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UNIVERSITY OF ILLINOIS STUDIES IN LANGUAGE AND LITERATURE BOARD OF EDITORS GEORGE T. FLOM WILLIAM A. OLDFATHER STUART P. SHERMAN Published by the University of Illinois Under the Auspices of the Graduate School Urbana, Illinois MonotrrapVi Copyright, 1915 Bv THE University of Illinois ©CI.A414934 DEC -8 1915 STUDIES IN THE MILTON TRADITION JOHN WALTER GOOD ^f?3S «\ &^ 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 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 15 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 3 The Nature and Purpose of the present Studies 22 CHAPTER II Publication of Milton's Works 24 1 Paradise Lost 25 2 Paradise Regained 31 3 SaiiisoH Agonistes . 34 4 Comus - 3S 5 Lycidas 37 6 L'Allegro and // Penseroso (Companion Poems) 38 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 Si CHAPTER IV Biographical Treatment of Milton 112 1 Allusions before Paradise Lost (1667) 112 2 John Aubrey's Notes -. 113 3 Earliest Life (Dr. Paget?) 113 4 William Winstanley (1687) 114 5 Anthony A. Wood (1691-2?) 115 6 Gerard Langbaine (1691) iiS 7 .Addison (1694). Yalden (1698), Blount (1694) 116 8 Edward Phillips (1694) .,. 116 9 John Toland ( 1698) .*. I16 10 Gilbert Burnet, History of My Own Times (1700?) 118 11 A Complete History of Europe (1705) 118 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 S 17 Jonathan Richardson (1734) 123 18 Rev. Thomas Birch, D.D. {1738) 124 19 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, //u/oncj (17S3-1766) 132 25 Mrs. Cath. Macaulay Graham, History of England (1763) 133 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) I37 31 Rev. Henry J. Todd, D.D. (1801) 137 32 John Aiken (1798-99) 138 Z2 Concluding Summary 138 CHAPTER V Criticism to 1730. Rank Established 140 1 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 Advantageous political changes 14S 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 Charles Gildon 150 5 Neo-Classica! attitude 150 1 Richard Steele . 151 2 Joseph Addison 152 3 Voltaire ISS 4 Pomfret, Hughes, B}sshe, Budgell, Gav, &c 157 5 General recognition of Milton's superior geniu', 158 6 Paradise Lost considered a Dtvine Poem 159 4 Defense of Blank \ er';e _ 160 1 Milton versus Dr\dcn 160 2 Thomas Rhymer and extreme opposition 162 3 Inferior rank allowed Deluge of couplets 162 4 Blank verse exalted Thought vs Form Rh\me condemned 163 I. Gildon, Watts, Benson, Roscommon 164 2 Phillips, Lansdowne \tterbury 164 4 Concluding Summary 166 CHAPTER VI Controversies and Explanations 1730 1765 1 Minor Poems made familiar 2 Prose Works made popular 3 The Epics defended and explained 1 Critical editions 1 Hume (169s) 2 Tonson-Addison (1719) 3 Fenton (1725) 4 Bentiey (Controversy) (1732) 5 Hawkey (1747) 2 Critics and Commentators 1 Clarke (1731) i/Q « 2 Swift (1732) 179 g 3 Jortin (1734) 179 10 4 Richardson (1734). 179 11 5 Shenstone (l73S) 180 12 6 Pemberton (1738) 180 13 7 Benson (1713, 39) 180 3 Critical editions continued 1 Newton (1749) 182 4 2 Callander (1750) 182 5 3 Marchant (1751) 182 4 Critics of Paradise Regained 1 Phillips (1694) 182 4 2 Meadowcourt (1732) 183 5 3 Jortin (1734) 183 6 5 Popular re-action 6 Religious Controversy (Appendix E) 7 Lauder Controversy 8 Later Criticism 1 Goldsmith (1757) 2 Hughes (1750) 3 Johnson (1751) 4 Hurd (1751) 5 J. Warton (i7t3) 6 Cooper (1755) 7 D. Swift (175s) g Familiar Use in Illustrations 1 Johnson (i7SS) i< 2 Burke (1756) ic 3 J. Moor (1760) i( 4 Karnes (1762) i( 10 Blank Verse Controversy 1 Poetical criteria Content \: 1 "Old Man' (1737) 2 Pemberton (1738) 3 J. Mason (1749) 7 •IT" (1739) Smith (1739) Peck (1740) Paterson (1744) Green (1745) Stillingfleet (174—). 167 167-173 - 173-175 I7S 176-179 29, 148, 176 176 177 176 179, 185 - 179 179-182 Donaldson (1762) Wood (1765) 182 182-183 Warburton (1738) 183 Anonymous (1741) 183 Newton (1752) 183 T. Warton (l754) J. Warton (1756) Poetical Scale (17S8) Lyttelton (1760) W. Massey (1761) W. Dodd J. Scott D. Webb (1762) Watkinson (1761') H. Blair Leland (1764) 184-192 .192-197 194 194 195 196 197 197 197 197-199 198 199 199 199 Form.. 200-202 200 4 Johnson (1755) 201 5 Kames and Webb 201 2 Poetical liberties of blank verse vs. rhymes 202-208 1 Blank verse poetry cited 203 2 Critical authority cited : 1 A. Hill (1754) 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 Kames and Webb 206 CHAPTER VH Romantic Application of Milton 209 : I Interests in Minor Poems — mainly scholarly 209 1 Samson Agonistes - 209 2 L'Allegro and II Penseroso _ 211 3 Lycidas and Coinus. Dr. Johnson 212 4 Re-action against Johnson. Warton, Scott, &c 213 2 Influence of Milton's larger message upon Romanticism 217 1 Social interests. Correspondence 218 I 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, Ruffhead, Darwin, Johnson 232 4 Re-action of liberals — Mason, Knox, Kellett, Cowper 233 5 Triumphant study of blank verse. Summary 234 5 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 Gothicism 237 3 Medieval Romances 237 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 IMilton's power. Vision of Moral Order 241 . 1 Dream of ideal liberty 241 "^ 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 j 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 18th 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 PREFACE In such a study as this now offered to the public two things are obviously important. The student must see clearly what Milton was to the English people of the Eighteenth Century ; and then the student must portray faithfully what he has seen. In both of these lines of effort the author has been at least conscientious and sincere. He has made a constant effort to view even the undercurrents of national feeling for Milton through the medium of contemporary literature. In presenting his observations, he has striven to reflect the note of Miltonic exaltation which persists throughout the period. The author's obligations in connection with this work are too numerous for individual mention in a brief preface. Special expression of gratitude, however, must be made to Professor S. P. Sherman for suggesting this investigation and guiding it to its completion; and to Professor R. M. Alden for much assistance and encouragement. Sincere thanks are also due other members of the English Faculty and the Librarians of the University of Illinois for suggestions and assistance in the finding and handling of materials. Acknowledgements are also due to W. A. Oldfather for advice concerning the manuscript, for reading the proof sheets, and for seeing the work through the press. J. W. Good. Manhattan, Kansas October 14, 1914 CHAPTER I Introductory Survey op the Field The questiou 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 years ago, Great Britain was barren of critical learning, tho' 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 tlie 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 publislied more than thirty years."^ In 1721 Dennis declared that '•Paradise Lost had been printed forty years 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. 2Sir Richard Blackmore ( d. 1729). Essays, 1716. Quoted by C. W. Moulton, Lib. Lit. Criticism. IL p. 258. ^Letters, 1721. I. 70-80. *John Dennis (1657-1734). Letters, 1721. L 174. 12 THE MILTON TRADITION [104 intended to be more than 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 qualification in the mind of their earliest readers. Just ten years later (1731), the same opinion is set forth by Aaron Hill, who speaks ironically of the judicious 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 Human 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 the 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 (1757), that "Milton was forced to wait till the world had done admiring Quarles."^ In the ''Epistle Dedicator ij." 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 himself immortal by a noble patronage of the great Milton. This thought runs through the lines of Moses Mendes, in his Epistle to Mr. 8. 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 all times ever were alike.' This sense of an early neglect, which caused Milton to be regarded ''A. W. Verity. Milton's Saiiiion Agonistes. Introduction. Ix-lxi. 'Aaron Hill (1684-1750). Advice To The Poets. A Poem. 1731. x. 'Quoted in the Gent. Mag. Jan., 1746. 16:9. «H. Walpole (1717-1797). To George Montagu. Aug. 25, 1757. Ed. Toynbe. iv. 88. Cf. To the Rev. Wni. Cole. Dec. 10, 1775- ix. 293. "Moses Mendes (d. 1758). A. Col. Of the Most Esteemed Pieces of Poetry. See Cr. Rev. Nov., 1767. 24:357-361. 105] INTRODUCTORY SURVEY OP THE FIELD 13 as both the shame and the pride of the nation, ran through the entire Eighteenth Century.^" More and more firmly the nation came to fix upon the highly prized Critique by Addison as the turning point of Milton's fame from evil days and evil tongues to national honor and immeas- urable glory. The full force of this national opinion, mistaken though it was, will appear in a later connection, where the whole matter of Addison's criticism will be brought into formal review.'^ It is enough, for the present, to observe that this mistaken view prevailed, and that it still persists. Mr. Perry (1883) doubts that Milton could ever be a popular poet; and yet he affirms that, because courtly literature was so far removed from the common people, the populace read the Bible, and Bunyan, and Paradise Lost. But in general Mr. Perry regards Milton as "the lonely singer of a fallen cause," and speaks of "the indifference with which that great poet was treated by his contemporaries."" Professor Beljame, in his treatment of Addison (1897), says: "On a deja vu comment Shakespeare avait ete ou mis de cote, ou, pis encore, irrespectueusement defigure ; ses contemporains et ses predecesseurs les plus illus- tres n'avaient pas ete mieux traites. Enfin le seul poete nouveau qui meritat d'etre cite a cote d'eux, I'auteur du Paradis perdu, 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 Mihon, 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 tliat Milton was little known and recognized before the work of Addison." Professor Courthope (1909) affirms that Addison's "Papers on Milton achieved tlie triumph of making a practically unknown 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 '"Poetic Tribute No. 179. Chapter III below. 1' Pages 152-155 and Appendix D. i-T. S. Perry, Eng. Lit. in the iSth Cent., pp. 34, 40, 162. '^Alex. Beljame. Addison: Le Public et Les Hommes de Lettres, pp. 3IS-3I7- "Weiner Beitriige, Englischen Philogogie, vol. xxviii (1908). p. 118. '^W. J. Courthope, Addison: Eng. Men of Letters Srs., v., p. 181. 14 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 troublous times; and it seems that no opportunity was missed of empha- sizing the bearing of each new publication upon the 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 pages of this discussion. The nation became sensitively critical of Restoration mor- ality and politics. Thus the Monthly Review pronounced Buckingham's Character of Charles II (1750) good and adequate, but extreme, if at all, on the charitable side.^" The nation could never be reconciled to the trifle which Milton received for Paradise Lost; yet it was agreed that the price paid "was more than the purchaser had any reasonable prospect of being speedily reimbursed" in such an age.^' Perhaps this national feeling is connected not remotely with the demand for Butler's Satires, in Thyer's edition of The Genuine Remains in 1759.^* But during the latter half of the Eighteenth Century mere feeling gave place to sober investigation and scholarlj^ judgment. Students of the problem began to grapple with the real questions of historical causes and effects. On a large scale this appears in the histories of the Seven- teenth Century, of which this period produced a considerable number. But in a more limited manner such studies appeared in the periodical literature and essays of the time. In this less pretentious manner, Mrs. Barbauld attempted to explain the unpopularity of Milton on a historical basis of political views and literary taste.'" Most critics, knowing the moral austerity of Milton, tended to explain his unpopularity on purely moral grounds. One ascribes the immoral condition of the Restoration to a deep natural tendency of the human mind to re-act from any overstrained condition.-" This period presented, in so far as court influence was dominant, a solid immoral front to Puritanism, and to all that Milton held dear. Another finds that "Milton himself was under apprehension that his poem was 18M0. Rev., May, 1750, 3:38-47- ^''IVks. of Jas. Thomson, Mo. Rev., April, 1762, 26:298-305. "Sam'l Butler (1612-1680), The Geiniiiic Remains in Verse and Prose. In 2 vols. By R. Thyer. London, 1759. i^Mrs. Anna L. Barbauld (1743-1825). Works. Boston, i8-'6, v. s, Critical Es- says on the Taller, Spectator, &c., pp. 95-96. The same argument of low taste appears in Milton After 300 Years (II). By "P. E. M." The Nation, 87 :542-S4S- soR. Smith, Microcosm, No. 13, Feb. 19. 1787. Brit. Essayists, ed. 1827, 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 vrits 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. "-=* Thus would Hayley lay the very sin of Milton for which the age hated him at the very door of that 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 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 Century. 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 known 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 "knowTi and esteemed .... before there was such a man as Lord Sommers." This author, however, accorded high praise to the ^'Mr. 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. .xxviii, pp. 316-323. "Wm. Hayley (1745-1820), The Ptl. IVks. of J. Milton. Quoted in the Mo. Rev., Feb., 1795, 97 (16) :i2i-i25. "Jos. Warton (1722-1800), The Wks. of A. Pope, 9 vols. Lxsndon, 1797. Vol. I, p. 265. ^^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 Addison in this connection.^" In his Life of Hilton (1738), Thomas Birch argued that this magnificent edition of Paradise Lost in 1688 was not a cause but a proof of popularity, and cited among other evidences the famous subscription list in support of his contention." Birch was, as it seems, the first biographer to do real research work in connection with a Life of Milton. Prom 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 ililton's early popularity was in the Life of Milton by Dr. Samuel Johnson (1779). He 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 the publisher's contract with Milton that 3,000 copies were sold during the first eleven years.^' The contribution to this study by Thomas Warton (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 popularity of the Major and the Minor Poems of Milton. Succeeding Lives of Milton touch upon this problem ;-^ but the next substantial contribution was in the thorough scholarship manifested in The Life of Milton, prepared by H. 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 his 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 exhaustive than the other parts of the work, to "The Posthumous Reputation of Milton." This reputation rests, according to Masson, largely upon 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 then through the boundless praise of it by Dryden and Lord Bnckhurst."=» -°J. Richardson, Father and Son. Life of Milton. Ex/^laiiatory Notes, &c. 1734- pp. cxvii-cxix. ='Rev. Thos. Birch (1705-1766). An Account of the Life and Writings of Mr. John Milton. Prose IVks. (1738). I. pp. xlvii, &c. This subscription list contains 500 names, among which are counted the best that England had in that generation. 28Saml. Johnson (1709-1784). Life of Milton. (G. B. Hill.) I. 141-44- ='See the Chapter on Biography of Milton. ^oDavid Masson (1822-1907). Life of Milton. VI. 775-840. 109] INTRODUCTORY SURVEY OP THE FIELD 17 Later biographers, as well as literary historiaus, have been content, as a rule, with the labors of Professor Masson. Mark Pattison's Milton (1879) is concerned more with condensation than expansion. Dr. Rich- ard Garnett's Life of Milton (1890) adds a valuable Bibliography, compiled from the British Muse^mi 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. "'^^ Pilon 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 Sliltonic 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. 33H. A. Beers, Hist. Eng. Rom. in the i8th Cent. p. 6911. s-Tierre Marie Augustin Filon, Histoire de la Litteratnre Anglaise. 4 ed. 1909. Hachette, Paris. 3=R. D. Havens, Seventeenth Century Notices of Milton, and Early Reputation 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. s^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 (11, 474), and The Camh. Hist. Eng. Lit. (Vn, 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 MILTON 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 his 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 Drj^deu, not an influence, but a reputation. These very words may be used to indicate what seems to be the prevailing ojiinion respecting the position of Milton's Epics during the Eighteenth Century. It is usually held that the Paractise 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 the lines of the Romantic movement. And from this 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 Phelps and Professor Beers, who liave 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 which he 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 Eigliteenth 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 unconsciously, found themselves defending blank verse, while the classicists attacked it vigorously." But he develops Milton'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 men of the eighteenth century, however, his message was Romantic. He was shunned and practically neglected by the Augustans, whose Classicism was so "Thos. Campbell (1777-1844). Essay on Eng. Poetry. Specimens, 1819. I. 238. Ill] INTRODUCTORY SURVEY OF THE FIELD 19 thoroughly Horatian ; and those 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 thought that Milton affected the Romantic Movement ; and although Paradise Lost was always rever- entially considered his greatest work, it was not at this time nearly so effective as his minor poetry; and in the latter it was // Penseroso — the love of meditative comfortable melancholy — that penetrated most deeply into the Romantic soul." (p. 87.) Shortly after the 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 undramatic 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 summary reviews those blank verse poems that do not especially fall in with his theory, (of. p. 124), and to dwell only upon those that seem imbued with the spirit of Milton's earlier poetry. •■'^Vol. v., Chapter xii, and p. 363. 39/n The Republic of Letters. Pp. 166-202. 20 THE MILTON TRADITION [112 He has indeed traced this line of Miltonie 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.) More definitely, he says: "The poem of Milton which made the deepest impression upon the new school of poets was // Pcnscroso. This little master- piece, which sums up in imagery of 'Attic choice' the pleasures that Burton and Fletcher and many others 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, which 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 Miltonie 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 (i743)-" (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 remplacerent le theme moral par la theme sentimental, I'appareil de I'antiquite par I'appareil 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 imiterent Spenser et Milton ; ils virent le moyen-age surtout a travers la chevalerie de The Faerie Queene et ils reproduisirent a satiete les traits et les images 'melancoliques' de // Penseroso." (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. Gosse, in his History of Eighteenth Century Literature (p. 2), holds that, throughout the period 1660-1780, the "heroic couplet was the moral and habitual form in which poetry, except on the stage, moved *"La ReLOhition Francaise et Les Poetcs Anglaise (1906). Chapter V, Section iii, 262-265. 113] INTRODUCTORY SURVEY OP THE FIELD 21 in its serious moments ; ' ' and consequently he 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 the following variations of thought 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 influenec on thought, appearing at irregular intervals, but always associated with political liberalism or radicalism, from Birch and Benson and James Thomson to Mollis, 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' Allegro and // Penseroso."*^ In the same year (1908), Professor Saintsbury presented only the conventional features of the subject, in his 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 infiuence of the Minor Poems. ^^ Schipper almost ignores eighteenth "Procs. Brit. Acad. i^oy-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 (1748-179S), p. 283. 22 THE MILTON 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, // Pcnseroso 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 Gentleman's Magazine, while its personifi- cations, "spare Fast," "retired Leisure," the "cherub Contemplation,'' are undoubt- edly responsible for the endless train of allegorical figures that stalk through 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 appear that Professor Phelps and Professor Beers may congratulate themselves on their prestige 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 speak the whole truth? Do they even speak the real truth of Milton's influence 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, they have used mere facts conservatively. The empliasis upon those special features of Milton's influence might be made much stronger. There is little doubt that each writer did judiciously select, from an ex- tended accumulation of materials, that which was choicest 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 powerful in over- estimating the comparative influence of the Minor Poems over that of the Major. Such an influence upon a writer is inevitable, and often even unconsciously powerful, and most apt to be so when the principle of selection is directed by a more or less fixed definition. To avoid it under these circimistances would almost require one to be more than human. Certainly this comparative exaltation of the Minor Poems may be challenged, when one breaks away from definitions, and looks at the 4«Jakob Schipper, A Hist, of Eng. Versification. Oxford, 1910. He seems to recognize only Thomson among the eighteenth century writers of blank 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 op Milton's Works The most direct approach to the interest in Milton during the period under consideration is from the standpoint of the Printing Press and the Book-store. It is the business of these institutions to study the trend and possibilities of public taste, and to direct their 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 the reading public what it desires to read. This simple business principle furnishes 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 definite study, it shows the relative demands for the several difl'erent parts of Milton's Poetrj' and Prose Works. This chapter deals with 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, showing what was done with each piece of the Works. The several complete and jjar- tial editions have been carefully analyzed, and their parts treated sepa- rately. Yet the plan of representation is such as to keep the unity of these composite editions constantly before the eyes of tlie reader.* *This unity depends upon the first column of figures marked "A," which refers to the 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 the 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 used 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 MILTON S WORKS 25 Section 1 Publication of Paradise Lost A £>a/(7 Publisher Place Title, &c. 2 1667 P. Parker London P. L., 10 bks., 4to. 3 1668 Same, 2nd title-page. 4 1668 S. Sirmnons " Same, 4tb 5 1669 " " Same, Sth 6 1672? ? ? ? 10 II 1674 1678 S. Simmons London P. L., 12 bks., 8vo. Same. 14 1688 J. Tonson '■ P. L., fol. 15 1691 ? ? P. L. i6 1692 ? P. L., fol. 17 1695 J. Tonson Ptl. Wks., fol. 19 1698 Ptl. Remains (Gildon), 8to. 20 1705 " Ptl. Wks., 2v., 8vo. 21 1707 Ptl. Wks., 2v., 8vo. 22 1709 H. Hills With Philips's Cyder. 23 24 1711-3 1719 J. Tonson Ptl. Wks., 2v, i2mo. P. L., pp. 315. i2mo. 25 1-20 " Ptl. Wks., 2V., 4to. 26 1721 " Ptl. Wks., 2v., i2mo. 2/ 1724 ? Dublin P. L. 1725 J. Tonson London Ptl. Wks., 2v. (Fenton), 8vo.i 29 1727 " Ptl. Wks., 2v. " 8vo. 30 1727 ? ? P. L.. &c., 8vo. 31 1730 J. Tonson London Ptl. Wks.. 2V., 8vo. 32 1731 Ptl. Wks., 8vo. 33 1732 " " P. L. (Bentley), 4to. 34 1737 " " P. L., 8vo. 35 1738 " " P. L., 8vo. 36 1739 Stationers " P. L.. i2mo. 37 1741 J. & R. Tonson " Ptl. Wks., 2v., 8vo. 39 1743 '■ " Ptl. Wks., 2V., 8vo. 40 1745 T. Osborne " P. L., Prose (G. S. Green), 8vo. 41 1746-7 J. & R. Tonson London Ptl. Wks., 3v.. i2mo. 42 44 1747-2 1747 S. Powell Dublin Ptl. Wks,. 2v. (Hawkey) 8vo. P. L. revised (Hawkey), 8vo. 45 46 17 49 1750 Tonson-Draper London P. L., 2v. (Newton), 4to. P. L.. 2v. (Xewton), 8vo. 47 1750 R.&A.Foulis Glasgow P. L. f=ed. 1672, pp. 317), 8vo 48 1 750 " P. L., Bk. L pp. 167. 49 1751 J. & R. Tonson London Ptl. Wks., 2v., i2mo. 50 1751 R. Walker P. L.. 2v. (Marchant). l2mo. 11725. Elegancies Taken Out of Milton's Paradise Lost, in The Shc/rherd- ess's Golden Manuel. 8vo., selected by "Theagines." THE MILTON TRADITION [118 51 I 752 P. L. 2v., " i2mo. 52 7S2 S. Powell Dublin Ptl. Wks., 2v. (Hawkey), 8vo. 55 753 Tonson-Draper London Ptl. Wks., 2v., i2mo. 57 754 " P. L., 2v. (Newton), 4to. 58 754 Ganeau Paris P. L., 2v., i6mo. 59 755 T. Osborne (? ) " P. L., Prose (Green), 8vo. 62 757 J.&R.Tonson London P. L., 2v. (Newton), 8vo. 63 758 J. Baskerville Birmingham Ptl. Wks., 2v. (Newton-Text), Svo. 64 758 ■' Ptl. Wks., 2v. (N.-Text), 4to. 6S I 759 Ptl. Wks., 2v. (N.-Text), 4to. 66 I 760 Hitch & Hawes London Ptl. Wks., 2v., i2mo. 67 I 761 ? ? Ptl. Wks., 3v. (Newton), 4to. 68 761 ? Glasgow P. L. 69 ;6i T. Thompson London P. L., pp. 324, 8vo. 70 I 762 A. Donaldson Edinburgh Ptl. Wks., 2v., Svo. 71 763 J.&R.Tonson London Ptl. Wks., 4V. (Newton), 8vo. 72 763 J. Wood Edinburgh P. L., New ed., pp. xiii. 304, l2mo. 73 765 P. L., 2v., i2mo. 74 76s W. & W. Smith Dublin P. L., "17th ed.," i2mo. 7S 766 J. Tonson London Ptl. Wks., 4v. (Newton), Svo. 76 I 767 A. Donaldson Edinburgh Ptl. Wks., 2v., Svo. n 767 T.Osborne (? London P. L., Prose (Green), Svo. 78 ( 770) ? " P. L., Prose, Svo. 79 770 T.Osborne (?) P. L., Prose (Green), Svo. 80 770 J. Beecroft Ptl. Wks., 4v. (Newton), Svo. 81 770 " P. L., pp. Ixx. 319, i2mo. 82 770 R. & A. Foulis Glasgow P. L., pp. 466, fol. 83 771 ■' P. L., 2v., i2nio. 86 nZ J. Beecroft London Ptl. Wks., 4v. (Newton), Svo. 87 I 773 J. Exchaw Dublin Ptl. Wks., 4v. (Newton), Svo. 773 Edinburgh Brit. Poets, vol. 1-4. 89 773 A. Kincaid P. L. (altered), pp. 444, Sto. 91 775 ? ? Ptl. Wks.. 4v. (Newton), 4to. 92 775 R. Bladon London P. L. & P. R., 2v.. i2mo. 93 775 ? ? P. L. (Newton), i2nio. 94 775 Phila., Pa. P. L. (first Amer. ed.) 95 776 J. Bell Edin.-Lond. Pts. of Gr. Brit., vol. 35-38, i2mo 96 777 J. Coote London P. L. (Newton), pp. 332, i2mo. 98 778 W. Strahan P. L., pp. Ixxi, 319, i2mo. 99 778 " •' P. L.. 2v., Svo. 100 779 S. Johnson ■• Eng. Poets, vols. 3-5, Svo. 102 782 J. Bell Pts. of Gr. Brit., v. 35-38, l2mo. 103 785 T. Wilson Kilmarnock P. L.. pp. xvi, 304, i2mo. 106 7S8 j. F. & C. Riving- ton London P. L., Tllus. (Gillies). i2mo. 107 108 790 790 S. Johnson P. L.. 2v. (Newton). Svo. Eng. Poets, v. 10-12, Svo. 119] THE PUBLICATION OP JIILTOX ' 109 1790 For Booksellers Ptl. Wks., 2v., i2mo. no 1709 J. F.&C. Riving ton P. L., 2v. (Xevvton), i2mo. 112 I79I John Wesley, ed. . Extracts P. L., pp. 335, l2mo. 113 1793 R. Anderson Edinburgli Brit. Poets, v. 5, 8vo. 114 1792 J. Raekraan Bury St. Ed. P. L., Bk. I (Lofft), 4to. 115 1793 " Same, Bks. I-IL Ii6 1793 B. White & Son London P. L., lUiis. (Gillies), i2mo. If? 1793 Jos. Ritson, ed. •• P. L., Bk. I (Eng. Anthology), 8v IIP 1794-7 Boydell-Xichol Ptl. Wks. (Cowper-Hayley), fol. 120 1794 T.& H. Richter P. L., pp. 493, L. P., 4to. 121 1794 P. L. (Eng. &Ital.),8vo. 122 1795-6 T. Longman London Ptl. Wks., 2V., 8vo. 123 1795-6 C. Cooke Ptl. Wks., 2v. (Newton), i2mo. 124 1795 T. Raekman P. L., Bks. I-IV. (Lofft). 4to. 125 1795 C. M.. editor P. L., 3v., i2mo. 12; 1796 J. Parsons " P. L., 2v. (Newton), 8vo. 128 1799 T. Heptinstall P. L., pp. xlix, 371, 8vo. 130 iSoi J. Johnson " 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 poem 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 numbers 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- c.xvii. 28 THE MILTON TRADITION [120 au approximate correctness, even in the most careful study of tliose early "editions." After 1670, Faithborne 's portrait of Milton was ready to occupy 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 Dorset. 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 subscription." 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 the publication of the poem in 1667. Dr. Johnson thought 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 before 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 pounds 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 death, Sim- mons, by composition with Milton's widow, closed the contract by paying her eight pounds more. In 1680 or 1681, Simmons sold his copj^ight to Brabazon Aylmer for twenty-five pounds. He, in turn, sold one- half interest in the copyright to Jacob Tonson, at more than one hun- dred per cent advance upon the price paid to Simmons.* On March 24, 1691, Tonson bought of Aylmer the other half of the copyright "at an advanced price.'' About this time, Tonson also came into control, if not into full possession, of the other poems of Milton. In a commercial sense, at least, Milton had, by these transactions, fallen upon prosperous ^iBr. Mu. Cat. "Milton," P. L., ed. i668. *T. S. Perry, Eng. Lit. in the i8 Century, p. 25J. ■ ^Cf. Tributes 19 and 20, p. 58 below. "Johnson, Life of Milton. (G. B. Hill). I, 141-144. ■'History of Milton, 6:780-78-. 'Tonson bought the first half on August 17, 1683. 121] THE PUBLICATION OF MILTON 's WORKS 29 times. Jacob Tonsoii, notwithstanding his "leering looks, bull-faced, and freckled fair" appearance, was a thoroughgoing business man. He kept the copyright in his own possession, pushed the publication and sale of the poetry, especially of Paradise Lost, and made a fortune out of his interest in the great English Poet.^ Tonson 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), I, 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 ii05 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 (Nezsjton'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. siin. John Foster, The Life and Times of Oliver Goldsmith, 2 vols., 1871, p. 274, 339n). 30 THE HILTON TRADITION [122 first variorum edition of Paradise Lost, edited by Tliomas Newton, and published by Tonson and Draper in 1749. Paradise Lost was first published in Dublin in 1724, which was a quarter of a century before any other poem of Milton, except the adaptations of Comus and Samson, was printed in Ireland. There were three editions of Paradise 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 I 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 b.y 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 other 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. The Scotch editions indicate an especial interest in the poem. Foulis, of Glasgow, made an effort to furnish to his countrymen an extra finely printed 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 the end of the century, there 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. The tendency itself was a part of that general interest which resulted in the Milton Gallery, by Fuseli.^" ii'The possibility of subjects for the painter from Paradise Lost was early realized. Beginning with Tonson's folio edition of l688, the Epic was usually "ornamented with sculptures." Steele showed some special interest in this aspect of the poem in his Tatler papers (Chapter v below). J. Richardson, who was him- self a painter, has, in his Explanatory Notes (1734), a reference from the "Table of Principal Subjects" to "Pictures," pp. 544-545. These are word-pictures, 44 in number, but were suggestive for the brush. The World (No. 121, April 24, 1755), in An Imaginary Visit to Parnassus, represented a marble temple, adorned with fine scenes painted from Homer. Virgil, and Paradise Lost. But it was left for John Henry Fuseli (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. Breitinger, and the painter- poet, Solomon Gessner, who stood sponsor to the infant Heinrich." Fuseli 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, iVIilton, 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 Health, 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 the 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 Cust, 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, vol. 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 Flaxman 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 The general attitude toward the Paradise Regained will appear in the list of editions, and the comments that follow. S.A. S.A. 743 7A(^7 747-2 747 751 752 752 752 753 753 755 756 758 758 759 760 761 762 763 766 767 S.A. S.A. PtI. Wks. Minor Poems Ptl. Wks. Ptl. Wks. Ptl. Wks. Ptl. Wks. Ptl, Wks. Ptl. Wks. Ptl. Wks. Ptl. Wks. Ptl. Wks. Ptl. Wks. Ptl. Wks. Minor Poems Ptl. Wks. Ptl. Wks. Ptl. Wks. Minor Poems Ptl. Wks. Ptl. Wks. Minor Poems. Minor Poems. Ptl. Wks. Minor Poems. Minor Poems. IMinor Poems. Ptl. Wks. Ptl. Wks. Ptl. Wks. Ptl. Wks. Ptl. Wks. Ptl. Wks. Ptl. Wks. Ptl. Wks. Ptl. Wks. Ptl. Wks. The Recovery of Man Separate Editions (1645. Poems on Several Occasions). J. Starkey, London. P. R., 4 Bks. 8 vo. Same. (1673. Poems on Several Occasions). J. Starkey, London. P. R. &c., pp. 132, R. Tavlor, Tonson?, Londc P. R., S. A., Tonson, London. 8vo. R. Foulis, Glasgow. 12 mo. Tons< R. & (Xevvton). London. 4 to., pp. 690. Foulis, Glasgow, umo., pp. 380. Tonson-Draper (Newton). L. 8vo. J. Wood. Glasgow. 8vo., pp. 315. J. & R. Tonson. London. i2mo., pp. 351. or Paradise Regained, l2mo. Prose. London, 125] THE PUBLICATION OP MILTON 's WORKS 33 85 1772 Minor Poems. R. & A. Foulis (Newton). Glasgow. 2 vols., i2mo. Ptl. Wks. Ptl. Wks. Ptl. Wks. Minor Poems. Newton edition. 4to. Ptl. Wks. P. Lost. Ptl. Wks. Minor Poems. W. Strahan (Newton), "new ed." 4to., 690. Ptl. Wks. Paradise Regained, in Four Books. 121110., pp. 108. Tophis and Burney, London. Ptl. Wks. Minor Poems. W. Strahan (N.), London. 2 vols, 8vo. (1785. Poems on 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. 129 (1800) Paradise Regained. 4to., pp. vi, 280. R. H. Evans, London. Notes, &c., by C. Dunster. 130 1801 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- 86 I "3 8/ 1773 88 1773 90 1774 91 1775 92 1775 95 1776 97 1777 lOO 1779 lOI 1779 102 1782 104 1785 105 io8 1790 109 1790 III 113 1793 ii8 1793 119 1794-7 122 1795-6 123 1795-6 126 1795 34 THE MILTON TRADITION [126 disc Lost might easily 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 Agonistes 4 In Prose editions 5 i Total editions lOl 64 58 Section 3 Publication of Samson Agonistes Of Samson Agonistes, little needs to be said, more than appears in the list of editions. The poem first appeared, with Paradise Regained, in 1671, and subsequently in the 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 the following list of editions : A; 1671 I- 1695 21 1-07 28 I-2S 37 1741 8 1672 18 1695 23 1713 29 1727 38 1742 12 1680 19 1698 25 1720 31 1730 13 1688 20 1705 26 1721 32 1731 1742 Hamilton Adaptation.'- J. Hardy London. pp. 22, 4to. 1742 " " •' " pp. 23, 4to. 1742 " " J.&R. Tonson " pp. 23, 4to. 1743 " " " " pp. 32, 8vo. 39 1743 41 1747 42 1752 43 1747 1749 Oxford Adaptation. ? 8vo. 1751 Hamilton Adaptation. Tonson &c. London 8vo. 49 1751 54 1752 60 1755 64 1758 52 1752 55 1753 61 1756 65 1759 53 1752 56 1753 63 1758 1759 Hamilton Adaptation. J. & R. Tonson London 8vo. 66 1760 67 1 761 1762 Hamilton Adaptation. J. & R. Tonson London 4to. ^'Samson Agonistes. An Oratorio, in three ads. As performed in the Theatre Royal. Altered from Milton (by N. Hamilton). Set to music by Mr. Handel. 127] THE PUBLICATION OF MILTON S WORKS 35 70 1762 71 1763 176s ? Adaptation. ? Salisbury 4to. 75 1766 85 17-2 88 1773 95 1776 102 1782 76 1767 86 1773 90 1774 97 1777 104 1785 80 1770 87 .773 91 1775 100 1779 1788 Tr. into Greek, by G. H. Glasse. Oxford. , Faulder. 8vo. 108 1790 113 1793 V22 1796 123 1796 130 1801 109 1790 119 1797 1797. Brit. Theatre, v. 34. J. Bell Section 4 Publication op Comus Comits, "as adapted for the stage," appeared in many separate editions. But apart from these adaptations, there seem to have 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 Eighteentli Century. The Mask was, however, printed in various forms, as follows : 1637 Comus, as acted at Ludlow, 1634. H. Lawes. 1638 Comus. J. Hughs. A I 1645 19 1698 25 1720 31 1730 9 1673 20 1705 26 1721 22 1731 17 169s 21 1707 28 1725 18 169s 23 1713 29 1727 1738 Dalton .'Xdaptation.'-' R. Dodsley. London 1738 " " 1738 1738 '■ S. Powell. Dublin. Z7 1 741 38 1742 39 1743 1744? Dalton Adaptation. 1747 Comtis (Original Text) 4to. 1750 Dalton Adaptation. 43 1747 A. Millar. London. ^Komus, 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 1751 54 1752 60 1755 64 1758 52 1752 55 1753 61 1756 65 I7S9 S3 1752 56 1753 63 1758 1759 Dalton Adaptation. A. Millar. London. 8vo. 1760 " " 8vo. 66 1760 67 1761 70 1762 1762 Dalton Adaptation. A. Millar. London. 8vo. 71 1763 75 1766 76 1767 80 1770 1772 Colnian 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 i2mo. 1777 J. Wenman ? 8vo. 100 1779 102 1782 1784 Colman Adaptation. 1786 Colman Adaptation. 1789 V. Knox, editor. 1790 log 1790 Dalton Adaptation. 1793 119 1794 J. Bell. Supple ment Br. Theatre, v. ? ? Edin. Lond. Br. Stage, v. Ele. Extracts. Ill I79I J. Bell. Lond. Br. Thea. v. I 122 1795 123 1795 J. Bell. W. Bristow. J. Bell. E. Harding. Lond. Canterbury- London. Br. Thea. v. I .8vo. Br. The v. i. pp. 124. 8vo. Ele. E.xtracts. 1797 Dalton Adaptation. 1798 H. J. Todd, editor. 1799 Dalton Adaptation. 1799 T. Warton, editor. 1801 V. Knox, editor. 130 1801 Comus was written by Milton, acted at Ludlow Castle, in 1634, and printed by Henry Lawes in 1637. The next year, J. Hughs brought out a second edition. The Mask became at once a part of the Poems on Several Occasions (164.5). As such alone was it printed 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 Dalton. 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 Bell'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 iu Ireland, and this event occurred when the poem was about one hundred years old. It may 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 coUeetions 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 Ai 164s 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, sth ed. **In 1694, Lycidas was translated into Latin by G. Hog, and printed in quarto, pp. 19. THE MILTON TRADITION [130 32 I73I 54 1752 70 1762 91 1775 37 1741 55 1753 71 1763 95 1776 38 1742 56 1753 75 1766 97 1777 39 1743 60 1755 76 176713 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 I7S2 66 1760 88 1773 1789 Knox's Elegant Extracts, ed. 1809. Book iv. No. 3. 108 1790 109 1790 III 1791 113 1793 1793 Ritson's English Anthology. I, 45. (Has i sonnet). 119 1797'" 122 1796 123 1796 130 1801 1801 Knox's Elegant Extracts. Section 6 Publication of the Companion 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' Allegro and II Penseroso. But with all their popularity, these poems were published in very few separate editions, as is indicated in the following list, where both poems appear together unless otherwise indicated. Ai i64S 17 1695 19 1698 21 1707 9 1673 18 1695 20 1705 23 1713 1716 Dryden's Miscellany, 4th ed. (By Fenton). 25 1720 26 1721 28 1725 29 1727 1727 Dryden's Miscellany, 5th ed. 31 1730 32 1731 i^In 1767, there was printed Lycidas: a Musical Entertainment. As it is per- formed at the Theatre Royal in Covcnt Garden. The Words altered from Milton. By W. Jackson. London. 8vo. "Milton's Lycidas is here applied to the late breach made in the Royal Family, by the death of the Duke of York. The 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. Plumptre published Miltonis Poema Lycidas, Graece redditum. pp. 27. Cambridge. 4to. 131] THE PUBLICATION OP MILTON 's WORKS 1740 Jennens-Handel Adaptation. 1740 " "Another edition. 37 I -41 39 1743 4^ 1752 38 1742 41 1747 43 1747 1750 Jennens-Handel Adaptation. London. 8vo. 1751 L'Allegro-Il Penseroso, pp. 22. Foulis, Glasgow. 4to. 1752 L'Allegro, Translated into Latin, with English Text. By Christopher Smart. Poems on Several Occasions. 2v. 8vo. 1752. vol. IL 113 fi. 52 1752 53 1752 54 1752 55 1753 56 1753 1754 Jennens-Handel .Adaptation (With Dryden's Sonij for St. Cecilia's Day). Tonson. 4to., pp. 20. 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 English Poesy. Nos. 2-3. 76 1767 85 1772 87 1773 90 1774 95 1776 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 E.xtracts. 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. 1795 Smart's Poems (.Anderson, 11:185). Only Latin Trans. 119 1797 122 1796 123 1796 1799 T. Warton, Account of the Origin of Conius, with Comus and Companion Poems. London. 8vo. 40 THE MILTON TRADITION [132 1801 Knox's Elegant Extracts. 130 1801 L'Allegro aud II Pcnscroso were written duriug 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 Jenneus (1700- 1773 ) , and set to music by his friend, Mr. Handel, whom Thomas 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 poems in this form went through manj' separate editions, as shown in the preceding list. Handel's name was often associated with this connection between his music and Milton's popular poems, and it may have been the reputation of this combina- tion that led to the translation of the Companion Poems into French (1766), and into German (1782). In 1751, R. & A. Foulis printed, in Glasgow, what seems to have been the only edition of the Companion Poems, apart from the adapta- tions, that was separately printed duriug 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 op the Smaller Pieces op Milton's Minor Poems It is sufficient only to make a general mention of these 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 these smaller poems ever appeared otherwise than in com- bination with the other Minor Poems. In 1692, Julii Mazirini, Cardi- nalis, Epitaphium: Author e 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 the editor claimed that this poem was "believed to be writ by Mr. Milton.'"' The Latin and Italian poems of Milton came to have considerable ^''Milton's Poems on Scv. Occs., ed. I/Qi, p. xii. ^^Poems on Affairs of State, 5th ed., 1702. I, 24 and "Index." 133] THE PL'BLICATION OF MILTON 's WORKS 41 interest before the end of tlie 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 ; biit 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. John 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 his Letters to various friends. Section 8 Publication of Milton's English Poems in Latin AND Greek 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, ^sPoems by the Rei: /— S— . Cr. Rev. May, 1789, 67:368. ^oMilton's Italian Poems. &c. T. Beckett, London, 4to. iyy6. 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. =iPhilip Neve, Cursory Remarks (1789), pp. 116-120. '-The Poetical Jl'orks of U')n. 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. '' The whole of Paradise Lost, together with Paradise Regained and Samson Agonisfcs, was 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, Kichard Dawes (1708- 1766) produced a Greek translation of Paradise Lost, Book 1., which for want of popularity was called iu 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 his own ex- pense and heavy loss, a ponderous two volume Translation of Paradise Lost into Latin.'-^ More 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 country, for having extended and immortalized the fame of the great English poet Milton, in his admirable Translation of Paradise Lost.'""'" In perfect harmony with the above sentiment, was that of Dr. James Beattie, when he affirmed that "many of the finest performances of Pope, Dryden, and Milton, have appeared not ungracefully in a Roman Dress."" That these Translations really had some measure of general interest was evident from the fact that The Gentleman's Maga- zine planned to print specimens from six translations for general com- parison. Five only were printed, at first, and some of those indicated translations other than those considered in the preceding discussion.^^ After the mid-century, no new Latin version of either Epic seems to 23Nichols, Lit. Illus., I, 8o. -^Printed by John Darby, London. 8vo., 1690, pp. xxxvi, 510. 25Cr. Rev., May, 1782, 53:353-4- "^Poems . . . Two Essays. Pub. 1745. "T. Seccombe. D. N. B., "Chr. Pitt." 28Gent. Mag., June, 1744, I4:344- W. P. Courtney. D. X. B. "Trapp." =5Mo. Rev., Feb., 1754. 10:136-144- 30Cr. Rev., July, 1757, 4:90. 3iOii the Utilify of Classical Learning. Essay on Truth, ed. 1777, vol. II, 521-522. 3=Gent. Mag., Oct. and Dec, 1746. 16:548-549, 661. 135] THE PUBLICATION OF MILTON 'S WORKS 43 have appeared. But another attempt was made, by Mr. Stratford, to translate Paradise Lost, Book I., into Greek, which was printed, with Dobson's Latin Text, in 1770."^ Besides the Translation of Samson Agonistcs (1690), this Tragedy was translated into Greek, by G. H. Glasse, and published from the Clarendon Press, Oxford, in 1788. The work called for an extended Review, which has been inserted in one of the British Museum copies. The Minor Poems have had but few translations into the classical languages. Lycidas seems to have been translated into Latin in 1638, and again, by W. Hog, in 1694. Lycidas was also translated into Greek by the Rev. J. Plumptre, in 1797 ; but the edition was unfavourably received.''* Comets was translated by W. Hog in 1698, and published in a forty-seven page quarto in London. The L' Allegro was translated into Latin by Christopher Smart (1722-1771), and printed in three edi- tions of his own poems (1752, 1763, 1791), and in Anderson's British Poets (11:185). No translation of II Penseroso into either Latin or Greek has been found in the present investigation. Section 9 Publication of Milton's Prose Works The Prose Writings of Milton, according to the ' ' Chronological List of Works," given by John P. Anderson, in Richard Garnett's Life of John Milton (1890), were first published under the following dates: 1641 Of Reformation touching Church-Discipline in England. 1641 Of Prelatical Episcopacy. 1641 Animadversions upon .... defence against Smectymnuus. 1641 Reasons of Church-Government urg'd against Prelaty. 1641 Apology against a Pamphlet called A Modest Confutation. 1643 Doctrine and Discipline of Divorce. 1644 Of Education. To Master S. Hartlib. 1644 The Judgment of Martin Bucer, now English!. 1644 Areopagitica. 1644 Tetrachordon. 1645 Colasterion. 1649 Tenure of Kings and Magistrates. 1649 Observations upon the Articles of Peace ii:ith Irish Rebels. 1649 Eikonoklastes. 1651 Pro populo Anglicano defcnsio contra Salinasiuin. 1653 Letter touching the Dissolution of the late Parliament. 1654 Pro populo Anglicano defcnsio secunda. 165s Scriptuin Doni-Profectoris contra Hispanos. 1655 Pro se defcnsio contra A. Morum. ^^Paradisi Amissi &c. Pp. 147. S. Powell, Dublin. 1770. 4to. ^*See Section 5, Note 14-16, above; and Mo. Rev., June, 1798. 107(26) :227. 44 THE MILTON TRADITION [136 1659 Treatise on Civil Pozccr in Eedesiastieal Causes. 1659 The Likeliest means to remove Hirelings out of the Church. 1660 Ready and easy tvay to establish a free Connnomvealth. 1669 Accedence commenc't Grammar. 1670 History of Britain. 1672 Artis Logicae plenior Institutio. 1673 Of true Religion, Heresie, Schism, Toleration, &c. 1674 Epistolarum familiarium liber. 1674 Declaration or Letters Patents of the Election of this present King of Poland, John the Third. 1676 Literae Pseudo-Sanatus Anglicani, Cromwellii, &c. 1681 Character of the Long Parliament and Assembly of Divines in 1641. 1682 Brief History of Moscovia. The English portion of these works was gathered into a 568 page folio volume, which was called The Works of John Milton, London, 1697. The next j'ear, A Complete Collection of the Historical, Political, and Miscellaneous Wo7-ks of John Milton, both English and Latin; with some Papers never before Puhlished, was edited, with a Life of Milton, by John Toland. This was a three volume folio edition, published, according to the title-page, in Amsterdam, though the work was proba- bly done in London. The next complete edition of the prose works was that edited, with a Life of Milton, by Thomas Birch, and printed in two volumes folio, by A. Millar, London, 1738. This work appeared in a second edition, re-edited, with the assistance of Richard Baron, in three volumes folio, printed by Millar, in 1753. The "Familiar Letters" of Milton were first collected and pub- lished by Brabazon Aylmer, with seven of Milton's College Exercises (in Latin), at the "Three Pigeons" in Cornhill, in the year of the Poet's death (1674). These pieces were published under the conviction that at tliat time anything from Milton would sell. Aylmer 's original plan was to have published Milton 's Public Letters also as a part of this edition. But the Foreign Office of Charles IL prevented the carrying out of this plan because of aversion to the publication of these Public Letters. (Masson, I, 204.) These Public Letters were, however, later collected and published, with a Tjife of Milton, by his nephew, Edward Phillips, as Letters of State, Written by John Milton, To most of the Sovereign Princes and Bepublicks of Europe. From the Tear 1649 Till the Year 1659, in the year 1694. Another publication of the Original Letters and Papers of State, Found among the Political Collections of Milton, in folio, by Jo. Nichols, Jr., appeared in February, 1743.^^ Beyond these collected edi- 2^Gent. Mag.. Feb., 1743, 13:112. This work has not been seen, and it is not known to contain anything written by Milton. 137] THE PUBLICATION OP MILTON 's WOKKS 45 tions, already considered, the prose works of Milton appeared only in separate publications of the several pieces, until the great seven volume editions, %vith Translations and Critical Remarks by C. Symmons, from the press of J. Johnson, in 1806. Apparently the most popular of Milton's single Letters were the Epistola ad Pollio, and the Script um dom. Protectoris contra Hispanos (1655). The former of these was printed in folio, by T. Cooper, in two editions, in 1738, and another edition of the Latin ap- peared in 1774. It was also translated from the Latin, and illustrated with Notes, in a folio edition, London, 1740. The Manifesto against Spain dated from October 26, 1655, and was translated into German in the same year. It was printed in English Translation in three editions, 1738, 1740, and 1741. Milton 's History of Britain, with its fundamental doctrine of virtue and liberty,^" was first published in 1670, but that part of it which described the "Character of the Long Parliament and Assembly of Divines, in 1641," was expunged by the Licenser. This rejected portion, later restored to the History, was included in the Harleian Miscellany (vol. V.) in 1744. The History itself was reprinted in octavo, London, 1677, 1678, and 1695, and in folio in 1706, and again in 1719. The frequent references to this History indicate that it was rather widely read during the Eighteenth Century." The Eikonoklastes, after its first publication in 1649, was reprinted in 1650, translated into French, by John Dury, under the sanction and supervision of Milton, in 1652, ordered suppressed August 13, 1660, reprinted in 1690, and edited in 1756 by Richard Baron, whose edition was printed again, for the benefit of his family, in 1770. The Doctrine and Discipline of Divorce was published in 1643, and again in 1644, and 1645. Considerations Touching the Likeliest Means to Remove Hirlings out of the Church, after the original edition in 1659, appeared as a supplement to Du Moulin 's treatment of the same subject in 1680, and in separate editions in 1717, and 1723. The Dis- cource upon the Harmony of the Spheres was printed in Translation, by Francis Peck, in his Neiv Memoirs of Milton (1740). The Ready and Easy Way to Establish a Free Commonwealth (1660) was included in the Harleian Miscellany (vol. iv) in 1744, and was printed separately by Ridgeway in 1791. The anonymous editor of this last edition was very enthusiastic over this pamphlet of Milton, both for its intrinsic worth, and because "it furnishes a rational and 3°"The inseparable connection between liberty and virtue was the fundamental doctrine of Milton's political pamphlets as well as his History, and he emphasized it both in Paradise Lost and Para. Regained." C. H. Firth, Milton as an Historian. Pro. Br. Acad., 1907-S, p. 257. 3'Appendix A. 46 THE MILTON TRADITION [138 satisfactory answer to the splendid sophistry of Edmund Burke." To all this enthusiasm, a critic of the work replied, "If it be democracy, it is not liberty."'''^ The Areopagitica appeared in the following editions separately printed : 1644 Original edition. London. 4to. 1738 Printed by A. Alillar. London. 8vo. 1772 Another edition. London. Svo. 1780 With Blackburne's Remarks on Johnson. i6mo. 1791 James Losh. editor. London. Svo. 1792 ? Blamire. 8vo. 1793 Robert Hall, editor. Robinsons. Svo. Besides these editions, there was a very popular imitation of the treatise, entitled, Sur la liberie de la Presse, imite de I' anglais de Mil- ton. Par le Comte de Mirabeau. Londres (Paris? ), 1788. Another edition was printed the next year ; and there seems to have been another such work in 1789, with a second edition in 1792. Archdeacon Blackburne included the Areopagitica and the Tractate of Education in his Remarks on Johnson's Life of Milton because he felt that these two writings of Milton were not as well known as they deserved to be. But wlien the edition of 1792 came out, the Critical Revicif said, "This tract is so exceedingly well known that all com- mendation of it must be superfluous."^" The Pro Populo Anglicano Defensio was published in 1651, with succeeding editions in 1651(3), 1652, and 1658. The work was burned in France soon after its publication, and in London, by the common hangman, August 13, 1660, along with the Eikonoklastcs. It survived the persecution, however, and was translated into English, by Joseph Washington, an English lawyer, in 1692.'"' After this date, it became a permanent part of Milton's Prose Works. No other separate edition of the work has been noticed until the time of the French Revolution. 38Mo. Rev., Jan., 1792, 88(7) :102. 3!>Cr. Rev., Jan., 1793, "• s., 7:106. ■"•Joseph Washington was the son of a wealthy merchant, Robert Washington, of Leeds. He was a friend to Lord Sommers, and a collateral ancestor of General George Washington of the early American Colonies (AUibone). This Translation was made, according to the Printer's .Advertisement, "partly for (Washington's) own private entertainment, and partly to gratify one or two of his friends, without any design of making it public," But the Translation was published, soon after Washington's death in i69i(?). It showed the tenor of feeling in the Washington Family, and established a probable link between Milton's influence and the cause of American Liberty. Sparks, Life of George IVashington. Boston, 1855, pp. 500-501. 139] THE PUBLICATION OP MILTON 'S WORKS 47 Id 1789, there was printed in Paris the Thcorie de la Royaute d'apres la Doctrine de Milton. This was a translation from the Dcfcnsio, by J. B. Salaville( ?), with a preliminary dissertation "Sur Milton et ses ouvrages," which was attributed to Mirabeau. There was probably a close connection between this work and the French Revolution. By far the most printed piece of all Milton's Prose was the Tractate of Education, which was addressed to Samuel Hartlib in 1644. The multiplication of appearances in the case of this Tractate was due to the fact that it was added to the Poems on Several Occasions in 1673, and tended to remain a part of that collection, which was usually ap- pended to Paradise Regained. 1644 Original edition. Printer and place not given. 4to. Ag 1673 i6g8 Prose U'orL's, edited by Toland. 23 1713 25 1720 1723 T. Lefevre, A Coiii/'cHdious Way of Teaching Ancient and Modern Languages. ]. Downing, London. 8vo., pp. 99-116. 28 1725 29 1727 31 1730 32 1731 1738 Prose Works, edited by T. Birch. I, 135-140. Z7 1741 39 1743 42 1752 49 1751 38 1742 41 1747 43 1747 1750 T. Le Fevre, A Conifendious Jl'ay Ore. For W. Meadows, London. 4th edition. Svo. pp. 126-148. 1751 An Essay on Education. C. Corbett, London. Svo. 1752 German edition. S3 1752 54 1752 55 1753 56 1753 1753 Prose IVorks, edited by Birch and Baron. 60 1755 61 1756 66 1760 1761 Essays on Education, by Milton, Locke, & the Spectator. 71 1763? 75 1766 85 1772 108 1790 1780 With Blackburne's Remarks on Johnson. 1781 German edition, with Paradise Regained &c. The above list shows, besides the two German editions, thirty-four editions of the Tractate in England. But the 1750 edition, by Le Fevre, was the fourth of that work, which seems to imply two other editions of the Tractate, making a total of thirty-six times for that treatise to 48 THE MILTON TRADITION [140 appear before 1801. The very tenacity with which this prose tag ad- hered to the Minor Poems, as arranged by Milton in 1673, was an expression of that feeling of semi-sacredness which attached itself to everything to which Milton had set his hand. The separate edition of 1751, published by Corbett, has the interest of being "dedicated to the Earl of Harcourt, governor to the Prince of "Wales and Prince Edward."*' The Essays on Education, hy Milton, Locke, and the Authors of the Spectator (1761), were edited by R. Wynne, who added "Observations on the Ancient and Modern Languages." Both of the great Reviews agreed that this volume brought together the thought of the most considerable modern writers on the important sub- ject of education.*- Archdeacon Blackburne added the Tractate to his Remarks, for the reason that it "was grown scarce, being omitted in some editions, both of the author's prose and poetical works; but highly worthy (it is) to be preserved as prescribing a course of discipline, which, though out of fashion in these times, affords many useful lessons to those who may have abilities and courage enough to adopt some of those improvements, of which the modes of learned education in present practice are confessedly susceptible."*^ The foregoing lists of the publications may be summarized as fol- lows, though figures after 1800 are not very reliable as to completeness. To 1680 3334 4* 2 13312162 1680-90 I 2* 2* 2 I 1690-00 433 4* 4* 323222223 I 1700-10 3222221 I 1710-20 3222331 I I 2 1720-30 6344551 I 4 1730-40 5215133?! 111212 1740-50 10 6 10 9 5 6 2? I I 6 1750-60 13 12 15 14 13 8* I I I 2 I I I 1 12 1760-70 16 6 8 7 7 10* 2 I 3 1770-80 14 12 9 14 9 II 2 2 1780-90 745867 12 1790-01 16 8 6 12 9* 14* I 3 i8oi-iot 15 8 8t 1810-20 II 4 4 1820-30 7 5 4 1830-40 65 4 1840-43 22 2 ♦Includes Latin and Greek Translations. tBr. Mus. Cat., after Anderson. JMinor Poems. In these facts of the publication of Milton's works a few points of interest are prominent. There was an obvious tendency to publish the significant parts of the Prose Works in connection with the revolutionary movements of the period under consideration. The Poetry, however, showed a more even increase in volume, rising high at the middle of the Eighteenth Century, and maintaining itself throughout the Romantic Movement. Throughout the period. Paradise Lost was the poem of central interest, far more than the final summary would seem to indicate, al- though the summary shows the editions of Paradise Lost, as a rule, greatly to exceed in number those of any other part of the Poetry. In seventeen title-pages of the Poetical Works, everything is subordinated to Paradise Lost, in a manner apparently designed to catch the public eye. In twelve title-pages, the Minor Poems are likewise "added to" 50 THE MILTON TRADITION [142 Paradise Regained, as poiuted out on page 33 above. Some of these title-pages represent multiplied editions of the poems, and of the poet- ical works. The subordination of the Minor Poems was further empha- sized in the fact that they multiplied the editions not as poems, but as adaptations into entertainments. The truth, whatever its bearings upon the Milton question, is that the English people of this period invested their Milton-money pre-emi- nently in Paradise Lost. The amount of money thus expended, if cor- rectly known, would present figures that would stagger the imagination. CHAPTER III Poetical Tributes to Milton One begins to enter into the full current of a great national influ- ence when one reads the heart of poets, the mind of critics, and the problems of historians, who profoundly feel and profoundly study the tendencies of their times. The common rabble may feel the throbbing impulse of national enthusiasm. They may fall, even blindly, into the full current of great national movements. They may exalt a national hero, or saint, or poet, to the pinnacle of idolatry. But it requires penetrating genius, and careful scholarship, to analyze, and direct, and adequately express the real cause that gives rise to such enthusiastic national movements. Turning now to the poets of this period, who have felt their way deep into the heart of Miltonie interests, one may hear, even from Mil- ton's own day, a definite, harmonious, and persistent note of poetic praise that is full of significance. The earliest Tributes belong to the period of Milton 's Minor Poetry, and come from the genial land of Italy, where Milton was known and admired, if not really loved. Some of them are given here in the Eng- lish translation by William Cowper, as furnishing a significant compass at once of the entire period under consideration. The other Tributes follow, approximately at least, in their chronological order. 1 What features, form, mien, manners, with a mind 164s Oh how intelligent, and how refined ! Were but thy piety from fault as free. Thou wouldst no Angle but an Angel be. 2 Meles and Mincio both your urns depress! 1645 Sebetus boast henceforth thy Tasso less ! But let the Thames o'erpeer all floods since he, For Milton famed, shall, single, match the three. 3 Greece sound thy Homer's, Rome thy Virgil's name, 1645 But England's Milton equals both in fame. 51 52 THE MILTON TRADITION [144 4 In Ocean's blazing flood enshrined, 1645 Whose vassal tide around her swells, Albion, from otlier realms disjoined, The prowess of the world excels ; She teems with heroes that to glory rise. With more than human force in our astonished eyes. To Virtue, driven from other lands. Their bosoms yield a safe retreat; Her law alone their deed commands, Her smiles they feel divinely sweet; Confirm my record, Milton, generous youth ! And by true virtue prove thy virtue's praise a truth. Babel confused, and with her towers Unfinished spreading wide the plain, Has served but to evince thy powers. With all her tongues confused in vain. Since not alone thy England's purest phrase But every polished realm thy various speech displays. The secret things of heaven and earth, By Nature, too reserved, concealed From other minds of highest worth, To thee are copiously revealed ; Thou knowest them clearly, and thy views attain The utmost bounds prescribed to mora! truth's domain. Give me, that I may praise thy song, I who beside the Arno strain To match thy merit with my lays. Learn, after many an effort vain. To admire thee rather than to praise ; And that by mute astonishment alone, Not by the faltering tongue, thy worth may best be known. ■ 5 As he, who fought at Barriers with Salmasius, 167— Engag'd with nothing but his Stile and Phrases ; 'The Neapolitan, John Baptist Manso, To the Englishman, John Milton. 2John Salsillo of Rome, An Epigram. To John Milton. ^Selvaggi, To John Milton. *Signior Antonio Francini, An Ode. All published by Milton, with an apology, in his Poems, 1645. Translated by Wm. Cowper, 1791 &c, and published in Wm. Hayley's edition of Milton's Poems trans'd by Cowper, 1802, pp. 2-7. See Coivfer's Poetical Works (J. Bruce), 3 vols., 1896. ni, 139-146. 145] POETICAL TRIBUTES TO MILTON Wav'd to assert the Murtlier of a Prince, The Author of false Latin to convince; But laid the Merits of the cause aside, By those, that understood them, to be try'd And counted breaking Priscian's Head a thing More capital, than to behead a King, For which h' has, been admir'd by all the Learn'd, Of Knaves concern'd, and Pedants unconcerned. 6 O Thou, the wonder of the present age, Wr. B4 An age inimers'd in luxury and vice ; 1674 A race of triflers ; who can relish naught, But the gay issue of an idle brain ; How could'st thou hope to please this tinsel race ! Though blind, yet, with the penetrating eye Of intellectual light, thou dost survey The labyrinth perplex'd of Heaven's decrees ; And with a quill pluck'd from an Angel's wing. Dipt in the fount that laves the eternal throne. Trace the dark paths of Providence Divine, And justify the ways of God to man. 7 Qui legis Amissam Paradisum, grandia magni 1674 Carmina Miltoni, quid nisi cincta legis? &c. 8 When I beheld the Poet blind, yet bold, 1674 In slender books his vast design unfold, Messiah crowned, God's reconciled decree, Rebelling angels, the forbidden tree. Heaven, hell, earth, chaos, all ; the argument Held me awhile misdoubting his intent. That he would ruin (for I saw him strong) The sacred truths to fable and old song, (So Samson groped the temple's post in spite) The world o'erwhelming to revenge his sight. Yet as I read, soon growing less severe, I liked his project, the success did fear ; ^Saml Butler (1612-1680). Fragment of an intended Sec. Part of the . . . Satyr. After Hudibras (Masson, Milton, 6:636). Genuine Remains (R. Thyer). 1759. I, 220. «"F(rancis) C(raddock). 1680." Member with Milton of the Rota Club. To Mr. John Milton, On ... . Par. Lost. Fawkes & Woty, The Ptl. Calendar, 8:69. H. J. Todd, Life of Milton, 1826, 199-200. "Saml. Barrow, M.D., In Paradisum .4inissam summi Poetae Joannis Miltoni. This poetical tribute was prefixed to the 1674 edition of Par. Lost, and has been many times reprinted with it. THE MILTON TRADITION [146 Tlirough that wide field how he his way should find, O'er which lame faith leads understanding blind; Lest he perplex the things he would explain, And what was easy he should render vain. Or if a work so infinite he spanned, Jealous I was that some less skilful hand (Such as disquiet always what is well, And by ill imitating would excel) Might hence presume the whole creation's day To change in scenes, and show it in a play. Pardon me, mighty poet, nor despise My causeless, yet not impious, surmise. But I am now convinced, and none will dare Within thy labours to pretend a share. Thou hast not missed one thought that could be fit. And all that was improper dost omit ; So that no room is here for writers left, But to detect their ignorance or theft. That majesty which through thy work doth reign Draws the devout, deterring the profane ; And things divine thou treat's! of in such state As them preserves, and thee, inviolate. At once delight and horror on us seize. Thou sing'st with so much gravity and ease, And above human flight dost soar aloft, With plumes so strong, so equal, and so soft: A bird named from that paradise you sing So never flags, but always keeps on wing. Where could'st thou words of such a conpass find? Whence furnish such a vast expanse of mind? Just Heaven thee, like Tiresias, to requite, Rewards with prophecy thy loss of sight. Well mightst thou scorn thy readers to allure With tinkling rhyme, of thy own sense secure, While the Town-B'ayes writes all the while, and spells. And like a packhorse tires without his bells. Their fancies like our bushy points appear : The poets tag them, we for fashion wear. I too, transported by the mode, offend, And while I meant to praise thee, must commend; Thy verse created like thy theme sublime, In number, weight, and measure, needs not rhyme. •Andrew Marvell (1620-1678). On Paradise Lost, prefixed to the 1674 edition. Poems of A. Marvell (G. A. Aitken), pp. 109-111. 147] POETICAL TRIBUTES TO MILTON 55 9 .... His age and fruit together ripe, Wr. c. Of which blind Homer only was the type : 1674 Tiresias like, he mounted up on high. And scorn'd the filth of dull mortality ; Convers'd with gods, and grac'd their royal line, All ectasie, all rapture, all divine ! Daphnis, the great reformer of our isle ! Daphnis, the patron of the Roman stile ! Who first to sense converted doggrel rhimes, The Muses' bells take off, and stopt their chimes ; On surer wings, with an immortal flight. Taught us how to believe, and how to write ! Even tombs of stone in time will wear away; Brass pyramids are subject to decay; But lo ! the poet's fame shall brighter shine In each succeeding age. Laughing at the baffled rage Of envious enemies and destructive time. Milton, whose Muse with such daring Flight, Lead out the warring Seraphim to fight. Let each man begin without delay ; But he must do more than I can say. Must above Cowley, nay, and Milton too prevail, Succeed where great Torquato, and our greater Spencer fail. ^Chas. Goodall (1671-1689). A Propitiatory Sacrifice to the Ghost of J. M., in a Dialogue betivecn Thyrsis and Corydon. Poems by a late Scholar of Eaton, 1689, p. IIS- H. J. Todd, Lf. of Milton, 202. lojohn Oldham (1653-1683). Bion. A Pastoral. On the Death of the Earl of Rochester. Poems & Trans., Lond., 1684, p. 82. "John Sheffield, Duke of Buckingham (1648-1721). An Essay Upon Poetry. Chalmers, Eng. Pts., 10:91-94. Found also in J. E. Spingarn's Crit. Essays of the 17th Cent., 2:286-296. The development of these lines, from the forms here given, to that of their final revision, is parallel with the solidifying of conservative national opinion in its gradual exaltation of Milton. The editon of 1713 reads. Must above Milton's lofty flights prevail, Succeed where Spenser, and even Torquato fail. Dr. Johnson observed this transition. He says, "At the time when this work first appeared, Milton's fame was not yet fully established, and therefore Tasso and Spenser were set before him .... The last line in succeeding editions was 56 THE MILTON TRADITION [148 12 Milton did the wealthy mine disclose, 1677? And rudely cast what you could well dispose; He roughly drew, on an old-fashioned ground, A chaos ; for no perfect world was found, Till through the heap your mighty genius shined : He was the golden ore which you refined. 13 To whom ev'n the fanatics' altars raise, 1682 Bow in their own despite, and grin your praise; As if a Milton from the dead arose, Fil'd off the rust, and the right party chose. 14 Have you forgot how Raphael's numerous prose 1684 Led our exalted souls thro' heavenly camps, And mark'd the grounds where proud apostate thrones Defied Jehovah! (continues 27 lines of blank verse). Oh may I live to hail tlie glorious day. And sing loud paeans through the crowded way, When in triumphant state the British Muse, True to herself, shall barbarous aid refuse, And ill the Roman majesty appear. Which none know better, and none come so near. 15 Now, in soft notes, like dying swans he'd sing, 1688 Now tower aloft, like eagles on the wing; Speak of adventurous deeds in such a strain, As all but Milton would attempt in vain ; And only there, where his rapt Muse does tell How in the aetherial war the apostate Angels fell. shortened, and the order of names continued; but now Milton is at last advanced to the highest place, and the passage thus adjusted (ed. 1723) : Must above Tasso's lofty flights prevail, Succeed where Spenser, and even Milton fail." Dr. Johnson, Life of Sheffield. Cf. Spingarn, above, p. 356. •- and ^"Nath. Lee (i653?-i692). Both addressed to Dryden : i^on his State of Innocence; '^ on Absalom & Achitophel, and written probably in 1677 and 1682 respectively. i^Wentworth Dillon, 4th. Earl of Roscommon (1633-1685). Essay on Trans- lated Verse, ^nd Ed. 1685. Chalmers, Eng. Poets, 8:264. lii Anonymous. Poems to the Memory of Edm. Waller, Esq. H. J. Todd, Life of Milton, 1826, p. 201. Geo. Granville (1667-1735), Lord Lansdowne's poem To the Immortal Memory of Waller, and also his To Flavia, have allusions to Paradise, or Eden. Chalmers, Eng. Poets, 11:13, 17. 149] POETICAL TRIBUTES TO MILTON 57 16 Three poets, in three distant ages born, 1688 Greece, Italy, and England did adorn. The first in loftiness of thought surpassed; The next in majesty ; in both the last. The force of Nature could no farther go ; To make a third, she joined the other two. 17 The Daring Muse unbeaten paths shall tread, 1691 In Visionary Dreams of Rapture led. Descend into the Region of the Dead, Elysian Bow'rs, where Waller's well-tuned Lyre The Art of Numbers shall instruct the Quire, Where Milton on Eternal Roses lies. Deep Wrapt in Dreams of his own Paradise: Th' adventurous Muse, with this kind vision charm'd, Shall question Fate, consult the Sacred Throng, &c. 18 Or mighty Milton walks thro' paths untrod, 1692 And sings the ancient Wars of God. 19 Here reading how fond Adam was betray'd, 1694 And how by sin Eve's blast'd charms decay'd ; Our common loss unjustly you complain; So small that part of it, which you sustain. You still, fair mother, in your offspring trace The stock of beauty destin'd for the race : Kind Nature, forming them, the pattern took From Heaven's first work, and Eve's original look You, happy saint, the serpent's power control : Scarce any actual gilt defiles your soul; And Hell does o'er that mind vain triumph boast, Which gains a Heaven, for earthly Eden lost. i^John Dryden (1631-1700). Epigram on Milton, placed under his portrait in the folio edition of 1688, This Epigram was very popular in the l8th. Century and later. Walter Ham- ilton (Parodies, II., 233-236) gives 39 parodies of this Epigram. Others may be found in And's Br. Pts., 8:548 (by Wm. Pattison, 1728), and in Chalmers, Eng. Pts., 16:51 (by C. Smart, 1753). Cowper wondered that it had never been trans- lated into Latin, and undertook the task himself. (Letter To The Rev. Win. Un- win, July 11, 1780). i^Nahum Tate (1652-1715). A Poem, occasioned by the late Discontent and Disturbances in the State, 1691. Poems on Affairs of State, vol. iv. 285-309. p. 309. ^^The Athenian Mercury, Sept. 17, 1692. Ath. Oracle, i. 270. "Matt. Prior (1664-1721). To The Lady Diirslcy. Written in her Paradise Lost. THE MILTON TRADITION [150 With virtue strong as yours had Eve been arm'd, In vain the fruit had blushed, or serpent charmed ; Nor had our bliss by penitence been bought ; Nor had frail Adam fall'n, nor Milton wrote. 20 See here how bright the first-born virgin shone, 1694 And how the first fond lover was undone. Such charming words, our beauteous ]\lother spoke, As Milton wrote, and such as yours her look. Yours, the best copy of th' original face, Whose beauty was to furnish all the race : Such chains no other could escape but he ; There's no way to be safe, but not to see. 21 But Milton next, with high and haughty stalk, 1694 Unfettered in majestic numbers walks ; Apr. 3 No vulgar hero can his Muse engage ; Nor earth's wide scene confine his hallow'd rage. See ! See ! he upwards springs, and towering high Spurns the dull province of mortality, Shakes Heaven's eternal throne with dire alarms. And sets the Almighty thunderer in arms. Whate'er his pen describes I more than see. Whilst every verse, arrayed in majesty. Bold and sublime, my whole attention draws, And seems above the critic's nicer laws. How are you struck with terrour and delight. When angel with arch-angel copes in fight! When great Messiah's outspread banner shines. How does the charriot rattle in his lines ! What sound of brazen-wheels, what thunder, scare. And stun the reader with the din of war ! With fear my spirits and my blood retire. To see the seraph sunk in clouds of fire ; But when, with eager steps, from hence I rise. And view the first gay scenes of Paradise ; What tongue, what words of rapture can express A vision so profuse of pleasantness ! Oh had the poet ne'er profaned his pen. To varnish o'er the guilt of faithless men; His other works might have deserved applause ! But now the language can't support the cause; =''Same. To The Countess of Dorset. Written in her Milton. Probably in her special copy of the 1688 edition. Chalmers, Eng. Pts., 10:134, Prior's Poems, Aldine Ed., I., 38, 39- =iJoseph Addison (1672-1719). An .Icct. of the Greatest English Poets. To Mr. Henry SachevercU. April 3, 1694. Chalmers, Eng. Poets, 9:529-530- 151] POETICAL TRIi3UTE.S TO MILTON While the clean current, though serene and bright, Betrays a bottom odious to the sight. 22 Hear then, great bard, who can alike inspire 1694? With Waller's softness, or with Milton'r. fire; Whilst I, the meanest of the Muses' throng. To thy just praises tune th' advent'rous song. How am I filled with rapture and delight When gods and mortals, mixed, sustain the fight! Like Milton, then though in more polished strains. The chariots rattle o'er the smoking plains. What though archangel 'gainst archangel arms. And highest Heaven resounds with dire alarms ! Doth not the reader with like dread survey The wounded gods repuls'd with foul dismay? 23 These sacred lines with wonder we peruse 1698? And praise the flights of a seraphic Muse, Till thy seditious prose provokes our rage. And soils the beauties of thy brightest page. Thus here we see transporting scenes arise. Heaven's radiant host, and opening Paradise ; Then trembling view the dread abyss beneath. Hell's horrid mansions, and the realms of Death. Whilst here thy bold majestic numbers rise. And range th' embattled legions of the skies, With armies fill the azure plains of light. And paint the lively terrours of the fight, We owe the poet worthy to rehearse Heaven's lasting triumphs in immortal verse. But when thy impious, mercenary pen Insults the best of princes, best of men. Our admiration turns to just disdain, And we revoke the fond applause again. Like the fall'n angels in their state. Thou shar'dst their nature, insolence and fate : To harps divine, immortal hymns they sung, As sweet thy voice, as sweet thy lyre was strung. As they did rebels to the Almighty grow, So thou profan'st His image here below. Apostate Bard ! may not thy guilty ghost, Discover to its own eternal cost, That as they Heaven, thou Paradise hast lost ! =-'Lord Middlesex, Chas. Sackville {163S-1706), To Mr. Pope. On Reading Mr. Addison's Acct. of the Eng. Poets. Chalmers, Eng. Pts., 12:135. "Dr. Thos. Yalden (1670-1736). On The Re-Printing Miltons Prose Works with his poems. Written in his Paradise Lost. Anderson, Br. Pts., 7 :762. Chalm- ers, Eng. Pts., II 74. 60 THE MILTON TRADITION [152 24 If this you can, your care you'll well bestow, 1700 And some new Milton or a Spenser grow. 25 Why am I thus, of late, uneasy grown? 1701 Why thus aside my best-loved Milton thrown? 26 But when sometimes we would unbend our care 1701 From studies too abstracted and severe, Then Poetry we read. The lofty Milton was our usual choice, Whose elevated, more than human voice. Is tun'd to Angels' ears, is tun'd too high For any theme but immortality. 27 With Waller our first Dawn of Light arose, 1703 He did the Beauties of the Morn disclose: Then Milton came, and Cowley blest our eyes ; With joy we saw the distant Glory rise : But there remain'd some footsteps of the Night, Dark Shadows still were intermixed with Light : Those Shades the mighty Dryden chas'd away. And show'd the Triumphs of refulgent Day. 28 Think not that to th' ancient Bards I am alone confin'd, 1703 They please, but never shall engross my mind; In modern Writers I can Beauties find. Phoebus has been propitious to this Isle, And on our Poets still is pleas'd to smile. Milton was warm'd by his enliv'ning Fire, Who Denham, Waller, Cowley, did inspire, Roscommon too, whom the learn'd World admire. 29 1703 Scarcely in Marvel's keen remarks we find Such energy of Wit and Reason join'd. Great Milton's Shade with pleasure oft look'd down, A Genius to applaud so like his own. 2*Saml. Wesley (1662-1735). An Epistle To A Friend Concerning Poetry. This and the next are from the Eng. Studicn, 40:182. -=Saml. Say (1676-1742). An Essay on Milton's I'crsc. Poems on Sez'. Occa- sions, 1745. Elegy the Second. 28"W. S." An Epistle To Mr. »'— , Fellow of Trin. Coll. Cantab. A New Misc. of Original Poems, on Sev. Occasions, London, 1701. 29-33. 2'Lady Mary Chudleigh (1656-1710). To Mr. Dryden, on his Excellent Trans, of Virgil (1697). Poems on Sev. Occasions, London, 1703. 25-28. This was probably written about 1697. -^Same, pp. 45-67. 153] POETICAL TRIBUTES TO MILTON 30 O Melody, the same 1706 That kindled Mantuaii tire, and rais'd Maeonian flame. Nor are these sounds to British bards unknown. Or sparingly reveal'd to one alone: Witness sweet Spenser's lays : And witness that immortal song, As Spenser sweet, as Milton strong, Which humble B'oyne o'er Tiber's flood could raise, And mighty William sing with well proportioned praise. 31 Give me the chariot whose diviner wheels 1706 Mark their own route, and unconfin'd Bound o'er the everlasting hills, And lose the clouds below, and leave the stars behind. Give me the Muse whose generous force, Impatient of the reins. Pursues an unattempted course. Breaks all the critics iron chains. And bears to Paradise the raptur'd mind. There Milton dwells. The mortal sung Themes not presum'd by mortal tongue; New terrours, or new glories shine In every page, and flying scenes divine Surprise the wondering sense, and draw our souls along. Behold his Muse sent t' explore The unapparent deep where waves of chaos roar. And realms of night unknown before. She trac'd a glorious path unknown, Through fields of heavenly war, and seraphs overtlirown, Where his adventurous genius led : Sovereign, she fram'd a model of her own. Nor thanked the living nor the dead. The noble hater of degenerate rhyme Shook off the chains, and built his verse sublime, A monument too high for coupled sounds to climb. He mourn'd the garden lost below ; =8Nahum Tate (1652-1715). In Memory of Joseph Washington, Esq.; late of the Middle Temple, An Elegy. Poems on Affairs of State, 1703. I. 223-225. Washington died about 1691, near which time this was probably written. Sparks, Life of G. Wash., p. 500. ^^Wm. Congreve (1670-1729). Ode (To the Queen). Chalmers, Eng. Pts., 10:302-303. 3ilsaac Watts (1674-1748). The Adventurous Muse. Horae Lyricae, Book II. Chalmers, Eng. Pts., 13:58. 62 THE MILTON TRADITION [154 (Earth is the scene for tuneful woe) Now bhss beats high in all his veins. Now the lost Eden he regains, Keeps his own air, and triumphs in unrival'd strains. Immortal bard ! Thus thy own Raphael sings, And knows no rule but native fire : All Heaven sits silent, while to his sovereign strings He talks unutterable things. 32 Philips, by Phoebus and his Aldrich taught, 1707 Sings with that heat wherewith his Churchill fought, Unfetter'd in great Milton's strain he writes, Like Milton's angels whilst his hero fights ; Pursues the Bard, whilst he with honour can, Equals the poet, and excels the man. 23 Oh ! inight I paint him in Miltonian verse, 1708 With strains like those he sung on Glo'ster's herse ; But with the meaner tribe Pm forc'd to chime. And, wanting strength to rise, descend to rhyme. Rail on, ye triflers, who to Will's repair. For new lampoons, fresh cant, or modish air ; Rail on at Milton's son, who, wisest bold, Rejects new phrases, and resumes the old. Beyond his praise or blame thy works prevail. Complete where Dryden and thy Milton fail ; Great Milton's wing on lower themes subsides, And Dryden oft in rhyme his weakness hides. 34 Pomona see with Milton's grandeur rise, 1709 The most delicious fruit of Paradise, Feb. With apples might the first-born man deceive And more persuasive voice than tempting Eve, Not to confine you here. 35 All Hell resounds thy Name with loud applause, 1710 But above all, the Hot-brained Atheist Crew, 32Thos. Tickell (1686-1740). Oxford. A Poem. J. Nichols. A Set. Col. of Pms. 1780. 5:42. Chalmers, Eng. Pts., 11:130-134. 33Edm. (Neale) Smith (1668-1710). A Poem To The Memory of Mr. John Philips. Anderson, Br. Pts., 6:616-618. Lintot's Misc. Poems and Trans. 1712. Chalmers, Eng. Pts., 9:204-206. 2*Wm. King (1663-1712). The Art of Love; in Imitation of Oi'id's De Arte Amandi. Part xiii. Chalmers, Eng. Pts., 9:279. s^Abel Evans (1679-1737). The Apparition. A Poem. L. 1710. 155] POETICAL TRIBUTES TO MILTON 63 That ever Greece, or Rome, or Britain knew, Hobbes, Milton, Blount. Vanini with him jom ; All equally Admire the Vast Design. 36 When Fancy makes unvulgar Flight her aim, 171 1 Wing'd with this vigorous, clear, seraphic Flame. She ranges Nature's universal Frame ; Bright Seeds of Thought from various Objects takes, Whence her fair Scenes and Images she makes : Spirits so swift, so fine, so bold, so strong, Gave Milton Genius fit for Milton's song. ^y What though majestic Milton stands alone ?c Inimitably great ! 1712 Bow low, ye bards, at his exalted throne, And lay your labours at his feet ; Capacious soul ! whose boundless thoughts survey Heaven, Hell, earth, sea ; Lo ! where th' embattled gods appear, The mountains from their seats they tear, And shake th' empyreal Heavens with impious war. 38 While Milton's soaring fancy flies, 1712 And sings of feuds above the skies, Pub. Dreadfully fills the heavenly plain. With vanquished powers, cherubs stain Surprized and trembling from afar, We scarce behold th' immortal war : Their fauchions formidably bright, Their swords composed of beaten light ; And beamy arms with dreadful blaze From each contending van amaze : With dread we view th' apostate foe, Plung'd in the deep abyss below. 39 The groves of Eden, vanish'd now so long, 1713 Live in description and look green in song: These, were my breast inspir'd with flame, Like them in beauty, should be like in fame. ^^Richard Blackmore (d. 1729). The Nature of Man. Edition, London, 1720. p. 17. 3'Wm. Somerville (1675-1742). An Imitation of Horace. Book iv. Ode ix. Chalmers, Eng. Pts., 11:192. And., Br. Pts., 8:294. s^Wm. King (1663-1712). Bibliotheca: A Poem Occasioned by the Sight of A Modern Library. Nichols, Sel. Col. of Pms., 3:56. 39Alex. Pope (1688-1744). Windsor Forest. [ILTON TRADITION [156 40 The Muse with transport lov'd him ; yet, to fill ?c His Various lot, she blended good with ill; 1714 Deprived him of his eyes, but did impart The heavenly gift of song, and all the tuneful art. 41 Look here, ye pedants, who deserve that name, 1714 And lewdly ravish the great critick's fame. In cloudless beams of light true judgment plays. How mild the censure, how refined the praise! Beauties ye pass, and blemishes ye cull. Profoundly read, and eminently dull. Though Linnets sing, yet Owls feel no delight; For they the best can judge, who best can write. O ! had great Milton but surviv'd to hear His numbers try'd by such a tuneful ear ; How would he all thy just remarks commend ! The more the Critic, own the more the Friend. But, did he know once your immortal strain, Th' exalted pleasure would increase the pain : He would not blush for faults he rarely knew, But blush for glories thus excell'd by you. 42 As through the Psalms, from theme to theme I changed, 1718 Methinks like Eve in Paradise I rang'd; And every grace of song I seem'd to see, As the gay pride of every season she; She, gently treading all the walks around, Admir'd the springing beauties of the ground. The lily, glistering with the morning dew, The rose in red, the violet in blue, The pink in pale, the bells in purple rows. The tulips colour'd in a thousand shows : Then here and there perhaps she pulled a flower To strew with moss, and paint her leafy bower; And here and there, like her I went along, Chose a bright strain, and bid it deck my song. ^"John Hughes (1677-1720). To The Memory of Milton. Anderson, Br. Pts., 7:314- ^'Lawrence Eusden (1688-1730). Verses . . . On The Spectator's Critique on Milton. Steele. Ptl. Misc., 1714. 196-197. Nichols, Set. Col. of Pins., 1780. 4:157. *-Thos. Parnell (1679-1718). The Gift of Poetry. This was written before 1718, but published in London, June, 1758. G. A. Aitken, Ptl. U'ks. of Parnell, pp. Ixviii, 4. Chalmers, Eng. Pts., 9:371-401. First lines on "Solomon." 157] POETICAL TRIBUTES TO MILTON 43 No more Majestic Virgil's Heights, B4 Nor tow'ring Milton's lofty Flights, 1720 Nor courtly Horace's rebukes, Who banters Vice with friendly jokes. 44 Free from the thraldom of monastic rhymes, ?c In bright progression bless succeeding times ; 1720 Milton free poesy from the monkish chain. And Addison that Milton shall explain; Point out the beauties of each living page; Reform the taste of a degen'rate age ; Show that true wit disdains all little art. And can at once engage, and mend the heart ; Knows even popular applause to gain, Yet not malicious, wanton, or profane. 45 First, one who believ'd he excell'd in translation, 1720 Founds his claim on the doctrine of man's transmigration : "Since the soul of great Milton was given to me, I hope the convention will quickly agree." "Agreed," quoth Apollo "Be gone ! sir, you've got your subscriptions in time. And given in return neither reason nor rhyme." 46 In what new region to the just assign'd, 1721 What new employments please th' unbodied mind, A winged Virtue through th' ethereal sky, From world to world unwearied does he fly? Does he delight to hear bold seraphs tell How Michael battled, and the Dragon fell, Or, mix'd with milder cherubim to glow In hymns of love, not ill essay'd below? 47 Milton, immortal bard, divinely bright, 172 — Conducts his favorite to the realms of light, Where Raphael's lyre charms the celestial throng. Delighted cherubs listening to the song ; From bliss to bliss the happy beings rove, And taste the sweets of music and of love. *3Edw. Littleton, LL.D. ( -1733). To Master Henry Ardu-r (at Eton School). Norfolk PtI. Misc.. 1744. 2:73-78. Dodsley, Col., 1782. 6:316. Bell, Fug. Poetry, 2:59. «Lady Mary W. Montagu (1689-1762). The Court of Dtilliu'ss. Letters & Works, 1893. II., 471-4. ^spat. Delany (1685-1768). A'eu's from Paruassiis. Chalmers. 11:410. «Thos. Tickell {1686-1740). On The Death of Addison. C. D. Cleveland, Comp. Eng. Lit., Phila., 1869. 423. *'Britannicus : To Dr. Watts. On the 5th. Ed. of Horae Lyricae. (4th ed., 1722.) Chalmers, Eng. Pts., 13:10. 66 THE MILTON TRADITION [158 48 Back, scribbler, to thy Caledonian plains, 172 — In vain thou'rt sanctify'd with Milton's name, Not even Homer should protect thy shame. 49 Now to the Muse's soft retirement fly, 1724 Or soar with Milton Here Spenser, Cowley, and that awful name Of mighty Milton, flourished into fame: From these amusing groves, his copious mind. The blooming shades of Paradise designed. 50 Here Spenser's thoughts in solemn numbers roll, 172 — Here lofty Milton seems to lift the soul. 51 To move the springs of nature as we please, 1726? To think with spirit, but to write with ease: With living words to warm the conscious heart, Or please the soul with nicer charms of art. For this the Grecian soar'd in epic strains. And softer Maro left the Mantuan plains ; Melodious Spencer felt the lover's fire. And awful Milton strung his Heav'nly lyre. 52 Rhyme whose bewitching Siren Song Has luU'd and sooth'd my Sense too long : And from whose silken chains set free, I hail the Nymph sweet Liberty. 'Tis Freedom whispers in mine Ear "Thy rhyming Toils at length forbear. In Milton's Page without a rhime See how the bard had tower'd sublime : While Shakespeare, above Art's control. <8Wm. Pattison (1706-1727). To Mr. Mitchell. Anderson, Br. Poets, 8:577. This was written to Joseph Mitchell (1684-1738), "Sir Robert Walpole's Poet," in response to The Sine Cure. A Poetical Petition To The Right Honourable Robert Walpole, Eiq., for the Government of Duck Island in St. James's Park. The New Foundling Hospital for Wit., 1784. 6:231-235. ■•'Same. The College Life. To A Friend. Anderson, Br. Pts., 8:555. ^"Walter Harte (1709-1774). To A Young Lady, with Fenton's Miscellanies. Chalmers, Eng. Pts., 10:423, or 16:329. siSame. To Mr. Pope. Chalmers, Eng. Pts., 12:136, or 16:330. Bell, Fug. Poetry, 6:26. Written on the occasion of Pope's Poems being printed for B. Lintot (d. 1737),—!. e. 1726 or 1736. For 50 and 51, see Nichols, Sel. Col., 1780. 7 :302-3o8. 5=Anonymous. To the Hon. Lieut. Gen'l Cholmondoley. From a small vol- ume of Poems, which gives no information as to authors and dates, but evidently early in the century. 159] POETICAL TRIBUTES TO MILTON Can freeze the Blood, or harrow up the Soul. Bold British Bards, who re-assume The free-born Rights of Greece and Rome ; While slavish France in jingling Strain Drags on, yet hugs the servile Chain." 53 Is not each, each amiable Muse 1727 Of classic ages, in thy Milton met? A genius universal as his theme ; Astonishing as chaos ; as the bloom Of blowing Eden fair ; as Heaven sublime. 54 Now, Sir, as Romans shar'd with Greeks their Fame, 1729 So should with Romans Britons share the same. Homer and Virgil would not scorn to be Of Milton's and of Spencer's company. 55 Though few thy faults, who can perfection boast? 1730 Spots in the Sun are in his lustre lost : Yet ev'n those spots expunge with patient care. Nor fondly the minutest error spare. Read Philips much, consider Milton more ; But from their dross extract the purer ore. 56 Each shallow pate, that cannot reach your name, 1730 Can read your life, and will be proud to blame. Flagitious manners makes impressions deep On those that o'er a page of Milton sleep. 57 No stranger, sir! though born in foreign climes; 1730 On Dorset downs, when Milton's page With Sin and Death, provok'd thy rage. Thy rage provok'd, who soothed with gentle rhymes? 58 Verse without rhyme I never could endure, 173J Uncouth in numbers, and in sense obscure. =3James Thomson (1700-1748). Summer, lines 1567-1571- =*Anonymous. An Epistle to Lord Viscount Cobham. In Memory of His Friend, the late Mr. Congreve. Congreve died in January, 1729. This Lord Cob- ham is Sir Richard Temple (1669-1740). The Altar of Love, &c. . . . By the most eminent Hands. 3rd. ed., London, 1731, p. 23. ==Wm. Somerville (1675-1742). Epistle to Mr. Thomson, on the first Edition of his Seasons. Chalmers, Eng. Pts., 11:201. s^Edw. Young (1683-1765). Tzvo Epistles To Mr. Pope, Concerning The Au- thors of the Age. Chalmers. Eng. Pts., 13:516. ■"Same. Sea-Piece. Dedication to Voltaire. Same, 13:519- ■'8Jas, Bramston ( i694-i744')- The Man Of Taste. Campbell, Brit. Pts., 1819, 5:165. Dodsley, Pms. by Scv. Hands, vol. I. 68 THE MILTON TRADITION [160 To him as nature, when he ceas'd to see, Milton's an universal blank to me. Coniirm'd and settled by the nation's voice. Rhyme is the poet's pride, and people's choice. Always upheld by national support Of market, university, and court. Thomson, write blank ; but know that for that reason, These lines shall live when thine are out of season. Rhyme binds and beautifies the poet's lays. As London ladies owe their shape to stays. 59 Once more, ye Muses, to your sacred hill 1733 I come with unassur'd and trembling feet. Fearful of sharp rebuke, presuming thus To touch the strings of Milton's hallowed lyre. 60 In vain philosophers with warmth contest, 1735 Life's secret shade, or open walk is best ; Each has its separate joys, and each its use: This calls the patriot forth, and that the Muse. Where high ambition still the power confess'd That rul'd with equal sway in every breast. Say where the glories of the sacred Nine? Where Homer's verse sublime, or Milton, thine? Nor thou, sweet Bard ! who turn'dst the tuneful art, "From sound to sense, from fancy to the heart," Thy lays instructive to the world hadst giv'n. Nor greatly justify'd the laws of heav'n. 61 Here, sacred truths, in lofty numbers told, 1736? The prospect of a future state unfold; The realms of night to mortal view display. And the glad regions of eternal day. This daring author scorns by vulgar ways Of guilty wit, to merit worthless praise. Full of her glorious theme, his towering Muse, With gen'rous zeal, a nobler fame pursues : Religion's Cause her ravish'd heart inspires, And with a thousand bright ideas fires ; Transports her quick, impatient, piercing eye. O'er the strait limits of mortality. To boundless orbs, and bids her fearless soar. ^^Anonymous. Price Verses No. XI. Gent. Mag., Oct., 1733, 3:541. 8°Wm. Melmouth (1710-1799). Of Active and Retired Life. Fol. London, 2735. Bell, Fug. Poetry, 1 :9-i9. 61T. Tristam. To A Lady, with The Last Day. Chalmers. Eng. Pts., I3;36-. 161] POETICAL TRIBUTES TO MILTON 69 Where only Milton gain'd renown before ; Where various scenes alternately excite Amazement, pity, terrour, and delight. 62 Or Bard, sublime, (if Bard may e'er be so,) 1736 As Milton, Shakespeare; Names that ne'er sliall die! 63 When nature first her Milton's soul endu'd, 1736 With conscious pride the wond'rous work she view'd. 64 Milton's strong pinion now not heaven can bound, 1/37 Now serpent-like, in prose, he sweeps the ground. In quibbles, angels and arch-angels join. And God the Father turns a school divine. 65 See, when the magick Arts of Faction point, 1739 The blackest Traitor prove the Whitest Saint ! Milton, sage Father of the sacred Throng, Varnish'd Rebellion, and debas'd his Song, In Heaven he seems to palliate Satan's Pride, On Earth to triumph when the Martyr died ; Yet shall Brittania's Sons proclaim His Pen their Glory, tho' his Cause their shame ; Princes shall stretch their Bounty to His Heirs, And gracious view his Tomb approach to theirs. 66 Soul of the Muses ! Thou Supreme of Verse ! 1740 Feb. Grant me at least thy converse now, and oft To ruminate thy beauties infinite, To trace thy heavenly notions, to enquire When from above they come, and how convey'd : Thy Hell, Copied by other hand whate'er will lose Its terrors, and thy Paradise its sweets, «2Wm. Shenstone (1714-1763). The School-Mistress. A Poem written at College, 1736. Stanza xxiii. «3"G. W." To A Lady, with Paradise Lost. Gent, Mag., Sept., 1736, 6:544. s*Alex. Pope (1688-1744). Epistle to Augustus, lines 99-102. '^Anonymous. Candour: or. An Occasional Essay on the Abuse of Wit and Eloquence. London, Watson. 1739. The Editor, in his Preface, says, "Milton, Rochester, Hobbs, are better and more impartially characterized by the Author, than they have yet been by any other writer : he points out their Beauties and Blemishes with equal Candour and Judgment." '«Sneyd Davies, D.D. (1709-1769). Rhapsody. To Milton. It has 87 lines. Nichols, Sel. Col. of Pins. 17S0. 6:121-124. THE MILTON TRADITION [162 Soiled by rude touch, — enough then to admire, Silent admire ; and be content to feel. 67 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 manly 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 fire: 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 Laiuyer's Farewell To His Muse. Dodsley, CoL, vol. iv. Campbell, Brit. Pts., 1819, 6,408-411. Soutliey, Specimens, 3:188-192. o^Saml. Boyse (1708-1749). The Triumph of Nature. Gent. Mag., June-Aug., 1742, 12:324, 380, 43S. Chalmers, Eng. Pts., 14:534-8. "^John Brown (1715-1766). On Honor. To the Lord Viscount Lonsdale, Anderson, Br. Pts., 10:884-7. Bell, Fug. Ptry., 1:27-37. 70Jas. Hammond (i7io?-i742). Elegy A7F. To Delia. Chalmers, Eng. Pts., II :14s. ''Sir Chas. Hamburg (1708-1759)- To Mrs. Bindon at Bath. Bell, Fug. Poetry, 6:134-135. 163] POETICAL TRIBUTES TO MILTON 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 the prospect. 74 Last came a bard of more majestic tread, 1744 And Thyrsis hight by dryad, fawn, or swain. Whene'er he mingled with the sheplierd train ; But seldom that ; for higher thoughts he 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. 1:166-170. ^^Wm. Thompson (1712-1766). Sickness. Written in 1744, published in 1745. Book iii. Chalmers, Eng. Pts., 15 :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 C1733-1814). Ode i.v. To Sleep. Odes on Sev. Occasions. Lon- don, 1745. THE MILTON TRADITION [164 76 Queen of my song, harmonious Maid, 1745 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 airs the power 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. yj 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 thorn hard pressing 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 heart from woe ! I roll their raptures, but not catch their fire. Dark, though not blind, like thee. !Maeonides ! Or, Milton, thee ! ah, could I reacli 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 x. To The Muse. Chalmers. Eng. Pts., 14 : 104. ^'Richard Graves (1715-1804). The Elbow-Chair. Written in 1745. Enphrosyne: or, Amusements on the Road of Life. 2 vols. London, 1776. 2nd ed.. 1780, vol. I, 68-71. This reference has a foot-note explaining Milton's manner of study. ^8Edw. Young (1683-1765). Night Thoughts. Night I, 438-453- ^'Thomas Warton (1728-1790). The Pleasures of Melancholy. Written 1743, published 1747. Chalmers, Eng. Pts., 18:95-97. 165] POETICAL TRIBUTES TO MILTON 73 When in abstract thought he first 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 thickest 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 warni'd the soul 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 liis amaranthine crown. 82 Nor an holier place desire 1747 Than Timoleon's arms acquire. And Tully'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." sojoseph Warton (1722-1800). To A Gentleman on His Travels Through Italy. Odes on Various Subjeets, London. 1746. ^'Same. Odes, 1746. Ode to Health. *-Mark Akenside (1721-1770). Ode xvii. On A Sermon Against Glory. i747- s^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 MILTON TRADITION [166 84 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 my lonely bow'r, 1748 Three venerable forms appear'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 the poet's worth the land was blind ; To whom alone we owe what Eden 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 the breast To thirst of glory, and heroic deeds ; Sweet Marc's muse, sunk in inglorious rest, Had silent slept amid the Mincian reeds; Our Milton's Eden had lain wrapt in weeds. Our Shakespeare stroll'd and laugh'd with Warwick swains. ^'Anonymous. To Be Put Under Milton's Tomb in U'cstiuiitstcr Abbey. Gent. Mag., Mar., 1748, 18:134. 85Anonymous. 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." soRishop Richard Hurd (1720-1808). On the Peace of Ai.v La ChafeUe. 1748. G. Pearch, Continuation, 1783, 2:279-282. 8'Jas. Thomson (1700-1748). The Castle of Indolence. Canto H, stanzas 51 and .S2. 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, Nigh 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 bowers. Or curtain'd close such scene from every future view. 90 Let Granta boast the patrons of her name. 749 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. s^Robert Dodsley (1703-1764). The Art of Preaching. In Imitation of Horace's Art of Poetry. .Anderson, Br. Poets, 11:98-102. snVm. Collins (1721-1759). Ode On The Poetical Character. Branson's Ed. Ath. Press Srs.. pp. 41-43. Chalmers, Eng. Pts., I3:i99- One feels the first line here, and especially of Hayley (No. 171. below), to be an echo of Milton lines {Para. Lost, II, S57ff) : Others apart sat on a hill retired. In thoughts more elevate, and reasoned high Of Providence ""Thos. Warton (1728-1790). The Triumph of I sis. 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 my 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 thoughts 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 e.xcell ; 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 baflled 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. »iRev. Robert Potter (1721-1804). A Farewell Hyiiine to the Country. Stanza xiii. Bell, Fug. Poetry, 11:105-119. »=Robert Shields (d. 1753). The Poiver of Beauty. G. Pearch, Continuation, 1:194-212. Shields wrote this poem on Johnson's Irene, probably about 1750. ^^Saml. Johnson (1709-1784). Prologue to Comus. 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 tliis 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 ! Tis yours to crown desert — beyond the grave. 94 Oft Phoebus self left his divine abode, 1751 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 fill'd the trump of Fame; This, Fancy's darling child, was Shakespeare hight, 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 hight, 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; s*Robert Lloyd (1733-1764). The Progress of Envy. The Ptl. IVks., 2 vols., 1774, 1:132-146. Chalmers, Eng. Pts., 15:94-97. ^■Thos. Gray (1716-1771). The Elegy. The proper names in these lines originally read "Gate," "Tully," and "Caesar." The change is due to changing national feelings. 78 THE MILTON 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 And let thy pious strain I7SI Tell How Milton scorn'd the sophist vain. Who durst approach his hallow'd strain With unwash'd hands and life profane. 98 Ere yet I sing the round-revolving year, 1751 And show the toils and pastime of the swain. At Alcon's grave I drop a pious tear ; Right well he knew to raise his learned strain, And, like his Milton, scorn'd the rhyming chain. Ah ! cruel fate, to tear him from our eyes ; Receive this wreath, albe the tribute's vain. From the green sod may flowers immortal rise. To mark the sacred spot where the sweet poet lies. 99 Tho' Milton's brovi's with bays we twine, And style him wonderful ! divine ! Th' immortal, and the bard ! Yet Pope, with ev'ry grace replete, In sense, and harmony complete. Still claims our just regard. 100 Milton, bard divine, 1752 Whose greatness who shall imitate? loi But not to one in this benighted age 1752 Is that diviner inspiration giv'n, soNath. Cotton (1705-1788). To A Child of Five Years Old. J'arious Pieces in 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 : 389-39 1. osMoses ]\Iendes ( -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.v, Bk. iv. of Horace. Nichols, Neiv Found- ling Hospital for Wit., 5:46-50. looChristopher Smart (1722-1771)- The Hop-Garden, Bk. I. Poems, 1791. 1:152. Chalmers, Eng. Poets, 16:38. i»iThos. Gray (1716-1771)- Stanzas To Mr. Rich. Bentley. 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, 1/53 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 high-wrought lays; Or on Ariel's Airy wing. Let me chase the young-eyed spring. 104 His frailties are to ev'ry gossip known : i;53 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 Moloch's burning fane Devote the choicest children of his brain. 105 But, ah, how void yon peasant's mind ! 1753 In vain to him is Maro's strain, And Shakespeare's magic powers in vain, In vain is Milton's fire. lo-Miss Courtney. To Miss Anne Conolly. Bell, Fugitive Poetry, i :33-34- losjohn Ogilvie ("1733-1813). The Day of Judgment, with (six other Odes, &c.). Ode on Sleep, stanza 5. Poems on Several Subjects, r/6g, 2 vols., 1:95. Mo. Rev., Dec, 1759, 21 -.467-469. i°*John Armstrong, M.D. (1709-79). Taste. An Epistle to A Young Critic, I75S- Chalmers, Eng. Poets, 16:338-540. i»^Wm. J. Mickle (1735-1788). Knowledge. An Ode. Pearch, Continuation, 1783, 3 :2i-29, p. 23. 80 THE MILTON TRADITION [172 io6 The verse adorn again 1755 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 Choir, 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, 1755 Their verse-men, and prose-men; then match them with ours; First Shakspear and Milton, like gods in the fight, Have put their whole 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 : 1755 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 unpolite. Such as the Judging ear affright. 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 lo^Thos. Gray (1716-1771). The Bard. The allusions are to Spenser. Shake- speare, Milton, and succeeding poets. if^David Garrick (1717-1779). Epigram on Johnson's Dictionary and the French Academy. Ptl. Wks., 2 vol.. 1785, 2:506. Anderson, Br. Poets, ii:799- losRobert Lloyd. To . . . About To Publish A Volume of Miscellanies, i/55- Ptl. Wks., 1774, 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! 1755 In all thy native majesty appear, Sublime, concise, and clear. As wlien 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. no 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, E.xiled the sov'reign lamp of light ; Say. what could then one chearing hope diffuse? 111 The proverb still sticks closely by us, 1756 Ni dictum, quod noii dictum prius. The only comfort that I know Is, that 't was said an age ago. Ere Milton soar'd in thought sublime. Ere Pope relin'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 ! if'H. Kiddell. The Genius of Milton. An Invocation. Gent. Mag., Nov.. I7SS. 25 :5i8. iiowm Mason (1724-1797). To Memory. Odes, 2nd. ed., 1756. "Well imag- ined . . . tho' too long." Cr. Rev., Apr., 1756, I :2o8-2i4. iiiRobert Lloyd. An Epistle To Mr. Colman, I/56. Ptl. JVks., 1/74, 1 :i65-i70. Chalmers, Eng. Pts., 15:102-103. "-Joseph Reed (1723-1790). A British Philippic. Mo. Rev., July. 1756, 15: 85-86. "^Thos. Blacklock (1721-1791). The Wish: An Elegy. Poems, i. ed., 1769. Chalmers, 18:202. Bell, Eng. Poetry, 8:122. Pearch, 2:194. 82 THE MILTON' TRADITION [174 Or borne on Milton's fliglit, as Heaven sublime, View its full blaze in open prospect glow ; Ble&s the first pair in Eden's happy clime. Or drop the human tear for endless woe. 114 Fancy dreams, I7S7 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, such as wait An angel's meditation. 115 Thus form'd, our Edwards, Henrys, Churchills, Blakes,. 1757 Our Lockes, our Newtons, and our Miltons. 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. ii*Mark Akenside. Tlie Pleasures of the Imagination, Bk. I., lines 161-173. Chalmers, Eng. Pts., 14 :8o-97. "=John Dyer (1700-1758). The Fleece, Bk. \. Chalmers, 13:228. ""J. Duncombe. Ode to the Rt. Hon. John Earl of Corke. See Cr. Rev., Oct., 1767, 24:266-275. '''Robert Colvill ( -1788). Upon Losing Miltons Paradise Lost, at Luss, situated upon Loch Lomond at the foot of Ben Lownian, and a group of other vast Mountains: an Ode. See Mo. Rev., March, 1758, 18:277-278. 175] POETICAL TRIBUTES TO MILTON Mouth of the hellish 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 Apollo 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 Harefield's haunts to rove. Blest spirit, come! tho' 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, 1739 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.) ns\Yrn Mason (1724-1797). Elegy IL Written in the Garden of a Friend, 175S. Chalmers, i8:33S-336. ii^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. i^oTheodosia (Anne Steele). To Lysander. Poems on Subjects Chiefly Devo- tional, 1760, re-issued 1780. Mo. Rev., April, 1760, 22:321-324. i^iMichael Wodhull (1740-1816). Ode To The Muses. 4*0. 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.) THE MILTON TRADITION [176 122 Lo ! this the land, whence Milton's Muse of fire, 1761 High sonr'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 her still abode. i~6 — Here oft my Milton in the midnight gloom, Has caught the lofty sentiment relin'd. Here oft sought Science in her cloister'd dome, Hence fiH'd the mighty volume of his mind. Here learnt above the duller sons of earth. In all the dignity of thought to rise. Here plann'd the work, that told creation's birth, Hence gain'd his native palace in the skies. But rais'd to join the aerial choir on high. 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 thick'ning shades of night. And left the world to Darkness, Young, and me. 124 Some hate all rhyme; some seriously deplore 1762 That Milton wants that one enchantment more. 125 But oft when Midnight's sadly solemn knell 1762 Sounds long and distant from the sky-topt tower; i-=Thos. Warton (1728-1790). On The Marriage of the King. To Her Majesty. Chalmers, Eng. Pts., 18:92-93. The Critical Review 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 ez-eni. i^^Stephen Panting, of Wellington, in Shropshire. Four Elegies: .Morning, Noon, Evening, Night. Mo. Rev., Feb., 1762, 26:152-3. Penseroso like, he woos Contemplation in the solitary night, and h;is the above answer. It is interesting to note how Paradise Lost, the .Xight Thi'U',ihts, and Gray's Elegy come here together. i2*Wm. Whitehead (171S-1785). A Charge To The Poets. Chalmers. Kng, Poets, -17:231-234. i25John Ogilvie (1733-1813). Ode on Melancholy. Poems on .Sev. SH-j\\ts, 1769, 1:74. Cr. Rev., Oct., 1762, 14:293-301. 177 J POETICAL TRIETTTKS TO MILTON Calm let me sit in Prospero's lonely cell, Or walk with Milton thro' the dark Obscure. 126 And thou, sweet queen, i;62 That nightly wrapt thy Milton's hallow'd ear In the soft ecstacies of Lydian airs ; That since attun'd to Handel's high-wound lyre The lay by tliee suggested ; couldst not thou Soothe with tliy 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 fire. 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 Earl of Halifa.w Chalmers, Eng. Pts., 16:435-437. This, and 130 below, connect Milton again with occasional poetry. i=8Rev. 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=9John Law. Christ's College. Cambridge Verses on Peace. 1763. Cr. Rev., Sept., 1763, 16:183-191. i30Chas. Foot. Same occasion and reference. THE MILTON TRADITION [178 131 With Milton, Epic drew its latest breath. 1763 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 All in All. Can only blank admit sublime? Go, read and measure Dryden's rhyme. Admire the magic of his song, See how his numbers roll along, With ease and strength and varied pause. Nor cramp'd by sound, nor metre's laws. 131R d B y, Esq. Efiistlc to Lord Mclcomb. Lloyd's (St. James) Mae., March, 1763, 2:1-8. "2Jas. Elphinston (1721-1809). Education, in Four Books. Mo. Rev., Feb., 1763, 28:103-108. '"Saml. Bishop (1731-1795)- Genius. Ptl. Wks. (ed. Thos. Clare). London, 17^6. I :22I-22S. "4Robert Lloyd (1733-1764). On Rhyme. A Familiar Ef'istlc To A Friend. Ptl. Wks., 1774, 2:105-118, pp. 112-114. 179] POETICAL TRIBUTES TO MILTON 87 Is harmony the gift of rhyme? Read, if you can, your Milton's chime; Where taste, not wantonly severe, May tind the measure, not the ear. As rhyme, rich rliyme, 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, 135 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, 176s And magic Spenser's wildly-warbling lyre? (and Shakespeare, Pope, Gray, Shenstone, Young, Akenside) And shall a Bufo's most polluted name Stain her bright tablet of untainted fame ! i35Anonymous. The Laureat. A Poem. Inscribed to the Memory of C. Churchill. Cr. Rev., Feb.. 1765, 19:87-90. i^eWm. Stevenson, M.D. To the Memory of JVilliam Shenstone, Esq. Cr. Rev., Aug., 1765, 20-133. i"Geo. Keate (i729-i797)- The Temple-Student: An Epistle To A Friend. Ptl. Wks., 17S1, I :203-235, p. 234. i3Sjas. Beattie (1735-1803). On the Report of A Monument To Be Erected in Westminster 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., 1864, pp. 145- IS2. THE MILTON TRADITION [180 139 But now a Garden, like that Eden fair, 176s 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 hung, 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 the 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 wood 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 the 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. '^sjohn Ogilvie (1733-1813). Solitude: or. The Elysium of the Poets. Poems on Sev. Subjects, 1769, 2:217-221. For contemporary criticism, see 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 the several poets. The author is giving "in a short compass the character, merit, and discriminating excellencies of the most eminent British Poets." .Xs such, Milton appears only as an r/J!c poet, though Ogilvie has pilfered much from Milton's smaller poems. 181] POETICAL TRIBUTES TO MILTON A Bard was near ; and glittering by his side The Child of magic song, the melting Lyre, Whose frame with Music's sweetest breatli supplied. Wakes o'er the kindling soul celestial tire. 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! 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 call'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 moimtain 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. 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 him! 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, "the fruit B4 Of that forbidden 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 quaff Their generous nectar, 'neath their parent shade, Advent'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 zvorthy good sort of a man, Bath For he calls in upon us whenever he can, 1766 And often a dinner or supper he takes here. And Jenny and he talk of INIilton and Shakespeare. 143 What honours, ye Britons! (one emblem implies) 1766? What glory to George shall belong! What Miltons, (the other) what Addisons rise. To make him immortal in song ! ""Wm. Thompson (1712-1766). In Milton's Alcove. '^iSame. In the Midst of an Afple-Tree, Over Mr. Philips 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. "^Christopher Anstey (1724-1805). The Neiv Bath Guide: or, Memoirs of the B-n-r-d Family. In a series of Poetical Epistles. Bath, jSog. Letter ii. i-i^John Cunningham (1729-1773"). Stanzas on the Forivardncss of Spring. Chalmers, Eng. Pts., 14:437- 183] POETICAL TRIBUTES TO MILTON 144 ^lan 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. 14s To Spencer much, to Milton much is due; 1767 But in great Dryden we preserve the Two. What Muse but his can nature's beauties hit, Or catch that airy fugitive, call'd icit? 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. And Shakespeare's flame, to full meridian day. 149 Ah! What the transient sounds, devoid of thought, ci76g 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. i"Michael Bruce (1746-1767). The Last Day. Anderson. Brit. Poets, 11: 1124-1128. "^Walter Harte ('1709-1774). The Vision of Death. In The Amaranth, or Religious Poeir.s. Cr. Rev., Aug., 1767, 24:121-124. i^^Same. Macarius; or. The Confessor. Chalmers. Eng. Poets, 16:390-392. "'Wm. Wilkie (1721-1772). Phebus and the Shepherd. Chalmers, Eng. Poets, 16:189. "SEdw. Lovibond (1724-1775). Verses Written after Passing Through Fin- don, Sussex, iy68. Chalmers, Eng. Poets, 16:299. i«Wm. J. Mickle (1735-17S8). On The Neglect of Poetry. Anderson, Brit. Poets, 11:670. Chalmers, Eng. Pts., i7:553-4- 92 THE MILTON TRADITION [184 150 One lattice glimmers in the dismal cell, 1769 Which cause, like the flames in Milton's hell, "No 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 wliat 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. Nor 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 tlieme 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. T55 There silent mus'd on Shakespeare's tragic page. i^i'Francis Seighton. The Muse's Blossoms. Highly praised in the Mo. Rev., April, 1769, 40:302. It describes the lad's prison at school, wliere lie was shut up for eating tarts when he should have been reading Homer. »"Thos. Neville. Imitations of Juvenal and Persius. Mo. Rev., Jan., 1770, 42:46. I'^-Thos. Gray. The Installation Ode. issAnonymous. Ode To Lord Edgeeonibc's Pig. The New Foundling Hos- pital for Wit. 1784. 6:240. i5"Fred. Howard (1748-1825). 5th Earl of Carlisle. The Father's Revenge. A Tragedy. London, 1800. "^Anonymous. The Rising Glory of America. New Fndlg. Hospital for Wit. 4.247-257. i^^Anonymous. A Dialogue Between Dr. Johnson and Dr. Goldsmith, in the Shades, relative to the former's Strictures on English Poets, particularly Pope, Milton, and Gray. "The poor Doctor (Johnson) pleads guilty to the charge of partiality," but attempts to atone for the evil by a character of Milton, quoted by the Critical Review, as "inferior to nothing in this performance." April, 1785, 59:304-305. i^oRev. J. Gilpin. An Essay upon the Peace of 1783, dedicated to the Arch- bishop of Paris. Translated from the French of the Rev. J. Fletcher, late Vicar of Madeley, Salop. 4to. Hindmarsh, 1785. These are lines on the American Colonies. Mo. Rev., Feb., 1786, 74:i47- 191] POETICAL TRIBUTES TO MILTON 99 177 Philosophy, baptized 1785 In the pure fountain of eternal love, Has eyes indeed ; and, viewing all she sees As meant to indicate a God to man. Gives Him His praise, and forfeits not her own. Learning has borne such fruits in other days On all her branches. Piety has found Friends in the friends of science, and true prayer Has flowed from lips wet with Castalian dews. Such was thy wisdom, Newton, childlike sage ! Sagacious reader of the works of God, And in His Word sagacious. Such too thine, Milton, whose genius had angelic wings. And fed on manna. And such thine, in whom Our British Themis gloried with just cause, Immortal Hale! for deep discernment praised. And sound integrity not more, than famed For sanctity of manners undefiled. Then Milton had indeed a poet's charms ; New to my taste his Paradise surpass'd The struggling efforts of my boyish tongue To speak its excellence, I danced for joy. I marvelled much that at so ripe an age As twice seven years, his beauties had then first Engag'd my wonder ; and admiring still, And still admiring, with regret suppos'd The joy half lost, because not sooner found. 178 And thou, immortal Bard ! By Seraphs crowned ! 178s Whether with lively Mirth and Pleasure gay. Thou listen to the jocund rebec's sound, Or frame the melting melancholy lay ; Still dost thou charm no less than when thy song Majestic bids our fearful eyes behold Angelic combat, and the rebel throng Down from the verge of Heaven headlong rolled. Since then the noblest of the tuneful art Have deigned to lay aside the bolder lyre, And touch with sweet simplicity the heart; With me, my Friend, the artless strain admire. "•Wm. Cowper (1731-1800). The Task. Bk. Ill, 242-59; IV, 709-17- "sSaml. Knight (1759-1827). Elegies and Sonnets. 4to. Cadell. 17S5. 2nd ed. 1787. Taken from the Mo. Rev., Aug., 1785, 73:121-123. For the author, see Mo. Rev., Aug., 1787, 77:160. 100 THE MILTON TRADITION [192 Convinced, Ambition's fond pursuit give o'er; Content be thou with milder rays to shine : Few can attain the wreath that Milton wore, But Hammond's myrtle chaplet may be thine. 179 In happier times, in Charles' golden reign, ? c How oft did Dryden, at thy shrine complain? 1786 Did patriot Milton ever feel thy smile? (At once the shame and glory of our isle!) 180 Immortal Freedom ! 1787 And far as memory traces back my years. My soul, tho' touch'd with social sympathies, Revolted at oppression. Nymph divine ! If from the sound of Milton's golden lyre ; Of Thomson's Doric pipe ...... Thou now withhold thine audience : — hither turn Indulgent ; for tho' sweeter song hath charm'd, Yet praise sincerer never met thine ear. 181 O, in your gardens love wild Nature's plan ; 1790 For God himself the model gave to man ! When Milton's hand the blessed asylum wove, Where our first parents wandered rich in love ; Did he with frigid rules then each path restrain? Did he in fetters vile the waves enchain? Did he a load of foreign splendours fling, O'er earth's soft infancy, and earliest spring? No ! artless, unconfined, there Nature bland With loveliest fancies decked the laughing land. Of hills and vales the bright confusion gay. And streams, that as they lift, meand'ring play. The doubtful paths that ever wind along. Still with new views, their varying joys prolong. There ever stray their eyes with fresh delight. Unknowing where to fix the ravished sight. O'er the green velvet of the enamelled meads, A thousand trees wave high their tufted heads, And charm each sense of smell, of taste, or view, I'SAnonymous. To Fortune. J. Debrett, An Asylum for Fugitive Pieces, 1786, 2:228-233. isovVm. Roscoe (17S3-1831). The Wrongs of Africa, p. 34- 181 Abbe de Lille. The Garden: or. The Art of Laying Out Grounds. Trans- lated from the French of the Abbe de Lille. Cadell. This passage has popular interest, as appears in the Critical Review, Oct., 1790, 70:409-414- Cf. Appendix I, 193] POETICAL TRIBUTES TO MILTON 101 With blossoms fair, or fruits of glossy hue. Or in thick clumps, or negligently spread, They clothe, or fly ; here from a deep'ning glade, A landscape gay expands its op'ning charms ; There to the ground low bend their branching arms, And gently check their steps, or in mid air High o'er their hands a verdant chaplet rear : Or as they muse beneath the noon-tide bower, Fling o'er their hair a bloomy scented shower. Why should I sing the luscious shrubs, the vines, Where round each bow'r their verdant curtain twines? There blushing like the rising morn, while love Beamed from each eye, Eve sought the nuptial grove. And to her youthful lover's longing arms Obsequious yielded all her virgin charms. The genial hour exulting Nature hails. Their sighs ecstatic swell the gentle gales, Murmur the waves, fair smile the heavens above, And joyful earth congratulates their love; Whisper the groves, the rose inclines its head. And fiings fresh odors o'er the bridal bed. O joys ineffable! O happy pair! How blessed, like you, who 'mid their gardens fair May dwell, from painful pride afar, may rove 'Mid fruits and flowers with innocence and love. 182 'Twas night, and buried in profound repose, 1790 The numerous tribes of busy mortals lay, My wakeful eyes alone forgot to close. And thought succeeded to the cares of day ; Till wearied nature sunk at length to rest. But Fancy hovering still around my head ; Fancy, the sleepless tenant of the breast, Its airy visions o'er my slumbers spread : When to my view a grizly form appears, Of mien majestic, but dejected hue. Reverend, sunk deeply in the vale of years, The Father of the English Song I knew. Hail, cried I, Author of immortal lays — My Son, said he, these titles now forbear. No time remains to waste in useless praise. is^Anonymous. Milton's Ghost. An Elegy. J. Debrett. Asylum for Fug. Pieces, 1795, 4:123-125. Written in the year 1790, when a report prevailed that the Grave of Milton had been discovered in Cripplegate Church-Yard, on which occasion the supposed remains of this famous Poet were dug, and suffered for some days to remain exposed to public view. See the poem on this occasion by Cowper, Appendix J. 102 THE MILTON TRADITION [194 A different subject now demands our care! Thou know'st, and oft hast mourn'd how hard my lot, Of evil days and evil tongues the prey, Dishonour'd, unrewarded, and forgot, I sunk the unheeded victim of decay, Obscurely in a vault my corpse was laid, Fenc'd by no shelter from the common doom, No voice of praise was heard to soothe my shade, No pomp of funeral adorn'd my tomb : Yet saw I sons their fathers' faults disclaim. The tribute long witliheld of honour pay, My strains victorious fill'd the voice of fame. Nor grieved I though my corpse unheeded lay. But, ah, how shall I tell the dire disgrace ! With hands profane my tomb they now disclose, My bones torn rudely from their grave deface, And rob my ashes of their due repose ! Was it for this I toiled in freedom's cause, With ceaseless care the arduous labor ply'd. Dethroning tyrants, and asserting laws, Till light, alas, its friendly aid deny'd? Was it for this, though quenched my visual ray, I woo'd the Muse to build the lofty rhyme, To more than mortal themes attun'd my lay, And soar'd beyond the bounds of space and time? Is this the fame I hop'd from future days. Are these mighty honours they bestow — With sacrilegious hands my corpse to raise, My bones expose a mercenary show? To brand the wretches, who the dead invade. With shame and fell remorse be thine the care. The cock was heard to crow — no more he said. And the thin vision vanished into air. 183 O for the pen of Milton, to describe 1790 Thy winning sadness, thy subduing sigh, Gentle Maria ; to describe thy pains, Assiduous Frederic, to alleviate grief And hang a smile upon thy Anna's brow ; To paint the sweet composure of thy looks, Experienc'd Adriano, thy attempt To waken cheerfulness, and frequent eye Stealing aside in pity to Maria. i83James Hurdis (1763-1801). Adriano; or. The First of Jiiiu: In these lines, Sophia is weeping for her brother Gilbert, whom she supposes to be drowned. Mo. Rev., Sept., 1790, 84(3) :Si-59- 195] POETICAL TRIBUTES TO MILTON 103 184 But since the gaping world in deep amaze 1791 Still on thy last eccentric pamphlet gaze, Which like great Milton's hero o'er the plain Where tumult, discord, and sedition reign. 18s God of ten million charming things, 1791 Of whom our Milton so divinely sings. 186 Whist: a Poem, in Tu'elve Cajitos. 1791 Sec note below. 187 In Youth. 1791 Milton, our noblest poet, in the grace Of youth, in those fair eyes and clustering hair, That brow untouched by one taint of care To mar its openness, we seem to trace The front of the first lord of human race. 'Mid thine own Paradise portrayed so fair, Ere Sin or Sorrow scathed it : such the air That characters thy youth. Shall time efface These lineaments as crowding cares assail! It is the lot of fall'n humanity. What boots it? armed in adamantine mail. The unconquerable mind, and genius high. Right onward hold their way through weal and woe, Or whether life's brief lot be high or low! In Age. And art thou he now "fall'n on evil days." And changed indeed ! Yet what do this sunk cheek, These thinner locks, and that calm forehead speak ! A spirit reckless of man's blame or praise, — A spirit, when thine eyes to the noon's blaze Their dark orbs roll in vain, in suffering meek, As in the sight of God intent to seek, 'Mid solitude or age, or through the ways, Of hard adversity, the approving look i8\ VH, 483-486. "•Robert Burns (1759-1796). Poem on Pastoral Poetry. The Poetry of R— B-- (Henley-Henderson), 1896, 4:50-52. Cf. 4:iosn. 197] POETICAL TRIBUTES TO MILTON 192 (Milton and Homer, sitting, a f feared equal: but) 1796 When each uprear'd His mighty stature, Britain's giant son Would proudly rise, and leave the Greek below. 193 Now their new guest the sacred hosts include, 1797 They who on earth with kindred lustre shone. There 'mid empyreal light shall hail his Gray ; There Milton thron'd in peerless glory see; The wreath that flames on Thomson's brow survey ; The vacant crown that, Cowper, waits for thee. 194 Come, Muse of Albion ! who in Thomson's verse 1797 Breathed Liberty's extatic ardent strain, Who gave to Addison a Cato's soul, To Milton, his sublime exalted strength, And to the inimitable Shakespeare's verse, The genuine stamp of nature, awful, true And forceful as th' impetuous gust of heaven ; Give me to share their energy divine : Give me to paint, in ardent numbers bold. 195 What measure the relation needs 1798 Of heaven's or earth's heroic deeds, Milton points out, unless I err; Though some a different verse prefer. 196 It was not thus, when Milton's voice began 1799 To sing of Eden lost by guilty man : Him on her wings celestial rapture bore To heights which mortal never reached before: Heav'n's awful splendours to his sight display'd. And all the horrors of the infernal shade. i^-Alex. Thomson (1763-1803). The Paradise of Taste. In this allegorical poem, the author is conducted to the Mt. of Sublimity. On the foot-hills, he finds Young; higher up, among others, Thomson and Akenside; on the very pinnacle, Homer and Milton. Grit. Rev., Feb., 1797, n. s., 19:129-137. "^Thos. Gisborne (1748-1846). Elegy To the Memory of the Rev. JVm. Mason. Chalmers, Eng. Poets, 18:319. is^Saml. Hull Wilcocke. Britannia: a Poem. See Mo. Rev., Dec, 1797, 105(24) :4S4-4S7. "sjohn Penn. Crit., Ptl., and Dramatic IVks. Vol. II. See Cr. Rev., Dec, 1798, n. s., 24:475-476. IS' Alex. Thomson (1763-1803'). Pictures of Poetry, &c. 8vo. Edin., lygg. Mo. Rev., Oct., 1800, 114(33) :I49-I53- Has also splendid verses on Young. Cr. Rev., Nov., 1799, n. s., 27:260-268. See Lady Manners's Reviezv of Poetry, Anc. and Modern. A P-teni. 4to. Booth, lygf). Mo. Rev., Dec, 1799, iii (30) :390-3. 106 THE MILTON TRADITION [198 197 Then thy mighty ear 1800 Thrilled with strange music ; if the tragic plaints And sounding lyre of those Athenians old, Or more majestic Homer swelled thy soul, Or Milton's muse of fire. 198 Nor less delight 1801 The Spirit felt, when still and charmed I sate Great Milton's solemn harmonies to hear. That swell from the full chord, and strong and clear, Beyond the tuneless couplet's weak control, Their long-commingling diapason roll. In varied sweetness. 199 Milton! thou shoulds't be living at this hour: 1802 England hath need of thee: she is a fen Of stagnant waters : altar, sword, and pen. Fireside, the heroic wealth of hall and bower, Have forfeited their ancient English dower Of inward happiness. We are selfish men; Oh ! raise us up, return to us again ; And give us manners, virtue, freedom, power. Thy soul was like a star and dwelt apart: Thou hadst a voice whose sound was like the sea : Pure as the naked heaven, majestic, free, So didst thou travel on life's common way, In cheerful godliness: and yet thy heart The lowliest duties on herself did lay. 200 We must be free or die, who speak the tongue 1802 That Shakespeare spake; the faith and morals hold Which Milton held. 201 Come ye — who, not less zealous, might display 1803 Banners at enmity with regal sway, And, like the Pyms and Miltons of that day, Think that a State would live in sounder health If Kingship bowed its head to common-wealth. I'^Richard Mant (1776-1848). Encomium On Joseph IVarton. Chalmers, Eng. Pts., 18:156-7. Highly commended by the Mo. Rev., Nov., 1801, 117(36) :323-4- i98W_ L Bowles. Monody on the Death of Dr. IVarton. Poems, vol. II. Cr. Rev., Aug., 1801, n. s., 32:424-429. i99Wm. Wordsworth (1770-1850). Sonnet. London. =»»Wm. Wordsworth. "It Is Not To Be Thought Of." 201-Wm. Wordsworth. Lines on the Expected Invasion. See also the Poet's account of his becoming intoxicated drinking healths to Milton. The Prelude. III. 283-321. 199] POETICAL TRIBUTES TO MILTON 107 202 And thou, sublimest Milton, from whose tongue 1803 Flow'd holy inspiration, when beset With poverty, with sorrow, blame and scorn, "With darkness and with dangers compassed round," What but the Muse, thy dreary rooms could light With glories of seraphic brilliancy ! 203 Again, forsaking mirth's fantastic rites, 1806 The Muse to follow, through her nobler flights ; Where Milton paints angelic hosts in arms. And Heaven's wide champaign rings with dire alarms, Till 'vengeful justice wings its dreadful way. And hurls the apostate from the face of day. Immortal Bards ! high o'er oblivion's shroud Their names shall live, pre-eminent and proud, Who snatched the keys of mystery from time. This world too little for their Muse sublime ! 204 Beneath the spreading platan's tent-like shade, 1812 Or by Missouri's rushing waters laid, "Old father Thames" shall be the poet's theme, Of Hayley's words th' enamoured virgin dream, And Milton's tones the raptured ear enthrall. Mixed with the roaring of Niagara's fall. 205 With reverence would we speak of all the sages Kov. Who have left streaks of light athwart their ages : 1815 And thou shouldst moralize on Milton's blindness, And mourn the fearful dearth of human kindness To those who strove with the bright golden wing Of genius, to flap away each sting Thrown by the pitiless world. 206 Chief of organic numbers ! Jan. Old Scholar of the Spheres! 1818 Thy Spirit never slumbers. But rolls about our ears. -"-Sir. S. E. Brydges (1762-1837"). Retirement, a Ptl. Fragment. Brydges, Cells. Lit., 1 :426. ="3Thos. Gent. Prologue To Public Readings, At A Young Gentleman's Acad- emy. Poetic Sketches. J. Bcart, Yarmouth. ^^^Mrs. Anna L. Barbauld (1743-1825). "1811." Works, 1:237. 2»5John Keats (1795-1821). Epistle To George Pelton Mathew. The Ptl. Wks. (Bu-xton), I :4s. Keats wrote Notes on Paradise Lost in i8ig. See his Poetical Works (Bux- ton), III, pp. 19-30. He also wrote a sonnet To Sleep, over Paradise Lost. Ptl. Wks., II, p. 347. 2™John Keats. On Seeing A Lock of Milton's Hair. The Ptl. Wks. (Bux- ton), 2:249-251. 108 THE MILTON TRADITION [200 For ever and for ever ! O what a mad endeavour Worketh he, Who to thy sacred and ennobled hearse Would offer a burnt sacrifice of verse And melody. How heavenward thou soundest, Live Temple of sweet noise, And discord unconfoundest, Giving delight new joys, And Pleasure nobler pinions! O, Where are thy dominions? Lend thine ear To a young Delian — ay, by thy soul. By all that from thy mortal lips did roll. And by the kernel of thine earthly love. Beauty, in things on earth, and things above, I swear ! When every childish fashion Has vanish'd from my rhyme. Will I grey-gone in passion. Leave to an after-time. Hymning and harmony Of thee, and of thy works, and of thy life; But vain is now the burning and the strife. Pangs are in vain, until I grow high-rife With old Philosophy. And mad with glimpses of futurity ! For many years my ofTering must be hush'd; When I do speak, I'll think upon this hour, Because I feel my forehead hot and flush'd. Even at the simplest vassal of thy power,— A lock of thy bright hair- Sudden it came. And I was startled, when I caught thy name Coupled so unaware ; Yet, at the moment, temperate was my blood. I thought I had beheld it from the flood. 207 (Captain): 1815- "Newman is made of different clay; 1829 He walks in his own quiet way ; And yet beneath that sober mien Gleams of a spirit may be seen, Which shows what temper lies supprest =o'Robert Southey (1774-1843). Oliver Nciviiian: A Nezv England Tale. 201] POETICAL TRIBUTES TO MILTON 109 Within his meek and unambitious breast : He seemeth surely one of gentle seed, Whose sires for many an age were wont to lead In courts and councils, and in camp to bleed." Randolph replied, "He rules his tongue too well Ever of those from whom he sprung to tell : Whatever rank they once possessed In camps and councils, is, I ween, suppress'd In prudent silence. Little love that pair Could to the royal Martyr bear. Be sure, who named their offspring Oliver. You have mark'd that volume, over which he seems To pour and meditate, like one who dreams, Pondering upon the page with thought intense, That nought, which passes round him, can from thence His fix'd attention move : He carries it about his person still, Nor lays it from him for a moment's time. At my request, one day, with no good will, He lent it me: what, think ye, did it prove? A rigmarole of verses without rhyme, About the apple, and the cause of sin, By the blind old traitor Milton ! and within. Upon the cover, he had written thus. As if some saintly relic it had been. Which the fond owner gloried in possessing: 'Given me by my most venerable friend. The author, with his blessing!'" 208 With other emotion 1821 Milton's severer shade I saw, and in reverence humbled Gazed on that soul sublime : of passion now as of blindness Heal'd, and no longer here to Kings and to Hierarchs hostile. He was assoiled from taint of the fatal fruit : and in Eden Not again to be lost, consorted and equal with Angels. 209 Most musical of mourners, weep again ! 1821 Lament anew, Urania ! — He died. Who was the Sire of an immortal strain. Blind, old, and lonely, when his country's pride. The priest, the slave, and the liberticide, Trampled and mocked with a loathed rite Of lust and blood ; he went unterrified, Into the gulph of death, but his clear sprite Yet reigns o'er earth ; the third among the sons of light. ^o^Robert Southey. A Vision of Judgment. zoopercy B. Shelley (1792-1822). Adonais, Stanza iv. 110 THE MILTON TRADITION [202 210 Spenser shed over me his sunny dreams ; Chaucer far more enchanted me ; the force Of Milton was for boyhood too austere, Yet often did I steal a glance at Eve. 211 And Milton in the streets no Taller Than sparkling easy-ambling Waller. Waller now walks with rhyming crowds ; While Milton sits above the clouds, Above the stars, his fixt abode, And points to men their way to God. 212 With frowning brow o'er pontif-kings elate Stood Dante, great the man, the poet great. Milton in might and majesty surpast The triple world, and far his shade was cast. On earth he sang amid the Angelic host, And Paradise to him was never lost. Two mighty men stand forth Above the flight of Ages, two alone ; One crying out All nations spoke thro' me. The other : True; and thro' this trumpet burst God's word; the fall of Angels, and the doom First of immortal, then of Mortal, Man, Glory! be Glory! not to me, to God. After reading this incomplete array of poetic compliment, one feels that Milton needs no further canonizing. Into the Heaven of Heavens (he has) presumed. An earthly guest, and drawn empyreal air. Beyond his own supplicating hope, his "fit audience, though few" has gradually multiplied into a nation of admirers, nay more, of poetic worshipers— for Milton has been virtually deified. If he has not been the quickening force of every song in the Eighteenth Century, he has 2i°Walter Savage Landor (1775-1864). From The Last Fruit off an Old Tree. XXXVII. Wks. and Life. 1876. 8 :22o. 2"W. S. Landor. Additional Poems, cxiv. Wks. and Life, 1876, 8:341. 2i=W. S. Landor. Add'l Poems, xlii; The Last Fruit, Iv. This last is on Shakespeare and Milton. He has other beautiful tributes. Cf. Collection of 1846, cxl, and cclxxxviii, To U'ordsworth. The Last Fruit off an Old Tree, ix. To The Nightingale; xxi. Ode To Sicily. Dry Sticks, vii, Old-Fashion Verse. The Works and Life, 1876, pp. 326, 232, 74, 137, 202, 208, 282. 203J POETICAL TRIBUTES TO MILTON 111 at least influenced almost every singer of this period. Urania reigns supreme among the Muses, and exacts a tribute from all to whom she grants the voice of song. This tribute must be paid, whether the song be serious and sublime, or trivial in the extreme. Tlie grateful nation breathed a pure Miltonie air ; and almost every poet felt himself impelled to analyze and express this aU-pervading influence. The chords of feeling that are touched in these tributes range tlirough the whole scale of human emotion. There is everything here, from political rancor to the teuderest personal sym- pathies, from the jocose in tone to the exaltation of Heaven itself. But the volume of these voices harmoniously proclaims the universal and persistent power of Milton over the life and thought of the English people during the period under consideration. Nor can anj' one fail to feel how nearly unanimous these tributes are in pointing directly to Paradise Lost. Every phase of Miltonie interest finds an echo in these poetical re-actions. Almost every piece of Milton's writings finds a recognition, general at least, if not specific and particular. But the whole sum of this recognition is comparatively small. Measured by the emphasis upon Paradise Lost, the other writings of Milton seem almost neglected. Even the large element of sympathetic biographical allusion refers almost exclusively to that portion of Milton 's life which is inseparably connected with his Major Poems. In a word, these tributes point mainly to the Major Poems as the object of national interest and the source of national influence, emphasizing those dis- tinguishing qualities of Milton's Epics that have placed them in the highest rank of the world's great masterpieces. CHAPTER IV The Biographical Treatment op Milton Biography is the record and interpretation of the facts through which a personality has worked itself out into what is called life. The writing of biography implies the answering of two questions. What are the facts? and, What do they mean? Thus the biographer enables the world to see what he conceives to have been the things essential in the personality that he has treated. But the biographer himself is not a perfectly transparent medium for facts, nor, as a rule, an unbiased judge of their meaning. To see Milton through the medium of Biography, in the period under discussion, it is necessary, therefore, to take some notice of the biographers who write, of the facts they emphasize, and of the meaning they impose. After the Restoration Milton was delivered from the hands of ven- geance by Davenant and other friends, and lived in obscurity', in Lon- don, until the great fire of 1666 drove him from the city. He was hated by the court and Tories in general, but highly esteemed by his rather remarkable circle of friends. He devoted himself to regular habits, and industrious labours upon the great poem, which appeared in 1667. Milton was always famous, or infamous, according to the temper of his judges; and, if Aubrey may be trusted, the aged poet was even wearied by the multitude of his visitors. But after all is said that is favorable to his condition, still Milton was poor, blind, in obscurity, and comparatively neglected, while the 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 Milton- 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 History of Milton and His Time (636n), has summarized the biographical allusions to Milton before the publication of Paradise Lost. Those in Heath's Chronicle (1663), South's Sermons, and Hacket's Life of Archbishop Williams (written 1661-70, published 1692), all describe Milton in terms of viru- lent political hatred, and regret that he was not hanged. Two other 205] THE BIOGRAPHICAL TREATMENT OP MILTON 113 allusions are cited as more respectful. One of them is from Hobbes, whom Milton disliked 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 other allusion was by 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 were 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 Museum, 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 ct 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 interesthig 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. O.xford, 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 transcribed 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 Milton 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 the 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. The writer developed the setting of the several pieces of Milton's prose writings in a manner that was favorable to the great author. This Life gave no hint of the Minor 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, however, mention, with some emphasis. Paradise Lost, Paradise Regained, and Samson Agonistes, and paused to affirm that the first and second of these "more especially taught all virtue." But this friendly activity was rather exceptional in the field of early Milton biography. Milton's prominence in the Commonwealth, and his celebrity as a writer in defence of that movement, made him an object of especial detestation in the early days of the Restoration. It was then customary to try for court favour by vilifying the Puritans. Milton was therefore a man much written against for several decades after the Restoration. The very atmosphere of the English court was one of political ani- mosity. By none was this more deeply breathed than by William Winstanley (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 spleen against Milton, in the following pas- sage, apparently designed by fate for easy quotation : "John Milton was one wliose 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 honorable repute, had he not been a notorious ■*Dict, Natl. Biog. "Paget." Masson, Life of Milton, iv, 151. 207] THE BIOGRAPHICAL TREATMENT OF MILTON 115 traitor and most impiously and villainously bely'd that blessed martyr 'Charles the First.' "•-■ The "Account of Milton," given by Anthony A. Wood (1632-1695), in his Athenae Oxoniensis et Fasti, was little more sympathetic than that of Winstanley. 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 him 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 defender of the murder of King Charles I." Wood was even more severe in saying that "John Phillips early imbib'd the rankest autimonarchial 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 uudramatic poems and prose pieces of Milton ; but confessed that he knew little about the poems, and proved his ignorance most convincingly in his misstatements of obvious facts. He 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 Eeputation." 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 IVorthies (1766). <^Ath. Oxon. ct Fasti. Edited by Philip Bliss. 4 vols. London, iS.'O. "Edw. Phillips," 4 760-769. "Milton," 2 :48o-486. These accounts were written about 1691-2. The Fasti was added to the Ath. O.xon., in the edition of 1721. 116 THE MILTON TRADITION [208 as follows : Milton was ' ' an aixthor of that excellence of genius and learning, that none of any age or nation, I think, has excel 'd him."^ This change was due largely to tlie difference in literary temperament between Langbaine and Gildon, but it indicated a change of emphasis which 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 Milton (1694, Trib, 21), and by Yalden, when Milton's Prose was published with his poems (1698, Trib. 23). In the same year that Addison's Account appeared (1694), Sir Thomas Pope Blount (1649-1697) published his Dc Re Poetica, which, in many references, considered Milton mainly as a poet. The second Part, called Characters and Censures, devoted four pages to "John Milton," basing the criticism almost entirely upon Paradise Lost, Para- dise Regained, and Samson Agonistcs, though Milton was allowed to have international fame from "his other (prose?) works, both Latin and English.* In this same year (1694) a new departure 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 naturally 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 Ms Blindness. The biographer showed himself familiar with all the Minor Poems, but singled out Lycidas alone for special mention. He devoted considerable attention to the common view, that Paradise 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 furnishing a biographical introduction to Milton's Works was followed by John Toland (1670-1722), who prepared a new Life of Milton for his edition of the Prose Works (1698). This Life was printed separately the next year, at which 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. ''An Acct. of the Eng. Dra. Poets. Oxford, i6qi, pp. 37S-37"- There seems to have been an edition of this work in 1696. It was reissued, and brought down to date, in 1699, by Gildon (B. M. Cat.), who is accredited with the addition of 182 pages. The work was republished by Mayhew, 1751. »£> Bishop Samuel Parker, in The History of Hii Own Time, in Four Books, Trans, from the Latin by Thos. Newlin, London, 1727, devoted a section to "Marvell," claiming that, "by the interest of Milton, to whom he was somewhat agreeable from his ill-natured wit, he was made Under-secretary to Cromwell's Secretary." 215] THE BIOGRAPHICAL TKEATMEXT OP MILTON 123 burned, and himself in danger; but he was happily included in the Act of Indem- nity, and spent the remainder of his life in retirement. He was a man of an unequalled genius, and acquired immortal fame by his incomparable poem of Paradise Lost; in which he manifested such a sublimity of thought and such elegance of diction, as perhaps were never exceeded in any age or nation of the world. His daughters read to him, after he was blind, the Greek poets, though they understood not the language. He died in mean circumstances, at Bunhill Row, in the sixty-seventh year of his age."-- Tlie next year after Neal's cautious account, the public was favored with the longest and most sympathetic Life of Milton hitherto pub- lished. This Life was the work of Jonathan Richardson, who published it in the Explanatory Notes on .... Paradise Lost (1734), to which his son contributed much in the wa.y of classical learning.-^ The elder Eichardson was an artist, and a man of rather keen literary interests. He had had a long and extensive experience with public life, and had treasured uj) many valuable literary anecdotes and traditions of the Eestoration period. His owai life had extended almost back to the Commonwealth, and thus subtended a large and important arc of English history. In this Life of Milton Richardson brought together a wealth of reminiscent materials of great interest and permanent value. The first thing in the book is a full page portrait of Milton, in his later life, with a crown of laurel upon his head. Richardson had ' ' given a little more vigor to the print" (ii), and placed the crown upon Mil- ton's head because all men allowed it to the great poet. The general import of this Life was adequately stated in the biographer's opening sentences : "If I. can give a more Exact, and a more Just Idea of Milton, and Paradis^e Lost than the Public has yet had of Either, I am assured it will be Acceptable to all Honest and Ingenious Minds of What Party Soever. This is All I Intend; not a Panegyrick, not to give my Own Sense of what a Man should be, but what this Man Really was. Not to Plead for the Poet, or the Poem, but for Truth, by giving Light into what hath Hitherto lain in Obscurity, and by Dispelling Mis- takes which have Injur'd the Memory of a Deserving Man, Debas'd a work Worthy of the Highest Estimation, and Robb'd the World of the Pleasures and Ad- vantage it Might have Receiv'd, and I presume to Hope Will Hereafter Receive. This is My Aim in the Present Undertaking." (On the next page, he says,) "the Print Prefix'd shows the Face of him Who Wrote Paradise Lost, the Face We chiefly desire to be acquainted with." "-"-History of the Puritans. Vol. I, 17,32; II, 1/33; HI. 1/36; IV, 1738- 5 vols., edited by Dr. Joshua Toulmin, 1797. II, 219-20, 280. ^^Explanatory Notes on Milton's Paradise Lost. By Jonathan Richardson. Father (1665-1747) and Son (1696-1771). With a Life of the Author, John Milton. London, 1734. 2nd ed., 1735. Life, pp. i-clxiii. 124 THE MILTON TRADITION [216 The last idea above was what gave direction to the author's bio- graphical efforts. Plainly from the first he was interested primarilj^ in the truth of him who wrote Paradise Lost. In keeping with this par- ticular interest, the author recognized the Minor Poems of Milton mainly as evolutionary facts in the development of his mind for his supreme work. This development was represented, as it were, from within the mind itself. Through liberal citations from his poetry and prose, Milton was made to reveal the growing fulness and ripening purpose of his own mind, as it steadily approached the full magnitude of genius in Paradise Lost. The political tone of the Life was greatly subdued, and in all the incidental matters there was a splendid sympathy with the great poet. Especially was this sympathy evident in matters relating to Milton after the Restoration. The whole account closed with an Apostrophe that rounded out the biographer's original design: "O Milton, thou hast employ'd all thy Vast Treasure of Wit, Learning and Ability, all the Beauty, Energy, and Propriety of Words Our Language was capable of, all the Sweetness and Harmony of Numbers thy Musical and Judicious Ear furnished thee with, all the Fire and Beauty and Sublimity of Imagination Peculiar to thyself, Added to what could be supplied by those who have most excelled in that Angelical Faculty, in Whatever Ages or Languages, All the Firmness, Force, and Dignity of Mind thy Virtue and Piety Excited in thee, or Rewarded thee with : and together with All These a Genius Perfectly Poetical, if Ever Man's was. and That Regulated by a most Solid Judgment. All these thou hast Consecrated to Produce a Poem, more Instrumental than Other Human Composition, to Calm and Purify the Mind, and through the Delightful Regions of Poetry, to Exalt and Fix it to the Mysteries, Sublimities, and Practice of Religion; to a State of Tranquility and Happiness, the Utmost Morality is Capable of." The next biographer of Milton was the Rev. Thomas Birch (1705- 1766). He was an ardent Whig, and under the influence of that party, rose rapidly in church and political recognition. He was made secretary of the Royal Society, and figured among men of letters as an historian and an advocate of liberty. In 1738, he edited The Complete Prose Works of Milton, in two folio volumes, with An Account of the Life and Writings of Mr. John Milton.-* -ses (Godzvin), 1815, p. 145. In the Theatrum Poctaruiu (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 Acct. 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. 23Thos. Otway (1652- 1685). Chalmers, Eng. Poets, 8:295. 2*Edw. Dowden, Milton in the i8th Century. Proc. Brit. Acad., 1907-S, pp. 276, and 279. 237] CRITICISM OP MILTON 145 the aspiring wit as passing by Shakespeare, Jonson, and Dryden, to admire "the incomparable Milton," and "fondly endeavor to imitate his sublime." The transformations of Dryden 's poems, by Elkanali Settle in 1682,-= and by Matthew Prior in 1687,="^ both made use of Paradise Lost. The author of The Situation of Paradise Found Out (1683) cited "with taste and judgment several passages" from Paradise Lost (Bk. iv), and argiied that Milton consulted the Fathers in this description of Eden." Already in 1679, Samuel Woodford (1636-1700) had recognized the immortality inherent in this poem, which "shall live as long as there are men left in our English world to read it."-^ In 1680, the anonymous translator of Jacob Catsius' Self -Conflict placed Milton by the side of Cowley,"^ and eleven years later Milton stood on the exalted plane of excellence with the "perfect" Mr. Waller.^" Meantime English politics were taking a turn that was destined to affect the standing of Paradise Lost. The substantial spirit of the Eng- lish people could endure only about so long the Frenchified Toryism of the Restoration. This period of endurance was greatly abridged by the element of national religion involved in the position of the restored King. The re-aetionary forces gathered gradually under Charles II, and reached the point of Revolution when James II tried openly to foist the Roman Catholic Faith upon the English Nation. By this juncture of affairs the balance of power had swung around to the Whig Party, who had espoused the cause of Milton's reputation. One result of this movement was the massive folio edition of Paradise Lost in 1688, which, with its five hundred honorable names appended, amounted virtually to a national recognition. But a still greater result was the changed attitude toward the whole question of Milton's exaltation. The Revolution brought William III to the throne, who did not care to persecute the Puritans. Indeed, the old fury of the early Restoration was beginning to be spent ; and court favor could no longer be purchased, by abusing the party opposed to the King. Rapidly things had changed ; and one might, after 1688, praise Milton with assurance of at least a semi-national sympathy re- specting the exaltation of Paradise Lost. Men were then privileged to -^Absalom Senior: or, Achitophel Transposed (1682), pp. 2-3. -^The Hmd and the Panther, Transvers'd to the Story of the Country Mouse and the City Mouse. Aldine Ed., II, p. 332. Cf. also The Female Advocate (1687) for like familiarity. -'Henry Hare (1636-1708). Todd's Life of Milton (1826), p. 200, -^Preface to Paraphrase upon the Canticles (1679). ^'Todd's Life of Milton (1826), p. 199. This translator argued that the "gold" of the work should not "be rejected because not sung by a Cowley or a Milton." ■■""See note 13 above. 146 THE MILTON TRADITION [238 speak freely what many had felt, and some had already asserted, re- specting the rank of this great English Poet. Obviously enough, however, the fixing of literary rank is the work of criticism, formal or cumulative. Even a Milton must pass through the fires before the pure gold is perfectly evident. For immediate popu- larity, Paradise Lost had the misfortune to fall on evil days, to be born out of season. The critical standards of the Restoration had been im- ported bodily from the French Classicism of that time. These standards purported to make and judge all literature by the rules deduced, in the main by Horace, from the standard writings of the Ancients. Unavoid- ably, the tendency was toward formality, regularity, and rationalism in general. But Milton, in Paradise Lost, leaped the limitations of these intermediate rules, and foiuid no small part of his inspiration immedi- ately in the ancient Classics themselves. This fact was not realized at the time ; nor indeed is it quite certain that the standards of that time were sufficiently exalted to see and realize what Milton had done. The result was that Paradise Lost was first measured by the rules in vogue at the time of its publication. Nor was tliis measurement very seriously undertaken, as a rule. More often the poem was condemned unheard, as lying without the rank of literature, and therefore deserving no rank at all. The attitude, in- spired more or less by political bias, led the French Embassador, Comte de Cominges, to inform Louis XIV, that the only living author of repu- tation in England was "wn nomme Miltouus, an infamous person, whose writings would not be to the taste of the king."" Perhaps little more literary was the feeling that prompted the classical Rymer (1678) to speak of ' ' that Paradise Lost of Milton 's which some are pleased to eaU a poem."^- Certainly it was political bias that led Winstanley (1687) to deny to Milton any rank at all ; and this feeling may have influenced Sir William Temple (1628-1699), who failed to mention Milton among the heroic poets of modern times. ^'^ But rank Milton was destined to have, in spite of French Neo- classical rules. Among the first to recognize this fact was the poet John Dryden, the greatest genius of the French school. Dryden saw at once in Paradise Lost the unmistakable evidence of a great poetic genius. But Dryden seems never to have been able to define critically the posi- ■■"Leslie Stephen, Hobbes, p. 58. 32Thomas Rymer (1639-1713), Tragedies of the Last Age (1678). J. E. Spin- garn, Crit. Essays of the 17th Century, II, 208. ^^The Works (1680), ed. J. Sivift, 1720, I, p. 245. After Ariosto, Tasso, and Spenser, he knew "none of the moderns that have made any atchievement in Heroick Poetry worth recording." 239] CRITICISM OF MILTON 147 tion that Paradise Lost should occupy in the ranks of literature.''* Dry- den attempted to regularize the poem by turning it into heroic couplets, and 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, Dryden 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 sublime 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 MUton,^* 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 estab- 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, 1 16-124. (2) Preface to the Second Miscellany (1685J, xii, 300-301. (3) Dedication of the Aeneis (1697), xiv, 143-14S. 201-2, 214-15. (4) Epigram (1688). xi, 162. (S) Origin & Progress of Satire (1693), xiii, 15, 17, 18, 30, 38, 39, "5-8. (6) Preface to Fables (1700), xi, 209. 3=Edw. Watkinson, Nature & Tendency of Criticism. Cr. Rev., June, 1763, l6:i-S. ^^Apology for Heroic Poetry (1677). Essays (Ker), I, 182, 189-190. "Same, I, p. i. ^^Origin . . . Satire. Essays (Ker), H, 29. Cf. II, 268. '"Same, II, pp. 29-30. *oPreface to Sylvia (1685). Essays (Ker), IT, 268. *^Origin . . . Satire. ■•-Same as 40. *^Dedication of Aeneis. Essays (Ker), II, 223. **Same, II, 212. *'Same as 40. 148 THE MILTON TRADITION [240 (Characters and Censures) (1694), devoted a brief but formal section to "John Milton." In this the author summed up, with assurance, the situation of Milton, "whose natural Parts did deservedly give him a place amongst the principal of our English Poets." This dictum was based upon the 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 Sin 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 Milton, than the printer Jacob Ton- son. Accordingly, Tonson employed Patrick Hume 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 169.5. 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 general moral reform were beginning to be felt. This agitation affected literature, and served to exalt Paradise Lost as it had never been exalted up to that time. The leader of this movement for reform in literature, who 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. The re-action from the restraints of Puritanism had sunk the nation to a low moral level. With this moral decay. Literature in general had declined. The stage in particular was very bad, even unendurable as it appeared to some of the writers on reform.*" Into the midst of this movement Dennis threw liimself with full force. His well digested theory of literary reform was fundamentally at variance with most of the views that were then accepted. 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, parenthetically, a reference to Milton's "other works, both in Latin and English, by which his fame is sufficiently known to all the learned of Europe." "The History of Sin and Heresy, attempted from the First War that they raised in Heaven, through their Various Successes and Progress upon Earth, to the Final Victory over them, and their eternal Condemnation in Hell. Theol. Wks. (Oxf.),, i8s2, 7 vols., 7:437-5i3- ♦s.Allibone, Diet, of Authors. "Hume." Blaclnvood's Mag., 4:658-662. *^The most considerable attack upon the stage was A Short I'iciv of the Immorality and Prophancness of the Stage (l6gS). by Jeremy Collier (1650-1726). 241] CRITICISM OP 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. Prom those ancient attain- ments the rules of excellence had been deduced. Now that these deduc- tions were made and accepted as authority, the 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 vdtimately 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. The 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 witfi 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, igio. 150 THE MILTON TRADITION [242 my own Judgment advise him to read Millou ; 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 Dennis was Charles Gildon (1665-1724). He had by no 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 literary 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 held the Paradise Lost a work for Milton alone, and for him only because of that 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 that 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 the epics. In The Laws of Poetry (1721), Gildon replied 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 these three great poets shine out again in their o^vn 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 had 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, ^^Reflections, Critical and Satirical, npoit a Late Rhapsody, called, An Essay Upon Criticism, By Mr. Dermis, p. i". ^^To Mr. T. S. In Vindication of Mr. Milton's Paradise Lost. Miscellaneous Letters and Essays (1694), 41-44. Spingarn, Crit. Essays in 17th Cent., Ill, 198-200. ^^The Complete Art of Poetry, I, pp. 108, 267-268, 269, ed. 1718. ^*The Laws of Poetry (1721), p. 21. These last words of Gildon are much like those of Leonard Welsted. translator of Longinus on the Sublime (1712), who held it "undoubtedly true of Islilton, that no man ever had a genius so happily formed for the sublime." 243] CRITICISM OP MILTON 151 though admirable, could not attain first rank as literature. This cer- tainly became the crystallized 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 au 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 the 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 but one of which were concerned with Paradise LostJ"^ 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 into such circumstances as would throw a flood of new light upon '^2 vols., Edinburgh, 1865. II, 301. "Steele's Tatler Papers on Milton. No. Date. Para. Lost. References. 6 Apr. 23, 1709 Aitken, Liie. &c. I, 55-56. 32 June 23, 1709 8:588-614 I, 263. 40 July 12, 1709 S: 12- 13 Br. Essayist, 1823. I, No. 40. so 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 " HI, 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 :797-8i9 IV, 210-215. 263 Dec. 14, 1710 5: 1-30 " IV, 340-341 152 THE HILTON 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-speeches 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 showed 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 have written nothing on Mil- ton. The reason for this abrupt cessation is both evident and compli- mentary to the good judgment of his practical mind. During this year 1710, Addison had been contributing a few papers to the Tatler which showed a liigher order of genius for this particular work than Steele had been able to command. Moved, therefore, 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 the reputation of Addison's Critique on Paradise Lost, that it has come to stand, in general thought, for Addison's con- tribution to the criticism of Milton. But this thought is far from the truth. Had Addison never written his Critique, still he would hold an important place among the early critics who helped to give Milton his rightful rank in literature. Addison's poetical tribute to Milton was published in 1694 (No. 21, p. 58), and showed some just appreciation of Milton's rank as a poet. Probably Addison's first formal contribution was the Discourse 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 heroes made Homer and Virgil particularly charming to their own countrymen. "And here, by the way, our Milton has been more universally engaging in the 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 supported by discussing at length the world- relations of Milton's characters.^' 5'This Discourse was written early, but printed late. Mucli of it was worked over in other papers. Bohn ed., v. 214. Stli ed. Lend., 1739. 245] CRITICISM OF MILTON 153 111 the Periodical Papers,"'' Addison rarely ever quoted Milton with- out an exalting compliment. If Addison 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 ill 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 5*Addison's Periodical Papers on Milton. Tatler Papers Paradise Lost References 102 Dec. 3, 1709 114 Dec. 31, 1709 218 Aug. 30, 1710 222 Sept. 9, 1710 237 Oct. 14, 1710 Spectator Papers 12 Mar. 14, 1711 89 June 12, 171 1 Sept. 3, 1711 Dee. 1,1711 Dec. 15, 1711 Dec. 31, 1711 Jan. s-May 3 May 31, 1712 Jun. 2i-Jul. 3 July 8, 1712 Aug. 21, 1712 Guardian Papers 103 July 9, 1713 138 Aug. 19, 1713 Freeholder Papers 32 Apr. 9, 1716 8 :546-559 6 :639-656 2 :.=;57-56i 9:446-451 4 760-762 4 797-819 4 :675-688 8:469-511 4:148-156 (Peiiseroso) 4:996-1015 I : 726-730 5:331-343 : 546-554 Br. Essayists, 1S23. 3:No. 114. Aitken. Br. Es., :No.237. Introduction to Critique. Critique. Pleasures of Imagination. Lines 61-72, 147-154. Br. Es., 1823- io:No. 463. Br. Es., 1823- i5:No. 138. 154 THE MILTON TRADITION [246 "could not but reflect upon a beautiful simile of Milton (218)." In a quiet evening's diversion at home, this book was his choice of delights (237). He observed that the principle underlying ghost stories for children "Milton has finel.y described in this mixed communion of men and spirits in Paradise (12)." The melancholy aspects of eternal infe- licity he found well portrayed by Milton's master hand (Spec, 237). As for the delights of spring, none "have observed 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 E\'il Spirit (463). City fireworks (103), as well 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 their natural talents to the cor- rections and restraints of art." To this class belong Plato, Aristotle, Virgil, Tully, Milton, and Sir Francis Bacon. In the 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. Our own countryman, Milton, is very perfect in all these respects." 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 the active interest with which Addison supported the rank of IMilton before the English 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 Remarks, Addi- son made three things very clear: (1) That he did not need to write Milton into public favor; (2) That the works of Milton had been of constant interest to Addison; and (3) That these Papers were to deal with a definite esthetic discussion of the Poem, supplementary to the work already done in this particular field of Miltonic criticism. Addi- son assumed the classical standard in these Remarks, drawing upon 247] CRITICISM OF MILTON 155 Aristotle, Horace, and Longiuus, 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 fully ready, and the re-action was undoubtedly greater than is usually estimated. Tonsou 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 multiplied editions, but for a re-reading of Paradise Lost, and an enlarged appre- ciation of Milton along these authoritative 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 •'■^Elton says that Aristotle, seen through the Traitc du Pociiic cf^iquc of Father Rcncc Bossu (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. ^iSee Appendi.x D, for l8th 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 Inde.v 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, lygi, 608. 156 THE MILTON TR.VDITION [248 hearts of the English people. To ingratiate himself into national favor, this Frenchman needed only to write his Essay Upon the Epick Poetry of the European Nations, From Homer down to Milton, with its master- ful exaltation of Milton 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 this 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 e.xcess 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. 63But 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. RoUi, 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~53)- The latter held Voltaire's view ridiculous. Baretti held also that Milton alone had equalled Dante, that he was acquainted with and probably indebted to the Italian poet. 249] CRITICISM OF MILTON 157 He ridiculed tlie English Poet in his Candide, and even parodied him in Puccltc."'''* 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 Lostf'^ 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 Poetnj (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 appeared, in libei'al 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 the 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., igoy-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, sed. 1714, 7ed. 1724, Sed. 1737; besides which. Parts H and HI, 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 exalting Milton, and a medium for transmitting his thought and diction into the poetry of the times. ^''Spec., 325, March 13, 1712. 88N0. 39, Feb. 12, 1713. Drake's Gleaner (1811). I, No. 7, pp. 50-51. ^^To the Courteous Reader, with The Shepherd's Week, in Si.r Pastorals (1714). Chalmers, Eng. Pts., lo:444- Quoted P. L.. ix. 445-Si- 'o"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 TRADITION [250 cited Milton's description of the Lion in Eden as an authority on primi- tive conditions of equal value with MosesJ^ The classicists betrayed at times a consciousness 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 Explanatory 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 sublimest pieces of invention that ever was yet produced."'* Pew men felt 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 somewhat less reverence." He even challenged Pope to show, "with all his partiality," anything 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-classicism. 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, could 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. In his Preface to the Iliad (1720), Pope owned that there was a "living fire" in Milton and Shakespeare, comparable to that in the Ancients (p. 3) ; emphasized the advantage of "Graeeisms and old 'iBernarde de Mandeville (1670-1733). The Fable of the Bees, ed. 1729, Part 11, p. 269. Published 1714, 2ed. 1723, 5ed. 1729, ged. 1755. He quoted here Para. Lost, iv, 340-345. ''-Preface to The Misc. Works. London, 1702. J. Nutt. ''^Essay on the Different Styles of Poetry. Written 1712, pub. March, 1713. Chalmers, Eng. Poets, 9:413. '^Preface to Solomon on the Vanity of the World. Chalmers, Eng. Poets, 10:206. Aldine Ed., II, 83. ■'^Letter To Pope. Nov. 8, 1717. Birch, Life of Milton (1738), I, p. 1. 251] CRITICISM OP 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 the writer of an Epic to draw his Devils from Para- dise Lost, and to imitate the langaxage of MiltonJ" 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 afSrmed 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 '"^Receif't to Make an Epick Poem. Guardian 78, June 10, 1713. Brit. Essay- ists, 182s, xiv, No. 78. "It may be noticed here, that Swift, who shows little evident influence of Milton, 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 (ed. IV. Scott), Edinburgh, 1S14, 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 "divine and incomparable poems, which, equalling the most beautiful order and expression of any ancient or modern compositions, are infinitely 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 generality 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 unfelt 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 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 further improvement of the Epic at an end."*" During this period one essential consideration respecting 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 rhyme and blank verse was already under way when Milton published his Epic. During the Commonwealth, the English refugees in Prance had learned to write heroic plays in heroic couplets. The consequent introduction of rhyme upon the English stage at the Restoration was contrary to the English dramatic traditions so well established during the Elizabethan period. Rhyme in tragedy was an innovation that called for reasonable justification. The great champion of the new mode was the enthusiastic young poet John Dryden. For want of an opposing champion of equal strength, the conflict was for a time a very one-sided affair. Dryden and his allies in the new school were obliged to attack old traditions more than present antagonists. ''^The Laws of Poetry, 1721, p. 259. soWm. Warburton (1698-1779). The Divine Legation of Moses (i737-8)- The Works, edited by Richard Hurd. iSii, H, 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 poui-ed 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 eon- 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 these 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 custom of rhyming had led to inferior poetic expression. He alfrmed that, "not without cause," some Italian and Spanish poets, and "long since our best English tragedies," have rejected rime, "as a thing of itself, to all 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 conver.sation : 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 Dryden 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 ;*- and by Samuel Woodford, who strongly defended rhjTne (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 Rjnner 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 poetry was destined for long debate. Perhaps a final answer was intended by The Athenia7i 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 usually limited to dramatic versification. Very early Dryden admitted blank verse 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 he might be "excused" by certain examples *'£«aj' on Dramatic Poesie (i668). Essays (Ker), I, 94-108. ''-Tragedies of the Last Age (167S). '^Samuel Woodford (1636-1700). A Paraphrase Upon the Canticles. London, 1679. Preface, p. 21, marked "C3." »*Preface to All For Love (1678). Essays (Ker), vol. I. «^The Athenian Mercury, Dec. 26, 1694. Eng. Stu., 1909, 40:180. ^^The Laws of Poetry, 1721, p. 69. 255] CRITICISM OP MILTON 163 in literary Ijistory." The defeuce of rhyme was, however, left largely ill 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 rhymed productions have a bearing upon the question of Milton's rank. One such product was Dryden 's State of Innocence, undertaken bj' 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 Kcclesiastes (1691) f^ 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 f^ some declared it vulgar art f- 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. ssr/ic Laws of Poetry, 1711, p. 121. Cf. also E.raiiien Miscellaneum, Consist- ing of Verse & Prose, Land., 1702, p. 189. 89Wm. Wollaston (1660-1724). "Had I been hardy enough Hke 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)- s>iElkanah 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 tongue." Some felt that the highest excellence of Dry den '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- fication.™ One author, who had a life-long interest in Milton, wrote a formal treatise on versification, apparently for the purpose of defining 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 the 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 known. Till, by Barbarian Deluges o'erflown, Subdued, Undone, they did at last Obey, And change their own for their Invaders 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 upon 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 this necessary condition of poetic 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 forth not many years ago, and from the Style of Virgil, Horace, Ovid, &c."^^ Faith in the larger ^^The Whole Critical IVorks of Monsieur Rapin (1705). 2 vols. "Preface of the Publisher" (Roscommon?), vol. I, signed "Nov." 95C. Gildon, The Complete Art of Poetry, 1718. I, pp. 300-303. ssfsaac Watts (1674-1748). "Preface" to Horae Lyricae (1706). See Chal- mers, Eng. Poets, 13:19. s^Wm. Benson (1682-1754). Letters Concerning Poetical Translation ; and Virgil's and Milton's Art of Verse. London, 171s and 1739. Benson erected the monument to Milton in Westminster Abbey in 1737. '^Wentworth Dillon, 4th Earl of Roscommon (1633- 1685). .4n Essay On Translated Verse (1684). Chalmers, Eng. Poets, 8:264. Spingarn, Crit. Essays in 17th Cent., II, 297-309. Cf. also Tribute 14. ^^Preface Thcatrum Poetarum (1675). Spingarn, Crit. Essays in the 17th Cenfurv. 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 Httle too warlike : it may perhaps furnish out matter for a good form in the next, 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 Milton 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 ^""Preface to the Second Part of Mr. Waller's Poems ( i6go). Chalmers, Eng. Poets, 8 -.ii- ""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 I'anity of the World (1718). Chalmers, 10:206-7, Aldine Ed., n, 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 !•"'■ The general effect of this controversy about versification was to exalt the rank and honour of Milton. 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-action 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- ciation and criticism, by which Milton rose from the unknown to the best known, from obscurity to "the very 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 soared to the Heavens on the wings of his own sublimity. On the Continent, it was otherwise. There, as appears even in 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 Pro.se 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. lospoem 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 Corresp., I, 101-104. CHAPTER VI Controversies 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 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 authenticity of certain portions of Paradise Lost which Bentley had regarded as spurious. 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 the history of the poet, and as furnishing the real ante- cedents of Paradise Lost. This transition of emphasis began faintly to appear in the Life by Fenton (1725), who accorded some of the Minor Poems new notes of praise. The new emphasis was prominent in the Life by the Richard- sons (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 his Memoirs (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 the concern 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 these poems, including Samson and excluding Lycidas, that became popular at this time, were sung into popularity. Lycidas, the single exception to this rule, owed its early introduction to biographical emphasis, and, probably, in a measure, to its place in Dryden's Miscellany (1716, 1727). The poem was quoted in a very familiar manner by Wm. Buncombe (1735) ;' and it was similarly al- luded to in the Vision of Patience (1741), by Samuel Boyse.- Lycidas seems to have been earlier known and more widely read than 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 music by Dr. Arne, in 1738. In this form, the Masque became very popular,-' was acted in different cities, gave its author. Dr. Dalton, a lasting reputation,* and reached its historical climax on April 5, 1750, iWm. Duncombe (1690-1769'). Poc "Preface," p. III. 2Saml. Boyse (1708-1759). Tlic V 1741. Chalmers Eng. Pts., 14:539-41. •■'Chapter II, pp. 35-37. for editions. Warton's Milton, lygi. pp. xi- "Mo. Rev., March, 1797. 103(22) 1329. '1 Sc7: Occ. . . . Ir V J. Hughes, t-i 'ision of Patience. An AUecjorical Poei 261] CONTROVERSIES AND EXPLANATIONS, 1730-1765 169 when the literary men of London puffed a performance of Covins 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 Agonistcs 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 epic poems.** But at this time the moditied 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 distinction. John Hughes had felt II Pcnseroso 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 popularity. 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 Coiiius, 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, .-^nd 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 activity 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 revival, as plainly appeared in the emphasis of Warton's Essay on Pope,^'- and in the writings of Dr. Hugh Blair, who was able to point out remarkable parallels in the Poems of Ossian.^^ Camus was the inspiration of some imitations, but of very little formal criticism at this time. The distinctive re-action to the popu- larity of this Masque was a peculiar chorus of echoes in the poetry of this mid-century period. Comus was quoted to show "the tender Emotions of a Heart in Love infinitely more pleasing than the short-lived Extacies of Vice and Wantonness."'* Lord Melcombe placed the following significant lines "Under the Busto of Comus, in a Buffet at Hammersmith:" 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.'^ ^oEssay on Pope. 1756. 5th ed., vol. i, pp. 36-38. iiWm. Shenstone (1714-1763). A Prefatory Essay on Elegy. Works in I'crse & Prose. 2 vols. 1777- 1:21-22. Chalmers Eng. Pts., 13 :264. i=Jos. Warton (1722-1800). E-ssay on Pope (1756). 7, 356. 5th Ed. Cf. Beers, Romanticism, 192-3. "Hugh Blair. D.D. (1718-1800V .4 Crit. Disscr. On the Pms. of Ossian. 1763. Vol. I 71-222, pp. 207-8. ^*An Essay on Love and Gaiety. Gent. Mag., Feb., 1741. 11 :78-;9- '^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 In sharp contrast with the above was the tone of Charles Emily, in his poem called Death (1762) : The festive roar of laughter, tlie warm glow Of brisk-eyed joy, and friendship's genial bowl. Delight not ever : from the boisterous scene, Of riot far, and Conius's wild uproar. Permit me lonely to wander. i« Both tones of reminiscence appear in John Cunningham, who in one poem placed "Blithe Comns 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-eourt; 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-court ;-" and even Gray recalled "Comus, and his mid- night crew," in his great Installation Ode, vsrritten for a very formal occasion. The re-action to Samson Agonistes, 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, i^Chas. Emily (d. 1762). Death. Lloyd's Mag., Oct., 1762. i :9l-9. Pearch, 1:16-26. Cf. his Praise of Isis (i/SS)- Pearch, 1:26-38. i^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 C1763). Lloyd's Mag., Jan.. 1763. 1 :3S2-3S7. ^''Mr. Garrick's Anst^'er (To Mr. Aiistcy . ... on Meeting him at a Friend's House). The Ptl. IVks. London. 1785. 11:522. 172 THE MILTON TRADITION [264 and bigotry applauded." The 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. Hurd 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 dramatic Essay on the Ancient model. "-- Mason felt that Milton 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 would 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 this period a surprisingly small measure of criticism. The oratorio arrangement of the poems had served to emphasize their lyrical qualities; and in this distinctive char- acter they received some critical attention. Peck, as stated elsewhere, in his Memoirs of Milton, defended these, and other Juvenalia of Milton against the strictures of Dryden. Joseph Warton constantly exalted these Juvenalia of Milton, as superior in poetic character to the 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 said, in the preface to his -M Critical Exam, of Samson Agonistes, Rambler A'o. /jp, July i6, 1751. The Works. 1825. II, p. 81 and 87. No. 140. July 20, 1751. Cf. also the familiar echo of Samson in No. 162. Oct. 5, 1751. 2^Rich. Hurd (1720-1808). The Works. iSii. I, 73-74; and The Common- place Book, Mem. 289. -^Wm. Mason (1724-1797). Letter 11, prefixed to Elfrida (1751). Chalmers Eng. Pts. 18:339-340. Cf. Milton's Intro, to Samson. -*0. Goldsmith (1728-1774). Criticism of the Greek Tragedies by Dr. John Burton (1696-1771). Mo. Rev., Dec, 1758. The Works, (ed J. W. Gibbs) 4:315: (ed. Murray) 4:328. -^Dr. John Armstrong (1709-1779), as "Latmcelot Temple." Sketches: Of English Verse (I, 157), and Of the Dramatic Unities (II, 241-3). 1758 and 1770. -'"Thos. Newton (1704-1782). Life of Milton. Ed. Dublin, 1773. Vol. I, p. 265] CONTROVERSIES AND EXPLANATIONS, 1730-1765 173 Odfs For JIusic on St. Cecilia's Day (1746), that Dryden's and Pope's similai- 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 Pensei-oso.-* 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 valley 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 who 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 when 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 -'Christoplier Smart (1722-1771). Preface to Ode &c. 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 Melancholy ("probably 1600"), pre- fixed to Burton's Anatomy (1621) as another model. 174 THE MILTON TRADITION [266 life of England and the American Colonies, was sufficiently remote for historical study, that would throw light upon the present problems of depressed England. Moreover, 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 the political writings of those troublous times, a revival that concerned itself most centrally with the Prose Works of Milton. The conduct of this revival was largely in the hands of that pro- gressive element of the Whig Party which later developed into the radical politicians. Among these leaders one maj^ 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 sympathy with those of Milton. Next to him was the more ardent whig biographer, the Rev. Thos. Birch, D.D. (1705-1766), Secretary of the Royal Society, who rose rapidly in the church under the patronage of the influential Hardwicke Family, and whose pronounced whigism in The Life of Arch-bishop Tillotson (1752-1753) 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 group 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 Established Church,^" who late in life published Milton's Eikonoklastes and the Tractate along with a severe castigation of Dr. Johnson for abusing the great English Poet. The man, however, who most nearly combined all these liberal elements and activities was Thomas Hollis =^Baron was a close friend of Gordon, author of the Independent Whig. As an editor, Baron made for Hollis a collection of works defending the republicanism of the Seventeenth Century. He edited the Oijf. on Govmt., by Algernon Sidney ( 1751), Milton's Prose (1753), Ludlow's Memoirs (1751), Eikonoklastes (1756), reprinted (1770), Needham's Excellency of a Free State (1757), and was asked by Hollis for an edition of Marvell. (D. N. B.) He also collected the liberal writings of Gordon, Hoadly, Sykes, Arnall, and Blackburne, into his Pillars 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 relics, 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 liberty. 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 siToIand's Life of Milton and Amyntor (1761), Sidney's Discourse on Gov- ernment (1763), Neville's Plato Redivivus (1763), Locke's Two Treatises on Gov- ernment (1764) and Letters Concerning Toleration (1765), Staveley's Romish Horsc-lcech (1769), Neville's Isle of Pines (1768), Sidney's Works (1772); were all edited by Hollis. ^-The Memoirs of Titos. 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. 3*Preface to Baron's Eikonoklastes (1756). Quoted by the Rcvieiv, which de- clared the nation under obligation to this editor. Mo. Rev., Aug., 1756, 15:192. •'^Cf. Tributes No. 21, 23, 32, etc. ^^Political animosity, of course, did not at any time die out. Cf. Rich. Kurd'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 6wn 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 freely to give. Besides, these exalted treasures came to have a new significance in connection with the Romantic tendencies which arose during this mid-century period. This poem, which had already been successfull}' 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, while 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 period of critical editions of Paradise Lost. Before 1730 the Annotations of Hume had supplied the demand, until the Critique of Addison was utilized by Tonson in his Edition of 1720. But the present period (1730-1765) was ushered in by the formal labors of the learned Dr. Richard Bentlej' (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 English Poet. The earlier interest of the Queen, while she was still the Princess of Wales, in befriending the 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 people a monumental edition of Paradise Lost, with copious elucidating annotations from the lore of the ancients. No doubt, too, she congratulated herself upon securing for these labors the man who was the very embodiment of Ancient Learning, and, there- fore, as she thought, best fitted for this work. But the 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, biit very little sense otherwise, it would seem, about the business of the Muses. What he did was to invent a fictitious Editor, who, as Bentley supposed, took advantage of Milton's blindness, poverty, and general odium, and interpolated into the first editions of Paradise Lost a lot of matter which Milton did not write. This, of course, was faulty in many ways, especially in versification. These supposedly spurious ^■Jas. Duff Duff. Cawb. Hist. Eiig. Lit., IX, Ch. xiii, pp. 378-380. 269] CONTROVERSIES AND EXPLANATIONS, 1730-1765 177 sections Bentley took from the body of the text, and placed in the margin of his 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 an elaborate volume of 399 pages in 1732. But the Editor-theory was an evident sham. 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. The storm, however, did not break all at once. It had, on the con- trary, gathered gradually. In 1725 Elijah 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 puhlished in 1725. This protest was designed to show "a few specimens of the ignorance, want of taste, and siUy 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 the 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 Bavius (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 38Traveller, No. 22, Feb. 6, 1731. Gent. Mag., Feb., 1731, i :5S. '9No. 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 MILTON TRADITION [270 of Bentley were under question. 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 hominem 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. Bentley' 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 tlie extent of correcting one mistaken long "s" for an "f". (VII, 450). R. C. devoted a section to Bentley's 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 :54s. *">Upott Bentley's Emendations of Milton (i75i)- The Student— Oxford — Cambridge Misc. (1751), H, 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. 271] CONTROVERSIES AND EXPLANATIONS, 1730-1765 179 Jebb has good reason for further believing that "Bentley's correction (of ichorous instead of nectarous, 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, 1747. 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 points 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, by 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 S3rmpathetie 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 U'ogaii, July, 1732. Swift declared himself an admirer of Milton. Works (Scott, 1814), 17:438-445. *8John Jortin, D.D. (1698-1770). Remarks on Spenser's Poems. London, i~34. 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 century commentary 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 Life 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 fulfil 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 Milton 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 commentory on Paradise 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 quoting 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 Milton to be inferior to the Ancients ; and there is in his book but one line of Milton quoted for censure. Among the points of special in- terest, Smith emphasized Milton 's descriptive excellence ; his exalted treatment of conjugal love — after the idea of Voltaire, no doubt; and his effective portrayal of the Lazar House. Of the last, he said, "We startle and groan at this Scene of Miseries in wliicli the whole Race of Mankind is perpetually involved." Prom about this time Milton's description of social disorder seems to have come into a measure of prominence. While the nation was buying the second edition of Smith's Trans- lation, it might also buy Peck's New Memoirs of Milton and of Cromwell, both of which appeared in 1740. These works threw about Paradise Lost a sort of Miltonic atmosphere, and incidentally, if not intentionally, corre- lated the Poem with the liberal and progressive thought of the time. *'Br. Mus. Addit. MS. 28964. "Remarks on P. L., I735-" G. A. Aitken. D. X. B., "Shenstone." ■"Benson's Letters. 1713. Ch. V., p. 164, note 97. ^"Gent. Mag., July, 1739. 9:359-360. ■'•"This Trans. (2nd ed., 1740) became the standard work on Longinus in the i8th century. 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 Tiekell (1720), have already been noticed. It was not noticed, however, that Ricliardsoii 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 growing, 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 imdertook tliis 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 usekss to most Readers of it." Evidently, then, the poem was coming into the posses- sion of tlie masses, and one naturally wonders how much Paterson may have implied in that word "useless." Another work, with something of the sama 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, whicli may have been read mainly as a treatise on some of the ■'''James Paterson, The full title was A Complete Commentary with Etymolog- ical, Explanatory, Critical, and Classical Xotes on Milton's Paradise Lost. Land., 1744, PP- SI2. =-Geo. Smith Green (d. 1762). This work was published, as it seems, under varying titles, in 1745, 1746?. 1755, 1756, 1767, I770(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 there was full preparation already made for an extensive work on the part of a judicious critical editor. The feeling was strong that the choicest fruitage of these separate critical efforts should be carefully garnered into a new edition of Paradise Lost. Among those who 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. Tliat great work was the first various edition of Paradise Lost (May 20, 1749), edited by the Rev. Thomas Newton, D.D. (1704-1782), 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 f and in various modifications became the standard edition of Paj-adise Lost for the remainder of the Eighteenth Century. After this almost every edition of the poem came to have some kind of helpful attachment. J. Callender furnished The First Book of Paradise Lost with a Commentary, for Foulis, in Glasgow, 1750. J. Marchant collected notes of various authors, including Newton, for Walker's two volume edition, in Loudon, 1751. The Paris edition (1754) was fiirnished with a Glossary and Index, the former of which features appeared in the Dublin edition (1765). A. Donaldson added "prefatory characters of the several pieces" to the Poetical Works (1762). Jolui Wood produced "a new edition" of Paradise Lost with notes variorum in 1765. Meantime the Paradise Regained was not entirely neglected, though it was never highly exalted. Edward Phillips seems to have spoken the voice of all time, when he said that Paradise Regained was "gener- ^^To this list of commentaries must be added the New Remarks on P. L. in R. Richardson's Zoilomastix (1747); and in the Critical Obs. on Shakesf'care by John 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. ==Stillingfleet used a copy of Bentley's original edition (1732), which is now in the B'r. Mus., and has "copious MS. notes" by the original owner. ■■"Among the noted contributors to this work, was Robert Thyer (1709-1781), who edited Butler's Remains (1759)- ■"^'For some reason, the work did not commend itself to Thomas Edwards, who blamed "the great people" for the success of this "bad edition." Richardson's Correspondenee, III, 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 Richard Meadowcourt (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 all readers. Paradise Lost was quoted, as with the sanction of inspiration, on the sacred and ideal relations of husband and wife.*' It was cited '^sEdw. Phillips, Letters of State, 1694, p. x.xxi.x. Masson, 6:655. Cr. Rev., Feb., 1761. II :i66. =!'Both quoted by Birch, Milton (1738), I, p. Ivi. «»Cf. An Essay on M's Im. of the Ancs. in his P. L. With some Obs. on the P. Regnd. L. 1/41. Mo. Rev., Aug., 1763. 29:106-117. ^^Adain'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 Warton. Oct. 7, 1757. Works (Grosse, 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—x—, July, 1755. Probably by Dr. Powis. Pearch, Con. 1783. 3 :298, 299. "^Letters, cd. 1S93. II, 559. "Bath, Oct. 4, 1752." To Mr. S. at Berlin. (Letter Ixxi). «50tt 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 Astronomj'."' The Smugglers in Essex were compared to Adam's "Death's Ministers, not men;""' and the war ' ' apparatus ' ' of The British Mors, 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 History of Minorca (1752) ;•- and the Author of Two Epistles on Happiness (1754) found it prudent to mark the lines imitated from MiltonJ^ A few years later, William Law (1686-1761), who 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 his Humble Address to the. Clergy (1761), he said: "Instead of the Depth, the Truth and Spirit of the humble Publican, seeking to regain Paradise, only by a broken Heart, crying 'God be merciful to me a Sin- ner,' the high-bred Classic will live in daily Transports at the enormous sublime of a Milton, flying thither, on the unfeathered wings of high sounding Words.""* This familiar devotion to Milton was remarkable as a fact of literary history. It gathered irresistible force as the decades went by. Against it some had attempted to oppose the uncertain religious attitude of Milton, which gave rise to a spirited controversy, triumphant of cause in favor of the great English poet.^'^ But a more formidable attempt to check this popularity gave rise to another controversy, whose spirit of defense is ■> monumental tribute to the hold of Milton's Paradise Lost upon the mind and heart of the mid-century English people. ^<^The Chamf>ion, Jan. 19, 1740. 1:200. The Gleaner. iSli. No. 45, p. 394-400. "'Thos. Wriglit (1711-1786). Ati Original Theory or New Hypothesis of the Universe, founded on the La-ws of Xatiire. 84 pp., 1750?. See Mo. Rev., July, 1750. 3 ;2l6-2i9. "8Gent. Mag., Sept., 1748. 18:407. Cf. P. L., XI, 676. "'Joseph Robson. The British Mars. Mo. Rev., May, 1764. 30:399-406. ''"The Student (1750). I, 351. T/ie Gleaner 1811, II, 22. "T/jc Student (1751), II, 381. The Gleaner (1811), No. 66. II, 121-7, ^-Mo. Rev., Aug. and Sept., 1752, 7:155-160, 205-224. "^Mo. Rev., Oct., 1754, 11:309-312. '*Wm. Law (1686-1761). Works, London. I/61, reprinted 1893, 9 vols. Vol. ix, pp. 48, S3. (P. L., v. 297.) Quoted in Mo. Rev., Dec, 1761, 25:419. Perhaps this part of the Serious Call was never very effective. Cf. the sermon on The Temptation, by Edward Irving (1792-1834), which makes free use of both Milton's Epics, and exalts him as "the great and venerable Master of English song." The Collected Writings, edited by the Rev. G. Carlyle. Vol. II, 186-243. '''Religious Controversy, Appendix E. 277] CONTROVERSIES AND EXPLANATIONS, 1730-1765 185 In terms of that spirit there was one man in England who, Satan- "On the Tree of Life, like. Sat like a Cormorant devising death .... This arch-deceiver, and Artificer of fraud That practised falsehood under saintly shew, Deep malice to conceal, couched with revenge, was the Rev. William Lauder (d. 1771), who "with jealous leer malign, eyed askance" the deepening popularity of Milton as a "Sight hateful, sight tormenting. ' '^^ This Lauder attempted to ruin the high reputation of Milton. The attack was made in 1747. The motive was largely a matter of malice and personal revenge for the treatment accorded certain of Lauder's earlier publications. If the Bentley Controversy was a storm, this Lauder affair was a cyclone. First the Nation was startled : then it soberly reflected ; and then it wreaked a terrible revenge upon this Forger for insulting the name of beloved Milton. The visible interest of Lauder in Milton dates back at least to 1732, when he translated A Poem of Hugo Grotius on the Sacrament into English blank verse. ^' In 1739 Lauder, as was afterwards pointed out, gave Milton "a character as high and honorable as ever was bestowed upon him by the most sanguine of his admirers.'"* Very soon, however, Lauder appeared to be very much enraged against Milton and all his admirers. In 1741 there appeared, anonymously, An Essay upon Mil- ton's Imitations of the Ancients. This probably gave Lauder a sugges- tion for his attack. A further suggestion may have occurred in the fol- lowing circumstance. In October, 1746, the Gentleman's Magazine pro- posed to print The Beginning of Paradise Lost, with six Latin Trans- lations. Three of these (by Ludovicus de Bonneval, M. B(old), and "T. P.") were printed in October, and two of them (by "J. C", and '«P. L., IV, 194-7, I2I-3, 503-5. '^The Christ's Passion of Grotius was Translated, in 1639, by Geo. Sandys (1578-1644). This was a kind of academic Bible play, in line with Peele's David and Bethsabe (1589), and Samson Agonistes (1671). Schelling, His. Eng. Dra., II, 394. Milton's political writings were associated with those of Grotius, by Sir Robert Filmer, in his Obs. concerning the Original of Government upon Mr. Hobs's Leviathan, Mr. Milton against Salmatius, H. Grotius De Jure Belli., Lon- don, 1652. ''^Johnson's Works, 182$, V, 259n. 186 THE MILTON TRADITION [278 J. Trapp, D.D.), in December. The sixth, which probably would have been that by William Hog, was not printed.'" This may have suggested the materials for Lauder's malicious pen. At any rate, in January, 1747, he published the first draft of An Essay on Milton's Imitation of the Moderns. (17:24-6). In this Essay he startled the Nation, by attempting to show "that Milton's Paradise Lost was largely constructed of plagiaristic paraphrases of a Latin poem, entitled Sarcotis, by Jacobus Masenius (1654)." The lovers of Milton rallied to his defence, and the war of words was waged largely through the columns of the Gentleman's Magazine. Apprehending that this Essay would "excite no little speculation," the editor of the Magazine, Edward Cave, reqiiested Lauder to send "a close version of the lines which are said therein to have furnished sentiment to Milton." (17:24). In the next issue, "R. A." requested "specimens from these authors," and expressed himself as impatiently waiting the sequel. (Feb., 17:58). Lauder, who was signing only his initials "W. L.", replied to Cave, promising a Pamphlet (17:82). He also continued his Essay, giving long extracts from Adamus Exsul, by Hugo Grotius (17:82-6). "Miltonicus," however, had less patience. He demanded that "W. L." show "tolerable reasons for what he ad- vances; but till he does that he must not be surprised if an English reader proves somewhat resty in giving up his opinion of Milton's genius and fancy. " " Miltonicus ' ' doubted that Milton ever saw Masen- ius, and believed Milton in no wise conditioned upon such a performance. (17:67-68). With this Letter, the editor declared several other 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 Miltonic verse, sent in before May-Day.*" Evidently the English people were well stirred. The 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 seasonable lines On W. L.'s Charge against Milton (March, 17:145), by "Philo-Milton Petriburgensis" : Critics avant! from sacrilege refrain, Nor Milton's laurels with rude hands prophane ; In vain Detraction seeks to wound his fame, Whose lays divine our adoration claim ; By no pierian draught inspired to sing, "»Gent. Mag., Oct., 1746, 16:548-9, Dec, 16:661. The following references, unless otherwise designated, are to this Magazine. s»The prize was to be two folio vols, of Du Haldc's Hist, of China or two guineas in money (17:86). In June, Cave announced 13 translations. This plan was to have been extended to other Acts of the Drama. From these Translations. a composite Translation was made, and printed. Feb.. 1749 (19:67-69). 279] CONTROVERSIES AND EXPLANATIONS, 1730-1765 187 "Raptured he drank at Sacred Wisdom's spring ; Not Time's approach his deathless numbers fear, Bright and more bright thro' each revolving year : In paths unknown, untried, alone he trod, Of man the teacher, and the bard of God. By April, "W. L." had sent to Cave "several extracts from the Kev. Mr. Andrew Kamsey's Poemata Sacra, printed in Edinburgh, 1733," and claimed that Milton borrowed from these his encomium on marriage, and other things, which were promised in full in a later pamphlet. It was also promised that the Adamics Exsul and the Works of Masenius should be made public (17 :189). "G. S." was grateful for these discoveries (May, 17:211-3), and indulged in a blank verse trans- lation of the Description of Paradise (from Jan., p. 25), one of Lauder's favorite passages. The thirteen prize Translations were printed June (Note 80 above). "W. B." applauded this work of Lauder, as likely to destroy the "superstitious opinions" respecting Milton's exalted per- formance, "and not diminish his reasonable regard." The discoveries were held only to show how one genius builds upon another in a process of perfection. (17:278-9). He suggested that this borrowing may account for the inferiority of Paradise Regained. ' ' W. L. ' ' was encour- aged to send "a few more passages, amongst inumerable others, from Grotius, with parallel ones from Milton." (17:285-6). On July 21, Richard Richardson published his Milton No Imitator of Masenius. He commended Lauder for declining the promised pamph- let, attempted to show that Paradise Lost was begun before Masenius 's poem was printed, denied the likeness of many .so called parallels, and explained the real similarities by referring both to the influence of Homer (17:322-324). The next issue contained a spirited reply from Lauder, signed by his full name, in which he proposed to publish the Adamus Exsul, with an English version and notes, showing what Mil- ton had used (17:404). The Second Act of Adamus Exsul was being printed in the Magazine. Lauder was confident. The public was per- plexed. Feeling ran high, and some poured forth the Nation's resent- ment in verse. *^ si"Y". On Some Late .-Itlcinpts To Dcfrccialc Milton. Gent. Mag., Aug., 1/47. 17:39s. To toil for fame asks all the poet's pains : And yet how barren is the wreath he gains ! Thus Milton, scarce distinguished, bow'd to fate, And the dear-purchas'd laurel came too late ! Yet in the grave that laurel found its root. And flourish'd high, and bore immortal fruit. His Muse a thousand imitators fir'd, 188 THE MILTON TRADITION [280 Cave, who was to take tlie subscriptions for Lauder's edition of the Adamus Exsul, introduced him to Dr. Johnson, who immediately became interested in the new discoveries. But this edition was abandoned in order that Lauder might perfect a new edition of his Essay on Milton's Imitation of the Moderns. As a substitute for the Adamus, perhaps, Lauder proposed (Nov. 17:530) to make, by translation and expurga- tion, a Latin school-book from Paradise Lost. His Muse by distant nations lov'd, admir'd. In her all Homer's — Virgil's beauties shone. And Britain call'd the masterpiece her own. With pedant zeal, a modern Bavius cries, "Milton a genius! — how encomium lies! From foreign shores his boasted plans he drew, With borrow'd wings, like Icarus, he flew I Like sly Prometheus stole the heav'nly ray. That made his man, and warm'd the living clay : Too long the wretch has fiU'd the throne of fame. Unjust usurper! with a spurious claim! Not his, the sacred page the boaster writ, A Jesuit* taught him art, a Dutchman** wit; My pen the the shameful plagiary shall show. And blast the bays that bind his guilty brow !'" Enervate critic ! — cease thy fruitless rage. Nor touch with impious hands the hallow'd page ! Bury'd a-new in learning's rev'rend dust, Let good Masenius unmolested rust ; Let Grotius the Civilian's honour boast. But as a Poet — let his name be lost ! These were like swallows, when the skies are clear Who skim the earth and rise to disappear ! Like Jove's own bird, our Milton took his flight To worlds unknown, and pierced the realms of light ; Tho' heav'n, all-wise, corporeal sight deny'd ; Internal day the lesser loss supply'd ; Disdaining succour, and obliged to none His genius beam'd expansive like the sun : And till that glorious orb shall cease to shine. Till sick'ning nature feel her last decline. Truth shall preserve great Milton's honour'd page From Time's encroachment, and from Envy's rage ; Shall blast all vain attempts to wound his fame. And with new glories grace his honour'd name. *Masenius. **Grotius. 281] CONTROVERSIES AND EXPLANATIONS, 1730-1765 189 Meantime the interest deepened, not without suspicion of Lauder's integrity. "C. B." published a spirited Vindication of Milton (Sept.)- He admired the general impartial attitude of Cave, but could easily wish that Lauder had been more roughly handled. He also suspected the 5;ecrecy of Lauder's MSS., and charged him with a spirit of envy (17:423-4). This charge was made in verse by "W. K.," in November (17:538). "Philo-Miltonus" (Oct. 18) contributed a defence of Mil- ton against Lauder's reply to "R. R." (in July), styled Lauder 'Male- pertius', and charged him with a manifestly dishonest design to ruin the character of Milton. This contribution was not published until Febru- ary (18:67-8). In November, R. Richardson published his Zoilomastix: or a Vindication of Milton from the Charges of W. Lauder (London). He was confident that Lauder was guilty of malicious mischief. An English Translation of the speech of Satan in Masenius was sent to Cave from Louvain (Nov., 'Contents') and was published in December, over the name of J. Berington, who declared this question one that "con- cerned the whole nation." (17:567). Not so much was published in 1748 and 1749. In January, 1748, Peter Whalley was quoted (18:25, 114) as considering Lauder's charges against Milton extreme, if not indeed ridiculous.*- Furius; or, a modest attempt towards the history of the famous W. L., critic and thief- catcher, with respect to Milton, appeared in August. "This was a strong invective against Lauder, but allows him to be a great Latinist." (18-384). Among the best contributions of its kind was a piece of ingenious work in verse by John Byrom (1692-1763). The piece is en- titled "Verses, Intended To Have Been Spoken At The Breaking Up of the Free Grammar-Sckool in Manchester, in the year 1748, When Lauder's Charges of Plagiarism Upon Milton Engaged the Public At- tention."^^ The Master of the School, in a poetic address, laid the question before the house. The seven "Lads" successively responded in their poetic Deferences of Milton. The situation is very well handled, and as an expression of popular contempt for Lauder the piece is superb. But the comparative silence of 1748 and most of the following year was only a temporary cessation of hostilities. The public was still per- plexed. The scholars were busy. Late in 1749 the conflict was openly renewed. The trumpet call to arms was the announcement, in Decem- ber, of An Essay on Milton's Use and Imitation of the Moderns in his Paradise Lost. Lauder had made out his charges in completed form, and had them "elegantly printed." On his title-page he placed the words, ' ' Things unattempted yet in prose or rhyme, ' ' which sound in this con- ^-An Enquiry into the learning of Shakespeare. *3John Byrom (1692-1763). Chalmers, Eng. Pts., 15:209-210. 190 THE MILTON TRADITION [282 nection like a defiance of Fate. The Essay had additional weight in this new form from the fact that Dr. Johnson wrote the "Preface," and probably had a hand in the "Postscript," which gave considerable attention to tlie Milton Family.** The Monthly Review merely announced the publication, with a favorable comment on the English Translation (Jan., p. 239). But the Gentleman's Magazine gave two ironical reviews of the Essay (20:33-4, 155-7), which were filled with indignation. J. Kirkpatrick, in the Preface to his Sea-Picce (Jan., 1750), fell "heavily on the late charge of Plagiarism, brought against the renowned Milton." He thought "there is something not merely little, but even absurd and immoral in this injustice to the memory of that sublime author. ' '*'' Feeling was intense, but no cue was getting at a settlement of the matter. "Hermolaus Barbarus" suggested that the whole tribe of poets from Homer on down may have borrowed from Milton (20:224), the small question of chronology being unimportant. Some friend of Lauder contributed forty lines of verse, exalting him as the champion of Truth, standing for argument, without fear of praise or blame (20:231). Lauder was still confident, and published a small volume of Latin Poems, in which he tjuoted eighteen poets supposed to have been used by Milton. Dr. Johnson was actively concerned in this publica- tion, and the public was filled with excitement. The accuracy of these quotations was suspected; and Lauder threatened to publish the poems in four volumes (20:336). This proposal called forth Verses, praising the enterprise (20:422). Lauder's charge was reduced to a mere com- plaint that Milton did not make foot-note references to his sources. It was also suggested that Lauder make a similar attack upon Spenser who was growing too popular of late. "J. M." compared Milton's use of Ger- man authors to the extracting of sunbeams from cucumbers (20:245). Such out-bursts of feeling, though significant, did not solve the situation. But the end was near at hand. In June (1750), "C. R.", with the prophetic solemnity of Daniel before Belshazzar, confidently affirmed that Lauder should suffer for this insolence (Dan. 5:25-31). This warn- ing was happily seconded by "L. M.", who compared Lauder to Bent- ley in this respect (20:258-9, 269). Already the mills of Fate were grinding. Warburton declared Lauder 's Essay a ' ' most knavish book. ' '^^ In January of this year R. Richardson had informed the booksellers that the passages cited by Lauder were not in the MSS. of the poems, but »*Johnson's Works, 1825, v, 244-248. See Gent. Mag., Dec, 1749, 19:563. A strong appeal is made in this Lauder Essay publication, and an advertisement for subscriptions is added, in behalf of Mrs. Eliz. Foster, Milton's Granddaughter. See Appendix J. ^^The Sea-Piece: a Poem. London, 1750. Mo. Rev., Feb., 1750, Art. xciv. ^^NichoVs Lit. Illus., II, 177. 283] CONTKOVEBSIES AND EXPLANATIONS, 1730-1765 191 Cave thought that there was some mistake, and did not publish the Letter until December. John Bowie (1725-1788) had also noted these facts. About the middle of November, John Douglas, Bishop of Salis- bury, (1721-1807), published his Milton Vindicated from Lauder's Charge of Plagiarism, and Lauder detected of Forgery. In announcing this revelation, even the impartial Cave could not refrain from adding that Lauder had "admitted the charge." (20:528). Douglas showed that Lauder had interpolated passages of W. Hog's Translation of Mil- ton (1690) into the other poems, and then had cited these passages as Milton's soui'ces. That was all. But that was enough. Dr. Johnson compelled Lauder to acknow- ledge his crime, and dictated for him (Dec. 20) an apology in A Letter to the Rev. Mr. Douglas, Occasioned by his Vindication of Milton (pub. 1751 ).*' Lauder added some matters, attempting to explain the whole affair as a practical joke, aimed at the blind worshippers of Milton. But the explanation was not accepted. Already the booksellers had dis- owned him, and brought out an edition of his Essay "as a curiosity of fraud and interpolation." (20:535-6). Lauder was ruined. He hung about England for a time, published some Latin works (1753), and his Vindication of King Charles I. (1754). In the latter publication, he severely abused Milton, Douglas, and Johnson. A Review said that he seemed "absolutely to have declared war against all decency, and even common-sense."*^ After a time he left England, and died in disgrace (1771).*' ^''Johnson's Works. 1825, v. 249-271. Johnson was exonerated in the eyes of the public. One wonders if this affair was the cause of his early paper on Repent- ance, which he closed with six lines from P. L., x, 1087-92. {Rambler, no, April 6, i/Si. Works, 1835, 1 :5i8.) The Nation forgave the Doctor, but did not soon forget his connection with the affair. Arthur Murphy (1727-1805) lamented this fact, in his Essay on the Life & Genius of S. Johnson (1792). Nathan Drake (1766-1836) considered this "the most extraordinary literary imposture that the world ever witnessed," and Johnson's connection therewith "the most unfortunate occurrence of his life." {Lit. Life of Dr. Johnson. Essays, Biog., Crit.. Hist,, 1809, 4:315-328.) 88M0. Rev., Feb., 1754, 10:145-6. s^Lauder's name became a term of scorn and a by-word in literature. Robert Lloyd wrote his Progress of Envy, as an expression of indignation against Lauder (1751), Trib. 94. Verses Occd. by Mr. Warburton's Late Ed. of Mr. Pope's Works (1751) would like to sentence this editor "to study epic under Lauder." "S. S. S." versified the comparison between The Bee and Milton Convicted of Stealing (Gent. Mag., Nov., 1752, 22:529). Furius (p. 189 above), probably the work of Mr. Hen- derson, a bookseller, was printed, with changes appropriate to the "Thief-catcher, who has so eminently distinguished himself by his laudable attack on the great Milton" (Mo. Rev., Apr., 1754, end). The Gent. Mag. completed its original plan 192 THE MILTON TRADITION [284 One good arising from this affair was the sanity that it contributed to Miltonie interests. After all, Paradise Lost did not fall from the Heavens, nor was Milton without his literary relationships. The Nation needed its feet once more placed on solid ground as to these matters. Furthermore, the effect of the whole stir was to stimulate the general interest in Milton. This whole controversy was really a study in the probable sources of Milton's great work. Lauder inaugurated the busi- ness with a summary of what had been done in this particular field of study. The contributions that he made were not inconsiderable, and the stimulation that he gave in this direction lasted throughout the century. Meantime other lines of interest were also quickened. The re-actions to this controversy naturally followed certain definite lines. The defeat of Lauder left Milton, in the national confidence, high and unassailable. More calmly then the Nation became interested in Milton's sources, — a line of study which broadened into the translation, publication, and popularity of kindred literary products of other times and other lands."" This widening interest probably exercised an influence, not yet realized, upon certain literary revivals connected with the Romantic Movement. There was another impulse which led to a re-assertion and amplification, for the multiplied readers of Milton, 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 the most familiar source of illustrative materials available for a vast range of discussions. In the words of Goldsmith, "the subject of Paradise Lost (was) reverenced with almost universal assent." The nation would "purchase a warranted original copy of the worst verses Milton ever wrote, at ten times the price which the original copy of the Paradise Lost brought him."" Such enthusiastic confidence was connected closely, perhaps, with the 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 the Latin Trs. of the opening of P. L., using that of Hog, of Dobson, and a new one contributed for this purpose. (20: Dec, 1750.) A new edition of Masenius "for the satisfaction of the curious" was published 1754. The Life of Hugo Grotius appeared the same year. Milton no Plagiary, was reprinted in 1756. HoUis made a summary of the Lauder outrage upon Milton, in his edition of Toland's Life of Milton (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. Pts., 16:498-501. Gent. Mag., Aug., 1778.) 9"Appendix F. ^nVorks (J. W. M. Gibbs), iv, 290, 362. Review of The Epigoniad. Mo. Rev., Sept., I7S7- 285] CONTROVERSIES AND EXPLANATIONS, 1730-1765 193 merits understood as never before. It is interesting to observe how much of this criticism indulged in psychology, attempting to unfold the mind of Milton, and of his various characters. While 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 latter '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. Lond., 1750. I, pp. xxi-xxii, &c. ^^Rambler, Nos. 86, 88, 90, 92, 96. On Sats. between Jan. 12, and Feb. 9, 1751. Works, 1825, I, 398-442. 9*Hurd's Discourse upon Imitation (1751) was appended to his ed. of Horace (1753) as a Dissertation on Poetical Imitation. (Mo. Rev., Feb., 1758, 18:114-125.) He handled two questions, (i) "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. ^ojohnson's Letters (March 8, 1753). Boswell's Life (Hill), I. 253. Warton wrote 24 papers. ^''The 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 mission of Raphael to Adam; the conversations between Adam and his wife; 194 THE MILTON TRADITION [286 "Night Pieces" of Milton (Paradise Lost IV), Homer, and Shakespeare, were compared, and correlated with the writings of Young and Col- lins.^" Deane Swift (d. 1783) devoted a section to Milton (1755):™ and Thomas Warton laid considerable emphasis upon the values of Mil- ton and their relations to popular taste, ^"^ and took Dryden severely to task for wanting "a jast idea of Milton'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 tlie multiplied Miltonie interests with the advancing sentiments of Romanticism. Warton held that "our English poets may be disposed in four different classes and degrees." (i) Spenser, Shakespeare, 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, Fenton. (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.i"' Warton regarded sublimity and the pathetic essential to great poetry. He ex- tolled blank verse, and e.xalted Milton above Pope in respect to the passions. He believed the Italian models of Shakespeare and Milton superior to the French models, and regarded the Paradise Lost as better than Voltaire's Henriade. He the creation; the account which .\dam gives of his first sensations, and of the approach of Eve from the hand of her Creator ; the whole behavior of Adam and Eve after their first 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 Adam'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. "sjohn 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." ^^Essay on the Life, Writings, and Character of Jonathan Swift (i755)- Sec- tion XV. ^""Obs. on the Fairy Queene of Spenser (1754), vol. H, Section x, 107-8. This was quoted in the Cr. Rev., Sept., 1763, 16:225. i<»Mo. Rev., June, 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." Wanton'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 U'ritings, and Genius of Mr. Pope (1778). 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 this controversy furnished materials for popular entertain- ment in contemporary criticism.i"- 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. io3Published in The Lit. Mag., Jan., 1758. Works 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.) ^"^The 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 (iS52-i599) '8 12 14 18 Drayton (1563-1631) 10 n 16 13 Shakespeare (1564-1616) 19 14 i4 i9 Johnson (B?) (1573-1637) 16 18 17 8 Cowley (1618-1667) 17 I- 15 17 Waller (1618-1687) 12 12 10 _ 16 Fairfax ( 1635) 12 12 14 ' 13 Otway (1653-1685) 17 10 10 17 Milton (1608-1674) 18 16 17 18 Lee (1653-1692) 16 ID 10 15 Dryden (1631-1700) 18 16 17 18 Congreve (1673-1729) 15 16 14 I4 Vanbrugh (1664-1726) 14 IS I4 10 Steele (1672-1729) 10 15 I3 10 Addison (1672-1719) 16 18 17 I7 Prior (1688-1721) 16 16 15 17 Swift (1667-1745) 18 16 16 16 196 THE MILTON TRADITION [288 truth and liberality/"' But the Miscellaneous Thoughts on English Poets, which formed the Sequel to the numerical part, was not so favor- able. The Sequel is concerned almost entirely with the comparison of Milton as a poet (on the basis of Paradise Lost) with Shakespeare. The criticism of Milton 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 his "deliberate malice.'"*" An attempt to advance liberalism at the 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 sympathies with Milton were strong and various. In Dialogue Genius Judgment Learning Versify. Pope (1688- 1 744) 18 18 IS 19 Thomson (1700-1748) 16 16 14 17 Gay (1683-1732) 14 16 14 16 Butler (1612-1680) 17 16 14 16 Beau-FIetch 14 16 16 12 Hill (1684-1750) 16 12 13 17 Rowe (1673-1718) 14 16 15 16 Farquhar (1678-1707) 15 16 10 10 Garth (1660-1718) 16 16 12 16 Southern (1660-1741) 15 IS 11 14 Hughes (1677-1720) IS 16 13 16 105" 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 happily adapted that they seem created for that very purpose, and not to be altered but for the worse." ^""li this is the work of Goldsmith, his spirit must have undergone a rapid change in respect to Milton. In the Memoirs of M. de Voltaire (i7S9), 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, 4:3i-3S-) In Th<: Citizen of the World (1762), Letter XL, Goldsmith praised blank verse very highly. Perhaps the real conviction of the author was indicated in Letter XHI of the Citiccn of the World. Therein he found, in Poet's Corner in Westminster .Abbey, 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, and to personal hate which obscured that excellence. ( Works, Murray, lS,'i4, vol. H.) '"'Johnson denied any connection with this Scale. Jas. Prior, Life of O. Gold- smith, 1837, L 233-234. 289] CONTROVERSIES AND EXPLANATIONS, 1730-1765 197 XIV, he had Pope and Boileau to discuss the "Epick Poet Milton." Boileau was represented as confident that Longinus would have pre- ferred Milton to Homer on the grounds of sublimity. Pope replied: ' ' The bright and excessive blaze of poetical fire, which shines in so many parts of Paradise Lost, will hardly permit the dazzled eye to see its faults." Pope proposed to explain the early unpopularity of Paradise Lost on the grounds of politics ; but Boileau considered that the Nation had made Milton good amends.'"* After these Dialogues, there were two other popularizing perform- ances in criticism. The next year (1761), "William Massey published Remarks upon Milton's Paradise Lost, historical, geographical, critical, philological and explanatory. The work was severely censured as worth- less, by the Monthly Review, and praised for its public spirit by the Critical Revieiv. Massey had printed separately Newton's Notes, for economy's sake, since "Paradise Lost, in some form or other, is in most people's hands.""** The other work was A Familiar Explanation of Milton, held to be of small value."" John Scott (1730-83), of Amwell, also prepared "strictures" on Milton and others sometime prior to 1776."! This mid-century transitional period gave considerable attention to certain lines of study that had a more or less direct bearing upon litera- ture. The period was essentially one of preparation. The materials and dominant spirit of literature were not without serious consideration. Much of poetry itself rose little above the level of experimentation. The dictionary, the grammar, the formal treatise on composition, eloquence, and criticism, were typical products of the time. Perhaps the most discussed literary form was the epic. But opinion was unsettled. Half- formulated Komantic tendencies were rapidly undermining the strong-, holds of the classical faction. Among the few things about which there was little difference of opinion, was Milton's magnificence in Paradise Lost. Because of its many points of sympathetic contact, and its com- mon familiarity, this poem entered into almost every form of thought, and fastened its liold more firmly upon the national mind, and heart, and life. Even Dr. Johnson did not escape this permeating influence of ^'^^Misc. Works, 1776, II. 196-7. The Dialogues were previously published in 1760, and 1765. Cf. Cr. Rev., May, 1760, 9:390-3, and June, p. 494 (Mo. Cat., 30). i''*'Mo. Rev.. Appndx, 1761, 25:497-8. Cr. Rev., May, 1762, 13:433. ""Rev. Wm. Dodd (1729-1777). "One half of the book at least is filled with Mr. .'\ddison's Critique .... a kind of plagiarism much practiced." (Cr. Rev., May, 1762, 13:433.) "Alas! poor Milton! who knows but thou niayst yet be trans- formed into a spelling-book!" (Mo. Rev., June, 1762, 26:478. ■) '''.Anderson, Brit. Poets, 11:723. 198 THE MILTON TRADITION [290 Milton's Epic. In his Dictionary of the English Language (1755), which is itself remotely connected with the Eomantic appeal to first principles, he drew 7.8% of his literary illustrations from Milton."- The classical Burke illuminated his ideas of the Sublime and the Beauti- ful (1756) from this same exalted source."" James Moor, discussing the Influence of Philosophy upon the Fine Arts, could find nothing better with which to compare the ideal beauty of Morality as treated by Socrates and Euripides, than the grace and beauty of Milton's Eve."* The Epic of Milton was guarded with zealous care. William Wilkie (1721-1772), whose Miltonic interests dated at least as far back as his student days, was taken to task for re-asserting some old views about Paradise Lost. He said "the machinery overshadowed the human char- acters, and that the heroes of the poem are all of the immortals." This he attempted to justify by references to the irregularity of the poem, and by affirming it tragic in plot and epic in dress and machinery."'' With consummate spirit, a French critic, for his contempt of "our Milton" as an epic poet, was branded with stupidity and ignorance."" Perhaps this resentment was what gave rise to the caution of R. Keding- ton (1760). "Some," he said, "have not scrupled to prefer Milton to the Grecian and Roman Bards ; and whosoever at this time ventures to cast at his Paradise Lost, must whisper his criticism with caution.""' The Art of Poetry on a Nciv Plan, which introduced the method of mixing precepts with examples, condemned other poets as not worthy to appear as authorities with Milton, Dryden, Pope, Thomson, Akenside, &c."« Lord Karnes, in order to illustrate ten chapters in his Elements of Criticism (1762), drew more or less heavily upon "our incomparable Milton.""^ Daniel Webb (1719-1798), in his Remarks on the Beauties ii2johnson drew from Shakespeare 15.6%, Dryden 9.2%, Milton 7.8%, Addi- son 4.3%, Pope 3.5%, Spenser 2.9%. This estimate is based upon an actual count of almost 10,000 consecutive examples. In this count the King James Bible would rank, perhaps, between Addison and Milton. ii^Burke quoted only P. L. and .iUegro, and these in the ratio of 4 to i. i"Jas. Moor, LL.D. (1712-1779). Essays; Read at a Literary Society. Essay I. Mo. Rev., Feb., 1760, 22:107-118. P. L., 8:482-9. ^^^Preface to The Epigoniad (1757). Anderson. Br. Pts., vol. xi, pp. ix, xvii, 5. Answered in An Essay on the Epigoniad, Wherein the Author's Abuse of Milton is examined. Edinburgh, 1757. ^'^«Tableaux tires de I'lliads, de I'Odysscc d'Hoiucrc. ct de I'Eneide de Virigile; avec des observations generates sur le costume. Cr. Rev., Sept., 1757, 4:263-264. ii'R. Kedington (d. 1760). Dissertation on the Iliad of Homer (i759)- Mo. Rev., Feb., 1760, 22:118-128. "'Compiled by John Newbery ( 1713-1767"). Revised by Goldsmith. Com- mended, Cr. Rev., May, 1762, 13:429-430. iisRenry Home (1696-1782). Ed. 1785. 2 vols. Edinburgh. 291] CONTROVERSIES AND EXPLANATIONS, 1730-1765 199 of Poetry (1762), and later in the Observations on the Correspondence between Poetry and Music (1769), reveled in Paradise Lost; in the former, because of his owai special bias for blank verse ; and in the latter, because Milton had exhausted the ability of the English language to reach the sweetness of sound, or dignity of motion in the Greek measures.*-" Edward Watkinsou allowed that "Exact propriety, just thoughts, correct elocution, polished numbers, may have been discerned in a thousand: but this poetical fire, this vivida vis anirni, (found) in very few, in Milton, glows like a furnace, kept up to an uncommon fervour, by the force of art." "When Milton appeared, the pride of Greece was humbled." "Our language sunk under Milton (unable to convey a just idea of the force and fire of his genius, the sublimity of his flights, and the strength of his imagination)."'-' Hugh Blair (1718-1800), whose sympathies with the liberals in literature were rather pronounced, seemed to regard Paradise Lost as the very embodiment of that freedom essential to literary greatness. He said, "Milton has chalked out for himself a new and very exti-aordinary road in poetry The subject which he has clioseu suited the daring sublimity of his genius. It was a subject for which Milton alone was fitted and in the conduct of it he has shown a stretcli both of imagination and invention which is perfectly wonderful. . . . Milton's great and distinguishing excellence is his sublimity. In this he perhaps excells Homer. Milton possesses more of a calm and amazing grand- eur. "'-- This note of independent individualism, the exaltation of genius above all laws, was even more definitely sounded in connection with Dr. Thos. Leland's Dissertation on the Principles of Human Eloquence (1764). It was stoutly affirmed that the difference between Milton and Blackmoi-e is not a matter of principles, but of execution. "The fine arts have no rule but genius to direct them." Milton and Shakespeare were cited as proof that even antiquity may be excelled.'-^ From these last citations it will appear that Milton has lost noth- ing of that high rank which he earlier enjoyed, and that he lacks nothing of being in the forefront of the rising opposition to the pseudo-classical i^^Cr. Rev., May, 1762, 13:401-5. Mo." Rev., Nov., 1769, 41:321-8. ^-^An Essay on Criticism. This work was published in separate Parts, and received especially favorable notice in the Cr. Review, each Part being the first article in the issue in which it was reviewed. Part I (Jan., 1761) ; II, (Mar., 1763) ; III (July. 1763) ; IV (Jan., 1764) : V (July, 1764) ; VI (Jan., 1765). '"Lectures on' Rhetoric and Belles Lettres, ed. 1814, sect, xliv, pp. 503-6. Cf. also Lectures ii, iii, iv, xvi, xl, xlii. '^^Thos. Leland, D.D. (1722-1785). A Dissertation. Cr. Rev., July, 1764, 18:10-16. A Letter to the Rev. Dr. Thomas Leland. In which (his) Principles of Eloquence arc criticised. Cr. Rev., Nov., 1764, 18:321-331. 200 THE MILTON TRADITION [292 school. It only remains to be shown that the interest in blank verse during this period was no less decisively in favor of popular acceptance and advancement. Verse criticism, during this period, presented two rather distinct lines of discussion, both of which involved the metrical qualities of Milton. The one approached verse from the structural standpoint, and concerned itself mainly with the laws that governed the making of "good verses." The other approached the subject from the standpoint of poetic effect, and concerned itself mainly with the problems of how best effects may be obtained. This is about the same as saying that one class of critics measured excellence by regard to poetic form ; the other, by regard to poetic contents and effects. The former of these classes of critics contended mainly for that kind of poetic excellence that was begun by Denham and Waller, improved by Dryden, and perfected by Pope. Probably "the sovereignty of the couplet was doomed" by 1726;^-* but the force of its authority was long felt in the criticism which it inspired. True to the spirit of the pseudo- classical school, this class of critics began by laying down a priori defi- nitions of what poetry, or verse, should be. They had no serious thought of any historical appeal for their conceptions, which were merely pre- conceived notions with only a measure of truth in them. Verse was this, or that, or something else, which meant usually that it was regular mathematical heroic measure, heightened into poetry by some special quality, as tlie affinitj' of the line with musical qualities. To these arbi- trary conceptions all verse must conform, or else it was bad. Every- where the structural basis of poetry was regularity. This, at least, is the case in the beginning of this period. But this structural basis is broadened, by recognition of poetic facts, until the two lines of criticism begin to meet in such critics as Karnes and Webb (1762). It was this constant coming together of the two views that gave special significance to blank verse as the poetical vehicle of Romanticism. To these formalists in the beginning of this period, belonged the work of "slashing Bentley," who murdered Milton in the person of a fabulou>s Editor. Only less barbarous was that criticism of Milton which arose upon the appearance of Glover's Lconidas (1737). This poem was in blank verse, but monotonously "regular." Herein lay its excellence, as then viewed by some critics. An "old man," who placed his Homer next his Bible, and Virgil and Milton next his Homer, con- tributed a paper in praise of Lenoidas. First of all, he was "surprised" that he could understand the language of the poem, "which, for a writer of blank verse, is a very unusual condescension to his readers." But, more to the point here, he declared the versification of Glover '^■'Phelps, The Beginnings of the Eng. Rom. Movement, p. 36. 293] CONTROVERSIES AND EXPLANATIONS, 1730-1765 201 superior to that of Milton — a statement for which Nathan Drake expressed his contempt by the addition of an exclamation point/-'' But a more considerable contribution was that of Dr. Henry Pem- bertou (1694-1771), entitled Observations on Poetry, especially Epic, Occasioned by Lconidas (1738). He was possessed with the same spirit of formal excellence, fancied that he knew, ipse dixit, just what poetry ought to be ; and, because Paradise Lost was not that, it must be con- demned. This criticism gave rise in the same year to the popular papers by Samuel Say (1676-1743), published posthumously by William Dun- combe (1745), in defence of Milton. With The Poems of Say, there were "Two Critical Essays," the first on Rhythm in General, and the second on the Rhythm of Paradise Lost. He turned to ridicule the criticisms of Bentley, and defended the variety and freedom of Milton as an excellence, in reply to the strictures of the "Leonidas group." The preceding year (1744), James Harris (1709-1780) insisted that poetry had a charm, "arising from its numbers only." This he illus- trated from Paradise Lost, where he found also the "few pure iambics of the syllabic sort" in the English language. He also praised the Com- panion Poems, and regarded Milton as the highest object of esthetic enjoyment, calling for culture and critical powers.^^^ A disciple of Pemberton, who became greater than his master, was John Mason (1706-1763), who published his Essays on the Power and Harmony of Numbers in 1749 (2nd. edition in 1761). He was inter- ested in the musical values of verse, and admitted some variations in deference to Milton, whom he regarded as a "great master of poetic numbers," but "not without his faults." But even this measure of liberality ^vas tabooed by Dr. Johnson, who insisted that the rigid regu- larity of ' ' our versification admits of few licenses. ' '^-' These dictatorial critics, whose orthodoxy in verse had no support in historical fact, could not long hold a position of authority, when the tendency of the times demanded such support. The formal recognition of this fact appeared in Lord Kames, who produced his Elements of Criticism in 1762. With him, the structural foundation of English verse was regularity. The time element was also observed in versifica- tion. The essential difference between verse and prose was the degree of perfection involved and the observation of "certain inflexible laws." He praised Pope, especially in his Rape of the Lock, for perfection of 1-^0*1 The Leonidas of Glover. Common Sense, April 9, 1737. See Drake's Gleaner (iSii). No. 36. Vol. I, 293-305. ^"-^Three Treatises (1744)- Chap. v. Cf. also The Works (1841), pp. 403, 4". 453- ^"Dict. of the Eng. Language (1755). Historical Introduction. Section on Prosodv. 202 THE MILTON TRADITION [294 Versification. But all these elements of regularity are rather taken for granted as the fundamental basis of verse. Karnes formally announced in his Introduction that this work was to be inductive. He did not dictate what poetry should be, but appealed to history to see what poetry really is. This appeal brought him into contact with the masters. His weakness appeared in pronouncing Shakespeare ' ' a sort of measured prose ; " his redemption was in praising Milton 's ' ' richest melody ' ' and "sublimest sentiments." His real significance, however, was in his mak- ing the basic regularity of poetry bow in service to the demands of sentiment. This enthroning of substance above form led him to assign several reasons, which a contemporary critic regarded unanswerable, "wliy blank verse is preferable to rhyme, where force and elevation of language is requisite."'-* Content then is the determining factor in poetry. Verse form is a means and not an end ; and greatness of poetry depends upon the greatness of mind, the exaltation of soul, the loftiness of the message that the verse brings to men. In this general view, it will be seen that Kames was seconded by Webb ; and the two constitute a landslide from regularity to the side of Milton, liberality, and blank verse. The other line of criticism was followed by those who continued from the earlier period to champion the cause of blank verse directly in opposition to the couplet. This provoked some overbold assertion of confidence on the part of the formalists (Trib. 58), but the liberal ranks of blank verse were constantly recruited, and the movement increased rapidly in strength during this period. The essential difference in the two schools may be stated in various terms of antagonism, according to the point of view. It was blank verse versus heroic couplet, reason versus imagination, Milton versus Pope, authority versus individualism, arbitrary dictum versus historical facts, form versus content, progress versus conservatism, dawn versus twi- light, liberty versus shackles, and so on inexhaustibly. But all of this means that the nation was weary of the worn out monotony of the couplet, and wanted a new, liberal, and hopeful medium of poetic expression. This was the period when the serious battle was fought and won, though there were later attacks from the defeated ranks of the couplet. The blank verse poems of Philips and Tliomson continued to be popular. Much strength was added to the cause of liberal versification in the popular blank verse productions of Warton, Blair, Young, and others, i=*Henry Home (1696-1782), Lord Kames. Elements of Criticism. Intro- duction, and Chapter xviii on "Beauty of Language." Many other chapters have matter on Milton. See also the Mo. Rev.. July. 1762, 27:13-^4- 295] CONTROVERSIES AND EXPLANATIONS, 1730-1765 203 in 1740-1750. By 1744 a poetical wit was telling the secrets of Par- nassus, how, With jingling Rhimes together tied, A Shameful Dearth of Sense we hide. ( Trib. 72.) Everywhere the advocates of blank verse laid increasing emphasis upon content as opposed to mere poetic form: the imaginative appeal and poetic spirit were held essential. Aaron Hill's Advice to the Poets was published, and reviewed at length in 1754. Among other things, the Review quoted the following significant Motto of the poem: Shame on your jugling, ye soft sons of rhyme, Tuneful consumers of your readers' time! Fancy's light dwarfs ! whose feather-footed strains, Dance in wild windings, through a waste of brains : Your's is the guilt of all, who judging wrong, Mistake tun'd nonsense for the poet's song.'^^ The substance of the song as the determining factor received no little emphasis from the pen of John Byrom (1692-1763). In his Thought on Rhyme and Blank Verse (1755), he seemed at first to favor rhyme, attributing the "craze" for blank verse to the stud}' of Homer, Virgil, Horace and plays. But he came to the final conclusion that 'Tis the subject, in fine, in the matter of song. That makes a blank verse, or a rhyme to be wrong.'^" The Contest (1755), which contained a preface in favor of blank verse, illustrated with an original Ode by Roger Comberback, and a defence of Rhyme, supported by an Eclogue by Dr. John Byrom, pro- voked the same general sentiment from the Monthly Review. The critic conceded that "rh.yme may be, and often is, without poetry, as poetry may be without rhyme.'' He felt, however, that rhyme belonged to the genius of the English Language, and being more difScult, was a better test of poetical ability.'" That rliyme was felt to be the medium for i-^Mo. Rev., Jan., 1754, 10:16-30. i^^Chalmers, Eng. Poets, 15:206-207. "'Mo. Rev., Aug., 1755, 13 :95-9g. This critic attributed the charms of Shakespeare and Milton to "the animated beauty of their descriptions, and that justness and elevation of their sentiments, which feast the imagination, and possess the judgment so completely, that the absence of this organic gratification is scarcely adverted to." 204 THE MILTON TRADITION [296 expressing trivial content, is quite evident in the following taunt : Beaumont and Fletcher ; [great] Till fashion drove, in a refining age, Virtue from the court, and nature from the stage. Then nonsense, in heroics, seem'd sublime ; Kings rav'd in couplets, and maids sigh'd in rhyme."- Perhaps the most effective attempt to enthrone blank verse over the couplet was made in Warton's Essay upon Pope (1756), already consid- ered in this chapter. Warton was thoroughly imbued with Romantic tendencies, and applauded the freer mode far above that which shackled the imaginative element in verse. The next year (1757), Thomas New- comb rendered Hervey's Contemplations on A Flower-Garden into blank verse, and was censured for leaving remnants of rhyme, "which show always a bad effect in blank verse.'"'' In the same year, Robert Colvill (d. 1788) argued that blank verse was "suited to every species of composition, from the highest sublime down to very chit-chat," and gave an example of the latter extreme (Trib. 117). But a Reviewer of Gray's Odes (1757) stoutly contended that experiments showed the necessity of rhyme in English Odes.^"* Pew men spoke more distinctly on this subject than Dr. Edward Young (1683-1765), in his Conjectures on Original Composition (1758). No one, perhaps, was in position to speak with more authority. Being older than Pope, Dr. Young had seen the school of the couplets rise, reach its higliest point, and then decay. He was a student of his times, who marched in the front ranks of progress. He had attained some distinction in the pseudo-classical school, as a poet, and deserted that school only to attain higher poetic honours in the Romantic school. These Conjectures were designed to foster the forward movement. In- cidentally he discussed the typical modes of poetic expression. As a scholar, he spoke the mature conviction of careful observation. As a poet, he infused into his words the conviction of broad experience. His pronouncement may be regarded, therefore, as the pivot on which the Century swung around in respect to versification in favor of the Ro- mantic freedom of blank verse. Henceforth the couplet was on the defensive ; while the triumphant Romanticists calmly conceded certain real, but inferior, merits to the restraints of rhyme. Dr. Young happily brought the fuU force of the Romantic argu- ments into play by choosing to make his attack directly upon Pope's "^George Colman (1732- 1794). Prologue to Philastcr. Upon Powell's first appearance at Drury Lane, Oct. 8, 1763. Bell's Brit. Theatre, ed. 1797, vol. 18, pp. xiii-xiv. For emphasis upon content, see Trib. 134. i33Cr. Rev., July, 1757, 4 -.67. i='»Mo. Rev., Sept., 1757, 17:239-243. 297 J CONTROVERSIES AND EXPLANATIONS, 1730-1765 205 Translation of the Iliad. Speaking of that performance, Young saitl : "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 I 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, unfallen, 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."i^^ 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 Paradise LostP'^ In December a high claim was made for blank verse excellence in didactic poetry, wlien another critic was "siirprised" 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 Roiuantieisiii, 43-44. I'^sLauncelot Temple (John Armstrong, 1709-1779), Sketches, or Essays on Various Subjects. London. /75.S\ Cr. Rev., May, 1758, 5:380-386. i"Cr. Rev., Dec, 1758, 6:439-453- 206 THE MILTON TRADITION [298 fetters, to the influence of Spenser and Milton's Paradise Lost^'-'^ Gold- smith, who was never consistent in anything, 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 (ccviii), 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 unbrdeed 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 Poems of Surrey (1763), gave specimens of all blank verse before Milton. The influence of such claims and such appeal at just this point cannot be overestimated. Gradually the spirit of the times had risen to the consummate statement of Dr. Young. The venerable Doctor had used Milton's excellence as a means of exposing Pope's weakness in dealing with the Ancients, had branded the French innovations 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 effectual 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 Realities of Poetry, by Daniel Webb (1719-1798), published in the same year, and in his Observations on the Correspondence between Poetry and Music (1769). He was, like Kames, i^isGray, To Richard West (1742), ed. Gosse (1884), II, 108; The Works (1884), II, 164, quoted from Mitford's Ed. (1816) ; Ohs. on Eng. Metre (1760-1). Works, I, 332-333, 335. '^^^Present State of Polite Learning (1759). Chapter x. Murray ed., II, 52. Citizen of the World (1760), Letter 40. Dedication to The Traveller (1765). Murray, I, 1-4. The Life of Parnell, III, 126-14S. Note 112 above. I'^Criticism of Resignation, in Two Parts, &c. Mo. Rev., June, 1762, 26:462ff. 299] CONTROVERSIES AND EXPLANATIONS, 1730-1765 207 a believer in regularity as the formal basis of verse ; but even more than Kames, Webb held that regularity must bow to the needs of content and expression. Webb's Remarks, which are said to be "both judicious and ingenious," are very important in this connection. His criticism is introduced in the form of a dialogue between Rhyme and Blank Verse. His evident object is to exalt the merits of blank verse, and to expose the defects of rhyme. The latter, for want of liberality, he declared deficient for nature, truth, and music. He argued that the couplet is incapable of such a variety in its harmony as Blank Verse ; but poets of an ordinary genius should never give it up. "Yet let not bards of sub- lime powers sacrifice their noble fire to an empty jingle. Let them unfold their lofty images in a continued strain of unlimited harmony, and in a superior majesty of Miltonic numbers." The couplet was held to tame enthusiasm, and to compel littleness of scenery. But Blank Verse admitted great force and variety, and allowed a better expression of passions. Webb "agrees with all men of taste and judgment," according to the Critical Review, "to prefer" blank verse to rhyme. He held that "rhyme is not formed for those fine gradations which blank verse is capable of." The freer mode was claimed to give (i) more dignified expressions of the subject; (2) greater variety of pause; (3) more variety of harmony, affording less leveling and more exalting effects, better breaks and transitions, better changes of passion, and both verbal and sentimental harmony, by the last meaning agreement between the sound or movement and the sense. The following criticism of Addison, heartily seconded by the Critical Review, was directed at the weakness of the couplet. "Accustomed as he was to the secure monotony of the couplet, he had neither the genius to bear him through, nor the courage to attempt the unbounded variety of the Miltonic measures." He com- pared Addison to a weak bird of a straight flight, and Milton to "the eagle, won- derful in his soarings, (who) shows in his very stoops the power of his wings."'*^ This author started with regularity as the basis of versification, but discussed the qualities of verse in terms of the Romantic spirit, exalted blank verse above the couplet, and identified the freer form with the advanced movement. Blank verse was held to be not only the form most proper to the sublime, but also to the natural, the liberal, to enthu- siasm, and to the passions. These views were asserted with the full con- fidence of popular support. The Monthly Review, not usually very sjonpathetic with blank verse, devoted sixteen pages to Webb's publica- tion. This immediate interest was sanctioned by the later popularity of the work, which appeared in several editions. The Critical Review declared that this "elegant performance has a great deal of merit, without any fault but that of a fine day in autumn, of being too short. ' ' With the acceptance of this work, one may regard the triumph of i"Mo. Rev., April, 1762, 26:282-298. Cr. Rev., May, 1762, 13:401-405. 208 THE MILTON TRADITION [300 blank verse complete, though the couplet was destined to one more death-struggle for existence. This period of commentaries and contro- versies has made Milton's substance the nation's possession, and his verse-form the nation's poetic voice. There this chapter leaves him in his popular supremacy. CHAPTER VII The Romantic Application op Milton, 1765-1801 The former period having in large measure explained Milton's Paradise Lost and popularized his Prose, and introduced his Minor Poems into familiarity, this period undertook the Romantic application of those materials. By this is meant mainly that Milton's influence flows full into the main currents of this great life movement of the Eighteenth Century. For a hundred years his lofty utterances had gradually wrought themselves into the fibre of English, and even Conti- nental, life. Already their molding, directing, productive power had been felt. But during this period they came to their own in the richest fruitage of the Romantic Movement. A new day had dawned upon the world, a day of larger human sympathies, of better and brighter hopes ; and the Romantic forces, with Milton much in the lead, were showing their right to occupy the new day. The Prose Works and Paradise Lost showed multiplied points of contact with the new movement, as will appear subsequently in this chapter. But the Minor Poems were narrowed largely to the limited sphere of poetic imitation, within which sphere their influence was Ro- mantic, and not unimportant. Considerable critical attention was given to these poems during the last quarter of the century, but this attention was more in the nature of scholarly research, than of Romantic emphasis. Samson Agonistes, which had been popular as an Oratorio in the preceding period, was, in this period, relegated to the scholar's closet. Dr. James Beattie, in a foot-note to his Essay on Truth (1770), com- mended Samson as a new type of heroic character not in Homer, and the conception of Delilah as the perfection of "an alluring, insinuating, worthless woman."' Perhaps this very note led Dr. Johnson (1779) to censure this Tragedy for revealing a want of knowledge in human nature in the "shades of character" and in "the combination of con- curring or the perplexity of contending passions."- Richard Cumber- ' James Beattie, LL.D. (1735-1803). An Essay on Truth (1776). II, 9211. ^Johnson, Life of Milton (Hill). I, i88-igo. He reiterated the criticism of 1751 (p. 171), allowing the Tragedy to have "many particular beauties, many just sentiments and striking lines : but it wants that power of attracting attention which a well-connected plan produces." 209 210 THE MILTON TRADITION [302 land (1732-1811) in 1786,-^ and Sir John Hawkins (1719-1789) in 1787,* undertook to defend Milton against these strictures of Johnson, "but with little success, ' ' according to the Monthly Review. The Tragedy was translated into Greek (1788) by George Henry Glasse (d. 1809<),'^ and an abridgement of it for the stage was attempted by John Penn ten years later." In 1790, the drama was closeted along with Glover's Medea and Mason's Elfrida and CaractacusJ This con- viction of the closet qualities of the play was emphatic in the mind of Thomas Green, who pronounced Samson "a noble poem, but a miserable drama.'" Thus Samson as a Tragedy passed through the Classical and Romantic movements of the Eighteenth Century with little more than the perfunctory attention of scholarly criticism. The earlier Poems of Milton continued to be widely imitated, the Sonnet revival was a distinct product of their influence, the Latin and Italian poems came into prominence, as already noticed in chapter II, and the other more important poems of the group attracted considerable attention on the part of scholarly research. The Monthly Review (1766) regarded it a "dangerous tiling to attempt to translate the Companion Poems, whose merit in no small degree depends upon a felicity of expression."" The next year. Gold- smith felt that the irregular measure of their introductions, "borrowed from the Italian — hurts an English ear.""* After these commonplaces it is refreshing to meet with a letter of Sir William Jones (1745-1794) To Lady Spencer (1769) giving a Description of Milton's Residence at Forest Hill, three miles from Oxford, where Milton wrote the Com- panion Poems. ^Observer, No. 76. Brit. Essayists, 18^3. 33: No. 76; 1827, 27:1-6. Cf. Mo. Rev., May, 1789, 80:410-414. *The Works of Samuel Johnson, LL.D. (1787). Mo. Rev., July, 1787, 77:67-68. f^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., 8r:i-i9, 97-111, 241-256. ^Critical, Poetical and Dramatic Works, 2 vols. Elmsby. lygS. Vol. II. Mo. Rev., May, 1798, 107(26) :68-7i ; Cr. Rev., Dec, 1798, n. s. 24:475-76. ^F. Sayers, Dramatic Sketches of the Ancient Northern Mythology. 4to., pp. i!2. Johnson, London, 1790. Evidently connected with the Romantic revival, but they were declared to be a sort of closet dramas, after the manner of Milton's Samson, &c., with "several attempts at innovation." Thos. Green, Extracts from the Diary of a Lover of Literature. Under March 8th, 1799. He liked Comus better, but preferred "the Gothic Architecture of Shake- speare." Lycidas, for want of genuine sorrow. Green regarded "essentially defect- ive as a Monody." =Mo. Rev., Feb., 1766, 34:166. ^"The Beauties of English Poesy. (1767, 1776.) Cr. Rev., June, 1767, 23:408- 411. IVorks (Murray, 1S54). III. 436. 303] THE ROMANTIC APPLICATION OP MILTON, 1765-1801 211 Perhaps few circumstances combine more lines of Miltonic and Komantic interests. Jones was a stiident of Milton's Prose. "He pur- sued in theory, and even executed in practice, the plan of education projected by Milton; and boasted, that with the fortune of a peasant, he could give himself the education of a prince.'"^ At the age of tweuty-tliree he had all the enthusiasm of an ardent Romanticist, with the instinct of the pilgriiu, tlie 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 ill 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 iiCampbell, Specimens Brit. Poets. 1819. 7:205. i=ro Lady Spencer, Sept. 7. 1769. C. D. Cleveland, A Comp. of Eng. Lit., 1S69. 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 (Disscr. on Poetical Imitation, with Aristotle's Treatise on Poetry, 1789. Cr. Rev., 68: 358-366). The last quoted Contus also, and Beattie quoted the Comp. Poems nine times for various purposes in his Essay on Truth (1770). "Ten well adapted lines from II 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 Lca- soives, 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 .\rrangement of Objects ; exemplified in Milton's Allegro and Penseroso." The artist can control the selection of external 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 TRADITION [304 element in popular education." The scholar's interest in the Minor 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 tliat was fairly popular. But the main stimulus to the discussion of Milton's minor poetry was the publication, by the Rev. William Thompson, of The Works of Wm. Browne, (1591-1643). Browne's Shepherd's Pipe (1614, 1620) was composed of seven Eclogues. The fourth of these, a lament of the author for his deceased friend, Thomas Manwood, was supposed to have given Milton a sugges- tion for his Lijcideis. Browne also wrote The Inner Temple Masque, 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 poem." The "probability" 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 Account of the Origin of Comus, separately printed in 1799. At the risk of slightly repeating from Chapter IV, the criticism of Johnson's Life of Milton (1779) must be noticed here, for it was the touchstone of almost all that followed in the century. The Doctor's view of Samson Agonistes has already appeared in this chapter. It was adverse to Milton. So was Johnson's estimate of the smaller pieces and the Latin verses of Milton. Johnson 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. ^*The 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 Comp. Poems and the Epic a good thing for boys. {To Wm. Unwin, Jan. 17, 1782.) The Reviews 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. Hurdis's Tears of Affection (i794)- (Mo. Rev., 96(15) :3I4, '■"'Another attempt was made in 1786 to find the source of Lycidas in Buclian- an's Desiderium Lutetiac. "T. H. \^^". Gent. Mag., Sept.. 1786, 56(2) :iiio-ii. i^Warton also went at some length into the similarities of Browne's Masque and Comus, in his Hist, of Eng. Poetry (1775). Hazlitt ed.. III. 321. Cf. also the 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 prejudice, 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 with 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 with "several ill-natured misrepresentations."^' I'Landor felt that Johnson's criticism of the Prologue was unanswerable, and that the general criticism was sane. (Imaginary Conversations, iv, 284.) isWm. Cowper, To Win. Unwin, Oct. 31, 1779. Hayley's Life of Cozi'l'cr, 1S12. I, 215. ^^Gent. Mag.. Oct., 1779, 49:492-493. 214 THE MILTON TRADITION [306 The Rev. Thomas Twining considered that '"Johnson's mind is fettered with prejudice, civil, poetical, political, religious, and 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 Milton was in keeping with the enthusiastic spirit of the age, afSrmed "that prejudice, envy, nay malignity, have, throughout this work, even extinguished the candour of its author; in all cases deter- mined his will against his subject, and in some misled his judgment."-' Gradually the Doctor's feeling of revolt against the spirit of his later times had come to this point of fuial explosion. Gradually, too, the narrowing focus of his Tory prejudices was felt to center upon Milton as the productive influence of the liberal party. Already, seven- teen years before this attack, the Monthly Review had sounded a warn- ing that an insult to the Memorj' of the "glorious" poet of Paradise Lost was ' ' an offence which no party attaclunent can palliate. ' '-- John- sou, who knew the fountain heads of the liberal movement, threw himself across its main Miltonic 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 the 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 Reviews felt that Mil- ton was outraged.-^ Dunbar felt that Milton ' ' 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- 20Twining bought the Lives Dec. 8, 1781. (To His Brother. M.-iy 3, i;84.) A Country Clergyman of the iSth. Century, pp. 1 19-120. •^Cursory Remarks {1789), pp. 134-35- Neve thought that this Life would be the last "for many years," and thus warned against a probable 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 Phillips, 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 uith a Life (1762). Mo. Rev.. Sept., 1762. 27:227. 23Mo. Rev., 1779, 61:81-92, 186-191, Cr. Rev., 1779, 47:354-362, 450-453. =^Jas. Dunbar, Essays on the Hist, of Mankind in Rude and Unci'.ili.'-ed .4ges. In a Note, quoted by the Cr. Rev., .\ug., 1780. 50:108. 307] THE ROMANTIC APPLICATION OP MILTON, 1765-1801 215 able to Homer." George Canuing quoted Comus, and considered Milton the father of English poetry.^" One ultra enthusiast thought this poem the best expression of Milton's "genuine feeling," and would prefer the honor of its authorship even to that of Paradise Lost.-'' Lycidas was also formally defended as a work of genius, especially in the much applauded Critical Essays (1785) by John Scott of Amwell.-" In all guch works one may constantly feel an attempt to deny Johnson's ad- verse views respecting these particular poems of the great English poet. The great bulwark of defence against Dr. Johnson was, however, the editorial work of Thomas Warton. If his edition of Milton's Poems on Several Occasions (1785, 1791) was not suggested by Johnson's criti- cism, certainly it was greatly stimulated by the general spirit of resent- ment. Warton, however, was respectful, though confidently sympathetic with Milton. The Johnson element in Warton 's work was a mere inci- dent. The work was intended to be a much needed contribution to Miltonic interests. In a long Preface Warton dwelt upon the neglect of Milton's earlier poems, first by the reading public, and secondly by vast editorial activities of the Eighteenth Century. Only twice before (1645, 1673) had the poems been published in separate editions, and never had they been separately edited. Warton, therefore, undertook the work much in the spirit of public service and national obligation, and as such his labors were received with applause.^" This volume of Warton became at once the rallying point of enthu- -'^Lord Monboddo. Letter xxxiv. To Sir George Baker, Oct. 2, 1782. ed. Knight, 1900. pp. 214-215. He regarded the oratorical excellence of P. L. "wonderful." -^"Gregory Griffin," Microcosm No. ix. Nov. 6, 1786. Coxius, 291-293. "''Critical Remarks. The Bee. No. 143. vol. xvi, 265. Drake's Gleaner, i8ji. No. 174. iv, 306-320. This writer exalted blank verse, the sublimity of Paradise Lost, Allegro, and Comus, but felt that the reputation of the Epic had "given a degree of respectability to all his other writings, yet in all these we discover more of labor than is suitable to the ease of light composition." -*John Scott, Esq. (1730-1783). Critical Essays on Some of the Poems of Several English Poets, edited by J. Hoole, 1785. Of Milton's poems, he chose Lycidas for "judicious" vindication. Mo. Rev., July, 1785. 77:25-31. Cf. Cr. Rev., Nov., 1785. 60:345-350. 29Cr. Rev., 1785, 59:321-328, 421-430. Mo. Rev., 1788, 79:1-12, 97-104, 342-351; 1791. 91(10) :24-34. There were some adverse matters, as A Letter to T. Warton, &. (1785), which was variously criticised— as a "trifling" indication of a "carping discontented spirit" (Cr. Rev., Aug., 1785, 60:159); as "well worth the consideration of Mr. Warton" (Mo. Rev., Oct., 1788, 79:380); and as partly true (Thos. Green, Extracts from the Diary, June 24, 1800). But Warton's second edition (1791) showed him capa- ble of profiting by the suggestions made. 216 THE MILTON TRADITION [308 siastic opposition to Dr. Johnsou's earlier strictures on Milton.'" But the real re-action to Warton's work was a quickened interest in the sources of Milton's Minor Poems. "C. T. 0." began to emphasize Mil- ton's indebtedness to Spenser, the Fletchers and Drayton, early in 1786.''' Philip Neve was largely interested in this phase of Milton study (1789).'- An anonymous writer, in The Bee, argued a close connection between Drummond of Hawthornden and Milton's Minor Poetry.^^ H. J. Todd published his learned edition of Comus (1798), which after- wards became a part of his great Edition of Milton's Complete Poetical Works (1801). Comus, with Warton's Origin of the poem, was sepa- rately printed (1799), and Nathan Drake was interested in the Platonic notes of this Mask and II Penseroso during the last years of the century."* ""Cf. the Letters of Anna Seivard (1747-1809), xii, To Court Dcwes, Esq., Mar. 30, 1785. She hailed Warton as "indeed a critic," and hoped that his powers may "clear the times from their darl