Among My Books Volume Ii Part 28

"Burnt after them down to the bottomless pit,"

which leaves in the verse precisely the kind of ripple that Milton liked best.[381]

Much of what Mr. Ma.s.son says in his Introduction of the way in which the verses of Milton should be read is judicious enough, though some of the examples he gives, of the "comicality" which would ensue from compressing every verse into an exact measure of ten syllables, are based on a surprising ignorance of the laws which guided our poets just before and during Milton's time in the structure of their verses. Thus he seems to think that a strict scansion would require us in the verses

"So he with difficulty and labor hard,"

and

"Carnation, purple, azure, or specked with gold,"

to p.r.o.nounce _diffikty_ and _purp'_. Though Mr. Ma.s.son talks of "slurs and elisions," his ear would seem somewhat insensible to their exact nature or office. His _diffikty_ supposes a hiatus where none is intended, and his making _purple_ of one syllable wrecks the whole verse, the real slur in the latter case being on _azure or_.[382] When he asks whether Milton required "these p.r.o.nunciations in his verse," no positive answer can be given, but I very much doubt whether he would have thought that some of the lines Mr. Ma.s.son cites "remain perfectly good Blank Verse even with the most leisurely natural enunciation of the spare syllable," and I am sure he would have stared if told that "the number of accents" in a pentameter verse was "variable." It may be doubted whether elisions and compressions which would be thought in bad taste or even vulgar now were more abhorrent to the ears of Milton's generation than to a cultivated Italian would be the hearing Dante read as prose. After all, what Mr. Ma.s.son says may be reduced to the infallible axiom that poetry should be read as poetry.

Mr. Ma.s.son seems to be right in his main principles, but the examples he quotes make one doubt whether he knows what a verse is. For example, he thinks it would be a "horror," if in the verse

"That invincible Samson far renowned"

we should lay the stress on the first syllable of _invincible_. It is hard to see why this should be worse than _conventicle_ or _remonstrance_ or _successor_ or _incompatible_, (the three latter used by the correct Daniel) or why Mr. Ma.s.son should clap an accent on _surface_ merely because it comes at the end of a verse, and deny it to _invincible_. If one read the verse just cited with those that go with it, he will find that the accent _must_ come on the first syllable of _invincible_ or else the whole pa.s.sage becomes chaos.[383] Should we refuse to say _obleeged_ with Pope because the fashion has changed? From its apparently greater freedom in skilful hands, blank-verse gives more scope to sciolistic theorizing and dogmatism than the rhyming pentameter couplet, but it is safe to say that no verse is good in the one that would not be good in the other when handled by a master like Dryden. Milton, like other great poets, wrote some bad verses, and it is wiser to confess that they are so than to conjure up some unimaginable reason why the reader should accept them as the better for their badness. Such a bad verse is

"Rocks, caves, lakes, _fens_, bogs, _dens_ and shapes of death,"

which might be cited to ill.u.s.trate Pope's

"And ten low words oft creep in one dull line."

Milton cannot certainly be taxed with any partiality for low words. He rather loved them tall, as the Prussian King loved men to be six feet high in their stockings, and fit to go into the grenadiers. He loved them as much for their music as for their meaning,--perhaps more. His style, therefore, when it has to deal with commoner things, is apt to grow a little c.u.mbrous and unwieldy. A Persian poet says that when the owl would boast he boasts of catching mice at the edge of a hole. Shakespeare would have understood this. Milton would have made him talk like an eagle. His influence is not to be left out of account as partially contributing to that decline toward poetic diction which was already beginning ere he died. If it would not be fair to say that he is the most artistic, he may be called in the highest sense the most scientific of our poets. If to Spenser younger poets have gone to be sung-to, they have sat at the feet of Milton to be taught. Our language has no finer poem than "Samson Agonistes," if any so fine in the quality of austere dignity or in the skill with which the poet's personal experience is generalized into a cla.s.sic tragedy.

Gentle as Milton's earlier portraits would seem to show him, he had in him by nature, or bred into him by fate, something of the haughty and defiant self-a.s.sertion of Dante and Michel Angelo. In no other English author is the man so large a part of his works. Milton's haughty conception of himself enters into all he says and does. Always the necessity of this one man became that of the whole human race for the moment. There were no walls so sacred but must go to the ground when _he_ wanted elbow-room; and he wanted a great deal. Did Mary Powell, the cavalier's daughter, find the abode of a roundhead schoolmaster _incompatible_ and leave it, forthwith the cry of the universe was for an easier dissolution of the marriage covenant. If _he_ is blind, it is with excess of light, it is a divine partiality, an over-shadowing with angels' wings. Phineus and Teiresias are admitted among the prophets because they, too, had lost their sight, and the blindness of Homer is of more account than his Iliad. After writing in rhyme till he was past fifty, he finds it unsuitable for his epic, and it at once becomes "the invention of a barbarous age to set off wretched matter and lame metre."

If the structure of _his_ mind be undramatic, why, then, the English drama is naught, learned Jonson, sweetest Shakespeare, and the rest notwithstanding, and he will compose a tragedy on a Greek model with the blinded Samson for its hero, and he will compose it partly in rhyme.

Plainly he belongs to the intenser kind of men whose yesterdays are in no way responsible for their to-morrows. And this makes him perennially interesting even to those who hate his politics, despise his Socinianism, and find his greatest poem a bore. A new edition of his poems is always welcome, for, as he is really great, he presents a fresh side to each new student, and Mr. Ma.s.son, in his three handsome volumes, has given us, with much that is superfluous and even erroneous, much more that is a solid and permanent acquisition to our knowledge.

It results from the almost scornful withdrawal of Milton into the fortress of his absolute personality that no great poet is so uniformly self-conscious as he. We should say of Shakespeare that he had the power of transforming himself into everything; of Milton, that he had that of transforming everything into himself. Dante is individual rather than self-conscious, and he, the cast-iron man, grows pliable as a field of grain at the breath of Beatrice, and flows away in waves of sunshine. But Milton never let himself go for a moment. As other poets are possessed by their theme, so is he _self_-possessed, his great theme being John Milton, and his great duty that of interpreter between him and the world.

I say it with all respect, for he was well worthy translation, and it is out of Hebrew that the version is made. Pope says he makes G.o.d the Father reason "like a school divine." The criticism is witty, but inaccurate. He makes Deity a mouthpiece for his present theology, and had the poem been written a few years later, the Almighty would have become more heterodox.

Since Dante, no one had stood on these visiting terms with heaven.

Now it is precisely this audacity of self-reliance, I suspect, which goes far toward making the sublime, and which, falling by a hair's-breadth short thereof, makes the ridiculous. Puritanism showed both the strength and weakness of its prophetic nurture; enough of the latter to be scoffed out of England by the very men it had conquered in the field, enough of the former to intrench itself in three or four immortal memories. It has left an abiding mark in politics and religion, but its great monuments are the prose of Bunyan and the verse of Milton. It is a high inspiration to be the neighbor of great events; to have been a partaker in them and to have seen n.o.ble purposes by their own self-confidence become the very means of ign.o.ble ends, if it do not wholly depress, may kindle a pa.s.sion of regret deepening the song which dares not tell the reason of its sorrow. The grand loneliness of Milton in his latter years, while it makes him the most impressive figure in our literary history, is reflected also in his maturer poems by a sublime independence of human sympathy like that with which mountains fascinate and rebuff us. But it is idle to talk of the loneliness of one the habitual companions of whose mind were the Past and Future. I always seem to see him leaning in his blindness a hand on the shoulder of each, sure that the one will guard the song which the other had inspired.

Footnotes:

[358] The Life of John Milton: narrated in Connection with the Political, Ecclesiastical, and Literary History of his Time. By David Masterson, M.D., LL.D. Professor of Rhetoric and English Literature in the University of Edinburgh. Vols. I., II. 1638-1643. London and New York: Macmillan & Co. 1871. 8vo. pp. xii, 608.

The Poetical Works of John Milton, edited, with Introduction, Notes and an Essay on Milton's English by David Ma.s.son, M.A., LL.D.

Professor of Rhetoric and English Literature in the University of Edinburgh. 3 vols. 8vo. Macmillan & Co. 1874.

[359] Book I. 562-567.

[360] Ibid., 615-618.

[361] Apology for Smectymnuus.

[362]

"For him I was not sent, nor yet to free That people, victor once, now vile and base, Deservedly made va.s.sal."--P.R. IV. 131-133.

[363] If things are to be scanned so micrologically, what weighty inferences might not be drawn from Mr. Ma.s.son's invariably printing [Greek: _apax legomena_!]

[364]

"That you may tell heroes, when you come To banquet with your wife."

_Chapman's Odyssey_, VIII. 336, 337.

In the facsimile of the sonnet to Fairfax I find

"Thy firm unshak'n vertue ever brings,"

which shows how much faith we need give to the apostrophe.

[365] Mr. Ma.s.son might have cited a good example of this from Drummond, whom (as a Scotsman) he is fond of quoting for an authority in English,--

"Sleep, Silence' child, sweet father of soft rest."

The survival of _Horse_ for _horses_ is another example. So by a reverse process _pult_ and _shay_ have been vulgarly deduced from the supposed plurals _pulse_ and _chaise_.

[366] Chapman's spelling is presumably his own. At least he looked after his printed texts. I have two copies of his "Byron's Conspiracy," both dated 1608, but one evidently printed later than the other, for it shows corrections. The more solemn ending in _ed_ was probably kept alive by the reading of the Bible in churches.

Though now dropped by the clergy, it is essential to the right hearing of the more metrical pa.s.sages in the Old Testament, which are finer and more scientiflc than anything in the language, unless it be some parts of "Samson Agonistes." I remember an old gentleman who always used the contracted form of the participle in conversation, but always gave it back its embezzled syllable in reading. Sir Thomas Browne seems to have preferred the more solemn form. At any rate he has the spelling _empuzzeled_ in prose.

[367] He thinks the same of the variation _strook_ and _struck_, though they were probably p.r.o.nounced alike. In Marlowe's "Faustus"

two consecutive sentences (in prose) begin with the words "Cursed be he that struck." In a note on the pa.s.sage Mr. Dyce tells us that the old editions (there were three) have _stroke_ and _strooke_ in the first instance, and all agree on _strucke_ in the second. No inference can be drawn from such casualties.

[368] The lines are _not_ "from one of the Satires," and Milton made them worse by misquoting and bringing _love_ jinglingly near to _grove_. Hall's verse (in his Satires) is always vigorous and often harmonious. He long before Milton spoke of rhyme almost in the very terms of the preface to Paradise Lost.

[369] Mr. Ma.s.son goes so far as to conceive it possible that Milton may have committed the vulgarism of leaving a _t_ out of _slep'st_, "for ease of sound." Yet the poet could bear _boast'st_ and--one stares and gasps at it--_doat'dst_. There is, by the way, a familiar pa.s.sage in which the _ch_ sound predominates, not without a touch of _sh_, in a single couplet:--

"Can any mortal mixture of earth's mould Breathe su_ch_ divine enchanting ravi_sh_ment?"

So