique was first printed with the poem. Warton's Milton, 1791, 608. 156 THE MILTON TRADITION [248 hearts of the English people. To ingratiate himself into national favor, this Frenchman needed only to wi'ite his Essay Upon the Epick Poetry of the European Nations, From Homer down to Milton, with its master- ful exaltation of ililtou along the popular lines of praise. This Essay was written in English, printed in London (1727), and contained some of the highest commendation of Milton hitherto produced. If Jusserand (Eng. Essays, 196) is right in emphasizing the motive that pro- duced tliis Essay, as a desire for acquaintance and popularity, then J. C. Collins (Voltaire, &c. in England, 62-73) has made it plain that Voltaire was wise in the selection and treatment of his subject to that end; and the last writer, re-inforced by Morley (Voltaire, 86), has made it plain that Voltaire was willing to pay for his English popularity the labour necessary "not only to master and appreciate the secret of Milton's poetic power, but even to ascertain the minutest circumstance of his life." Mr. Collins says, "The critique on Paradise Lost, which is described as 'the noblest work which human imagination hath ever attempted,' gives us a higher idea of Voltaire's critical powers than any of his French writings. His vindication of Milton's poem against some of the objections urged against it so characteris- tically by the French critics, his remarks on Milton's conception and picture of the Deity, and on the grand unity of the work amid its endless variety, would indeed have done honour to Longinus." Collins cites, with hearty relish, Vol- taire's estimate of Milton's treatment of love as a virtue, which closes with the assurance, that Milton "soars not above human, but above corrupt nature ; and as there is no instance of such love, there is none of such poetry." Voltaire's Essay was received with great applause,"' and did much for the rank and fame of Milton. Voltaire prided himself, indeed, upon having discovered Milton to the Continent of Europe. But this pride soon gave place to other feelings. "Voltaire had no sooner awakened an interest in Milton, than he arrived at the conclusion that an excess of admiration for this foreign poet might endanger the good taste of Europe; the piquancy of having discovered Milton gave place — as soon as others began to occupy themselves with his poetry^ — to repentance for the momentary back-sliding which had led him to forget his responsibilities as the guardian of literary taste and propriety. . . . Voltaire veered round at once; he expunged as much of the praise as he reasonably could from his Essay on Epick Poetry before publishing it in France, and, from now on, his attacks on Milton were even more unscrupulous than his antagonism in later life to Shakespeare. "'But Voltaire's studies in Milton's sources were not very cordially received. Voltaire assumed a heavy indebtedness of Milton to an Italian Tragedy by Adreino. This view was assailed by P. Rolli, the translator of Paradise Lost, in his Remarks upon Voltaire's Essay (London, 1728) ; and again by Giuseppe Ba- retti, in A Dissertation Upon Italian Poetry (i/33>. The latter held Voltaire's view ridiculous. Baretti held also that Milton alone had cqualloil Dante, that he was acquainted with and probably indebted to the Italian poet. 249] CRITICISM OF MILTON 157 He ridiculed the English Poet in his Caudidc, and even parodied Iiim in Piiicllc.""* In the meantime other classicists were concerning themselves in a less formal, but rather important, way. The poems of John Pomfret (1667-1703) show a pleasing familiarity with Paradise Lost;"-' and John Hughes alluded to the Poem as "a nobler song," in his Ode in Praise of Music (1703). Edward Bysshe in his Art of English Poetry (1702), quoted forty-eight lines from Paradise Lost (Book iv) as "an example of blank verse ' ' from ' ' the most celebrated poem of this kind of verse. ' ' In this work Milton aj)peared, in liberal quotations, on at least ninety different pages, and all from Paradise Lost except one or two citations from Samson Agonistes.^'^ Budgell quoted Milton's Looking-glass passage, and suggested a probable moral application.*" The Lay Monastery emphasized the de- scriptive excellence of Paradise Lost as one source of its superior pleas- ure, and collected five descriptions of Morn as "drawn with exquisite beauty.""* John Gay was attracted by the same excellence, and strove to set before his "gentle reader" a "picture, or rather lively landscape of thy own country, just as thou mightest see, didst thou take a walk into tlie fields at the proper season : even as Maister Milton hath ele- gantly set forth the same.""^ The Ladies Library (1714) quoted Otway, Milton and Dryden as among "the most polite writers of the age;"'" and Mandeville, discussing the benevolent designs of Nature (1714), "*J. G. Robertson, Milton's Fame on the Continent. Proc. Brit. Acad., igo^-oS, p. 326. This shifting of Voltaire's attitude was analogous to that of the German classicist Gottsched, who first hailed Paradise Lost with pleasure, but turned violently against it when it was exalted as a standard of imaginative literature. '=Cf. To Delia, and On the Marriage of the Earl of A. Chalmers, Eng. Pts., 8:316, 323. His Poems were popular: eds. 1699?, 1702, 1710, loth ed. 1736, last 1790. «»Part I, pp. 35-36. Sometimes whole pages are quoted : again there are five citations on a page. The popularity of this work is important. It was published 1702, 5ed. 1714, 7ed. 1724, 8ed. 1737; besides which, Parts II and III, where most of the quotations occur, were published as The British Parnassus 1714, 1718. There can be little doubt that this Handbook on Poetry was a means of e.xalting Milton, and a medium for transmitting his thought and diction into the poetry of the times. ^''Spec., 325, March 13, 1712. «^No. 39, Feb. 12, 1713. Drake's Gleaner (iSii). I, No. 7, pp. 50-5i- ^^To the Courteous Reader, with The Shepherd's Week, in Six Pastorals (1714). Chalmers, Eng. Pts.. 10:444. Quoted P. L., ix. 445-51- '""By A Lady." Published by R. Steele. Quoted with significant comment Milton's lines against woman (x, 883-95), vol. I, 2-3. 158 THE MILTON TKADITUiX [250 cited ^Milton's description of the Lion in Eden as an authority on jn-inii- tive eoniiitions of equal value with Moscs.'^ The classicists betrayed at times a cousciousuess of Milton's supe- riority to the products of their own school. "If Dryden nodded," said Sir Charles Sedley (1702), "so did Homer too; if Virgil is inimitable, Milton can't be read without wonder and delight."'- Ten years later Parnell acknowledged this superiority, in An E.rplanatorii Note on Alle- gory, addressed to Bolingbroke. Parnell said, "■ There have been poets amongst ourselves, such as Spencer and Milton, who have successfully ventured further (than pilfering imitation even of the Ancients). These instances may let us see that invention is not bounded by what has been done before : they may open our imaginations, and be one method of preserving us from writing without schemes.""' Prior also magnified Milton's original genius, and justified his license with historical mate- rials, as used in "one of the subliniest pieces of invention that ever was yet produced.""^* Few men i'elt the superiority of Milton with more conviction than did Bishop Atterbury, whose classical tastes did not hinder him from rereading Paradise Lost with "such new degrees .... of admiration and astonishment," as to "look upon the Sublimity of Homer, and the Majesty of Virgil with somewliat less reverence." He even challenged Pope to show, "with all liis partiality,"' an.ything in Homer "equal to the Allegory of Sin and Death, either as to their great- ness and justness of the Invention, or the height and beauty of the colouring."'-' This last important quotation circulated in the highest circles of Neo-elassicism. Pope did not undertake to answer the challenge, proba- bly because of his own obligations to Milton. These are glaring in most of Pope's poems; but a poet who held that mere polish of thought gave a deed of possession for all time, coidd scarcely be expected to advertise the sources of his rough materials. Yet even Pope, at times, acknow- ledged his indebtedness to the superior excellences of Paradise Lost. Tn his Preface to the Iliad (1720), Pope owned that there was a "living fire" in Milton and Sliakesi)eare, comparable to that in the Ancients (p. 3) ; emphasized the advantage of "Graecisms and old ^•Bernarde de Mandeville (1670-1733). The Fable of the Bees, cd. 17 jq. Part II, p. s6(). Published 1714, 2ed. 1723, sed. 1729, ged. 1755. He quoted here Vara. Lost, iv, 340-345- ^•Preface to The Misc. Works. London, 1702. J. Nutt. ^^Essay on the Different Styles of Poetry. Written i;ij, puli. Marcli. 1713. Chalmers, Eng. Poets, 9:413. '^Preface to Solomon on the I'linily of the World. Ch.Tlnicrs, luig. Poets, 10:206. Aldinc Ed., II, 83. ''^Letter To Pope. Nov. 8, 1717. Birch, Life of Milton (1738), 1, p. 1. 251] CKITICISM OF MILTON 159 words after the manner of Milton" (p. 10) ; and proposed to preserve the spirit of Homer by constant attention to Virgil among the Ancients, and Milton among the Moderns (p. 11). Long before this (1713) Pope had recommended tlie writer of an Epic to draw his Devils from Para- dise Lost, and to imitate the language of Milton." In his Postscript To The Odyssey (1726), Pope openly "allowed that there is a majesty and harmony in the Greek language, which greatly contribute to elevate and support the narration," and acknowledged that "some use has been made to this end of the style of Milton." In this Postscript Pope de- voted a section of more than five hundred words to the criticism of Milton, commended his style, and characterized his imitators as "not copies, but caricatures of their original."" Recurring now to the original position of the pseudo-classical school, that Milton was irregular, and therefore fundamentally limited as to literary rank, one may discover a re-action along a new line that served to exalt Milton. This movement amounted in spirit to a sort of retalia- tion in criticism which exulted in the triumph of Paradise Lost. The new position of some of the Milton sympathizers seems to have resulted from the clash between Dennis and the pseudo-classical school of poets. The admirers of Milton could not bear to see him take second rank among the poets. When the classicists affirmed that Milton did not conform to the rules of highest excellence, his admirers affirmed that Milton was not subject to the rules imposed. His Poem may not be heroic. It may not be epic. But it was a new kind, it was a divine poem. Having made this discovery, the devotees of Milton were pre- pared to exalt him even above Homer and Virgil. This conviction, often ill-formulated, pervades many encomiums of Milton. One can feel it in the Letter of Atterbury To Pope, already quoted. As early as 1693, Samuel Wesley (1662-1735), father of the famous John Wesley (1703-1791), declared Milton's Paradise Lost "an original, and indeed he seems rather above the common Rules of Epick than ignorant of them. It's I'm sure a very lovely poem, by whatever name it's called, and in it he has many thoughts and Images, greater than perhaps either Virgil or Homer."'* The same sentiment pervaded ''^Receipt to Make an Epick Poem. Guardian "8, June lo, 1713. Brit. Essay- ists, 1823, xiv, No. 78. "It may be noticed here, that Swift, who shows little evident influence of Mihon, in The Art of Sinking in Poetry, (1727), if he had a hand in that per- formance, treated Milton with a respect that was in keeping with the reverential attitude of the time. Works of J. Szvift (cd. W. Scott), Edinburgh, 1814, xiii, 16-98. ''^Life of Our Blessed Lord and Savior Jesus Christ. An Heroic Poem (1693). Englische Studien, 1909, 40:180. 160 THE MILTON TRADITION [252 Toland's Life; as when he described Milton's "diviue and incomparable poems, which, equalling the most beantiftil order and expression of any ancient or modern compositions, are infuiitely above them all for sub- limity and invention." This idea of something new and different seems to appear in Fel- ton's popular Dissertation on Reading the Classics (1711), when he says of Milton, that "his style, his thoughts, his verse, are as superior to the genei'ality of other poets, as his Subject." It was a rather common feeling that Milton's Paradise Lost did not belong to the common cate- gories of poetry, but stood apart and alone, "inimitably great." This view was formally defended by Gildon, when he took Addison to task for attempting to criticise a divine poem by the common laws of the Epic."" That deep-rooted conviction of Milton's supremacy through the invention of a superior kind of poetry, so admirably expressed in the following words of Warburton, is not entirely uufelt even today: "Milton produced a third species of poetry: for just as Virgil rivalled Homer, so Milton emulated both. He found Homer possessed of the province of Morality, Virgil of Politics, and nothing left for him but that of Religion. This he seized as aspiring to share with them in the Government of the Poetic world ; and by I means of the superior dignity of his subject, got to the Head of that Triumvirate, which took so many ages in forming. These are the species of the Epic poem; for its largest province is human Action, which can be considered but in a moral, a political, or religious view ; and these the three great creators of them ; for each of these Poems was struck out at a heat, and came to perfection from its first Essay. Here then the grand scene is closed, and all furtlicr improvement of the Epic at an end."*" During this ])eriod one essential consideration resjiecting Milton's rank was the question of his versification. That the controversy at this point should be rather spirited, was inevitable. The Restoration con- troversy between rliyme and blank verse was already under way when ]\Iilton published his Ejiie. During thi^ Coinmoiiwealtli, tlie English refugees in France had learned to write lieroie plays in lieroie couidets. The consequent introduction of rhyme upon the Englisli stage at the Restoration was contrary to the English dranmtic traditions so well establislied during the Elizabethan jieriod. Rhyme in tragedy was an innovation that called for reasonable justitieation. Tln' great champion of the new mode was the enthusiastic young jioet John Drydcn. For want of an opposing champion of equal strength, the conflict was for a time a very one-sided afTair. Drydcn and his allies in the new school were obliged to attack old traditions nuire than present antagonists. ''"The Imws of Poetry, 1721. p. 259. '"Wni. Warburton (1698-1770). 'Ihe Dh'inc I.ci/atioii of Moses (1737-8). The IVorks, edited by Kirhard Ilurd, iSii, ]], 95. 253] CRITICISM OF MILTON 161, In a spirit of condescension, they were attempting to show the superior excellence of the couplet over the unrefined liberties of the Elizabethan tragic versification. Unrhymed verse in other forms of poetry was felt to be a thing scarcely to be considered. But the balance of power was soon restored in favor of the old traditions, though it took a long time to regain all that had been lost. The advantage came in 1667, when Milton poured into this unequal conflict 10,565 lines of one vast poem in blank verse. This poem, per- haps the greatest single product of modern poetic genius, was not a tragedy, but an epic. It was, therefore, not merely a defence of con- tested ground, but an aggressive invasion of the territory of the oppos- ing forces. Paradise Lost lifted the controversy above the petty limi- tations of the heroic drama, and showed that the real issues involved were the vital and universal principles of poetry itself. Upon tliese fundamental principles of poetry, Milton himself made one authoritative pronouncement, which was to his mind final. This statement was made in The Verse, prefixed to the Paradise Lost in 1668. In this Preface Milton asserted that "heroic verse without rime" was the real classic verse of Homer and Virgil; that "rime .... (was) no necessary adjunct or true ornament of poem or good verse, in longer works especially, but the invention of a barbarous age, to set off wretched matter and lame metre ; ' ' and that the modem ciistom of rhyming had led to inferior poetic expression. He affrmed that, "not ■\vithout cause," some Italian and Spanish poets, and "long since our best English tragedies," have rejected rime, "as a thing of itself, to aU judicious ears, trivial and of no true musical delight." This true poetic delight, he then defined, as consisting "only in apt numbers, fit quantity of syllables, and the sense variously drawn out from one verse to another, not in the jingling sound of like endings — a fault avoided by the learned ancients in poetry and all good oratory." He claimed that his own neglect of rhyme was not a defect, "though it may seem so perhaps to vulgar readers," but was rather "to be esteemed an example set, the first in English, of ancient liberty recovered to heroic poem from the troublesome and modern bondage of riming." In his various Prefaces, Dryden was arguing, conclusively it may have seemed, for the exalted advantages of rhyme. It aided the mem- ory. It added life and strength to repartee. It was an ornament of grace and sweetness to the verse. It limited the Fancy, and curbed the wild and extravagant imagination. Even blank verse was elevated above the dignity of natural conversation: having made this departure, the superior poet must go on to the perfection of rhyme. Obviously Milton had in mind these views of Dryden, some of which were more fully developed in the later writings of the latter poet. 162 THE MILTON TRADITION [254 But such a statement from Milton, supported by his reputation for learning, and the excellence of two great Epics and a Tragedy upon the true ancient model, inspired full confidence in those opposed to the new school of the couplets. Milton was unanimously regarded the leader of this opposition, Paradise Lost was the rallying point of all the forces, and Milton 's Verse was the war-cry of every attack upon the couplet. No one was quicker to perceive the authority of Milton's voice in this matter than Drydeu himself, who made in 1668 a place for blank verse in heroic poetry.*' Andrew Marvell was also confident that Milton's was ultimately the true position (Trib. 8). But there were some who denied to blank verse any place in poetry, and consequently denied to Milton any considerable rank as a poet. This extreme position was taken by Thomas Rymer, who proposed (1678) an attack upon the "slender sophistry" of Milton respecting versification f' and by Samuel Woodford, who strongly defended rhyme (1679) against the growing fashion of blank verse. ''*^ The spirit of both of these writers indicated a strong popular sentiment in favor of what Woodford called the new fashion of the age. This attack proposed by Rymer .seems to have been abandoned. Perhaps it was blocked by the re- actionary Preface by Dryden in favor of blank verse for the stage.** But the question of rhyme as an essential of poetrj' was destined for long debate. Perhaps a final answer was intended by The Athe7iian Mercury in 1694. The question was formally asked, and this Oracle of Wisdom replied: "No certainly, for none will say Milton's Paradise is not Verse tho' he has industriously, and in some places to a fault, avoided Rhyme. ""^ With equal assurance, Gildon affirmed (1721), after the authority of Milton, that number and harmony alone were essential to poetry.'" Comparatively few critics were extreme enough to rule out blank verse altogether. More numerous were those who allowed it an inferior place in poetry. Such, in general, was the position of Dryden. and of most ©f his followers in the pseudo-classical school of poetry. But this concession was u.sually limited to dramatic versification. Very early Dryden admitted blank ver.se into Tragedy, and later made it the practice of his own pen. But very late in life, he refused to "justify Milton for his blank verse," though lie might be "excused" by certain examples ^'Essay on Dratiiatic Poesie (i668). Essays (Kcr), I, 94-108. "'^Tragedies of the Last Age (167S). ".Sainui-1 Woodford (1636-1700). A Paraphrase Upon the Canticles. London, 167Q. Preface, p. 21, marked "C3." "H'reface to All For Love (1678). Essays (Kcr), vol. I. "■'V/kt Athenian Mercury, Dec. 26, 1694. Eng. Stu., 1909, 40:180. '•r/if Ijiws of Poetry, 1721, p. 6g. 255] CRITICISM OF MILTON 163 in literary history.*' The defence of rhyme was, however, left largely in the hands of Dryden. There was a deluge of couplets, from poets great and small, who made little effective effort to defend the principles of their practice. Some of these rliymed productions have a bearing upon the question of Milton's rank. One such product was Dryden 's State of Innocence, undertaken by Milton's permission, and published in 1677. This work was of special importance in that it afforded a just comparison between the two great masters of the opposing schools in dealing with the same subject. The comparison that was made has stood the test of time. "Mr. Dryden," exclaimed Charles Gildon, "(was) the greatest Master of rhyme that ever we had in England; but how weak, how enervated, I had almost said, how trifling, is his State of Innocence, compared with what Milton has said upon the same subject in blank verse!"** Another similar attempt at improvement, incidentally important because treated with silence, if not contempt, was Shakespeare reduced to Couplets, by a Gentleman of Quality (1687). More significant was the regret of WoUaston that he did not use blank verse in The Design of Part of the Book of Ecclesiastes (1691) ;*" and the repentant spirit of John Hopkins for having attempted to turn Milton's Paradise Lost into rhyme (1699).™ "When I did it," said Hopkins, "I did not so well Perceive the Majesty and Noble air of Milton's style as I now do." But from the publication of Milton's Verse with his Epic, his sympathizers were bold in declaring the merits of blank verse, as used and defended by their great master. On the negative side, some dis- paraged the use of rhyme ;"' some declaimed it vulgar art ;"- and some condemned it outright."^ Milton was, with Dryden, "the greatest Master of English Versification ; ' ' and Milton 's superior excellence was in the freedom of his verse. He was thought to have approached nearest to the Ancients, and thereby to have opened up the way of "perfection and ^''Origin and Progress of Satire (1693). Essays (Ker), II, 29-30. ^^The Laws of Poetry, 1721, p. 121. Cf. also Examcn Miscellaneum, Consist- ing of Verse & Prose, Lond., 1702, p. i8g. s^Wm. WoIIaston (1660-1724). "Had I been hardy enough like some others (which too late I see) to have broken a barbarous custom and freed myself from the troublesome and modern bondage of Rhyming (as Milton calls it), the business which now immediately follows, had been something better than it is." Eng, Stu., 40:179, ^"Milton's Paradise Lost, Imitated in Rhyme, Bks. 4, 6, 9 (1699). siEIkanah Settle (1648-1724). Pastor Fido (Li. 1676). "Prologue." ^-John Sheffield (1649-1721). Essay on Poetry (1682, 1713, 1723). Chalmers, Eng. Poets, 10:91-94. ''Lewis Theobald, "Prologue" to Orestes; a Dra. Opera (1731). 164 THE MILTON TRADITION [256 growth" to the mother tougue."^ Some felt that the highest excellence of Dryden's verse was attained in his "run-on" lines, wherein he tended toward the style of Milton f'^ and one writer of some consequence deliber- ately undertook to combine the excellences of the two forms of versi- fieation.^* One author, who had a life-long interest in Milton, wrote a formal treatise on versification, apparently for the purpose of tletining and exalting the classic freedom of the Miltonic verse."" The idea of rhyme being an unnecessary and barbarous yoke imposed upon the free range and liberty of thought, is a note that rang clear in almost every writer on the subject. This bondage was felt to be tlie source of much mischief. Of many faults Rhyme is perhaps the Cause; Too strict to Rhyme, we slight more useful Laws ; For that in Greece or Rome was never knov;n. Till, hy Barbariiiii Deluges o'erflovjii. Subdued, Undone, they did at last Ohey, And change their own for their Iiiz'iiders way.''* The pseudo-classical school tended to emphasize refinement of poetic form. The adherents to blank verse emphasized magnitude of thought and grandeur of expression. For the one, restraint was essential to ex- cellence. For the other, all real excellence was conditioned uiion liberty of thought and expression, such as that afforded by blank verse and exemplified in the Paradise Lost. Upon this liberty depended the possi- bility of attaining the excellence of the Ancients. In the interest of tliis neeessai'y condition of jjoetic greatness. Ed- ward Phillips argued (1675) that "Measure alone without any Rime at all would give far more ample Scope and Liberty both to Style and Fancy than can possibly be obtained in Rime, as evidently appears from an English Heroic poem which came fortli not many years ago. and from the Style of Virgil, Horace, Ovid, &c.""" Faitli in tJie larger "•T/ic Whole Critical Works of Monsieur Raf. .-hi Lssiiy On Translated Verse (1684). Chalmers, Rng. Poets, 8:264. Spingani, Crit. T.ssays in lylh Cent., II, 297-309. Cf. also Tribute 14. ^"Preface Theatrum Poctaruni (1675). Spingarn, Crit. T.s.uiys in tlie I'lh Centurv, II, 266. 257] CRITICISM OF MILTON 165 possibilities of blank verse was strongly advanced by Roscommon, and lies at the basis of Atterbury's famous prophetic criticism of Waller, which is especially important because of its early date (1690). "Waller's rhymes were always good and take off the danger of sur- feit that way, (he) strove to please by variety and new sounds. Had he carried this observation, among others, as far as it would go, it must, methinks, have shown him the incurable fault of this jingling kind of poetry: and have led his later judgment to blank verse. But he continued an obstinate lover of rhyme to the very last. He had raised it, and brought it to that perfection we now enjoy it in; and the poet's temper (which has always a little vanity in it) would not suffer him ever to slight a thing he had taken so much pains to adorn. My lord Roscommon was more impartial : no man ever rhymed truer and evener than he : yet he is so just as to confess, that it is but a trifle; and to wish the tyrant de- throned, and blank verse set up in its room. There is a third person (Mr. Dry- den), the living glory of our English poetry, who has disclaimed the use of it upon the stage ; though no man ever employed it there so happily as he. It was the strength of his genius, that first brought it into credit in plays ; and it is the force of his example, that has thrown it out again. In other kinds of writing it continues still ; and will do so till some excellent poet arises, that has leisure, and resolution to break the charm, and free us from the troublesome bondage of rhyming, as Mr. Milton very well calls it ; and has proved it very well, by what he has wrote in another way. But this is a thought for times at some distance ; the present is a little too warlike : it may perhaps furnish out matter for a good form in the ne.xt, but it will hardly encourage one now : without prophesying, a man may easily know what sort of laurels are like to be in request.''^"" By 1706 George Granville (1667-1735) was discussing the various kinds of subjects that were suited to the several kinds of verse-form, with serious reflections upon the use of blank verse.^"' It looked then as if Atterbury'.s prophecy were destined to an earlier fulfillment than the prophet, in 1690, may have thought possible. The imitations of Miltou at this time will show something of the same promise. In 1721, Gildon took a historical survey of the whole controversy, and confidently affirmed as a fact the triumph of blank verse for use in long poems, as suggested in Milton's Verse.^°- One does not wonder, therefore, to hear Aaron Hill, soon afterwards, exhorting the poets to rise '^""Prefnce to the Second Part of Mr. Waller's Poems (rdgo). Chalmers, Eng. Poets, 8 :33. lO'Lord Lansdowne, The British Enchanters. "Preface." Chalmers, Eng. Poets, II :4i. Prior discussed also the same question as to his own practice. "Preface" to Solomon on the J'anity of the World (1718). Chalmers, 10:206-7. Aldine Ed., II, 84. ^"-The Laws of Poetry, 1721, pp. 65-69. 166 THE MILTON TRADITION [258 Up from the poppied vale ! and ride the storm That thunders in blank verse l'"^ The general effect of this controversy about versification was to exalt the rank and honour of MUton. Not one step of advancement in theory was made upon Milton's Verse; but the constant attention de- voted to his theory and exalted practice brought many to realize the truth of Milton's position. Obviously, the full import of this side of the Miltonic interests can neither be measured nor appreciated apart from the re-aetion to his influence upon verse-form, seen in the multitudes of Imitations. Obviously too, the triumph at this point seems less complete, and perhaps was less so, for this is the special point of uncom- promising antagonism between the admirers of Milton and the dominant pseudo-classical school of poetry. Such are the lines of Miltonic interests in the general fields of appre- /^ation and criticism, by which(_MUton rose from the unknown to the best kno^vn, from obscurity to "the verj^ pinnacle of the Temple of Fame." It needs only a moment of reflection, to see that it was prac- tically all due to Paradise Lost. Milton soai'cdto the Hea vens on, the wings of his own sublimity. On the Continent, it was otherwise. There, as appears even iu the English writings of the time, Milton's reputation was made, or unmade, by his Prose Works. But in England, his Minor Poetry was little noticed, his Prose was little liked, while his Epic was, perhaps, the most noticed, most read, most criticized, and finally the most exalted Poem in the English Tongue. '"•■'Poem in Praise of Blank Verse. Quoted by Warton, Essay on Pope. II, 186; and Beers, p. 217. Dated about 1726. Hill, however, later complained of the "blank verse eruptions." Richardson's Corrcsp., I, 101-104. CHAPTER VI CONTROVEESIES AND EXPLANATIONS, 1730-1765 The period from 1730 to 1765 was pre-eminently a period of com- mentaries and controversies, concerned mainly with Paradise Lost. The great poem was defended against all attacks, and its contents were minutely explained. In relation to the Romantic movement, this period I was one of deep and rich preparation for that response to Milton, which !was evident in the preceding period, rather prominent in this period, / and powerful in the next. A part of that response was, however, due to the Minor Poems, which were introduced into general familiarity at this time ; and to the Prose Works, which were rendered more or less popular. These lesser lines of activity will receive attention first in the present chapter. About the middle of this period certain of the Minor Poems sprang into prominence as the adopted forms of expression among the ode- writers, and in the smaller poetry of the time. Such interests belong properly to the story of poetic imitations. But the earlier poems of Milton were not without a measure of general and critical interest in the present period. Thomas Warton declared that the Minor Poems of Milton emerged into critical notice in connection with the Bentley Controversy (1732), which is discussed later in this chapter. The disputed point in that controversy was the aiithenticity of certain portions of Paradise Lost which Bentley had regarded as spurioiis. In opposition to these views of Bentley, Pearce, Warburton, and others supported the genuineness of the passages in question by appealing to the poetic usages of Milton in the earlier poetry. Thus the Minor Poems came into critical notice under a heavy debt to the larger interests of Paradise Lost. The obligation was even greater in the biographical interests that marked the next stage in the introduction of the Minor Poems. Pre- vious to this period, the life of Milton had been written largely from the materials of his controversial Prose Writings. But the exaltation of Milton, together with the passing of political malice, led the biogra- phers to realize, early in this period, that Milton's political career was in the nature of an episode in the life of a great poet. Consequently 167 168 THE MILTON TRADITION [260 emphasis began more and more heavily to fall upon the Minor Poems as important to tlie history of the poet, and as furnishing the real ante- cedents of Paradise Lost. This transition of emphasis began faiutlj- to appear in the Life by Fen ton (1725), who accorded some of the Minor Poems new notes of praise. The new emphasis was prominent in the Life by the Richard- sous (1734), who attempted to trace, in the earlier poetry and the prose, the development of the genius that produced Paradise Lost. Birch, under the same impulse in his Life of Milton (1738), published the corrected manuscripts of the great poet, as a satisfaction to these who were curious about the earlier experimentation of that genius whom England honored above all others. Peck, in Ins Mei»oirs (1740), carried the new emphasis into an analysis of the several Minor Poems. This work marked a new stage of introduction, when the Minor Poems began to be treated on their own account. Hitherto, however, the introduction of these earlier poems of Milton had been tlie conct'rn of scholars ; and, even with them, the Minor Poems had been emphasized almost entirely because of their relations to Paradise Lost. The manner in which the Minor Poems became the familiar posses- sion of the general public was not the natural sequence of the preceding labours of scholarship. All of tliese poems, including Samson and excluding Lycidas, tliat became popular at tliis time, were .noig into popularity. Li/eidas, tlie single exception to this rule, owed its early introduction to biographical emphasis, and, probably, in a measure, to its place iu Dryden's Miscellany (1716, 1727). The poem was quoted in a very familiar manner b,y Wm. Duncombe (1735) ;' and it was similarly al- luded to in the Vision of Patience (1741), by Samuel Boyse.- Lyeidas seems to have been eai'lier known and more widely read llum the other Minor Poems, which depended for first popularity upon adaptation and the support of song. Comus was adapted for the stage by Dr. John Dalton. and set to masic by Dr. Arne, in 1738. In this form, tlie Masque became very popular,' was acted in different cities, gave its autlior, Dr. Dalton, a lasting reputation,* and reached its historical climax on April 5, 1750, 'Will. Duncombe (1690-1769). I'ociiis on Sev. Ore. . . . hy J. Huglies, I'SS- "Preface," p. iii. =Saml. Boyse (1708-1759). The I'ision of Patience. ,-))i .lllepnrical Poem. 1741. Chalmers Kng. Pts., 14:539-^1. 'Chapter II, pp. .i.S-37, for editions. Warlon'.'; Atilloii. iy<)i. pp xi-xii. ■•Mo, Rev., March, 1797. 103(22) :329. 261 J CONTROVERSIES AND EXPLANATIONS, 1730-1765 169 when the literary men of London puffed a performance of Comiis for the benefit of Mrs. Elizabeth Foster, Milton's grand-daughter." A critical announcement of the original performance (1738), while indicating no great popular familiarity with the poem, regarded this revival as evidence of a wholesome literary taste." Certainly this revival was evidence of a new literary interest beginning to assert itself against the dominant mode of the times. Two years later (1740), Samson Agonistes was transformed into a three-act oratorio, set to music by Handel, and attained an unusual popularity for that classical performance.' This tragedy was not un- known, having been kept before the public to some extent by its historical connection with the epjc poems.* But at this time the modified tragedy was associated with the Companion Poems in a manner effective for their popularity. These little masterpieces, destined soon to be most popular, seem to have been the last of the more prominent Minor Poems to receive separ- ate distinctiou. John Hughes had felt II Pcnscroso incomplete, and supplied a supplement. Dr. Buncombe, describing this work of Hughes, pronounced the poems "incomparable" (1735). Peck declared L' Allegro and II Penseroso translated into all modern languages, and admired at home and abroad (1740). The Companion Poems really became popular the year of Peck's commendation, and then through the musical adaptation of them by Handel. They lie on the border-line between lyrical and descriptive poetry.'' Handel, perceiving their lyrical possibilities, adapted them into song, set them to his own glorious music, and made them a part of his Samson Oratorio (1740). Their superiority was felt at once and their popularity was immediate. With the foregoing fact in mind, one is prepared to appreciate the assertion of Joseph Warton, that the Minor Poems of Milton were sung into popularitj'. Speaking of the Nativity Ode, he said : "This Ode, (is) much less celebrated than L' Allegro and Penseroso, which are now universally known ; but which, by a strange fatality, lay in a sort of obscurity, "See Appendix J, where the notes on Milton's family take notice of this and similar matters. ^"The Masque of Coinus, exhibited at Drury-Lane, was wrote by Milton. It is a pastoral kind of poem, and some of as beautiful Descriptions and Images run thro' it, as are to be found in any of his other Writings. The Stile, as it is rural, is more simple and plain than that of Paradise Lost, and tho' there is nothing but must give infinite pleasure to the most exalted genius, there is nothing beyond the Comprehension of a common capacity." Gent. Mag., March, 1738, 8:151. "Chapter II, p. 34, which shows 9 editions between 1742 and 1765. '"D. R." The Craftsman, No. 490, Nov. 22, 1735. 14:186-192, p. 189. 'Edward Bliss Reed. English Lyric Poetry, p. 11. 170 THE MILTON TRADITION [262 the private enjoyment of a few curious readers, till they were set to admirable music by Mr. Handel. And indeed this volume of Milton's Miscellaneous Poems has not till very lately met with suitable regard." In the same pages he said that Pope and Young were "more frequently perused and quoted than the L' Allegro and II Penseroso of Milton."'" ]\Iost of the Minor Poems showed rather definite lines of re-action to this popularizing activitj^ of the stage and song. Lycidas provoked some formal criticism at the hands of William Shenstone, because of its interest as an elegy. He discussed the versification, mentioned "two recent and beautiful imitations,"' and regarded the verse-form as the best for an elegy of length, though he was never fully reconciled to the remoteness of the rhymes." But the real re-action to Lycidas was more productive than critical. The poem allied itself with the Druid ele- ment of the Celtic re\'ival, as plainly appeared in the emphasis of Warton's Essay on Pope,^- and in the writings of Dr. Ilugli Blair, who was able to point out remarkable parallels in the Poems of Ossian}^ Comus was the inspiration of some imitations, but of very little formal criticism at this time. The distinctive rc-actioii to the popu- larity of this Masque was a peculiar chorus of echoes in tlie poetry of this mid-century period. Comus was quoted to show "the tender Emotions of a Heart in Love infinitely more pleasing than tlie sliort-lived Extacies of Vice and Wantonness."" Lord Melcombe placed the following significant lines "Under the Busto of Comus, in a Buffet at llammersmiih:" While rosy wreaths the goblet decks, Then Comus spoke, or seemed to speak ; "This place for social hours designed. May Care and Business never find. &c.''' ^°Essay on Pope. 1756. 5ih cd., vol. i, pp. 36-38. I'Wm. Shenstone (1714-1763). A Prefatory Essay on Elegy. Works in Verse &■ Prose. ^ vols. J777. 1:21-22. Chalmers Eng. Pts., 13:264. "Jos. Warton (1722-1800). E.ssay on Pope (1756). 7, 3.S6- ."^th Ed. Cf. Beers, Ronianlicisin, 192-3. i-niugh Blair. D.D. (1718-1800"). .4 Crit. Disser. On the Pms. of Ossian. 1763. Vol. I :7i-222, pp. 207-8. ^*An Essay on Love and Gaiety. Gent, Mag., bcb., 1741. 11:78-79. "■■Geo. B. Dodington (d. 1762). Dated ".\ug., 1750." and may echo the special performance of Comus in .\pril of that year, Pearch, Continuation, 17S3. i :329. 263] CONTROVERSIES AND EXPLANATIONS, 1730-1765 171 111 sharp contrast with the above was the tone of Charles Emily, in his poem called Death (1762) : The festive roar of laughter, the warm glow Of brisk-eyed joy, and friendship's genial bowl, Delight not ever : from the boisterous scene, Of riot far, and Comus's wild uproar. Permit me lonely to wander.''^ Both tones of reminiscence appear in John Cunningham, who in one poem placed "Blithe Comus to guide the gay feast,"" and in another spoke of man spending "his rich hours in revelry . . . with Comus, and the laughter loving crew."^* Sir John Hill was even more explicit, in his poem called The Rout (1763) : Yet, to the Rout one beauty did resort. Like Milton's lady in his Comus-court ; One (as he sings) a nymph of purer fire, A virgin worthy the celestial choir.^^ Garrick, too, who once took part in Comus, did not forget the essentials of that Comus-eoui't ;-° and even Gray recalled "Comus, and his mid- night crew," in his great Installation Ode, vsritten for a very formal occasion. The re-action to Samson Agonistcs, was, on the contrary, so far as records indicate, almost entirely critical. The Adaptation was evidently popular, but the original classical tragedy is the thing that claimed critical attention. While the adaptation was in the midst of its popu- larity. Dr. Johnson subjected the Tragedy to a most severe examination (1751) under the rules of Aristotle. The Doctor allowed the Tragedy to have "a beginning and an end which Aristotle himself could not have disapproved; but it must be allowed to want a middle, since nothing passes between the first act and the last, that either hastens or delays the death of Samson. The whole drama, if its superfluities were cut off, would scarcely fill a single act ; yet this is the tragedy which ignorance has admired, '"Chas. Emily (d. 1762). Death. Lloyd's Mag., Oct., 1762. 1:91-9. Pearch, 1:16-26. Cf. his Praise of his (1755). Pearch, 1:26-38. •^John Cunningham (1729-1773). Newcastle Beer. Chalmers, 14:453. i^Same. An Elegy On A Pile of Ruins (1762). Chalmers, 14:443-5. "Sir John Hill (1716-1775). The Rout (1763). Lloyd's Mag., Jan.. 1763. 1 :3S2-357- -"Mr. Garrick's Answer (To Mr. Anstey . ... on Meeting him at a Friend's House). The Ptl. JVks. London. 17S5. 11:522. 172 THE MILTON TRADITION [264 and bigotry applauded." Tlie sentiments, too, he found "exposed to just exceptions for want of care, or want of discernment." This treatment he closed with a long list of the beauties of the Tragedy, and an appended statement of his own purely literary motive in this examination. =' Others were concerned in the classical aspects of this tragedy. Hiird regarded Samson (in 1751) "the most artificial and highly fin- ished" of all Milton's poems, and for that reason, perhaps, the most neglected, but "the best dramatie Essay on tlie Ancient model. "-- Mason felt that ililton had adopted the ancient model out of contempt for his own age, and striving to make the difference felt, had formed "Samson Agonistes on a model more simple and severe than Athens herself wotdd have demanded."'-'' Goldsmith cited, with commendation, Milton's happy imitation of his Greek models.-^ But the classical play as such was never popular ; and Dr. Armstrong thought it hopeless even to transform Samson into a Tragedy.-"' The Companion Poems provoked in tliis period a .surprisingly small measure of criticism. The oratorio arrangement of tlie poems had served to emphasize their lyrical qiialities; and in this distinctive char- acter they received some critical attention. Peck, as stated elsewhere, in his Memoirs of Milton, defended these, and other Jitvt nalin of Milton against tlie strictures of Dryden. Joseph Warton constantly exalted these Jiivcnalia of ililton, as superior in poetic character to tlie works of Pope. Smart advanced the lyrical qualities of these poems beyond the best effort of the kind by either Dryden or Pope. That, too, was the quality which Newton especially commended in his Life of Milton."" Smart saiil, in the ])reface to his •^A Critical Exam, of Sainsoit Agonistes, Rambler No. 139. July 16, 1751. The Works. 18^5. II, p. 81 and 87. No. 140. July 20. 1751. Cf. also the familiar echo of Samson in No. 162. Oct. 5, 1751. ^'^Rich. Hurd (1720-1808). The Work's. iSii. I, 73-74: and The Common- place Book, Mem. 289. -^Wm. Mason (1724-1797). Letter 11, prefixed to P.lfrida (1751"). Chalmers Eng. Pts. 18:339-340. Cf. Milton's Intro, to Samson. -*0. Goldsmitli (1728-1774). Criticism of the Greek Tragedies by Dr. John Burton (1696-1771). Mo. Rev., Dec, 1758. The Works, (cd J. W. Gibbs) 4:31s: (ed. Murray) 4:328. '"Dr. John -Armstrong (1709-1779), as "Launcclut I'eniplc." Sketches: Of English Verse (I, 157), and Of the Dramatic Unities (II, 241-3), 1758 and 1770. =°Thos. Newton (1704-1782). Life of Milton, f.d. Dublin, 1773. Vol. I, p. xxxix. 265] CONTROVERSIES AND EXPLANATIONS, 1730-1765 173 Odes For Music on St. Cecilia's Day (1746), that Dryden's and Pope's similar odes "are incomparably beautiful and great; neither is there to be found two more finished pieces of lyric poetry in our language, L' Allegro and II Penseroso of Milton excepted, which are the finest in any."-' There was also a new interest in these poems aroused by the Edition of Beaumont and Fletcher (1750), whose song in The Passionate Madman was thought to have been a source of II Penseroso.-^ But the distinctive re-action to the Companion Poems, as to the Sonnets also, was that of imitation. The transition from the polished rationalism of Pope to the imaginative enthusiasm of the Romantic poets, may be looked on as a valley of low spirits. The mist of uncertainty obscured the summits on either side. There were no poets of the first rank, and comparatively little poetry of immortal excellence. In the valley there were, however, a few who rose enough above the common rank for notice in historical treatment. Some of these, as the Wartons, Collins, Gray, and others, owed a heavy debt to Milton's Companion Poems. In this valle.y of depression and shadows, every one felt free to plunder the works of Milton. They stole his vocabulary. They stole his Personifications. They stole his verse-form. They stole his scheme of psychological contrast. But they could not steal his spirit. That was too high for them to attain. The result was that there was much imi- tation, and little real poetry. Only those who were great enough to possess poetic powers of their own, by which they might supply a body and a soul to these outward garbs of poetry, produced anything that was worth while. But those wlio represented this type of re-action to Mil- ton's poems produced a small volume of verse that is possessed of con- siderable merit. While the nation thus diverted itself with the Minor Poems of Milton, everyone felt that the serious business of Milton, his message to the world, and his influence upon that age, was a question of his Prose Writings, and even more of his great epic. To these the nation addressed itself most seriously, most profoundly. This was the period wlien the Prose Works were rendered compar- atively popular. Two generations of those that hated Milton had passed away. The Puritan movement, which had so profoundly affected the ^'Christopher Smart (1722-1771). Preface to Ode &e. 1746. Chalmers Eng. Pts. 16:24. -'This edition of Beaumont & Fletcher, 10 vols. (1750), was begun by Theobold, (1628-1744), and completed by Seward and Sympson. The suggestion of this source relation was made in the edition, and sanctioned by "T. W." in The Old Maid, Jan. 31, 1756. Drake, in his Glcanor (No. 98, II, 376-383), printed this article, and added The Author's Abstract of Melanclioly ("probably i()Oo"), pre- fi.xed to Burton's Anatomy (1621) as another model. 174 THE MILTON TRADITION' [266 life of England and the American Colonies, was snfficicntly remote for historical study, that would throw light upou the present problems of depressed England. Sloreover, the very depression of England was felt by many to be connected with the national losses sustained in the defeat of the powerful and progressive Puritan movement. The formal- ism of the Queen Anne Period had crushed the life and spirit out of the nation, and left only a condition of despondency. The culmination of many circumstances turned the minds of men toward the Seventeenth Century as a possible source of relief from depression. There was, therefore, in this period, a revival of tlie political writings of those troublous times, a revival that concerned itself most centrally with the Prose Works of Milton. The conduct of tliis revival was largely in the liands of tliat pro- gressive element of the Whig Pai'ty which later developed into the radical politicians. Among these leaders one may find the name of the Scotch Poet, James Thomson (1700-1748), a student, lover, and imi- tator, of Milton's verse, a whig, pronounced but not radical, whose political views show many points of symjjatliy witli tliose of Milton. Next to him was the more ardent whig biograjilier, tlie Rev. Thos. Birch, D.D. (1705-1766), Secretary of the Royal Society, who rose rapidly in the church under the pati'onage of the influential Hardwicke Family, and whose j)roiiounced whigism in The Life of Arch-hishop Tillotson (17S2-17r);5) created a commotion in the ranks of Toryism. Closely allied with Birch in many ways was the republican Richard Baron (d. 1766), whose copious editorial work gave him a prominence in the progressive ranks that his native abilities would not otherwise justify.-"' Another leading spirit in this grou]i that grew ever more radical, was the adventurous Arch-deacon Francis Blackburne (1705-1787), a liberal in politics, with a pronounced antipathy to certain regulations in the Establislied Cluirch,-'" who late in life publi.siied Milton's EikonoJda^tes and the Tractate along witli a severe castigation of Dr. doliiison for abusing the great PiUglisli Poet. The man, however, who most nearly combined all these liberal elements and activities was Thomas Ilollis =°Baron was a close friend of Gordon, author of the Independent Whig. :\s an editor, Baron made for Hollis a collection of works defending tlie republicanism of the Seventeenth Century. He edited the Dijf. oh Govnil., by -Mgernon Sidney U/Si). Milton's Prose (1753), Ludlow's Memoirs (1751), Eikonoklastes (1756), reprinted (1770), Needham's Excellency of a Free Stale (i~S7), and was asked by Ilollis for an edition of Marvell. (D. N. B.) He also collected the liberal writings of Gordon, Hoadly, Sykes, .^rnall, and Blackburne, into his I'illars of Priestcraft and Orthodoxy Shaken {1767). '"He held that a pledge to accept and teach from the Bible was all that should be required of protestant pastors. In 1752 he severely attacked Butler's Serious Inquiry into the Importance of External Religion. 267] CONTROVERSIES AND EXPLANATIONS, 1730-1765 175 (1720-1774). He claimed to be "a true whig," but was accused of being a republican. He was said to have been very pious, but did not attend church, and was accused of atheism. His ancestors had con- tributed to Harvard College, and he did much for the spirit of American liberty. His extended editorial work did much to revive the force of seventeenth century radicalism in politics.'^ He was a curious collector of Milton relies, regarded the great poet as the Champion of English Liberty, and made for himself some fame by this alliance ^vith the views of Milton. ^- Milton's History of Britain was never without sympathetic readers. ^^ But these leaders of liberalism set themselves deliberately to make the controversial writings of Milton known, understood, and popular. They poured forth the spirit of those writings in blank verse arguments for libert}'. They wrote an effective Life of Milton. They published his Prose Works in two massive folio editions, and edited his special Tracts in separate form. They threw around those Works an interpreting, reinforcing mass of seventeenth century literature of a kindred spirit. Above all, and through all, they insisted that "all young gentlemen (should) study our old writers, especially Milton and Sidney, as one remedy for those evils which threaten the utter ruin of our country."^* By these means, the works of Milton that had earlier been condemned en masse,"^ were brought into favorable notice, and caused to be read ■with discriminating attention and sympathetic interest.'"' Thus was preparation made for a deep and radical influence from Milton's Prose Works upon the political aspects of the Romantic Movement. But more significant for Milton's influence upon that Movement as a whole was the energy expended upon Paradise Lost during this ■■"Toland's Life of Milton and Ainyntor (1761), Sidney's Discourse on Goz'- ernment (1763), Neville's Plato Redivivus (1763), Locke's Tzvo Treatises on Gov- ernment (1764) and Letters Concerning Toleration (1765), Staveley's Romish Horse-leech (1769), Neville's Isle of Pines (1768), Sidney's Works (1772) ; were all edited by Hollis. ^-The Memoirs of Thos. Hollis (1780). privately printed. Edited by T. Brand (Hollis), including a portrait of Milton, age ten, and much curious information concerning the poet, Cr. Rev., Sept., 1781, 52:161-175. Chap. IV, Note 11 above. ^■'Appendix A. ^'i Preface to Baron's Eikonoklastcs (1756). Quoted by the Reviezv, which de- clared the nation under obligation to this editor. Mo. Rev., Aug., 1756, 15:192. '■''Cf. Tributes No. 21, 23, 32, etc. 3«Political animosity, of course, did not at any time die out. Cf. Rich. Hurd's strictures on Milton's Defence. Commonplace Book (Memoirs, 303-305.") Lady D. Bradshaigh had never read the treatise on Divorce, having "heard it much con- demned, as a thing calculated to serve his own private ends." To Mr. Richardson (Rich. Corresp., vi, 198. July 28, 1752). Chap. II, sec. 9 above. 176 THE MILTON TRADITION [268 period of Defence and Explanation. Having exalted Milton to the skies, his admirers were jealous of his rank with a devout and intolerant jealousy. But they had fully received of his treasures, and were even more than willing freeh* to give. Besides, these exalted treasures came to have a new significance in connection with the Romantic tendencies which arose diiring this mid-century period. This poem, which had already been successfully exalted in opposition to the dominance of the heroic couplets, became the rallying point for imaginative literature in its triumph over the rational element in poetry. Moreover, the poem had, in germ at least, the essentials of many a specific line of Romantic development. It was but natural therefore that the very spirit of this age should labor with a sword in one hand and a commentary in the other, wliile it patriotically built the contents of this important poem into the heart and life of the nation. The effect of all this activity was to make the poem the common possession of the English public, and thus prepare for a far-reaching influence upon life itself, an influence which cannot well be measured. By comparison, this was the great jM-riod of critical editions of Paradise Lost. Before 1730 the Annotations of Hume had supplied the demand, until tlie Critique of Addison was utilized by Tonson in his Edition of 1720. But the present period (1780-1765) was ushered in bj' the formal labors of the learned Dr. Richard Bentley (1662-1742), whose edition appeared in 1732. The work was unwisely undertaken,^" in response to a request from Queen Caroline, who cherished a life-long interest in the great Eiiglisli Poet. The earlier int(>rest of tlie Queen, while she was still the Princess of Wales, in befriending tlie destitute Mrs. Clarke, daughter of Milton, is one of the memorable and pathetic events of Literary History. No doubt the Queen intended to present to the Milton-loving English i)eo])le a monmnenfal edition of Paradise Lost, with copious elucidating annotations from tlie lore of tlie ancients. No doubt, too, she congratulated herself u])ou securing for these labors the man who was the very embodiment of Ancient Learning, and, there- fore, as slie thought, best fitted for this work. But tlie Queen's edition, unwisely undertaken, was infinitely more unwisely executed. Bentley was, with all his learning, very poorly equipped for this kind of work. He had a rather keen sense of poetic form, but very little sense otherwise, it would seem, about the business of the Muses. What lie did was to invent a fictitious Kditor, who, as lientley supposed, took advantage of .Milton's Ijlindncss, [loverty, ami general odium, and interpolated into tiie first editions of Paradise Lost a lot of matter which Milton did not write. This, of eour.se, was faulty in many ways, esiiccially in versifii'atioii. These sii]i|)osedly spurious "Jas. DiifT Diifr. Ccuiih. I list. /■»;;. Lit., IX, Cli. xiii, pp. 37*^-380. 269] CONTROVERSIES AND EXPLANATIONS, 1730-1765 177 sections Bentley took from the body of the text, and placed in the margin of liis edition. In the process he thrashed Milton most severely over the shoulders of this fictitious Editor. Upon this theory he worked out his new edition of Milton's Paradise Lost, which was printed in au elaborate volume of 399 pages in 1732. But the Editor-theory was an evident sliam. Milton was felt to be outraged, and his friends rose in arms. One may well imagine the poor Queen's disappointment, and even chagrin, at the consequence of her good intentions. Tlie storm, however, did not break all at once. It had, on the con- trary, gathered graduall.v. In 1725 Elijali Fenton had brought out an amended edition of Paradise Lost, which may have given Bentley some suggestions. This work of Fenton had perhaps some merits, and the new edition was popular. But there were some objections and some objectors. In 1731 The Traveller published Observations on an Edition of Milton published in 1725. This protest was designed to show "a few specimens of the ignorance, want of taste, and silly officiousness of Mr. Fenton, in his corrections of Milton." The writer pronounced the work of Fenton "mean or trifling," and regretted "the privilege that rich booksellers have of putting it in the power of any ignorant editor to murder the finest authors."^* Very soon the Grub-Street Journal ridi- culed the same pretentious critic.^" In September, 1731, Dr. Bentley published an Essay to Defend a Critical Emendation of Paradise Lost, setting forth the general intentions of this plan of criticism. At once he received the name of "fierce Bentley;" and an epigramatic apostrophe to Charles I, said — "the murd'rous critic has avenged thy murder."^" The Essay was only a prelude to tlie Edition, which appeared early in 1732. In his Preface the politic Doctor assumed an attitude of awe and veneration for Paradise Lost, played heavily upon the national sympathies for Milton's blindness and obscurity which laid him at the mercy of any one who might care to take advantage of these conditions; and marveled in con- gratulation to the nation, of course, that Paradise Lost had ever tri- umphed over so many difficulties — an impossible result but for its inherent greatness. But all this would not atone for the Doctor's offense. A Letter To Bavins (Gent. Mag., 2:571-2) entered a strong protest against this edition. To the Reformer (2:601) was a severe castigation of the Doctor for mutilating Milton's text. This writer had "deem'd it sacrilege to treat Milton's work irreverently." A certain "A. Z." regarded this attempt overbold (2:658-9). By April (1732) the critical methods ■■'^Traveller, No. 22, Feb. 6, 1731. Gent. Mag., Feb., 1731, i :55. ■'^X'o. 82, July 29, 1731. Gent. Mag., July, 1731, i ;30i. *"Grub St. Jour. No. 99, pp. 182-3, and No. 100, pp. 183. Nov. 25 and Dec. 2, 1731. 178 THE MILTOX TRADITION [270 of Bentle.y were uuder (luestioii. He had claimed the emendations made extempore, without any apprehension of censure. One writer admitted them extempore, but questioned the prudence of their publi- cation (2:690-1). "A. Z.," better informed, declared them under preparation for eight or nine years, and cited Dr. Ashenhurst as proof (2:753-4). He exposed the real intent of this supposed Editor, as a means of covertly abusing Milton himself. . Other papers followed, with much the same ad Jiomincm spirit. But time had produced more scholarly discussions. These mainly dropped the editor-sham, which Bentley himself did not seriously credit. Zachary Pearce (1690-1774) published (1732, 1733) a Review of The Text of Paradise Lost, in which the Chief of Dr. Bentlcy's Emendations are considered. Warburton pronounced these criticisms of Pearce "good in their kind, but not of the best kind."'" This work of Pearce, with Swift's Milton Restored, and Bentley Deposed (1732) seems to have satisfied scholarship,'-' but not the national sense of outrage. That con- tinued to vent itself at irregular intervals,'-' and today it is calmly regarded that Bentley probably helped the cause of Milton to the extent of correcting one mistaken long "s" for an "f". (VII, 450). R. C. ■"Kurd's Memoirs, p. 288. ••^David Mallet (1705-65). Of Verbal Criticism (1733), devoted a section to Bentley'.? abuse of Milton. Chalmers, Eng. Pts., 14:9-11. In 1779 there were Hints Toward a Life of Dr. Bentley. Gent. Mag., Nov., 1779. 49:545. ''•'Upon Bentley's Emendations of Milton (1751). The Student — Oxford — Cambridge Misc. (1751), II, 358. When Milton's forfeit life was in debate, Some urged his crimes, and some th' unsettled state ; Hyde paus'd : — now keen resentment filled his breast, Now softness sooth'd, while genius shone confessed : — At length the lingering statesman thus his thoughts e.xpressed. When I consider with impartial view, The crimes he wrought, the good he yet may do; His violated faith and fictions dire, His tow'ring genius and poetic fire ; I blame the rebel, but the bard admire. Mercy unmerited his muse may raise, To sound his monarch's, or his maker's praise. Yet come it will, the day decreed by fate ; — By Bentley's pen reduc'd to woeful state, Far more thou'll dread his friendship than our hate. Procrustes like, he'll ever find pretense To strain, or pare thee to this wretched sense. Rack'd, skrew'd, enerv'd by emendation sad, The hangman had not us'd thee half so bad. 27 1 J CONTROVERSIES AND EXPLANATIONS, 1730-1765 179 Jebb has good reason for further believing that "Bentley's correction (of ichorous instead of ncctarous, Book VI, 332), if not true, deserves to be so." (Richard Bentley, pp. 183-4.) Critical editors profited, perhaps, by Bentley's fate, and later critical editions fared better with the public. The natural thing was a conserva- tive re-action. This appeared in the labors of John Hawkey, who com- pared Paradise Lost with the authentic editions, and thus produced a revised edition of the poem, in Dublin, 17-17. But the time was ripen- ing toward a more extensive work than had yet appeared. In order to a full appreciation of this larger work, it is necessary to develop a differ- ent, but closely related, line of Miltonic activity. That is the work of the commentators, and critics, for whose labors this period is especially noted. Milton was censured (1731) by John Clarke "for the impiety which sometimes breaks from Satan 's mouth ; ' '** but the prevailing opinion was that of excellence in this and most other respects. Even Swift, who was glad to see the poem turned into rhyme, declared that in the earliest days "it (had) gained ground merely by its merit. "''■'' These words are like the professed sentiments of Bentley, whose exceptions to that "merit" had turned the attention of scholarship to particular poittits of the exalted poem. Resolutely, the nation took up the task of setting these matters exactly right. The age and learning of Dr. Bentley led the critics and commentators, for the most part, to treat his name with respectful silence ; but the force of re-action against his criticism was felt for many long years. Among the early critical papers of this class, were the Remarks upon Spenser's Poems, by Dr. John Jortin,^" which are said to be among his best critical works. But even these are rather dull papers, as might be expected, from a writer whose mind could distinguish between "absolute and relative dryness" in criticism. Very different in character, and in effectiveness, no doubt, was the massive volume (546 pp.) of Explanatory Notes and Remarks on Milton's Paradise Lost, hy J. Richardson, Father and Son, published the same year (1734). The Father (1665-1747) had acquired a refined taste from his extended experience in the sister arts of literature and painting. The Son (1694-1771) contributed most of the classical learning. Together they produced a sympathetic work **Essay on Study, 1731, p. 204. Dr. Johnson later regarded this work of Milton very well done. Life of Milton (Hill), I, 173. ^■'Letter to Sir Charles Wogan, July, 1732. Swift declared himself an admirer of Milton. Works (Scott, 1814), 17:438-445. ■'"John Jortin, D.D. (1698-1770). Remarks on Spenser's Poems. London, 1734. Pp. 171-186 treat Milton. Disney, in his Memoirs of Jortin (1792) accredited him with skill and taste in criticism. See Cr. Rev., Sept., 1792, n. s., 6:39-45. 180 THE MILTON TRADITION [272 that became a standard eighteenth eentui-y counnentary on Paradise Lost. From the early "thirties"" discussions, incidental criticisms, and various helps multiplied in rapid succession. In 1735 William Shenstone, whose interests in Milton were rather varied, prepared Remarks on Paradise Lost, which, for some reason, have never been published.*' Henry Pemberton (1694-1771) exalted Leonidas somewhat at the expense of Milton (1738). Birch gathered up in his Lifi of Milton (1738) considerable famous and favorable criticism of Paradise Lost. Benson's Letters,^^ dealing with Milton's verse, were republished in 1739. The same year a certain "F. T." attempted to fultil Addison's promise to write on Milton's Borrowing from the Latin and the Greek Writers.*'' This public spirited writer invariably commended the superiority of ililton over the Ancients. Such is the exalted view of "William Smith (1711-1787), in his Translation of Longinus on the Sublime, which first appeared in 1739.''" Besides the Translation, this work contained copious Notes and Obser- vations, which are practically a eomraeiitory on Paradi'ic Lost from the standpoint of Longinus's conception of the Sublime. Smith constantly, and with approval, cited Addison "s Critique : but also showed a measure of independent critical thought. He never wearied of (|Uoting from Paradise Lost the choicest illustrations of those excellencies of style recommended by Longinus. "The First Book of Paradise Lost" he regarded "a continued Instance of Sublimity."' In no sense did Smith allow ^lilton to be inferior to the Ancients; and tliere is in his book but one line of Milton quoted for censure. Among the i)oints of special in- terest, Smith emi)hasized Milton's descriptive excellence; his exalted treatment of conjugal love — after the idea of Voltaire, no doubt; and his effective portrayal of the Lazar Iloiise. Of the last, he said, "We startle and groan at this Scene of Misei-ies in which the whole Race of Mankind is perpetually involved." From about this time ]\Iilton's descri|)tion of social disorder S(>ems to have come into a measure of j)r()iiiiiii'iice. While the nation was buying the .second edition of SmitlTs Tran.i I'. L.. 1735-" G. .A. .\ilkcn, 1). N. B., "Shenstone.'! ♦"Benson's Letters. 1713. Cli. V., |). i()4, note 97. ■"•Clciit. Mag., July, 1739. 9:359-,36o, ■■"This Trans. (2nd ed., 1740) heciim- the staiid.ird work on I.onniinis in the i8tli centnry. 273] CONTROVERSIES AND EXPLANATIONS, 1730-1765 181 Consequent upon the quickened general interest in Paradise Lost, the public was furnished in 1741 with a new Verbal Index to the poem. This was the fourth such work that had appeared. That by Hume (1695), and by Tickell (1720), have already been noticed. It was not noticed, however, that Richardson added a brief Index to his Notes in 1734. No one can fail to feel the significant bearing of much of this work upon the growdng, deepening popularity of Paradise Lost with the unlearned masses of the nation. There were those who seemed to feel it the part of patriotism to place this national treasure within reach of all capacities. Certainly this was the inspiration that produced the Com- plete Commentary on Paradise Lost (1744). This volume was the work of Dr. James Paterson who undertook this task with abounding enthusi- asm. He assured the Reader that "Milton's Paradise Lost, being an original in its kind, an Honour to the British Nation, and the prime Poem in the world, is justly esteemed and admired by every Englishman, and also by the Learned Abroad." But realizing the difficulties that con- front his uidearned countrymen in the perusal of this masterpiece, the Doctor had copiously, even sympathetically, explained everything,'*' significantly adding that ' ' without such a work the Poem is useless to most Readers of it." Evidently, then, the poem was coming into the posses- sion of the masses, and one naturally wonders how much Paterson may have implied in that word "useless." Another work, with something of the same popular designs, ap- peared in 1745. This was The State of Innocence and Fall of Man described in Milton's Paradise Lost Rendered into Prose — by a Gentle- man of Oxford.^- The Monthly Review attacked the publication, along with the Rambler and other "pretenders to criticism of Milton," who represented "a critical barbarism" not less "destructive to learning" than "a second irruption of the Goths and Vandals." The Review argued that this "Paraphrastical Version" was unnecessary even for the unlearned, for whom the "obscure passages" of Paradise Lost had al- ready been explained. ^^ But the multiplied editions of this prose work seem to show that there was still a place for the popularizing perform- ance, which may iiave been read mainly as a treatise on some of the ■'■'James Paterson. The full title was A Complete Coiumcniary zcith Etymolog- ical, E.vplaiiatory, Critical, and Classical Notes on Milton's Paradise Lost. Lond., 1744, pp. SI 2. ''-Geo. Smith Green (d. 1762). This work was published, as it seems, under varying titles, in 1745, 1746?, 1755, 1756, 1767, i77o(L), 1770? (Aberdeen.) With it were the translated Notes of Raymond de St. Maur, and fourteen copperplates. See Gent. Mag., June, 1746, 16:332; Cr. Rev., Nov., 1756, 2:357. Green also wrote two unacted plays on Oliver Cromwell (1752). '''Mo. Rev., Dec, 1756, 16:653. 182 THE MILTON TRADITION [274 social, political and moral questions that were then confronting the nation.** By the middle of the century thei'e was ftdl preparation already made for an extensive work on the part of a judicious critical editor. The feeling was strong that tlie choicest fruitage of these separate critical efforts sliould be carefully garnered into a new edition of Paradise Lost. Among those wlio felt moved by this spirit of the time, was Benjamin Stillingfleet (1702-1771), a lover of Milton, and an imitator of his sonnets. In the later "forties" he was engaged upon a collection of Notes for an edition of Paradise Lost.-''^ But this work was abandoned in view of an elaborate edition that was soon to appear from the press of Tonson and Draper. That great work was tlie first varioiis edition of Paradise Lost (May 20, 1749), edited by tlie Rev. Thomas Newton, D.l). (1701-1782), which was indeed the first variorum edition of an English classic. The Notes were compiled from the earlier critical works, and supplemented by original comments from Newton and others.*" The work was generally applauded ■.''' and in various modifications became the standard edition of Paradise Lost for the remainder of tlie Eighteenth Century. After this almost every edition of the poem came to have some kind of helpful attacliment. J. Callender furnished The First Book of Paradise Lost witli a Commentary, for Poulis, in Glasgow, 1750. J. Marehant collected notes of various authors, including Newton, for "Walker's two volume edition, in London, 1751. The Paris edition (1754) was furnished- with a Glossary and Index, the former of which features ai)peared in the Dublin edition (1765). A. Donaldson added "prefatory cliaracters of the several pieces" to the Poetical IVorAs (1762). John Wood produced "a new edition" of I'aradisc Lost with notes variorum in 1765. Meantime the Paradise Regained was not entirely neglected, though it was never highl_y exalted. Edward Phillip.s seems to liave spoken the voice of all time, when he said that Paradise Reejained was "gener- ■'"'To tliis list of commentaries must be .Tddeil tlie New Remarks on P. I., in R. Richardson's /.oiloiiiastix (1747); and in the Critical Obs. on SImkesf'care by Jolin Upton, editor of Spenser, who in his second edition (1748), devoted a whole page of the Index to "Milton," and all to Paradise Lost, except three references to Samson, and one to the Sonnets. °*Stillingneet used a copy of Bentley's original edition (1732), which is now in the Br. Mus.. and has "copious MS. notes" by the original owner. ""Among the noted contributors to this work, was Robert Tliyer (1709-1781), who edited Rutler'.s Remains (175(5), "'For some reason, the work did not commend itself to Tlmmas I'dwnrds, who blamed "the great people" for the success of this "bad edition " Riiliaritson's Correspondence. Ill, 11. 24. March 30, and May 8, 1751. 275] CONTROVERSIES AND EXPLANATIONS, 1730-1765 183 ally censured to be much inferior to the other," Milton's jealousy notwithstanding."'* In 1732 Ricliard Meadovvcourt (1697-1769) pub- lished A Critique of Milton's Paradise Regained. This work, which seems to have become the recognized standard commentary on the smaller epic, appeared in a second edition (1748). In 1734, Jortin claimed that the poem had "not met with the approbation that it deserves;" and Warburton regarded this poem and Samson as perfect of their kind.'^^ But the poem was never satisfactory to the readers of the major epic."'" The best of all these materials, with original matter, was collected into Newton's Edition of the Poem (1752), which, with the Minor Poems, completed his popular Edition of Milton's Poetical Works. That these popularizing endeavors were effective is evident in the popular reaction to Milton's Epic. Familiarity with Adam and Eve was a public nerve upon which the book-trade constantly played in the invention of new titles.**' It became a requirement, that one must be familiar with these exalted personages, or at least affect that familiarity, as a matter of fashion. Gray declared "The world — obliged by fashion to admire" Milton.*- The young gallant, called suddenly away from his lady-love in a flower garden, must apologetically declare "himself in a worse situation than Adam Banished Paradise," and then state the reasons in a sonnet.'*' Even Lord Chesterfield (1694-1773), who affected an inability to ' ' read Milton through, ' ' dared not let this secret be known in England."* In popular writings, Milton was the common possession of aU readers. Paradise Lost was quoted, as with the sanction of inspiration, on the sacred and ideal relations of husband and wife."^ It was cited ^*Edw. Phillips, Letters of State, i6g4, p. xxxix. Masson, 6:655. Cr. Rev., Feb., 1761. II :i66. '"Both quoted by Birch, ^fitton (1738). I, p. Ivi. *"Cf. An Essay on M's Int. of the Ancs. in his P. L. With some Obs. on the P. Regnd. L. 1741. Mo. Rev., .'\ug., 1763. 29:106-117. ^^ Adam's Luxury, and Eve's Cookery; or, The Kitchen Garden Displayed. (Gent. Mag., May, 1744. 14:288). Cf. also the religious titles in Appendix G, especially in paragraph 4. '^-Letter to Thomas IVarton. Oct. 7. 1757. Works (Crosse, 1884). II, 341 and 325. The same statement was made in the Mo. Rev., July, 1762. 27:13. cf. also Johnson's Life of Milton (Hill). I, 163. ""Sonnet. Occasioned by leaving B — .r — . July, 175^. Probably by Dr. Powis. Pearch, Con. 1783. 3:298, 299. "^Letters, ed. 1893. II, 559. "Bath, Oct. 4, 1752." To Mr. S. at Berlin. (Letter Ixxi). "'•On Nuptial Liberty. Univ. Spec, Dec. 18, 1731. No. 167. Cf. also The Gent. Mag., June, 1738. 8, 298. 184 THE MILTON TRADITION [276 as having superior scientific insight into Pleasure and Pain,'"' and as an authority in the field of Astronomy."" The Smugglers in Essex were compared to Adam 's ' ' Death "s Ministers, not men ; ' ""* and the war "apparatus" of TJw Bi-itish Murs. to the military equipment of Milton's warring angels;"^ while an Allegory on Wit and Beauty carried the reader at once to the "myrtle bower" of Eden."" "Flirtilla" began her Vision while reading Milton's Pandemonium;"' John Armstrong empha- sized Milton's omniscience in The Hist or;/ of Minorca (1752) ;"'-' and the Author of Tivo Epistles on Happin(ss (1754) found it prudent to mark the lines imitated from IMilton.'-' A few years later, William Law (1686-1761), wlio praised "The immortal words of a Milton or a Shakespeare," regarded the prevalence of Paradise Lost in the pulpits of the time with a measure of disapproval. In liis IIi(nible Address to the Clergy (1761), he .said: "Instead of the Depth, the Trutli and Spirit of the liuiiibic Publictin, seeking to regain Paradise, only liy a broken Heart, crying 'God be merciful to me a Sin- ner,' the high-bred Classic will live in daily Transports at the eiioniioiis sublime of a Milton, flying thitlier. on the nnfeatlicred wings of high sounding Words.""* This familiar devotion to Milton was remarkable as a fact of literary history. It gath(!red irresistible force as the decades went by. Against it some had attempted to oppose the uncertain religious attitude of Milton, whicli gave ri.se to a spirited controversy, triuin]ihant of cause in favor of the great Knglisli poet."' But a more formidable attempt to cheek this popularity gave rise to another controversy, whose spirit of defen.se is n monumental tribute to the hold of Milton's Paradise Lost upon the mind and heart of the mid-century English people. — ■ 'T/if Champion, Jan. ig. 1-40. 1 :_'0O. 77ierformance. (17:67-68). With this Letter, th(> editor declared several otlier gentle- men to be in agreement (17 :68). Because of the wide general interest in this controversy. Cave offered a prize for the best Translation of Adamus Exsul. Act I, in Miltonie verse, sent in before ^lay-Day."" Evidently the English people were well stirreil. Tlie materials contributed for the March issue were more than could be handled. Most of them had to be excluded because of "long seasonable pieces." But there was a place found for the following seasonabh' lines On W. L.'s Charge against Milton (.Alareli, 17:145). by "Philo-Milton Pctriburgensis" : Critics avant ! from sacrilege refrain, \or Milton's laurels witli rude hands propliane ; In vain Detraction seeks to wound his fame, Whose lays divine our adoration claim ; By no picrian draught inspired to sing, '"Gent. Mag., Oct., 1746, 16:548-9, Dec, lf):(i6i. TIic fdllowiiij; references, unless otherwise designated, are to this Magazine. ""The prize was to he two folio vols, of Ihi lliihlr'.t I list, of China or two guineas in money (17:86). In June, Cave ann(iuncelieation, and popularity of kindred literary products of other tinu's and other lands.'" This widening interest probably exercised an influence, not yet realized, upon certain literary revivals connected with the Ronumtie Movement. There was another inipidsc whicli led to a re-assertion and amplification, for the multiplied readers of Alilton, of his intrinsic literary values. A third line of interest arose as a result of all these circumstances. Having become the familiar possession of all the nation. Paradise Lost was used as tlu' most familiar source of illustrative materials available for a vast range of discussions. In the words of Goldsmith, "the subject of P(inulU( Lost (was) reverenced witii almost universal assent." The nation M'ould "purchase a warranted original eo])v of the worst verses ^Milton ever wrote, at ten times the price which the original cojty of the P(iradis< Lost brought him.""' Such enthusiastic confidence was connected closely, perhaps, with tlie solid merits of Milton, emphasized as a result of the Lauder controversy. It seemed to be the ambition of criticism to make those of printing tlie I.alin 'Irs. of the o/tiu'ik/ of P. I... usins tliat of Hog, of Dobsoii, and a new one contrilnited for this purpose. (20: Dec., 1750.I A new edition of Mdsciiius "for the satisfaction of the curious" was published 1754- The Life of Hiifio Crolius appeared the same year. Milton no Plogiiiry, was reprinted in 1756. Hollis made a sunuuary of the Lauder outrage ujjon Milton, in his edition of Toland's Life of Milloii (1761, p. i26n). Nor was Dr. Douglas forgotten. In Goldsmith's Retaliation, and in the Supplement thereto, Douglas figures conspicu- ously in his detective capacity {1774). (Chalmers, Eng. Pfs., 16:498-501. Gent. Mag., Aug., 1778.) ^".Appendix F. ^^H'orks (J. W. M. Gihbs), iv, 290, 362. Review of 'I'he Epigoniait. Mo, Rev. Sept., 1757. 285] CONTROVERSIES AND EXPLANATIONS, 1730-1765 193 merits uaderstood as uever before. It is interesting to observe how much of this criticism indulged in psychology, attempting to unfold the mind of Miltou, and of his various characters. Wliile the Lauder controversy was still raging, John Hughes pub- lished the Works of Spencer (1750) with An Essay on Allegorical Poetry. He closely correlated the minds of Spenser and Milton, in order, it seems, to exalt the hitter's "exquisite fancy and skill" in the use of Allegory.^- Dr. Johnson, after the manner of Addison, attempted (1751) a series of Rambler papers in Criticism of Milton's Versification. Naturally enough, these papers condemned some things essential to effective blank verse, and Milton's general indifference to embellishment, and regarded Milton's verse as an unsuccessful imitation of Homer and Virgil."' The general question of Imitation came in for extended discussion at the hands of Richard Hurd, in his Discourse on that subject (1751). He found Milton's larger interests and successes to arise from his success in drawing upon "the genuine treasures of na- ture," which are the common property of the Ancients." Samuel Richardson (1689-1761) discussed with Lady Bradshaigh (1752), at some length, the probable motive which Milton attributed to Eve in her temptation of Adam.'^ Joseph Warton, who became, at the request of Johnson, a contributor to The Adventurer in 1753,"" wrote a popular paper for that periodical on Blemishes in the Paradise Lost, which gave a total impression more of praise than of blame."' The. ^-The Works of Spenser. 6 vols. Land., 1750. I, pp. xxi-xxii, &c. ^^Ramhler, Nos. 86, 88, 90, 92, 96. On Sats. between Jan. 12, and Feb. 9, 1751. Works, 1825, I, 398-442. 8*Hurd's Discourse upon Imitation (1751) was appended to his ed. of Horace (17S3) as a Dissertation on Poetical Imitation. (Mo. Rev., Feb., 1758, 18:114-125.) He handled two questions. (1) "Whether what we commonly take for Imitations may not, with probability enough, for the most part, be accounted for from general causes." (2) "Whether, in the case of confessed imitations, any certain and neces- sary conclusions hold to the disadvantage of the natural Genius of the imitator." He felt that Milton needed not to imitate, but was able to draw, with the ancients, upon the original treasures of nature. "^Richardson's Correspondence, vi, 214-225, Nov., 1752. ^"Johnson's Letters (March 8, 1753). Boswell's Life (Hill), I, 253. Warton wrote 24 papers. "T/ic Adventurer, Oct. 23, 1753. Brit. Essayists, 1823, loi, vol. 21. Warton regarded the description of Eden (Bk. 4), and the battle of the angels (Bk. 6) too much of the land of Romance to have "relative beauty as pic- tures of nature." "I think the sublimity of this genius much more visible in the first appearance of the fallen angels; the debates of the infernal peers; the passage of Satan through the dominion of Chaos and his adventure with Sin and Death ; the niisfion of Raphael to .\dam ; the conversations between Adam and his wife; 194 THE MILTON TRADITION [286 "Night Pieces" of Miltou (Paradise Lost IV), Homer, aud Shakespeare, were compared, and correlated with the writings of Young and Col- lins.'* Deane Swift (d. 1783) devoted a section to Milton (1755) :^» aud Thomas Warton laid considerable emphasis upon the values of Mil- ton and their relations to popular taste,'"" and took Dryden severely to t;isk for wanting "a just idea of jMilton's greatness." Two unique productions in criticism appeared in the sixth decade of the century, one favorable, the other unfavorable, to Milton. The first of these was Joseph Warton 's Essay on the Writings and Genius of Pope (1756) ; which, because of its constant comparisons, was almost as much an "Essay on Paradise Lost." This Essay was a very pro- nounced attack upon the pseudo-classical school of poets, and did much to identify clearly and definitely the multiplied Miltonic interests with the advancing sentiments of Romanticism. Warton held that "our English poets may be disposed in four different classes and degrees." (i) Spenser, Sliakcspeare, and Milton, and at some distance Otway and Lee. (2) Dryden, Donne, Denham, Cowley, Congreve. (3) Those character- ized by wit and elegance of taste, Prior, Parnell, Swift, Fcnton. (4) The mere versifiers, Pitt, Sandys, Fairfax, Brown, Buckingham, Lansdown. His problem was then to place Pope in this classification. Every one of these classes, except the first, was attacked by the critic of this work.'"' Warton regarded sublimity and the pathetic essential to great poetry. He ex- tolled blank verse, and exalted Milton above Pope in respect to the passions. He believed the Italian models of Sliakcspeare and Milton superior to the French models, and regarded the Paradise Lost as better than Voltaire's Hcnriadc. He the creation ;. the account which .\dam gives of his first sensations, aitd of the approach of Eve from the hand of her Creator ; the whole behavior of Adam and Eve after their fir.st transgression; and the prospect of the various states of the world, and history of man exhibited in a vision to .'\dam." He censured Milton's inconsistency respecting .■Xdam's ignorance at various times; his failure to describe elaborately the Tree of Life; his failure to satisfy expectations of a battle between Satan and the guardian angel (iv, end) ; "Among innumerable beauties," Warton thought, "the most transcendent is the speech of Satan at the beginning of the 9th book;" which Warton is more particular to emphasize because it was omitted by Addison. "John Gilbert Cooper (1723-1769). Letters on Taste (Letter vii), ed. 1755. This work was praised by Johnson. Cf, also a Review of Letters on Taste, in the Mo. Rev., Jan. 1762, 26:13, where Milton and Shakespeare are "beyond any of their modern rivals" in ability to portray the human heart, and to describe "every object in nature." ""l-ssay oil the Life, U'ritiiips. and Character of Jonathan S-H'ift (1755). Sec- tion XV. ^""Obs. on the Fairy Queene of Sl>enser (1754), vol. II, Section x, m7-8. This was finotcd in the Cr, Rev., Sept., 1763, 16:225. ">'Mo. Rev.. Juno, 1756. 14:528-554; July, 15:52-78. 287] CONTROVERSIES AND EXPLANATIONS, 1730-1765 195 finally consented to allow Pope "a place next to Milton, and just above Dryden." Warton's second volume did not appear until 1782. Meantime there had appeared, from the pen of Percival Stockdale, An Enquiry Into the Nature and Genuine Laws of Poetry; including a particular Defence of the IVritings, and Genius of Mr. Pope (177S). This was recognized at once as a reply to Dr. Warton. The Doctor had affirmed that no "process of critical chemistry" could reduce a passage of Paradise Lost to the low levels of tameless prose. Among other things, Stock- dale attempted to prove the contrary by a prose rendering of certain passages of Milton. Of course all tliis controversy furnished materials for popular entertain- ment in contemporary criticism.^"- The other curious product of the critic's art suggests, in several respects, a re-action against these views of "Warton. The work is known in history as The Poetical Scale (1758), and was probably the work of Goldsmith.'"' The Scale was not in itself very much adverse to Mil- ton."* Nor was the author's conception of versification wanting in ">-Cr. Rev.. Feb., 1782, 53:97-108; Aug., 1778, 46:120-4. loaPublished in The Lit. Mag., Jan., 1758. IVorks of O. Goldsmith (J. W. M. Gibbs), iv, 417-428. The invention of the poetical scale was, however, attributed by J. Debrett (d. 1822) to Akenside. Debrett printed two imitations of this Scale; Scale of Modern Beauty, and Scale of Modern Talent (both 1792). In the latter, Burke, Sheridan, Cowper, and Tickell were highest among 22. (An Asylum for Fugitive Pieces, 1795, 4:70-72.) lo^r/if Poetical Scale (1758). The idea of the Scale is to grade the poets on a basis of 20 as perfect, under the four heads of Genius, Judgment, Learning, and Versification. Genius Judgment Learning Versification Chaucer (1340-1400) 16 12 10 14 Spenser (1552-1599) 18 12 14 18 Drayton (1563-1631) 10 II 16 13 Shakespeare (1564-1616) 19 14 14 19 Johnson (B?) (1573-1637) 16 18 17 8 Cowley (1618-1667) 17 17 IS 17 Waller (1618-1687) 12 12 10 i6 Fairfax ( 1635) 12 12 14 13 Otway (1653-1685) 17 10 10 17 Milton (1608- I 674) 18 16 17 18 Lee (1653-1692) 16 10 10 15 Dryden (1631-1700) 18 16 17 18 Congreve (1673-1729) 15 16 14 14 Vanbrugh (1664-1726) 14 IS 14 10 Steele (1672-1729) 10 IS 13 10 Addison (1672-1719) 16 18 17 17 Prior (1688-1721) 16 16 15 17 Swift (1667-1745) 18 16 16 16 196 THE MILTOX TRADITION [288 trutli aud liberality.^"" But the Miscellaneous Thoughts on English Poets, which formed the Sequel to the iiiimerical part, was not so favor- able. The Sequel is coucemed almost entirely with the comparison of Milton as a poet (on the basis of Paradise Lost) with Shakespeare. The criticism of Lliltou was delivered in the same severe spirit of political animosity as that which characterized the later Life of Milton by Dr. Johnson."* Naturally enough, therefore, this Scale was afterwards at- tributed to that eminent biographer, as a part of liis "deliberate malice.'''"" An attempt to advance liberalism at tlie expense of pseudo-classical views, applauded by contemporary criticism, was made in the very pop- ular Dialogues of the Dead (1760), by Geo. Lord Lyttelton (1709-1773), whose S3'mpathies with Milton were strong and various. In Dialogue Genius Judgment Learning Versification Pope (1688-1744) 18 18 IS 19 Thomson (1700-1748) 16 16 14 17 Gay (1683- 1732) 14 16 14 16 Butler (1612-1680) i; 16 14 16 Beau-Fletch 14 16 16 12 Hill (1684-1750) 16 12 u I" Rowe (1673-1718) 14 16 IS 16 Farquhar (1678-1707) IS 16 10 10 Garth (1660-1718) 16 16 12 16 Southern (1660-1741) IS IS II 14 Hughes (1677-1720) IS 16 13 16 '"^"Versification is not only that harmony of numbers which renders a com- position, whether in rhyme or blank verse, agreeable to the ear, but a just connec- tion between the expression and the sentiment, resulting entirely from the energy of the latter, and so Iiappily adapted that they seem created for that very purpose, and not to be altered but for the worse." '""H this is the work of Goldsmith, his spirit must have undergone a rapid change in respect to Milton. In the Memoirs of M. dc Voltaire (1759), Goldsmith seems to cite with approval Voltaire's exaltation of Milton Furthermore, he holds that the Henriade "sinks infinitely below Milton, yet it will be sufficient to give its author immortality." (Works, ed. Gibbs, 4:31-35.) In The Citizen of the World ("1762). Letter XL, Goldsmith praised blank verse very highly. Perhaps the real conviction of the author was indicated in Letter XIII of the Citizen of the World. Therein he found, in Poet's Corner in Westminster .Xbbey, Shakespeare, Milton, Prior, and Drayton. Drayton was "never heard of before." The other three were allowed their places unquestioned. The discourse was concerned with Pope's ab- sence. The author attributed this to a want of appreciation of his excellency, annt this structural basis is broadened, by recognition of poetic facts, until the two lines of criticism begin to meet in such critics as Kames and Webb (1762). It was this constant coming together of the two views that gave special significance to blaidv ver.se as the poetical vehicle of Romanticism. To these formalists in the beginning of this period, belonged the work of "slashing. Bcntley," who murdered Milton in the person of a fabulous Er''Cr. Rev., July. 1757, 4:67. '■■^Mo. Rev., Sept., 1757, 17:239-243. 297] CONTROVERSIES AND EXPLANATIONS, 1730-1765 205 Translation of the Iliad. Speaking of that performance, Young said: "Had Milton never wrote, Pope would have been less to blame ; but when in Milton's genius, Homer, as it were, personally rose to forbid Britons doing him that ignoble wrong, it is less pardonable, by that effeminate decoration, to put Achilles in petticoats a second time. How much nobler had it been, if his numbers had rolled on in full flow, thro' the various modulations of masculine melody, into those grandeurs of solemn sound which are indispensably demanded by the native dignity of heroic song ! How much nobler if he had resisted the tempta- tions of that Gothic demon which modern poesy, tasting, became mortal ! Harmony, as well as eloquence, is essential to poesy ; and a murder of his music is putting half Homer to death. 'Blank' is a term of diminution; what we mean by 'blank verse' is verse, un fallen, uncursed ; verse reclaimed, reinthroned in the true language of Gods ; who never thundered, nor suffered their Homer to thunder, in rhyme." Again, speaking of Dryden, he says, "The demonstration of his no- taste for the buskin are his tragedies fringed with rhyme ; which in epic poetry is a sore disease, in the tragic absolute death. To Dryden's enormity. Pope's was a slight offence . . . "Must rhyme.' then you say, 'be banished?' I wish the nature of our language could bear its entire expulsion ; but our lesser poetry stands in need of a toleration for it ; it raises that, but sinks the great ; as Spangles adorn children, but expose men."'^° The immediate effects of this bold stand on the part of the most popular living poet were evident in the spirit of quiescence on the one hand, and of confidence on the other, that henceforth prevailed. In May of that year (1758) a Reviewer of Armstrong's Sketches held that transpositions were in harmony with the English language, and "that all our best English poems may be reduced to some standard of antient measure, especially the poem Peiradise Lost}'" In December a liigh claim was made for blank verse excellence in didactic poetry, when another critic was "surprised" that Dr. William Kenrick (1725-1779), in his Epistles, Philosophical and Moral, written in octosyllabics, "should have confined himself to the fetters of rhyme, an attention to which must of necessity cramp expression, and sometimes render the author's meaning obscure and ambiguous. "'^''' Gray showed an interest in this question of verse freedom, not unfavorable to advancement — "Gray disliked Akenside, and in general all poetry in blank verse, except Paradise Lost." But Gray was im- pressed with the spirit of liberal versification in Milton's earlier rhymed verse, and felt that England owed her deliverance from the modern ^^^Conjectures, 565, 574. Quoted by Phelps, Beginnings of Romanticism, 43-44. i^'Launcelot Temple (John Armstrong, 1709-1779), Sketches, or Essays on Various Subjects. London, iy_HS. Cr. Rev., May, 1758, 5:380-386. i"Cr. Rev.. Dec, 1758, 6:439-453. 206 THE MILTON TRADITION [298 fetters, to the iufluence of Speuser aud I\Iilton"s Paradise Lost?^^ Gold- smith, who was never consistent in an.vthinfr. deplored the modern vogue of blank verse (1759), left rhyme out of his definition of poetry (1760), decried all modern verse (1770), and himself wrote in endless couplets."' Samuel Bishop (1731-1795), in his Epigrams (ecviii), rather pithily questioned, If rhyme, or blank verse, in our day. Serves Poetry's purpose worst! The Monthly Review defended "The dignity of blank verse," and declared the mode potentially popular. "The easy harmony of lyric poetry," it was claimed, "is not more readily caught by the unbraced ear of age, than the swelling grandeur of Miltonic numbers."'*" The historical appeal was pronounced in the antiquarian mind of Bishop Percy (1729-1811), who, while editing the Forms of Surrcii (1763), gave specimens of all blank verse before Milton. The influence of such claims and such ajipeal at .just this point cannot be overestimated. Gradually the spirit of the times had risen to the consummate statement of Dr. Young. Tlie venerable Doctor had used Milton's excellence as a means of exi)osing Pope's weakness in dealing with the Ancients, had bi'anded the French iiniovations of the Restoration even in the hands of Dryden as monstrous, and had as- signed rhyme to the sphere of small poetry. Here it was claimed that blank verse was essentially the possession of the people ; and Percy showed in his collected specimens that it was a part of their national tradition, which was felt to bring them nearest to the glory of the Ancients. As all that was essentially English must have thrilled secretly upon the appearance of Paradise Lost in the old form of native excel- lence, so all here must have openly rejoiced at these advances as the ffFectual emancipation of the Nation from the foreign and barbarous bondage of rhyming. The force of Dr. Young's position appeared plainly in the Elements of Criticism. (1762), by Lord Karnes, already considered. It was even stronger in the Remarks on the Beauties of Portrij, by Daniel Webb (1719-1798), published in the same year, and in his Observations on the Correspondence between Poetry and Music (1769). lie was, like Kames, '•■"Gray, To Richard West (1742), ed. Gosse (18&4). H, 108; The Works (1884), II, 164, quoted from Mitford's Ed. (1816) ; Obs. on Eng. Metre (1760-1). Works, I, 332-333, 335- ^^^Preseiit State of Polite Learning (1759). Chapter x. Murray cd., II, 52. Citizen of the World (1760), Letter 40. Dedication to The Traveller (1765). Murray, I, 1-4, The Life of Parnell, III, 126-145. Note 112 above. '^'Criticism of l\'esi3. 33: No. 76; 1827, 27:1-6. Cf. Mo. Rev., May, 1789. 80:410-414. *The IVorks of Saviud Johnson. LL.D. (1787). Mo. Rev., July, 1787, 77:67-68. ''This was a Greek-Latin edition, Oxford {1788), London (1789). It received an extensive review, concerned mainly with the fidelity and adequacy of the Trans- lation. Mo. Rev., 81:1-19, 97-111, 241-256. K'ritical, Poetical and Dramatic Works, 2 vols. Elmsby. 1798. Vol. II. Mo. Rev., May, 1798, 107(26) :68-7i ; Cr. Rev., Dec. 1798, n. s. 24:475-76. 'F. Saycr,s, Dramatic Sketches of the Ancient Northern Mythology, .fto., I>p. 122. Johnson, London, 1790. Evidently connected with the Romantic revival, but they were declared to be a sort of closet dramas, after the ni:inncr of Milton's Samson, &c., with "several attempts at innovation." 'Thos. Green, Extracts from the Diary of a I.over of Literature. Under March 8th, 1799. He liked Comus better, but preferred "the Gothic Architecture of Shake- speare." Lycidas, for want of Rcnuine sorrow. Green regarded "essentially defect- ive as a Monody." •Mo. Rev., Feb., 1766, 34:166. ^"Thr Hearties of English Poesy. (1767, 1776.) Cr. Rev., June, 1767, 23:408- 411. ll'orks (Murray, 1H54). III. 436. 303] THE ROMANTIC APPLICATION OF MILTON, 1765-1801 211 Perhaps few circumstances combiue more lines of Miltonic and Romantic interests. Jones was a student of Milton's Prose. "He pur- sued in tlieory, and even executed in practice, the plan of education projected by Milton ; and boasted, that witli the fortune of a peasant, he could give himself the education of a prince."^' At the age of twenty-three he had all the enthusiasm of an ardent Romanticist, with the instinct of the pilgrim, the love of the country, and a veneration for the relics of the past. He found his holiday diversion with Milton's Minor Poems. He had on this occasion visited the sacred literary shrine, consecrated by the early residence and labors of Milton. There Jones amused himself with the several points of local contact with the L' Allegro and II Pensoroso. There he lingered fondly about the ruins of the old mansion where Milton had lived. Solemn thoughts of the great poet and of his vast meaning to the English world came into this young devotee's mind. "The hawthorn in the dale," and the nightin- gale groves "most musical, most melancholy," vanished alike from his thoughts, while the serious Milton took full possession of his mind. The young enthusiast resolved to "repair this venerable mansion, and to make a festival for a circle of friends, in honor of Milton, the most perfect scholar, as well as the sublimest poet, that our country ever produced."'- How inevitable the transition! How patriotic and grate- ful the spirit! How Romantic the sentiment! That was indeed the way in which many were beginning to think of Milton. These Companion Poems were used as familiar illustrative ma- terials,'^ and were regarded, along with Paradise Lost, as an essential i^Campbell, Specimens Brit. Poets. 1819. 7 :205. ^-To Lady Spencer, Sept. 7, 1769. C. D. Cleveland, A Coiitp. of Eng. Lit., i86g. 698-700. '^At least three writers cited these poems to illustrate "the imitative power of articulate sounds": Jas. Beattie (Essay on Truth), (ed. 1777, II, p. 308); Geo. Campbell (Philosophy of Rhetoric, 1776. Cr. Rev., 42:184) ; Thos. Twining (Disser. on Poetical Imitation, with Aristotle's Treatise on Poetry, 1789. Cr. Rev., 68: 358-366). The last quoted Comus also, and Beattie quoted the Comp. Poems nine times for various purposes in his Essay on Truth (1770). "Ten well adapted lines from // Penseroso of Milton" were in the first room of the "Hermitage" at Hagley Park. (Joseph Heeley, Letters on the Beauties of Hagley, Envil, and the Lea- sowes, Cr. Rev., July, 1777, 44:37.) Richardson wrote a paper {Mirror, No. 24, April 17, 1779, Brit. Es., 1823, 28: No. 24), To Show the "Advantages which the Artist in the fine Arts has over Nature in the Assemblage and Arrangement of Objects ; exemplified in Milton's Allegro and Penseroso." The artist can control the selection of e.xternal sensuous objects that will harmonize with the internal feelings. This is well done by Milton. Beattie had noticed this excellence in his Essay on Truth (1770). 212 THE MILTON THADITION [304 element in popular education.'^ The scholar's interest in tlie Jlinor Poems became prominent in 1772, and continued throughout the cen- tury. Comus was re-adapted that year, by George Coleman, into a sort of interlude that was fairly pojuilar. But the main stimulus to the discussion of Milton's minor j)0('try was the publication, by the Rev. William Thompson, of Thi Works of Wm. Browiir, (ir)91-1643). Browaie's Shepherd's Pipe (1614. 1620) was composed of seven Eclogues. The fourth of these, a lament of the author for liis deceased friend, Thomas jManwood, was supposed to liave given Milton a sugges- tion for his Ljicidas. Browne also wrote The Inner Tonple ilasque, which was acted Jan. 13, 1615, but never printed until this edition in 1772. Thompson commended it for its "Strong and lively fancy" and suggested that "Milton, in all probability, borrowed the idea of Comus from this excellent })oem." Tlie ■"ijrobability " was generally allowed; and Thomas Warton's interest in the suggestion led finally, through various stages of his History,'" and Editions of Milton, to his Aeeovnt of the Origin of Comus, separately printed in 1799. At the risk of slightly repeating from ("hai)ter 1\'. the criticism of Johnson's Life of Milton (1779) nmst be noticed here, for it was the touchstone of almost all that followed in the century. The Doctor's view of Somson Agonistes has already appeared in this chapter. It was adverse to Milton. So was Jolinson"s estimate of the smaller pieces and the Latin verses of Milton. Jolinson did allow a grudging praise to the Companion Poems, and an ample measure of applause to Paradise Lost. But he poured forth his utmost bitterness against Comus and Lycidas. Comus was pronounced the greatest of the Juvenile performances. Milton was applauded for his "power of description and his vigour of sentiment, employed in the praise and defence of virtue. A work more truly poetical is rarely found. '^Thc Poetical Miscellany, printed by Becket (1762), for use in schools, began with selections from Milton, and drew, for the most part, from poets that were Romantically inclined. The editor presumed that "any sensible and unprejudiced parent will be better pleased to hear his son repeat 50 lines of Milton, &c., than SCO lines of Ovid or Virgil." This work was commended (Mo. Rev., Nov., 1762, 27:390). Poems for Young Ladies (1767) formally recommended extracts from P. L. for girls ; and Cowper thought the Conip. Poems and the Epic a good thing for boys. (To iriii. ihm'in, Jan, 17, 1782,) The Ret'iczi's regarded any neglect of Milton as little less than stupid, Cf, Mrs, Madan's Progress of Poetry (Cr. Rev., Mar., 1783, 55:231), and Jas. Ihiriiis's Tears of Affection (1794). (Mo. Rev., 96(15) :3I4- '•■•Another attempt was made in 1786 to find the source of Lycidas in Huchnn- an's Desidrriiim Lulctiac. "T. II, VV,". Gent. Mag., Sept,, 1786, 56(2):mo-ii. '"Warton also went at some length into the similarities of Browne's Mas(|iio and Comus, in his Hisl. of Eng. Poetry (1775), Ila/litt ed.. Ill, .^i. Cf, also ihc Cr. Rev., Feb., 1772, 33:118, for Thompson's view. 305] THE ROMANTIC APPLICATION OP MILTON, 1765-1801 213 As a series of lines it is worthy of all the admiration with which the votaries of Milton have received it." "As a drama, it is deficient. The action is not proba- ble." The discourse of the Spirit was thought too long. The Prologue in the woods was condemned,!' The soliloquies of Comus and the Lady were considered elegant, but tedious. The whole "wants animation, and that quality which allures attention." It is "a drama in the epick style, inelegantly splendid, and tediously in- structive." (Ed. G. B. Hill, I, 167-169. ■) Lycidas, however, had no preamble of praise to ameliorate the strokes of cen- sure. "The diction is harsh, the rhyme uncertain, and the numbers unpleasing. What beauty there is we must therefore seek in the sentiments and the images. It is not to be considered as the effusion of real passion; for passion runs not after remote allusions and obscure opinions." "In this poem there is no nature, for there is no truth ; there is no art, for there is nothing new." The mixing of "sacred truths" was regarded as little short of sacrilege. (Ed. Hill, I, 163.) These strictures, together with the sinister reflection upon Milton's religion, and the abuse of that poet for his political views, were as fire touched to the Romantic magazines. The explosion was immediate, and measured the strength of Milton's hold upon English life in connection with the new movement. The nation that had, in the beginning of the Eighteenth Century, debated Milton's Epic, doubted his religion, hated his prose, and ignored his Minor Poems, rose in reply to this last great voice of the old prejitdice, and defended everything that was Miltonic. These friends of Milton and Romanticism defended Milton's char- acter as a student, and found his religion, which needed no defence, reflected in the Romantic excellence of that simple, soulful devotion of the first Parents in Eden. Loyally they exalted Milton's Latin Verses above those of Cowley, and even pronounced them classic. With Ro- mantic zeal and patriotic enthusiasm they championed the political principles of Milton, and espoused the cause of certain Minor Poems against the particular strictures of the Doctor's pen. But comparatively few cared to bring the exalted Paradise Lost down to the low plane of this controversy. Prom the standpoint of that divine performance, this "most industrious cruelty" of Johnson was an outrage, if not sacrilege itself.'* Walpole spoke of this Life of Milton witli scorn ; and Archdeacon Blackburne treated the doctor with no small measure of abuse. J. Boerhadem declared it "painful to liberal mind to see such a man, and such a writer as Dr. Johnston, stooping to throw the dirt of party." He charged the work witli "several ill-natured misrepresentations."" ""Landor felt that Johnson's criticism of the Prologue was unanswerable, and that the general criticism was sane. (Imaginary Conversations, iv, 284.) "*Wm. Cowper, To Wni. Umvin, Oct. 31, 1779. Hayley's Life of Cou'per, i8i2. I. 215. ''^Gent. Mag.. Oct.. 1779, 49:492-493. 214 THE MILTON TRADITION [306 The Rev. Thomas Twiuiug cousidered that "Johusoiis mind is fettered with prejudice, civil, poetical, political, religious, aiid even superstitious. As a reasoner he is nothing. He has not the least tincture of the esprit philosophique upon any subject."' He censured the Doctor severely for failing to recognize a "promise of Milton's genius in his Juvenile Poems," and for not feeling the beauties of Gray.-" Philip Neve, whose opinion of ililtou was in keeping with the enthusiastic spirit of the age, afifirmed "that prejudice, envy, nay malignity, liave, throughout this work, even extinguislied the candour of its author; in all cases deter- mined his will against his subject, and in some misled liis judgment."^* Gradually the Doctor's feeling of revolt against the spirit of his later times had come to this point of final explosion. Gradually, too, the narrowing focus of his Tory jjivjudiccs was felt to center upon Milton as the productive iiiHuencf of the liberal party. Already, seven- teen years before this attack, the Monthly Revieiv had sounded a warn- ing that an insult to the Memory of the "glorious" poet of Paradise Lost was "an offence which no party attachment can palliate."-- John- son, who knew the fountain heads of tlie liberal movement, tlirew himself across its main Jliltonie stream, only to find himself for a time in the swirling floods of wrath and indignation. Even his venerable age did not shield him. Nor did his death (1784) check the voices that rose to defend Milton. The opposite was rather true. When tlic old Doctor had passed away, the Great Reviews and the periodicals seemed to feel a new license to cull and comment to suit the spirit of the age. Few writers seem to have thought of Milton without some feeling of resentment against Dr. Johnson. The current Ri views felt that Mil- ton was outraged.-' Dunbar felt that Jlilton "lisped in numbers," and beheld in Comus "the dawn of an immortal day."-'^ James Burnet, who felt Johnson incapable of judging Milton, thought the subject of Comus even better chosen than that of Paradise Lost, and Milton alone eompar- ^oTwining bought the Lives Dec. 8, 1781. ( 7'o flis lirolUcr, May ,^. 1784.) A Country Clergyman of the iSllt. Century, pp. \1g-\20. -'Cursory Remarks (1789), pp. 134-35. ^'eve thought that tliis Life wnulil bo the last "for many years." and tlius warned against a prol)ablc misconception of Milton from the work. But several Lives of Milton were written within a few years. Chap, iv, above. ^'-Stated in an adverse criticism on the Toryism of John Pliillips, which led him to "call the despicable James I 'the favorite of Heaven,' and Charles his son, 'the best of Kings' " — a fact which his biographer had overlooked, in his edition of Philip's Poems u-ilh a Life (1762). Mo. Rev., Sept., 1762. 27:227. 2»Mo. Rev., I77g. 61:81-92, 186-191. Cr. Rev., 1779, 47 :354-3<''2, 450-453- 2