Book 2 — CHAPTER II. (continued 2)
Reading edition
Thirty-three Latin State-Letters and five Latin Familiar Epistles are the productions of Milton's pen we have hitherto registered as belonging to the Second Protectorate of Oliver. Two or three incidents, appertaining more properly to his Literary Biography, have yet to be noticed before we leave the period.
Here is the title of a little foreign tract of which I have seen a solitary, and perhaps unique, copy:-"Dissertationis ad quoedam loca Miltoni Pars Posterior; quam, adspirante Deo, Præsids Dn. Jacobo Schallero, S.S, Theol. Doct, et Philos. Pract. Prof., ad. h.t. Facult. Phil. Decano, solenniter defendet die[17] mens. Septemb. Christophorus Güntzer, Argentorat. Argentorati, Typis Friderici Spoor, 1657" ("Second Part of a Dissertation, on certain Passages of Milton; which, with God's favour, and tinder the presidency of James Schaller, Doctor of Divinity and Professor of Practical Philosophy, acting as Dean of the Faculty of Philosophy for the occasion, Christopher Güntzer of Strasburg will solemnly defend on the 17th of September. Strasburg, Printed by Frederic Spoor, 1657"). Of the Schaller here mentioned we have heard before in connexion with a publication of his in 1653, also entitled Dissertatio ad loca quædam Miltoni, and appended then to certain Exercitationes concerning the English Regicide by the Leipsic jurist Caspar Ziegler (Vol. IV. pp. 534-535). He seems to have retained an interest in the subject, and to have kept it up among those about him; for here, four years after his own Dissertation, he is to preside at the academic defence of another on the same subject by a Christopher Güntzer, who was probably one of his pupils. Young Güntzer, it seems, had been trying his hand on the subject already; for this is but the "second part" of his performance. The "first part" I have not seen, though it seems to have been published. The "second part" is a thin quarto, paged 45-92, as if to be bound with the first. It is in a juvenile and dry style of quotation and academic reasoning, modelled after Schaller's older Dissertation, and not worth an abstract. More interesting than itself are eleven pieces of congratulatory Latin verse prefixed to it by college friends of the disputant. In more than one of these Milton is mentioned; but the liveliest mention of him is in a set of Phalæcians signed "Christianus Keck." Phalæcians are not to be attempted in English; but, as the semi-absurd relish of the thing would be lost in prose, the first few lines may run into a kind of equivalent doggrel:—
"What Salmasius, he whom all men hailed as Learning's prodigy, Phoenix much too big for His own late generation, ay or any old one, Wrote so bravely against the sin of Britain, Then all wet with the royal bloodshed in her, Milton answered with pen that, be it granted, Showed vast genius, nor a mind without some Real marks of artistic cultivation, Though, O shame! patronizing such an outrage. Milton's pen is refuted next by Schaller's,— Quite a different pen and more respected."
Young Keck then goes on to assure his fellow-students that, if their eminent Professor Schaller's Dissertation of 1653 in reply to Milton had been duly read and pondered in Great Britain, it would have been of far more use towards a restoration of the Stuarts than camps and cannon; and he ends by congratulating the world on the fact that now young Güntzer, the accomplished young Güntzer, has placed himself by the side of the learned Professor, to wave the same inextinguishable torch of truth.1—In all probability, Milton never heard of such a trifle. It illustrates, however, the kind of rumour of himself and his writings that was circling, in the year 1657, in holes and corners of German Universities. Strasburg, with Elsatz generally, was then within the dominions of Austria; and it was naturally less in Austrian Germany than in other parts of the Continent that there was that especial admiration of Milton which had been growing since the publication of his Defensio Prima, but which, as Aubrey tells us, had reached its height under the Protectorate. "He was mightily importuned," says Aubrey, "to go into France and Italy. Foreigners came much to see him, and much admired him, and offered to him great preferments to come over to them; and the only inducement of several foreigners that came over into England was chiefly to see O. Protector and Mr. J. Milton; and [they] would see the house and chamber where he was born. He was much more admired abroad than at home." This corresponds with all our own evidence hitherto, though we have heard nothing of those invitations and offers of foreign preferment of which Aubrey speaks.
In May 1658, three or four months before Cromwell's death, there was published in London a little volume of about 200 pages, with this title-page: "The Cabinet Council; Containing the chief Arts of Empire, and Mysteries of State; Discabineted in Political and Polemical Aphorisms, grounded, on Authority, and Experience; And illustrated with the choicest Examples and Historical Observations. By the Ever-renowned Knight, Sir Walter Raleigh, published by John Milton Esq.-Quis Martem tunicâ tectum Adamantinâ digne scripserit?-London, Printed by Tho. Newcomb for Tho. Johnson at the sign of the Key in St. Pauls Churchyard, near the West-end, 1658." Prefixed to the body of the volume, which is divided into twenty-six chapters, is a note "To the Reader," as follows: "Having had the manuscript of this Treatise, written by Sir Walter Raleigh, many years in my hands, and finding it lately by chance among other books and papers, upon reading thereof I thought it a kind of injury to withhold longer the work of so eminent an author from the public: it being both answerable in style to other works of his already extant, as far as the subject would permit, and given me for a true copy by a learned man at his death, who had collected several such pieces.-JOHN MILTON."1
By far the most interesting fact, however, in Milton's literary life under the Second Protectorate is that he had certainly, before its close, resumed his design of a great English poem, to be called Paradise Lost. Phillips's words might even imply that he had resumed this design before the end of the First Protectorate. For, after having mentioned that, in the comparative leisure in which he was left by the conclusion of his controversy with Morus (Aug. 1655), he resumed those two favourite hack-occupations on which he always fell back when he had nothing else to do,—his History of England and his compilations for a Latin Dictionary,—Phillips adds, "But the highth of his noble fancy and invention began now to be seriously and mainly employed in a subject worthy of such a muse: viz. a Heroic Poem, entitled Paradise Lost, the noblest," &c. In this passage, however, Phillips is throwing together, in 1694, all his recollections of the four years of his uncle's life between Aug. 1655 and Aug. 1659; and Aubrey's earlier information (1680), originally derived from Phillips himself, is that Paradise Lost was begun "about two years before the King came in," i.e. about May 1658. This would fix the date somewhere in the two or three months immediately following the death-of Milton's second wife. In such a matter exact certainty is unattainable; and it is enough to know for certain that the resumption of Paradise Lost was an event of the latter part of Cromwell's Second Protectorate, and that some portion of the poem was actually written in the house in Petty France, Westminster, while Milton was in communication with Cromwell and writing letters for him. In the rooms of that house, or in the garden that stretched from the house into St. James's Park across part of what is now the ground of Wellington Barracks, the subject of the epic first took distinct shape in Milton's mind, and here he began the great dictation.
Eighteen years had elapsed since Milton, just settled in London after his return from Italy, had first fastened on the subject, preferred it by a sure instinct to all the others that occurred in competition with it, and sketched four plans for its treatment in the form of a sacred tragedy, one with the precise title Paradise Lost, and another with the title Adam Unparadised (Vol. II. pp. 106-108, and 115-119). Through all the distractions of those eighteen years the grand subject had not ceased to haunt him, nor the longing to return to it and to his poetic vocation. Nay there had hung in his memory all this while certain lines he had actually written and destined for the opening of the intended tragedy. They were the ten lines that now form lines 32-41 of the fourth book of our present Paradise Lost. He had imagined, for the opening of his tragedy, Satan already arrived within our Universe out of Hell, and alighted on our central Earth near Eden, and gazing up to Heaven and the Sun blazing there in meridian splendour. He had imagined Satan, in this pause of his first advent into the Universe he was to ruin, thus addressing the Sun as its chief visible representative:—
"O thou that with surpassing glory crowned, Look'st from thy sole dominion like the god Of this new World,—at whose sight all the stars Hide their diminished heads,—to thee I call, But with no friendly voice, and add thy name, O Sun, to tell thee how I hate thy beams, That bring to my remembrance from what state I fell, how glorious once above thy sphere, Till pride and worse ambition threw me down, Warring in Heaven against Heaven's matchless King!"
And now, after eighteen years, the poem having been resumed, but with the resolution, made natural by Milton's literary observations and experiences in the interval, that the dramatic form should be abandoned and the epic substituted, these ten lines, written originally for the opening of the Drama, were to be the nucleus of the Epic.1 With our present Paradise Lost before us, we can see the very process of the gradual reinvention. In the epic Satan must not appear, as had been proposed in the drama, at once on our earth or within our universe. He must be fetched from the transcendental regions, the vast extra-mundane spaces, of his own prior existence and history. And so, round our fair universe, newly-created and wheeling softly on its axle, conscious as yet of no evil, conscious only of the happy earth and sweet human life in the midst, and of the steady diurnal change from day and light-blue sunshine into spangled and deep-blue night, Milton was figuring and mapping out those other infinitudes which outlay and encircled his conception of all this mere Mundane Creation. Deep down beneath this MUNDANE CREATION, and far separated from it, he was seeing the HELL from which was to come its woe; all round the Mundane Creation, and surging everywhere against its outmost firmament, was the dark and turbid CHAOS out of which its orderly and orbicular immensity had been cut; and high over all, radiant above Chaos, but with the Mundane Universe pendent from it at one gleaming point, was the great EMPYREAN or HEAVEN of HEAVENS, the abode of Angels and of Eternal Godhead. Not to the mere Earth of Man or the Mundane Universe about that Earth was Milton's adventurous song now to be confined, representing only dramatically by means of speeches and choruses those transactions in the three extramundane Infinitudes that might bear on the terrestrial story. It must dare also into those infinitudes themselves, pursue among them the vaster and more general story of Satan's rebellion and fall, and yet make all converge, through Satan's scheme in Hell and his advent at last into our World, upon that one catastrophe of the ruin of infant Mankind which the title of the poem proclaimed as the particular theme.
"Of Man's first disobedience, and the fruit Of that forbidden tree whose mortal taste Brought death into the World, and all our woe, With loss of Eden, till one greater Man Restore us and regain the blissful seat, Sing, Heavenly Muse"—
Such might be the simple invocation at the outset; but, knowing now all that the epic was really to involve, and how far it was to carry him in flight above the Aonian Mount, little wonder that he could already promise in it
"Things unattempted yet in prose or rhyme."
It may have been in one of the nights following a day of such meditation of the great subject he had resumed, and some considerable instalment of the actual verse of the poem as we now have it may have been already on paper, or in Milton's memory for repetition to himself, when he dreamt a memorable dream. The house is all still, the voices and the pattering feet of the children hushed in sleep, and Milton too asleep, but with his waking thoughts pursuing him into sleep and stirring the mimic fancy. Not this night, however, is it of Heaven, or Hell, or Chaos, or the Universe of Man with its luminaries, or any other of the objects of his poetic contemplation by day, that dreaming images come. Nor yet is it the recollection of any business, Piedmontese, Swedish, or French, last employing him officially, that now passes into his involuntary visions. His mind is wholly back on himself, his hard fate of blindness, and his again vacant and desolate household. But lo! as he dreams, that seems somehow all a mistake, and the household is not desolate. A radiant figure, clothed in white, approaches him and bends over him. He knows it to be his wife, whom he had thought dead, but who is not dead. Her face is veiled, and he cannot see that; but then he had never seen that, and it was not so he could distinguish her. It was by the radiant, saintlike, sweetness of her general presence. That is again beside him and bending over him, the same as ever; and it was certainly she! So for the few happy moments while the dream lasts; but he awakes, and the spell is broken. So dear has been that dream, however, that he will keep it as a sacred memory for himself in the last of all his Sonnets:—
"Methought I saw my late espoused saint Brought to me like Alcestis from the grave, Whom Jove's great son to her glad husband gave, Rescued from Death by force, though pale and faint. Mine, as whom washed from spot of child-bed taint Purification in the Old Law did save, And such as yet once more I trust to have Full sight of her in Heaven without restraint, Came vested all in white, pure as her mind. Her face was veiled; yet to my fancied sight Love, sweetness, goodness, in her person shined So clear as in no face with more delight. But oh! as to embrace me she inclined, I waked, she fled, and day brought back my night."1
BOOK III.
SEPTEMBER 1660—MAY 1660.
HISTORY:—THE PROTECTORATE OF RICHARD CROMWELL, THE ANARCHY, MONK'S MARCH AND DICTATORSHIP, AND THE RESTORATION.
RICHARD'S PROTECTORATE: SEPT. 3, 1658—MAY 25, 1659.
THE ANARCHY:—
STAGE I.:—THE RESTORED RUMP: MAY 25, 1659—OCT. 13, 1659.
STAGE II.:—THE WALLINGFORD-HOUSE GOVERNMENT: OCT. 13, 1659—DEC. 26, 1659.
STAGE III.:—SECOND RESTORATION OF THE RUMP, WITH MONK'S MARCH FROM SCOTLAND: DEC. 26, 1659—FEB. 21, 1659-60.
MONK'S DICTATORSHIP, THE RESTORED LONG PARLIAMENT, AND THE RESTORATION.
BIOGRAPHY:—MILTON'S LIFE AND SECRETARYSHIP THROUGH RICHARD'S PROTECTORATE, THE ANARCHY, AND MONK'S DICTATORSHIP.