that he had built himself an enduring monument. His conviction was true. Certainly, from the appearance of Addison's criticism of the great epic to the present day, no English poet of any note has failed at one time or another to pass under his spell. Even Pope borrowed from him; and Thomson, Dyer, Collins, and Gray were his open disciples. What Cowper and Wordsworth would have been without him is hard to imagine. The youthful Keats imitated him, Byron tried to rival him, and Shelley sang that "his clear sprite yet reigns o'er earth the third among the sons of light." As for Landor, Tennyson, Browning, Arnold, and Swinburne, their direct or indirect debt to him is plain to every student. With regard to his prose, which has never been sufficiently studied, the case has been somewhat different. It is the old story of the bow of Ulysses. But it cannot be doubted that if on the formal side our modern writers look back to Cowley and Dryden, and that if Burke is the only specific author in whom a critic like Lowell can discover definite traces of the influence of Milton, there has never

been a master of sonorous and eloquent prose who did not owe more than he was perhaps aware of to the author of "Areopagitica."

The second fact is equally patent, but less often insisted upon. It is that in the triumphant progress of the Anglo-Saxon race, whether in the mother island, in America, or in Australia, (whatever has been won for the cause of civic or religious or mental liberty has been won along lines that Milton would have approved in the main had he been living has been won by men more or less inspired by him; and will be kept only by men who are capable of appreciating rightly the height and breadth and depth of his splendid and ineffable personality.

PART II.-WORKS

CHAPTER I

EARLIEST POEMS IN ENGLISH

IN discussing Milton's minor poems, exclusive of the sonnets, it is well to adopt some convenient lines of division. There is SO little that is juvenile about his work that the usual twofold classification will hardly suffice; there is such variety that his own separation into Latin and English is not fully satisfactory. Perhaps we shall do well to adopt a new division of our own - to treat first the English poems written before the retirement at Horton, excluding the elegies; next the Latin poems, except the "Epitaphium Damonis,” and kindred verses; then the companion poems, "L'Allegro" and "Il Penseroso," with a few pendant pieces; then "Arcades" and "Comus," both being masques; and finally "Lycidas,"

together with the other elegies of which it is This division has the advantage

the crown.

of being sufficiently chronological, while at the same time it groups the poems according to their kinds.

We have already seen that as a boy of fifteen Milton attempted paraphrases of Psalms cxiv. and cxxxvi. It was just such a beginning as might have been expected of him, and as the pieces probably represent all that we have of his ante-Cambridge compositions, they possess considerable interest. Minute critics have inferred from them his acquaintance with Spenser and Sylvester's translation of Du Bartas, but it would be fairer to lay stress on the original vigor displayed.

and

"And caused the golden-tressèd sun
All the day long his course to run,"

"The ruddy waves he cleft in twain
Of the Erythræan main,”

are couplets premonitory of the splendid rhythm of the later works, whether or not they contain borrowed epithets.

The English poems composed at Cambridge

an

number exactly eleven, if the little "Song on May Morning" be assigned to that period. Five of these, the elegies on the "Fair Infant" and the Marchioness of Winchester, the two humorous pieces on Hobson, the carrier, and the lines on Shakspere, can be best discussed in detail along with "Lycidas." Two of the others are sonnets, and will be appropriately treated with their fellow-poems in this form. We are thus left to take account of only four pieces, a complete and a fragmentary ode, a song, and an academical exercise amount of verse that would be unworthy of separate treatment but for the fact that it contains Milton's single ode, one of the supreme specimens of its class in our literature. Before discussing it, however, we must remember that while these eleven Cambridge poems do not represent great fecundity, they do represent both scope and mastery of genius. The two serious elegies are excellent, the lines on Shakspere are noble and indicative of a fine culture, and the sonnets are marked by pure, if serious, charm. In short, it is a body of verse full of promise, as well as evidencing much achieve