Some Poems

Light

Light


HAIL holy light, ofspring of Heav'n first-born,
Or of th' Eternal Coeternal beam
May I express thee unblam'd? since God is light,
And never but in unapproached light
Dwelt from Eternitie, dwelt then in thee,
Bright effluence of bright essence increate.
Or hear'st thou rather pure Ethereal stream,
Whose Fountain who shall tell? before the Sun,
Before the Heavens thou wert, and at the voice
Of God, as with a Mantle didst invest
The rising world of waters dark and deep,
Won from the void and formless infinite.
Thee I re-visit now with bolder wing,
Escap't the Stygian Pool, though long detain'd
In that obscure sojourn, while in my flight
Through utter and through middle darkness borne
With other notes then to th' Orphean Lyre
I sung of Chaos and Eternal Night,
Taught by the heav'nly Muse to venture down
The dark descent, and up to reascend,
Though hard and rare: thee I revisit safe,
And feel thy sovran vital Lamp; but thou
Revisit'st not these eyes, that rowle in vain
To find thy piercing ray, and find no dawn;
So thick a drop serene hath quencht thir Orbs,
Or dim suffusion veild. Yet not the more
Cease I to wander where the Muses haunt
Cleer Spring, or shadie Grove, or Sunnie Hill,
Smit with the love of sacred song; but chief
Thee Sion and the flowrie Brooks beneath
That wash thy hallowd feet, and warbling flow,
Nightly I visit: nor somtimes forget
Those other two equal'd with me in Fate,
So were I equal'd with them in renown.
Blind Thamyris and blind Maeonides,
And Tiresias and Phineus Prophets old.
Then feed on thoughts, that voluntarie move
Harmonious numbers; as the wakeful Bird
Sings darkling, and in shadiest Covert hid
Tunes her nocturnal Note. Thus with the Year
Seasons return, but not to me returns
Day, or the sweet approach of Ev'n or Morn,
Or sight of vernal bloom, or Summers Rose,
Or flocks, or herds, or human face divine;
But cloud in stead, and ever-during dark
Surrounds me, from the chearful waies of men
Cut off, and for the Book of knowledg fair
Presented with a Universal blanc
Of Natures works to mee expung'd and ras'd,
And wisdome at one entrance quite shut out.
So much the rather thou Celestial light
Shine inward, and the mind through all her powers


Irradiate, there plant eyes, all mist from thence
Purge and disperse, that I may see and tell
Of things invisible to mortal sight.

Psalm 85

Psalm 85
Thy Land to favour graciously
Thou hast not Lord been slack,
Thou hast from hard Captivity
Returned Jacob back.
Th' iniquity thou didst forgive
That wrought thy people woe,
And all their Sin, that did thee grieve
Hast hid where none shall know.
Thine anger all thou hadst remov'd,
And calmly didst return
From thy *fierce wrath which we had prov'd
Far worse then fire to burn.
God of our saving health and peace,
Turn us, and us restore,
*Heb. The burning
heat of thy
wrath.
Thine indignation cause to cease
Toward us, and chide no more.
Wilt thou be angry without end,
For ever angry thus
Wilt thou thy frowning ire extend
From age to age on us?
Wilt thou not * turn, and hear our voice * Heb. Turn to
And us again * revive ,
That so thy people may rejoyce
By thee preserv'd alive.
Cause us to see thy goodness Lord,
To us thy mercy shew
Thy saving health to us afford
And lift in us renew.
quicken us.
And now what God the Lord will speak
I will go strait and hear,
For to his people he speaks peace
And to his Saints full dear,
To his dear Saints he will speak peace,
But let them never more
Return to folly, but surcease
To trespass as before.
Surely to such as do him fear
Salvation is at hand
And glory shall ere long appear
To dwell within our Land.
Mercy and Truth that long were miss'd
Now joyfully are met
Sweet Peace and Righteousness have kiss'd
And hand in hand are set.
Truth from the earth like to a flowr
Shall bud and blossom then,
And Justice from her heavenly bowr
Look down on mortal men.
The Lord will also then bestow
Whatever thing is good
Our Land shall forth in plenty throw
Her fruits to be our food.


Before him Righteousness shall go
His Royal Harbinger,
Then * will he come, and not be slow *Heb. He will set his
His footsteps cannot err. steps to the way.

Paradise Lost: Book 02

Paradise Lost: Book 02

High on a throne of royal state, which far
Outshone the wealth or Ormus and of Ind,
Or where the gorgeous East with richest hand
Showers on her kings barbaric pearl and gold,
Satan exalted sat, by merit raised
To that bad eminence; and, from despair
Thus high uplifted beyond hope, aspires
Beyond thus high, insatiate to pursue
Vain war with Heaven; and, by success untaught,
His proud imaginations thus displayed:-


"Powers and Dominions, Deities of Heaven!--
For, since no deep within her gulf can hold
Immortal vigour, though oppressed and fallen,
I give not Heaven for lost: from this descent
Celestial Virtues rising will appear
More glorious and more dread than from no fall,
And trust themselves to fear no second fate!--
Me though just right, and the fixed laws of Heaven,
Did first create your leader--next, free choice
With what besides in council or in fight
Hath been achieved of merit--yet this loss,
Thus far at least recovered, hath much more
Established in a safe, unenvied throne,
Yielded with full consent. The happier state
In Heaven, which follows dignity, might draw
Envy from each inferior; but who here
Will envy whom the highest place exposes
Foremost to stand against the Thunderer's aim
Your bulwark, and condemns to greatest share
Of endless pain? Where there is, then, no good
For which to strive, no strife can grow up there
From faction: for none sure will claim in Hell
Precedence; none whose portion is so small
Of present pain that with ambitious mind
Will covet more! With this advantage, then,
To union, and firm faith, and firm accord,
More than can be in Heaven, we now return
To claim our just inheritance of old,
Surer to prosper than prosperity
Could have assured us; and by what best way,
Whether of open war or covert guile,
We now debate. Who can advise may speak."

He ceased; and next him Moloch, sceptred king,
Stood up--the strongest and the fiercest Spirit
That fought in Heaven, now fiercer by despair.
His trust was with th' Eternal to be deemed
Equal in strength, and rather than be less
Cared not to be at all; with that care lost
Went all his fear: of God, or Hell, or worse,
He recked not, and these words thereafter spake:-


"My sentence is for open war. Of wiles,
More unexpert, I boast not: them let those


Contrive who need, or when they need; not now.
For, while they sit contriving, shall the rest--
Millions that stand in arms, and longing wait
The signal to ascend--sit lingering here,
Heaven's fugitives, and for their dwelling-place
Accept this dark opprobrious den of shame,
The prison of his ryranny who reigns
By our delay? No! let us rather choose,
Armed with Hell-flames and fury, all at once
O'er Heaven's high towers to force resistless way,
Turning our tortures into horrid arms
Against the Torturer; when, to meet the noise
Of his almighty engine, he shall hear
Infernal thunder, and, for lightning, see
Black fire and horror shot with equal rage
Among his Angels, and his throne itself
Mixed with Tartarean sulphur and strange fire,
His own invented torments. But perhaps
The way seems difficult, and steep to scale
With upright wing against a higher foe!
Let such bethink them, if the sleepy drench
Of that forgetful lake benumb not still,
That in our porper motion we ascend
Up to our native seat; descent and fall
To us is adverse. Who but felt of late,
When the fierce foe hung on our broken rear
Insulting, and pursued us through the Deep,
With what compulsion and laborious flight
We sunk thus low? Th' ascent is easy, then;
Th' event is feared! Should we again provoke
Our stronger, some worse way his wrath may find
To our destruction, if there be in Hell
Fear to be worse destroyed! What can be worse
Than to dwell here, driven out from bliss, condemned
In this abhorred deep to utter woe!
Where pain of unextinguishable fire
Must exercise us without hope of end
The vassals of his anger, when the scourge
Inexorably, and the torturing hour,
Calls us to penance? More destroyed than thus,
We should be quite abolished, and expire.
What fear we then? what doubt we to incense
His utmost ire? which, to the height enraged,
Will either quite consume us, and reduce
To nothing this essential--happier far
Than miserable to have eternal being!--
Or, if our substance be indeed divine,
And cannot cease to be, we are at worst
On this side nothing; and by proof we feel
Our power sufficient to disturb his Heaven,
And with perpetual inroads to alarm,
Though inaccessible, his fatal throne:


Which, if not victory, is yet revenge."
He ended frowning, and his look denounced

Desperate revenge, and battle dangerous

To less than gods. On th' other side up rose

Belial, in act more graceful and humane.

A fairer person lost not Heaven; he seemed

For dignity composed, and high exploit.

But all was false and hollow; though his tongue

Dropped manna, and could make the worse appear

The better reason, to perplex and dash

Maturest counsels: for his thoughts were low-To
vice industrious, but to nobler deeds

Timorous and slothful. Yet he pleased the ear,

And with persuasive accent thus began:-"
I should be much for open war, O Peers,

As not behind in hate, if what was urged

Main reason to persuade immediate war

Did not dissuade me most, and seem to cast

Ominous conjecture on the whole success;

When he who most excels in fact of arms,

In what he counsels and in what excels

Mistrustful, grounds his courage on despair

And utter dissolution, as the scope

Of all his aim, after some dire revenge.

First, what revenge? The towers of Heaven are filled

With armed watch, that render all access

Impregnable: oft on the bodering Deep

Encamp their legions, or with obscure wing

Scout far and wide into the realm of Night,

Scorning surprise. Or, could we break our way

By force, and at our heels all Hell should rise

With blackest insurrection to confound

Heaven's purest light, yet our great Enemy,

All incorruptible, would on his throne

Sit unpolluted, and th' ethereal mould,

Incapable of stain, would soon expel

Her mischief, and purge off the baser fire,

Victorious. Thus repulsed, our final hope

Is flat despair: we must exasperate

Th' Almighty Victor to spend all his rage;

And that must end us; that must be our cure--

To be no more. Sad cure! for who would lose,

Though full of pain, this intellectual being,

Those thoughts that wander through eternity,

To perish rather, swallowed up and lost

In the wide womb of uncreated Night,

Devoid of sense and motion? And who knows,

Let this be good, whether our angry Foe

Can give it, or will ever? How he can

Is doubtful; that he never will is sure.

Will he, so wise, let loose at once his ire,

Belike through impotence or unaware,


To give his enemies their wish, and end
Them in his anger whom his anger saves
To punish endless? 'Wherefore cease we, then?'
Say they who counsel war; 'we are decreed,
Reserved, and destined to eternal woe;
Whatever doing, what can we suffer more,
What can we suffer worse?' Is this, then, worst--
Thus sitting, thus consulting, thus in arms?
What when we fled amain, pursued and struck
With Heaven's afflicting thunder, and besought
The Deep to shelter us? This Hell then seemed
A refuge from those wounds. Or when we lay
Chained on the burning lake? That sure was worse.
What if the breath that kindled those grim fires,
Awaked, should blow them into sevenfold rage,
And plunge us in the flames; or from above
Should intermitted vengeance arm again
His red right hand to plague us? What if all
Her stores were opened, and this firmament
Of Hell should spout her cataracts of fire,
Impendent horrors, threatening hideous fall
One day upon our heads; while we perhaps,
Designing or exhorting glorious war,
Caught in a fiery tempest, shall be hurled,
Each on his rock transfixed, the sport and prey
Or racking whirlwinds, or for ever sunk
Under yon boiling ocean, wrapt in chains,
There to converse with everlasting groans,
Unrespited, unpitied, unreprieved,
Ages of hopeless end? This would be worse.
War, therefore, open or concealed, alike
My voice dissuades; for what can force or guile
With him, or who deceive his mind, whose eye
Views all things at one view? He from Heaven's height
All these our motions vain sees and derides,
Not more almighty to resist our might
Than wise to frustrate all our plots and wiles.
Shall we, then, live thus vile--the race of Heaven
Thus trampled, thus expelled, to suffer here
Chains and these torments? Better these than worse,
By my advice; since fate inevitable
Subdues us, and omnipotent decree,
The Victor's will. To suffer, as to do,
Our strength is equal; nor the law unjust
That so ordains. This was at first resolved,
If we were wise, against so great a foe
Contending, and so doubtful what might fall.
I laugh when those who at the spear are bold
And venturous, if that fail them, shrink, and fear
What yet they know must follow--to endure
Exile, or igominy, or bonds, or pain,
The sentence of their Conqueror. This is now


Our doom; which if we can sustain and bear,

Our Supreme Foe in time may much remit

His anger, and perhaps, thus far removed,

Not mind us not offending, satisfied

With what is punished; whence these raging fires

Will slacken, if his breath stir not their flames.

Our purer essence then will overcome

Their noxious vapour; or, inured, not feel;

Or, changed at length, and to the place conformed

In temper and in nature, will receive

Familiar the fierce heat; and, void of pain,

This horror will grow mild, this darkness light;

Besides what hope the never-ending flight

Of future days may bring, what chance, what change

Worth waiting--since our present lot appears

For happy though but ill, for ill not worst,

If we procure not to ourselves more woe."
Thus Belial, with words clothed in reason's garb,

Counselled ignoble ease and peaceful sloth,

Not peace; and after him thus Mammon spake:-"
Either to disenthrone the King of Heaven

We war, if war be best, or to regain

Our own right lost. Him to unthrone we then

May hope, when everlasting Fate shall yield

To fickle Chance, and Chaos judge the strife.

The former, vain to hope, argues as vain

The latter; for what place can be for us

Within Heaven's bound, unless Heaven's Lord supreme

We overpower? Suppose he should relent

And publish grace to all, on promise made

Of new subjection; with what eyes could we

Stand in his presence humble, and receive

Strict laws imposed, to celebrate his throne

With warbled hyms, and to his Godhead sing

Forced hallelujahs, while he lordly sits

Our envied sovereign, and his altar breathes

Ambrosial odours and ambrosial flowers,

Our servile offerings? This must be our task

In Heaven, this our delight. How wearisome

Eternity so spent in worship paid

To whom we hate! Let us not then pursue,

By force impossible, by leave obtained

Unacceptable, though in Heaven, our state

Of splendid vassalage; but rather seek

Our own good from ourselves, and from our own

Live to ourselves, though in this vast recess,

Free and to none accountable, preferring

Hard liberty before the easy yoke

Of servile pomp. Our greatness will appear

Then most conspicuous when great things of small,

Useful of hurtful, prosperous of adverse,

We can create, and in what place soe'er


Thrive under evil, and work ease out of pain
Through labour and endurance. This deep world
Of darkness do we dread? How oft amidst
Thick clouds and dark doth Heaven's all-ruling Sire
Choose to reside, his glory unobscured,
And with the majesty of darkness round
Covers his throne, from whence deep thunders roar.
Mustering their rage, and Heaven resembles Hell!
As he our darkness, cannot we his light
Imitate when we please? This desert soil
Wants not her hidden lustre, gems and gold;
Nor want we skill or art from whence to raise
Magnificence; and what can Heaven show more?
Our torments also may, in length of time,
Become our elements, these piercing fires
As soft as now severe, our temper changed
Into their temper; which must needs remove
The sensible of pain. All things invite
To peaceful counsels, and the settled state
Of order, how in safety best we may
Compose our present evils, with regard
Of what we are and where, dismissing quite
All thoughts of war. Ye have what I advise."

He scarce had finished, when such murmur filled
Th' assembly as when hollow rocks retain
The sound of blustering winds, which all night long
Had roused the sea, now with hoarse cadence lull
Seafaring men o'erwatched, whose bark by chance
Or pinnace, anchors in a craggy bay
After the tempest. Such applause was heard
As Mammon ended, and his sentence pleased,
Advising peace: for such another field
They dreaded worse than Hell; so much the fear
Of thunder and the sword of Michael
Wrought still within them; and no less desire
To found this nether empire, which might rise,
By policy and long process of time,
In emulation opposite to Heaven.
Which when Beelzebub perceived--than whom,
Satan except, none higher sat--with grave
Aspect he rose, and in his rising seemed
A pillar of state. Deep on his front engraven
Deliberation sat, and public care;
And princely counsel in his face yet shone,
Majestic, though in ruin. Sage he stood
With Atlantean shoulders, fit to bear
The weight of mightiest monarchies; his look
Drew audience and attention still as night
Or summer's noontide air, while thus he spake:-


"Thrones and Imperial Powers, Offspring of Heaven,
Ethereal Virtues! or these titles now
Must we renounce, and, changing style, be called


Princes of Hell? for so the popular vote
Inclines--here to continue, and build up here
A growing empire; doubtless! while we dream,
And know not that the King of Heaven hath doomed
This place our dungeon, not our safe retreat
Beyond his potent arm, to live exempt
From Heaven's high jurisdiction, in new league
Banded against his throne, but to remain
In strictest bondage, though thus far removed,
Under th' inevitable curb, reserved
His captive multitude. For he, to be sure,
In height or depth, still first and last will reign
Sole king, and of his kingdom lose no part
By our revolt, but over Hell extend
His empire, and with iron sceptre rule
Us here, as with his golden those in Heaven.
What sit we then projecting peace and war?
War hath determined us and foiled with loss
Irreparable; terms of peace yet none
Vouchsafed or sought; for what peace will be given
To us enslaved, but custody severe,
And stripes and arbitrary punishment
Inflicted? and what peace can we return,
But, to our power, hostility and hate,
Untamed reluctance, and revenge, though slow,
Yet ever plotting how the Conqueror least
May reap his conquest, and may least rejoice
In doing what we most in suffering feel?
Nor will occasion want, nor shall we need
With dangerous expedition to invade
Heaven, whose high walls fear no assault or siege,
Or ambush from the Deep. What if we find
Some easier enterprise? There is a place
(If ancient and prophetic fame in Heaven
Err not)--another World, the happy seat
Of some new race, called Man, about this time
To be created like to us, though less
In power and excellence, but favoured more
Of him who rules above; so was his will
Pronounced among the Gods, and by an oath
That shook Heaven's whole circumference confirmed.
Thither let us bend all our thoughts, to learn
What creatures there inhabit, of what mould
Or substance, how endued, and what their power
And where their weakness: how attempted best,
By force of subtlety. Though Heaven be shut,
And Heaven's high Arbitrator sit secure
In his own strength, this place may lie exposed,
The utmost border of his kingdom, left
To their defence who hold it: here, perhaps,
Some advantageous act may be achieved
By sudden onset--either with Hell-fire


To waste his whole creation, or possess
All as our own, and drive, as we were driven,
The puny habitants; or, if not drive,
Seduce them to our party, that their God
May prove their foe, and with repenting hand
Abolish his own works. This would surpass
Common revenge, and interrupt his joy
In our confusion, and our joy upraise
In his disturbance; when his darling sons,
Hurled headlong to partake with us, shall curse
Their frail original, and faded bliss--
Faded so soon! Advise if this be worth
Attempting, or to sit in darkness here
Hatching vain empires." Thus beelzebub
Pleaded his devilish counsel--first devised
By Satan, and in part proposed: for whence,
But from the author of all ill, could spring
So deep a malice, to confound the race
Of mankind in one root, and Earth with Hell
To mingle and involve, done all to spite
The great Creator? But their spite still serves
His glory to augment. The bold design
Pleased highly those infernal States, and joy
Sparkled in all their eyes: with full assent
They vote: whereat his speech he thus renews:-"
Well have ye judged, well ended long debate,
Synod of Gods, and, like to what ye are,
Great things resolved, which from the lowest deep
Will once more lift us up, in spite of fate,
Nearer our ancient seat--perhaps in view
Of those bright confines, whence, with neighbouring arms,
And opportune excursion, we may chance
Re-enter Heaven; or else in some mild zone
Dwell, not unvisited of Heaven's fair light,
Secure, and at the brightening orient beam
Purge off this gloom: the soft delicious air,
To heal the scar of these corrosive fires,
Shall breathe her balm. But, first, whom shall we send
In search of this new World? whom shall we find
Sufficient? who shall tempt with wandering feet
The dark, unbottomed, infinite Abyss,
And through the palpable obscure find out
His uncouth way, or spread his airy flight,
Upborne with indefatigable wings
Over the vast abrupt, ere he arrive
The happy Isle? What strength, what art, can then
Suffice, or what evasion bear him safe,
Through the strict senteries and stations thick
Of Angels watching round? Here he had need
All circumspection: and we now no less
Choice in our suffrage; for on whom we send
The weight of all, and our last hope, relies."


This said, he sat; and expectation held

His look suspense, awaiting who appeared

To second, or oppose, or undertake

The perilous attempt. But all sat mute,

Pondering the danger with deep thoughts; and each

In other's countenance read his own dismay,

Astonished. None among the choice and prime

Of those Heaven-warring champions could be found

So hardy as to proffer or accept,

Alone, the dreadful voyage; till, at last,

Satan, whom now transcendent glory raised

Above his fellows, with monarchal pride

Conscious of highest worth, unmoved thus spake:-"
O Progeny of Heaven! Empyreal Thrones!

With reason hath deep silence and demur

Seized us, though undismayed. Long is the way

And hard, that out of Hell leads up to light.

Our prison strong, this huge convex of fire,

Outrageous to devour, immures us round

Ninefold; and gates of burning adamant,

Barred over us, prohibit all egress.

These passed, if any pass, the void profound

Of unessential Night receives him next,

Wide-gaping, and with utter loss of being

Threatens him, plunged in that abortive gulf.

If thence he scape, into whatever world,

Or unknown region, what remains him less

Than unknown dangers, and as hard escape?

But I should ill become this throne, O Peers,

And this imperial sovereignty, adorned

With splendour, armed with power, if aught proposed

And judged of public moment in the shape

Of difficulty or danger, could deter

Me from attempting. Wherefore do I assume

These royalties, and not refuse to reign,

Refusing to accept as great a share

Of hazard as of honour, due alike

To him who reigns, and so much to him due

Of hazard more as he above the rest

High honoured sits? Go, therefore, mighty Powers,

Terror of Heaven, though fallen; intend at home,

While here shall be our home, what best may ease

The present misery, and render Hell

More tolerable; if there be cure or charm

To respite, or deceive, or slack the pain

Of this ill mansion: intermit no watch

Against a wakeful foe, while I abroad

Through all the coasts of dark destruction seek

Deliverance for us all. This enterprise

None shall partake with me." Thus saying, rose

The Monarch, and prevented all reply;

Prudent lest, from his resolution raised,


Others among the chief might offer now,
Certain to be refused, what erst they feared,
And, so refused, might in opinion stand
His rivals, winning cheap the high repute
Which he through hazard huge must earn. But they
Dreaded not more th' adventure than his voice
Forbidding; and at once with him they rose.
Their rising all at once was as the sound
Of thunder heard remote. Towards him they bend
With awful reverence prone, and as a God
Extol him equal to the Highest in Heaven.
Nor failed they to express how much they praised
That for the general safety he despised
His own: for neither do the Spirits damned
Lose all their virtue; lest bad men should boast
Their specious deeds on earth, which glory excites,
Or close ambition varnished o'er with zeal.

Thus they their doubtful consultations dark
Ended, rejoicing in their matchless Chief:
As, when from mountain-tops the dusky clouds
Ascending, while the north wind sleeps, o'erspread
Heaven's cheerful face, the louring element
Scowls o'er the darkened landscape snow or shower,
If chance the radiant sun, with farewell sweet,
Extend his evening beam, the fields revive,
The birds their notes renew, and bleating herds
Attest their joy, that hill and valley rings.
O shame to men! Devil with devil damned
Firm concord holds; men only disagree
Of creatures rational, though under hope
Of heavenly grace, and, God proclaiming peace,
Yet live in hatred, enmity, and strife
Among themselves, and levy cruel wars
Wasting the earth, each other to destroy:
As if (which might induce us to accord)
Man had not hellish foes enow besides,
That day and night for his destruction wait!

The Stygian council thus dissolved; and forth
In order came the grand infernal Peers:
Midst came their mighty Paramount, and seemed
Alone th' antagonist of Heaven, nor less
Than Hell's dread Emperor, with pomp supreme,
And god-like imitated state: him round
A globe of fiery Seraphim enclosed
With bright emblazonry, and horrent arms.
Then of their session ended they bid cry
With trumpet's regal sound the great result:
Toward the four winds four speedy Cherubim
Put to their mouths the sounding alchemy,
By herald's voice explained; the hollow Abyss
Heard far adn wide, and all the host of Hell
With deafening shout returned them loud acclaim.


Thence more at ease their minds, and somewhat raised
By false presumptuous hope, the ranged Powers
Disband; and, wandering, each his several way
Pursues, as inclination or sad choice
Leads him perplexed, where he may likeliest find
Truce to his restless thoughts, and entertain
The irksome hours, till his great Chief return.
Part on the plain, or in the air sublime,
Upon the wing or in swift race contend,
As at th' Olympian games or Pythian fields;
Part curb their fiery steeds, or shun the goal
With rapid wheels, or fronted brigades form:
As when, to warn proud cities, war appears
Waged in the troubled sky, and armies rush
To battle in the clouds; before each van
Prick forth the airy knights, and couch their spears,
Till thickest legions close; with feats of arms
From either end of heaven the welkin burns.
Others, with vast Typhoean rage, more fell,
Rend up both rocks and hills, and ride the air
In whirlwind; Hell scarce holds the wild uproar:--
As when Alcides, from Oechalia crowned
With conquest, felt th' envenomed robe, and tore
Through pain up by the roots Thessalian pines,
And Lichas from the top of Oeta threw
Into th' Euboic sea. Others, more mild,
Retreated in a silent valley, sing
With notes angelical to many a harp
Their own heroic deeds, and hapless fall
By doom of battle, and complain that Fate
Free Virtue should enthrall to Force or Chance.
Their song was partial; but the harmony
(What could it less when Spirits immortal sing?)
Suspended Hell, and took with ravishment
The thronging audience. In discourse more sweet
(For Eloquence the Soul, Song charms the Sense)
Others apart sat on a hill retired,
In thoughts more elevate, and reasoned high
Of Providence, Foreknowledge, Will, and Fate--
Fixed fate, free will, foreknowledge absolute,
And found no end, in wandering mazes lost.
Of good and evil much they argued then,
Of happiness and final misery,
Passion and apathy, and glory and shame:
Vain wisdom all, and false philosophy!--
Yet, with a pleasing sorcery, could charm
Pain for a while or anguish, and excite
Fallacious hope, or arm th' obdured breast
With stubborn patience as with triple steel.
Another part, in squadrons and gross bands,
On bold adventure to discover wide
That dismal world, if any clime perhaps


Might yield them easier habitation, bend
Four ways their flying march, along the banks
Of four infernal rivers, that disgorge
Into the burning lake their baleful streams--
Abhorred Styx, the flood of deadly hate;
Sad Acheron of sorrow, black and deep;
Cocytus, named of lamentation loud
Heard on the rueful stream; fierce Phlegeton,
Whose waves of torrent fire inflame with rage.
Far off from these, a slow and silent stream,
Lethe, the river of oblivion, rolls
Her watery labyrinth, whereof who drinks
Forthwith his former state and being forgets--
Forgets both joy and grief, pleasure and pain.
Beyond this flood a frozen continent
Lies dark and wild, beat with perpetual storms
Of whirlwind and dire hail, which on firm land
Thaws not, but gathers heap, and ruin seems
Of ancient pile; all else deep snow and ice,
A gulf profound as that Serbonian bog
Betwixt Damiata and Mount Casius old,
Where armies whole have sunk: the parching air
Burns frore, and cold performs th' effect of fire.
Thither, by harpy-footed Furies haled,
At certain revolutions all the damned
Are brought; and feel by turns the bitter change
Of fierce extremes, extremes by change more fierce,
From beds of raging fire to starve in ice
Their soft ethereal warmth, and there to pine
Immovable, infixed, and frozen round
Periods of time,--thence hurried back to fire.
They ferry over this Lethean sound
Both to and fro, their sorrow to augment,
And wish and struggle, as they pass, to reach
The tempting stream, with one small drop to lose
In sweet forgetfulness all pain and woe,
All in one moment, and so near the brink;
But Fate withstands, and, to oppose th' attempt,
Medusa with Gorgonian terror guards
The ford, and of itself the water flies
All taste of living wight, as once it fled
The lip of Tantalus. Thus roving on
In confused march forlorn, th' adventurous bands,
With shuddering horror pale, and eyes aghast,
Viewed first their lamentable lot, and found
No rest. Through many a dark and dreary vale
They passed, and many a region dolorous,
O'er many a frozen, many a fiery alp,
Rocks, caves, lakes, fens, bogs, dens, and shades of death--
A universe of death, which God by curse
Created evil, for evil only good;
Where all life dies, death lives, and Nature breeds,


Perverse, all monstrous, all prodigious things,

Obominable, inutterable, and worse

Than fables yet have feigned or fear conceived,

Gorgons, and Hydras, and Chimeras dire.
Meanwhile the Adversary of God and Man,

Satan, with thoughts inflamed of highest design,

Puts on swift wings, and toward the gates of Hell

Explores his solitary flight: sometimes

He scours the right hand coast, sometimes the left;

Now shaves with level wing the deep, then soars

Up to the fiery concave towering high.

As when far off at sea a fleet descried

Hangs in the clouds, by equinoctial winds

Close sailing from Bengala, or the isles

Of Ternate and Tidore, whence merchants bring

Their spicy drugs; they on the trading flood,

Through the wide Ethiopian to the Cape,

Ply stemming nightly toward the pole: so seemed

Far off the flying Fiend. At last appear

Hell-bounds, high reaching to the horrid roof,

And thrice threefold the gates; three folds were brass,

Three iron, three of adamantine rock,

Impenetrable, impaled with circling fire,

Yet unconsumed. Before the gates there sat

On either side a formidable Shape.

The one seemed woman to the waist, and fair,

But ended foul in many a scaly fold,

Voluminous and vast--a serpent armed

With mortal sting. About her middle round

A cry of Hell-hounds never-ceasing barked

With wide Cerberean mouths full loud, and rung

A hideous peal; yet, when they list, would creep,

If aught disturbed their noise, into her womb,

And kennel there; yet there still barked and howled

Within unseen. Far less abhorred than these

Vexed Scylla, bathing in the sea that parts

Calabria from the hoarse Trinacrian shore;

Nor uglier follow the night-hag, when, called

In secret, riding through the air she comes,

Lured with the smell of infant blood, to dance

With Lapland witches, while the labouring moon

Eclipses at their charms. The other Shape--

If shape it might be called that shape had none

Distinguishable in member, joint, or limb;

Or substance might be called that shadow seemed,

For each seemed either--black it stood as Night,

Fierce as ten Furies, terrible as Hell,

And shook a dreadful dart: what seemed his head

The likeness of a kingly crown had on.

Satan was now at hand, and from his seat

The monster moving onward came as fast

With horrid strides; Hell trembled as he strode.


Th' undaunted Fiend what this might be admired--
Admired, not feared (God and his Son except,
Created thing naught valued he nor shunned),
And with disdainful look thus first began:-


"Whence and what art thou, execrable Shape,
That dar'st, though grim and terrible, advance
Thy miscreated front athwart my way
To yonder gates? Through them I mean to pass,
That be assured, without leave asked of thee.
Retire; or taste thy folly, and learn by proof,
Hell-born, not to contend with Spirits of Heaven."

To whom the Goblin, full of wrath, replied:-"
Art thou that traitor Angel? art thou he,
Who first broke peace in Heaven and faith, till then
Unbroken, and in proud rebellious arms
Drew after him the third part of Heaven's sons,
Conjured against the Highest--for which both thou
And they, outcast from God, are here condemned
To waste eternal days in woe and pain?
And reckon'st thou thyself with Spirits of Heaven
Hell-doomed, and breath'st defiance here and scorn,
Where I reign king, and, to enrage thee more,
Thy king and lord? Back to thy punishment,
False fugitive; and to thy speed add wings,
Lest with a whip of scorpions I pursue
Thy lingering, or with one stroke of this dart
Strange horror seize thee, and pangs unfelt before."

So spake the grisly Terror, and in shape,
So speaking and so threatening, grew tenfold,
More dreadful and deform. On th' other side,
Incensed with indignation, Satan stood
Unterrified, and like a comet burned,
That fires the length of Ophiuchus huge
In th' arctic sky, and from his horrid hair
Shakes pestilence and war. Each at the head
Levelled his deadly aim; their fatal hands
No second stroke intend; and such a frown
Each cast at th' other as when two black clouds,
With heaven's artillery fraught, came rattling on
Over the Caspian,--then stand front to front
Hovering a space, till winds the signal blow
To join their dark encounter in mid-air.
So frowned the mighty combatants that Hell
Grew darker at their frown; so matched they stood;
For never but once more was wither like
To meet so great a foe. And now great deeds
Had been achieved, whereof all Hell had rung,
Had not the snaky Sorceress, that sat
Fast by Hell-gate and kept the fatal key,
Risen, and with hideous outcry rushed between.

"O father, what intends thy hand," she cried,
"Against thy only son? What fury, O son,


Possesses thee to bend that mortal dart
Against thy father's head? And know'st for whom?
For him who sits above, and laughs the while
At thee, ordained his drudge to execute
Whate'er his wrath, which he calls justice, bids--
His wrath, which one day will destroy ye both!"

She spake, and at her words the hellish Pest
Forbore: then these to her Satan returned:-


"So strange thy outcry, and thy words so strange
Thou interposest, that my sudden hand,
Prevented, spares to tell thee yet by deeds
What it intends, till first I know of thee
What thing thou art, thus double-formed, and why,
In this infernal vale first met, thou call'st
Me father, and that phantasm call'st my son.
I know thee not, nor ever saw till now
Sight more detestable than him and thee."

T' whom thus the Portress of Hell-gate replied:-"
Hast thou forgot me, then; and do I seem
Now in thine eye so foul?--once deemed so fair
In Heaven, when at th' assembly, and in sight
Of all the Seraphim with thee combined
In bold conspiracy against Heaven's King,
All on a sudden miserable pain
Surprised thee, dim thine eyes and dizzy swum
In darkness, while thy head flames thick and fast
Threw forth, till on the left side opening wide,
Likest to thee in shape and countenance bright,
Then shining heavenly fair, a goddess armed,
Out of thy head I sprung. Amazement seized
All th' host of Heaven; back they recoiled afraid
At first, and called me Sin, and for a sign
Portentous held me; but, familiar grown,
I pleased, and with attractive graces won
The most averse--thee chiefly, who, full oft
Thyself in me thy perfect image viewing,
Becam'st enamoured; and such joy thou took'st
With me in secret that my womb conceived
A growing burden. Meanwhile war arose,
And fields were fought in Heaven: wherein remained
(For what could else?) to our Almighty Foe
Clear victory; to our part loss and rout
Through all the Empyrean. Down they fell,
Driven headlong from the pitch of Heaven, down
Into this Deep; and in the general fall
I also: at which time this powerful key
Into my hands was given, with charge to keep
These gates for ever shut, which none can pass
Without my opening. Pensive here I sat
Alone; but long I sat not, till my womb,
Pregnant by thee, and now excessive grown,
Prodigious motion felt and rueful throes.


At last this odious offspring whom thou seest,
Thine own begotten, breaking violent way,
Tore through my entrails, that, with fear and pain
Distorted, all my nether shape thus grew
Transformed: but he my inbred enemy
Forth issued, brandishing his fatal dart,
Made to destroy. I fled, and cried out Death!
Hell trembled at the hideous name, and sighed
From all her caves, and back resounded Death!
I fled; but he pursued (though more, it seems,
Inflamed with lust than rage), and, swifter far,
Me overtook, his mother, all dismayed,
And, in embraces forcible and foul
Engendering with me, of that rape begot
These yelling monsters, that with ceaseless cry
Surround me, as thou saw'st--hourly conceived
And hourly born, with sorrow infinite
To me; for, when they list, into the womb
That bred them they return, and howl, and gnaw
My bowels, their repast; then, bursting forth
Afresh, with conscious terrors vex me round,
That rest or intermission none I find.
Before mine eyes in opposition sits
Grim Death, my son and foe, who set them on,
And me, his parent, would full soon devour
For want of other prey, but that he knows
His end with mine involved, and knows that I
Should prove a bitter morsel, and his bane,
Whenever that shall be: so Fate pronounced.
But thou, O father, I forewarn thee, shun
His deadly arrow; neither vainly hope
To be invulnerable in those bright arms,
Through tempered heavenly; for that mortal dint,
Save he who reigns above, none can resist."

She finished; and the subtle Fiend his lore
Soon learned, now milder, and thus answered smooth:-


"Dear daughter--since thou claim'st me for thy sire,
And my fair son here show'st me, the dear pledge
Of dalliance had with thee in Heaven, and joys
Then sweet, now sad to mention, through dire change
Befallen us unforeseen, unthought-of--know,
I come no enemy, but to set free
From out this dark and dismal house of pain
Both him and thee, and all the heavenly host
Of Spirits that, in our just pretences armed,
Fell with us from on high. From them I go
This uncouth errand sole, and one for all
Myself expose, with lonely steps to tread
Th' unfounded Deep, and through the void immense
To search, with wandering quest, a place foretold
Should be--and, by concurring signs, ere now
Created vast and round--a place of bliss


In the purlieus of Heaven; and therein placed
A race of upstart creatures, to supply
Perhaps our vacant room, though more removed,
Lest Heaven, surcharged with potent multitude,
Might hap to move new broils. Be this, or aught
Than this more secret, now designed, I haste
To know; and, this once known, shall soon return,
And bring ye to the place where thou and Death
Shall dwell at ease, and up and down unseen
Wing silently the buxom air, embalmed
With odours. There ye shall be fed and filled
Immeasurably; all things shall be your prey."

He ceased; for both seemed highly pleased, and Death
Grinned horrible a ghastly smile, to hear
His famine should be filled, and blessed his maw
Destined to that good hour. No less rejoiced
His mother bad, and thus bespake her sire:-


"The key of this infernal Pit, by due
And by command of Heaven's all-powerful King,
I keep, by him forbidden to unlock
These adamantine gates; against all force
Death ready stands to interpose his dart,
Fearless to be o'ermatched by living might.
But what owe I to his commands above,
Who hates me, and hath hither thrust me down
Into this gloom of Tartarus profound,
To sit in hateful office here confined,
Inhabitant of Heaven and heavenly born--
Here in perpetual agony and pain,
With terrors and with clamours compassed round
Of mine own brood, that on my bowels feed?
Thou art my father, thou my author, thou
My being gav'st me; whom should I obey
But thee? whom follow? Thou wilt bring me soon
To that new world of light and bliss, among
The gods who live at ease, where I shall reign
At thy right hand voluptuous, as beseems
Thy daughter and thy darling, without end."

Thus saying, from her side the fatal key,
Sad instrument of all our woe, she took;
And, towards the gate rolling her bestial train,
Forthwith the huge portcullis high up-drew,
Which, but herself, not all the Stygian Powers
Could once have moved; then in the key-hole turns
Th' intricate wards, and every bolt and bar
Of massy iron or solid rock with ease
Unfastens. On a sudden open fly,
With impetuous recoil and jarring sound,
Th' infernal doors, and on their hinges grate
Harsh thunder, that the lowest bottom shook
Of Erebus. She opened; but to shut
Excelled her power: the gates wide open stood,


That with extended wings a bannered host,
Under spread ensigns marching, mibht pass through
With horse and chariots ranked in loose array;
So wide they stood, and like a furnace-mouth
Cast forth redounding smoke and ruddy flame.
Before their eyes in sudden view appear
The secrets of the hoary Deep--a dark
Illimitable ocean, without bound,
Without dimension; where length, breadth, and height,
And time, and place, are lost; where eldest Night
And Chaos, ancestors of Nature, hold
Eternal anarchy, amidst the noise
Of endless wars, and by confusion stand.
For Hot, Cold, Moist, and Dry, four champions fierce,
Strive here for mastery, and to battle bring
Their embryon atoms: they around the flag
Of each his faction, in their several clans,
Light-armed or heavy, sharp, smooth, swift, or slow,
Swarm populous, unnumbered as the sands
Of Barca or Cyrene's torrid soil,
Levied to side with warring winds, and poise
Their lighter wings. To whom these most adhere
He rules a moment: Chaos umpire sits,
And by decision more embroils the fray
By which he reigns: next him, high arbiter,
Chance governs all. Into this wild Abyss,
The womb of Nature, and perhaps her grave,
Of neither sea, nor shore, nor air, nor fire,
But all these in their pregnant causes mixed
Confusedly, and which thus must ever fight,
Unless th' Almighty Maker them ordain
His dark materials to create more worlds--
Into this wild Abyss the wary Fiend
Stood on the brink of Hell and looked a while,
Pondering his voyage; for no narrow frith
He had to cross. Nor was his ear less pealed
With noises loud and ruinous (to compare
Great things with small) than when Bellona storms
With all her battering engines, bent to rase
Some capital city; or less than if this frame
Of Heaven were falling, and these elements
In mutiny had from her axle torn
The steadfast Earth. At last his sail-broad vans
He spread for flight, and, in the surging smoke
Uplifted, spurns the ground; thence many a league,
As in a cloudy chair, ascending rides
Audacious; but, that seat soon failing, meets
A vast vacuity. All unawares,
Fluttering his pennons vain, plumb-down he drops
Ten thousand fathom deep, and to this hour
Down had been falling, had not, by ill chance,
The strong rebuff of some tumultuous cloud,


Instinct with fire and nitre, hurried him

As many miles aloft. That fury stayed--

Quenched in a boggy Syrtis, neither sea,

Nor good dry land--nigh foundered, on he fares,

Treading the crude consistence, half on foot,

Half flying; behoves him now both oar and sail.

As when a gryphon through the wilderness

With winged course, o'er hill or moory dale,

Pursues the Arimaspian, who by stealth

Had from his wakeful custody purloined

The guarded gold; so eagerly the Fiend

O'er bog or steep, through strait, rough, dense, or rare,

With head, hands, wings, or feet, pursues his way,

And swims, or sinks, or wades, or creeps, or flies.

At length a universal hubbub wild

Of stunning sounds, and voices all confused,

Borne through the hollow dark, assaults his ear

With loudest vehemence. Thither he plies

Undaunted, to meet there whatever Power

Or Spirit of the nethermost Abyss

Might in that noise reside, of whom to ask

Which way the nearest coast of darkness lies

Bordering on light; when straight behold the throne

Of Chaos, and his dark pavilion spread

Wide on the wasteful Deep! With him enthroned

Sat sable-vested Night, eldest of things,

The consort of his reign; and by them stood

Orcus and Ades, and the dreaded name

Of Demogorgon; Rumour next, and Chance,

And Tumult, and Confusion, all embroiled,

And Discord with a thousand various mouths.
T' whom Satan, turning boldly, thus:--"Ye Powers

And Spirtis of this nethermost Abyss,

Chaos and ancient Night, I come no spy

With purpose to explore or to disturb

The secrets of your realm; but, by constraint

Wandering this darksome desert, as my way

Lies through your spacious empire up to light,

Alone and without guide, half lost, I seek,

What readiest path leads where your gloomy bounds

Confine with Heaven; or, if some other place,

From your dominion won, th' Ethereal King

Possesses lately, thither to arrive

I travel this profound. Direct my course:

Directed, no mean recompense it brings

To your behoof, if I that region lost,

All usurpation thence expelled, reduce

To her original darkness and your sway

(Which is my present journey), and once more

Erect the standard there of ancient Night.

Yours be th' advantage all, mine the revenge!"
Thus Satan; and him thus the Anarch old,


With faltering speech and visage incomposed,
Answered: "I know thee, stranger, who thou art--***
That mighty leading Angel, who of late
Made head against Heaven's King, though overthrown.
I saw and heard; for such a numerous host
Fled not in silence through the frighted Deep,
With ruin upon ruin, rout on rout,
Confusion worse confounded; and Heaven-gates
Poured out by millions her victorious bands,
Pursuing. I upon my frontiers here
Keep residence; if all I can will serve
That little which is left so to defend,
Encroached on still through our intestine broils
Weakening the sceptre of old Night: first, Hell,
Your dungeon, stretching far and wide beneath;
Now lately Heaven and Earth, another world
Hung o'er my realm, linked in a golden chain
To that side Heaven from whence your legions fell!
If that way be your walk, you have not far;
So much the nearer danger. Go, and speed;
Havoc, and spoil, and ruin, are my gain."


He ceased; and Satan stayed not to reply,
But, glad that now his sea should find a shore,
With fresh alacrity and force renewed
Springs upward, like a pyramid of fire,
Into the wild expanse, and through the shock
Of fighting elements, on all sides round
Environed, wins his way; harder beset
And more endangered than when Argo passed
Through Bosporus betwixt the justling rocks,
Or when Ulysses on the larboard shunned
Charybdis, and by th' other whirlpool steered.
So he with difficulty and labour hard
Moved on, with difficulty and labour he;
But, he once passed, soon after, when Man fell,
Strange alteration! Sin and Death amain,
Following his track (such was the will of Heaven)
Paved after him a broad and beaten way
Over the dark Abyss, whose boiling gulf
Tamely endured a bridge of wondrous length,
From Hell continued, reaching th' utmost orb
Of this frail World; by which the Spirits perverse
With easy intercourse pass to and fro
To tempt or punish mortals, except whom
God and good Angels guard by special grace.

But now at last the sacred influence
Of light appears, and from the walls of Heaven
Shoots far into the bosom of dim Night
A glimmering dawn. Here Nature first begins
Her farthest verge, and Chaos to retire,
As from her outmost works, a broken foe,
With tumult less and with less hostile din;


That Satan with less toil, and now with ease,
Wafts on the calmer wave by dubious light,
And, like a weather-beaten vessel, holds
Gladly the port, though shrouds and tackle torn;
Or in the emptier waste, resembling air,
Weighs his spread wings, at leisure to behold
Far off th' empyreal Heaven, extended wide
In circuit, undetermined square or round,
With opal towers and battlements adorned
Of living sapphire, once his native seat;
And, fast by, hanging in a golden chain,
This pendent World, in bigness as a star
Of smallest magnitude close by the moon.
Thither, full fraught with mischievous revenge,
Accursed, and in a cursed hour, he hies.
John Milton (9 December 1608 – 8 November 1674) John Milton was an English poet, polemicist, a scholarly man of letters, and a civil servant for the Commonwealth (republic) of England under Oliver Cromwell. He wrote at a time of religious flux and political upheaval, and is best known for his epic poem Paradise Lost. Milton's poetry and prose reflect deep personal convictions, a passion for freedom and self determination, and the urgent issues and political turbulence of his day. Writing in English, Latin, and Italian, he achieved international renown within his lifetime, and his celebrated Areopagitica, (written in condemnation of pre-publication censorship) is among history's most influential and impassioned defenses of free speech and freedom of the press. William Hayley's 1796 biography called him the "greatest English author", and he remains generally regarded "as one of the preeminent writers in the English language"; though critical reception has oscillated in the centuries since his death (often on account of his republicanism). Samuel Johnson praised Paradise Lost as "a poem which...with respect to design may claim the first place, and with respect to performance, the second, among the productions of the human mind". Though Johnson (a Tory and recipient of royal patronage) described his politics as those of an "acrimonious and surly republican". Because of his republicanism, Milton has been the subject of centuries of British partisanship (a "nonconformist" biography by John Toland, a hostile account by Anthony à Wood etc.). Biography The phases of Milton's life parallel the major historical and political divisions in Stuart Britain. Under the increasingly personal rule of Charles I and its breakdown in constitutional confusion and war, Milton studied, travelled, wrote poetry mostly for private circulation, and launched a career as pamphleteer and publicist. Under the Commonwealth of England, from being thought dangerously radical and even heretical, the shift in accepted attitudes in government placed him in public office, and he even acted as an official spokesman in certain of his publications. The Restoration of 1660 deprived Milton, now completely blind, of his public platform, but this period saw him complete most of his major works of poetry. Milton's views developed from his very extensive reading, as well as travel and experience, from his student days of the 1620s to the English Revolution. By the time of his death in 1674, Milton was impoverished and www.PoemHunter.com - The World's Poetry Archive on the margins of English intellectual life, yet unrepentant for his political choices, and of Europe-wide fame. Early Life John Milton was born on Bread Street, London, on 9 December 1608, as the son of the composer John Milton and his wife Sarah Jeffrey. The senior John Milton (1562–1647) moved to London around 1583 after being disinherited by his devout Catholic father, Richard Milton, for embracing Protestantism. In London, the senior John Milton married Sarah Jeffrey (1572–1637), the poet's mother, and found lasting financial success as a scrivener. He lived in, and worked from, a house on Bread Street, where the Mermaid Tavern was located in Cheapside. The elder Milton was noted for his skill as a musical composer, and this talent left Milton with a lifetime appreciation for music and friendship with musicians such as Henry Lawes. Milton's father's prosperity provided his eldest son with a private tutor, Thomas Young, and then a place at St Paul's School in London. There he began the study of Latin and Greek, and the classical languages left an imprint on his poetry in English (he wrote also in Italian and Latin). His first datable compositions are two psalms done at age 15 at Long Bennington. One contemporary source is the Brief Lives of John Aubrey, an uneven compilation including first-hand reports. In the work, Aubrey quotes Christopher, Milton's younger brother: "When he was young, he studied very hard and sat up very late, commonly till twelve or one o'clock at night". Milton matriculated at Christ's College, Cambridge, in 1625 and graduated with a B.A. in 1629, ranking fourth of 24 honours graduates that year in the University of Cambridge. Preparing to become an Anglican priest, he stayed on to obtain his Master of Arts degree on 3 July 1632. Milton was probably rusticated for quarrelling in his first year with his tutor, William Chappell. He was certainly at home in the Lent Term 1626; there he wrote his Elegia Prima, a first Latin elegy, to Charles Diodati, a friend from St Paul's. Based on remarks of John Aubrey, Chappell "whipt" Milton. This story is now disputed. Certainly Milton disliked Chappell. Christopher Hill cautiously notes that Milton was "apparently" rusticated, and that the differences between Chappell and Milton may have been either religious or personal, as far as we can know. Another factor, possibly, was the plague, by which Cambridge was badly affected in 1625. Later in 1626 Milton's tutor was Nathaniel Tovey. At Cambridge Milton was on good terms with Edward King, for whom he later wrote Lycidas. He also befriended Anglo-American dissident and theologian, Roger Williams. Milton tutored Williams in Hebrew in exchange for lessons in Dutch. Otherwise at Cambridge he developed a reputation for poetic skill and general erudition, but experienced alienation from his peers and university life as a whole. Watching his fellow students attempting comedy upon the college stage, he later observed 'they thought themselves gallant men, and I thought them fools'. Milton, due to his hair, which he wore long, and his general delicacy of manner, was known as the "Lady of Christ's". Milton was disdainful of the university curriculum, which consisted of stilted formal debates on abstruse topics, conducted in Latin. His own corpus is not devoid of humour, notably his sixth prolusion and his epitaphs on the death of Thomas Hobson. While at Cambridge he wrote a number of his well-known shorter English poems, among them On the Morning of Christ's Nativity, his Epitaph on the admirable Dramatick Poet, W. Shakespeare, his first poem to appear in print, L'Allegro and Il Penseroso. Study, Poetry, and Travel Upon receiving his M.A. in 1632, Milton retired to Hammersmith, his father's new home since the previous year. He also lived at Horton, Berkshire, from 1635 and undertook six years of self-directed private study. Christopher Hill points out that this was not retreat into a rural or pastoral idyll at all: Hammersmith was then a "suburban village" falling into the orbit of London, www.PoemHunter.com - The World's Poetry Archive and even Horton was becoming deforested, and suffered from the plague. He read both ancient and modern works of theology, philosophy, history, politics, literature and science, in preparation for a prospective poetical career. Milton's intellectual development can be charted via entries in his commonplace book (like a scrapbook), now in the British Library. As a result of such intensive study, Milton is considered to be among the most learned of all English poets; in addition to his years of private study, Milton had command of Latin, Greek, Hebrew, French, Spanish, and Italian from his school and undergraduate days; he also added Old English to his linguistic repertoire in the 1650s while researching his History of Britain, and probably acquired proficiency in Dutch soon after. Milton continued to write poetry during this period of study: his Arcades and Comus were both commissioned for masques composed for noble patrons, connections of the Egerton family, and performed in 1632 and 1634 respectively. Comus argues for the virtuousness of temperance and chastity. He contributed his pastoral elegy Lycidas to a memorial collection for one of his Cambridge classmates. Drafts of these poems are preserved in Milton’s poetry notebook, known as the Trinity Manuscript because it is now kept at Trinity College, Cambridge. In May 1638, Milton embarked upon a tour of France and Italy that lasted up to July or August 1639. His travels supplemented his study with new and direct experience of artistic and religious traditions, especially Roman Catholicism. He met famous theorists and intellectuals of the time, and was able to display his poetic skills. For specific details of what happened within Milton's "grand tour", there appears to be just one primary source: Milton's own Defensio Secunda. Although there are other records, including some letters and some references in his other prose tracts, the bulk of the information about the tour comes from a work that, according to Barbara Lewalski, "was not intended as autobiography but as rhetoric, designed to emphasise his sterling reputation with the learned of Europe." In [Florence], which I have always admired above all others because of the elegance, not just of its tongue, but also of its wit, I lingered for about two months. There I at once became the friend of many gentlemen eminent in rank and learning, whose private academies I frequented — a Florentine institution which deserves great praise not only for promoting humane studies but also for encouraging friendly intercourse. – Milton's account of Florence in Defensio Secunda He first went to Calais, and then on to Paris, riding horseback, with a letter from diplomat Henry Wotton to ambassador John Scudamore. Through Scudamore, Milton met Hugo Grotius, a Dutch law philosopher, playwright and poet. Milton left France soon after this meeting. He travelled south, from Nice to Genoa, and then to Livorno and Pisa. He reached Florence in July 1638. While there, Milton enjoyed many of the sites and structures of the city. His candour of manner and erudite neo-Latin poetry earned him friends in Florentine intellectual circles, and he met the astronomer Galileo, who was under virtual house arrest at Arcetri, as well as others. Milton probably visited the Florentine Academy and the Academia della Crusca along with smaller academies in the area including the Apatisti and the Svogliati. He left Florence in September to continue to Rome. With the connections from Florence, Milton was able to have easy access to Rome's intellectual society. His poetic abilities impressed those like Giovanni Salzilli, who praised Milton within an epigram. In late October, Milton, despite his dislike for the Society of Jesus, attended a dinner given by the English College, Rome, meeting English Catholics who were also guests, theologian Henry Holden and the poet Patrick Cary. He also attended musical events, including oratorios, operas and melodramas. Milton left for Naples toward the end of November, where he stayed only for a month because of the Spanish control. During that time he was introduced to Giovanni Battista Manso, patron to both Torquato Tasso and to Giovanni Battista Marino. Originally Milton wanted to leave Naples in order to travel to Sicily, and then www.PoemHunter.com - The World's Poetry Archive on to Greece, but he returned to England during the summer of 1639 because of what he claimed, in Defensio Secunda, were "sad tidings of civil war in England." Matters became more complicated when Milton received word that Diodati, his childhood friend, had died. Milton in fact stayed another seven months on the continent, and spent time at Geneva with Diodati's uncle after he returned to Rome. In Defensio Secunda, Milton proclaimed he was warned against a return to Rome because of his frankness about religion, but he stayed in the city for two months and was able to experience Carnival and meet Lukas Holste, a Vatican librarian, who guided Milton through its collection. He was introduced to Cardinal Francesco Barberini who invited Milton to an opera hosted by the Cardinal. Around March Milton travelled once again to Florence, staying there for two months, attending further meetings of the academies, and spent time with friends. After leaving Florence he travelled through Lucca, Bologna, and Ferrara before coming to Venice. In Venice Milton was exposed to a model of Republicanism, later important in his political writings, but he soon found another model when he travelled to Geneva. From Switzerland, Milton travelled to Paris and then to Calais before finally arriving back in England in either July or August 1639. Civil War, Prose Tracts, and Marriage On returning to England, where the Bishops' Wars presaged further armed conflict, Milton began to write prose tracts against episcopacy, in the service of the Puritan and Parliamentary cause. Milton's first foray into polemics was Of Reformation touching Church Discipline in England (1641), followed by Of Prelatical Episcopacy, the two defences of Smectymnuus (a group of presbyterian divines named from their initials: the "TY" belonged to Milton's old tutor Thomas Young), and The Reason of Church-Government Urged against Prelaty. With frequent passages of real eloquence lighting up the rough controversial style of the period, and deploying a wide knowledge of church history, he vigorously attacked the High-church party of the Church of England and their leader, William Laud, Archbishop of Canterbury. Though supported by his father’s investments, at this time Milton became a private schoolmaster, educating his nephews and other children of the well-to-do. This experience, and discussions with educational reformer Samuel Hartlib, led him to write in 1644 his short tract, Of Education, urging a reform of the national universities. In June 1643 Milton paid a visit to the manor house at Forest Hill, Oxfordshire, and returned with a 16-year-old bride, Mary Powell. A month later, finding life difficult with the severe 35-year-old schoolmaster and pamphleteer, Mary returned to her family. Because of the outbreak of the Civil War, she did not return until 1645; in the meantime her desertion prompted Milton, over the next three years, to publish a series of pamphlets arguing for the legality and morality of divorce. (Anna Beer, one of Milton's most recent biographers, points to a lack of evidence and the dangers of cynicism in urging that it was not necessarily the case that the private life so animated the public polemicising.) In 1643 Milton had a brush with the authorities over these writings, in parallel with Hezekiah Woodward, who had more trouble. It was the hostile response accorded the divorce tracts that spurred Milton to write Areopagitica, his celebrated attack on pre-printing censorship. Secretary for Foreign Tongues With the parliamentary victory in the Civil War, Milton used his pen in defense of the republican principles represented by the Commonwealth. The Tenure of Kings and Magistrates (1649) defended popular government and implicitly sanctioned the regicide; Milton’s political reputation got him appointed Secretary for Foreign Tongues by the Council of State in March 1649. Though Milton's main job description was to compose the English Republic's foreign correspondence in Latin, he also was called upon to produce propaganda for the regime and to serve as a censor. In October 1649 he published Eikonoklastes, an explicit defense of the regicide, in response to the Eikon Basilike, a phenomenal best-seller popularly attributed www.PoemHunter.com - The World's Poetry Archive to Charles I that portrayed the King as an innocent Christian martyr. A month after Milton had tried to break this powerful image of Charles I (the literal translation of Eikonoklastes is 'the image breaker'), the exiled Charles II and his party published a defense of monarchy, Defensio Regia Pro Carolo Primo, written by the leading humanist Claudius Salmasius. By January of the following year, Milton was ordered to write a defense of the English people by the Council of State. Given the European audience and the English Republic's desire to establish diplomatic and cultural legitimacy, Milton worked more slowly than usual, as he drew on the learning marshalled by his years of study to compose a riposte. On 24 February 1652 Milton published his Latin defense of the English People, Defensio Pro Populo Anglicano, also known as the First Defense. Milton's pure Latin prose and evident learning, exemplified in the First Defense, quickly made him a European reputation, and the work ran to numerous editions. In 1654, in response to an anonymous Royalist tract "Regii sanguinis clamor", a work that made many personal attacks on Milton, he completed a second defense of the English nation, Defensio secunda, which praised Oliver Cromwell, now Lord Protector, while exhorting him to remain true to the principles of the Revolution. Alexander Morus, to whom Milton wrongly attributed the Clamor (in fact by Peter du Moulin), published an attack on Milton, in response to which Milton published the autobiographical Defensio pro se in 1655. In addition to these literary defenses of the Commonwealth and his character, Milton continued to translate official correspondence into Latin. By 1654 Milton had become totally blind, probably due to the onset of glaucoma. This forced him to dictate his verse and prose to amanuenses (helpers), one of whom was the poet Andrew Marvell. One of his best-known sonnets, On His Blindness, is presumed to date from this period. Family Milton and Mary Powell (1625–1652) had four children: Anne (born 7 July 1646) Mary (born 25 October 1648) John (16 March 1651 – June 1652) Deborah (2 May 1652 – ?) His first wife, Mary Powell, died on 5 May 1652 from complications following Deborah's birth. Milton's daughters survived to adulthood, but he had always a strained relationship with them. On 12 November 1656, Milton was married again, to Katherine Woodcock. She died on 3 February 1658, less than four months after giving birth to a daughter, Katherine, who also died. Milton married for a third time on 24 February 1662, to Elizabeth Mynshull (1638–1728), the niece of Thomas Mynshull, a wealthy apothecary and philanthropist in Manchester. Despite a 31-year age gap, the marriage seemed happy, according to John Aubrey, and was to last more than 11 years until Milton's death. (A plaque on the wall of Mynshull's House in Manchester describes Elizabeth as Milton's "3rd and Best wife".) Two nephews, John Phillips and Edward Phillips, were well known as writers. They were sons of Milton's sister Anne. John acted as a secretary, and Edward was Milton's first biographer. The Restoration Though Cromwell’s death in 1658 caused the English Republic to collapse into feuding military and political factions, Milton stubbornly clung to the beliefs that had originally inspired him to write for the Commonwealth. In 1659 he published A Treatise of Civil Power, attacking the concept of a state-dominated church (the position known as Erastianism), as well as Considerations touching the likeliest means to remove hirelings, denouncing corrupt practises in church governance. As the Republic disintegrated, Milton wrote several proposals to retain a non-monarchical government against the wishes of parliament, soldiers and the people: www.PoemHunter.com - The World's Poetry Archive A Letter to a Friend, Concerning the Ruptures of the Commonwealth, written in October 1659, was a response to General Lambert's recent dissolution of the Rump Parliament Proposals of certain expedients for the preventing of a civil war now feared, written in November 1659 The Ready and Easy Way to Establishing a Free Commonwealth, in two editions, responded to General Monck's march towards London to restore the Long Parliament (which led to the restoration of the monarchy). The work is an impassioned, bitter, and futile jeremiad damning the English people for backsliding from the cause of liberty and advocating the establishment of an authoritarian rule by an oligarchy set up by unelected parliament. Upon the Restoration in May 1660, Milton went into hiding for his life, while a warrant was issued for his arrest and his writings burnt. He re-emerged after a general pardon was issued, but was nevertheless arrested and briefly imprisoned before influential friends, such as Marvell, now an MP, intervened. On 24 February 1663 Milton remarried, for a third and final time, a Wistaston, Cheshire-born woman Elizabeth (Betty) Minshull, then aged 24, and spent the remaining decade of his life living quietly in London, only retiring to a cottage – Milton's Cottage – in Chalfont St. Giles, his only extant home, during the Great Plague of London. During this period Milton published several minor prose works, such as a grammar textbook, Art of Logic, and a History of Britain. His only explicitly political tracts were the 1672 Of True Religion, arguing for toleration (except for Catholics), and a translation of a Polish tract advocating an elective monarchy. Both these works were referred to in the Exclusion debate – the attempt to exclude the heir presumptive, James, Duke of York, from the throne of England because he was Roman Catholic – that would preoccupy politics in the 1670s and '80s and precipitate the formation of the Whig party and the Glorious Revolution. Milton died of kidney failure on 8 November 1674 and was buried in the church of St Giles Cripplegate; according to an early biographer, his funeral was attended by “his learned and great Friends in London, not without a friendly concourse of the Vulgar.” Published Poetry Milton's poetry was slow to see the light of day, at least under his name. His first published poem was On Shakespear (1630), anonymously included in the Second Folio edition of Shakespeare. In the midst of the excitement attending the possibility of establishing a new English government, Milton collected his work in 1645 Poems. The anonymous edition of Comus was published in 1637, and the publication of Lycidas in 1638 in Justa Edouardo King Naufrago was signed J. M. Otherwise the 1645 collection was the only poetry of his to see print, until Paradise Lost appeared in 1667. Paradise Lost Milton’s magnum opus, the blank-verse epic poem Paradise Lost, was composed by the blind and impoverished Milton from 1658 to 1664 (first edition) with small but significant revisions published in 1674 (second edition). As a blind poet, Milton dictated his verse to a series of aides in his employ. It reflects his personal despair at the failure of the Revolution, yet affirms an ultimate optimism in human potential. Milton encoded many references to his unyielding support for the "Good Old Cause". On 27 April 1667, Milton sold the publication rights to Paradise Lost to publisher Samuel Simmons for £5, equivalent to approximately £7,400 income in 2008, with a further £5 to be paid if and when each print run of between 1,300 and 1,500 copies sold out. The first run, a quarto edition priced at three shillings per copy, was published in August 1667 and sold out in eighteen months. www.PoemHunter.com - The World's Poetry Archive Milton followed up Paradise Lost with its sequel, Paradise Regained, published alongside the tragedy Samson Agonistes, in 1671. Both these works also resonate with Milton’s post-Restoration political situation. Just before his death in 1674, Milton supervised a second edition of Paradise Lost, accompanied by an explanation of "why the poem rhymes not" and prefatory verses by Marvell. Milton republished his 1645 Poems in 1673, as well a collection of his letters and the Latin prolusions from his Cambridge days. A 1668 edition of Paradise Lost, reported to have been Milton's personal copy, is now housed in the archives of the University of Western Ontario. Views An unfinished religious manifesto, De doctrina christiana, probably written by Milton, lays out many of his heterodox theological views, and was not discovered and published until 1823. Milton's key beliefs were idiosyncratic, not those of an identifiable group or faction, and often they go well beyond the orthodoxy of the time. Their tone, however, stemmed from the Puritan emphasis on the centrality and inviolability of conscience. He was his own man, but it is Areopagitica, where he was anticipated by Henry Robinson and others, that has lasted best of his prose works. Philosophy By the late 1650s, Milton was a proponent of monism or animist materialism, the notion that a single material substance which is "animate, self-active, and free" composes everything in the universe: from stones and trees and bodies to minds, souls, angels, and God. Milton devised this position to avoid the mind-body dualism of Plato and Descartes as well as the mechanistic determinism of Hobbes. Milton's monism is most notably reflected in Paradise Lost when he has angels eat and engage in sexual intercourse and the De Doctrina, where he denies the dual natures of man and argues for a theory of Creation ex Deo. Political thought In his political writing, Milton addressed particular themes at different periods. The years 1641–42 were dedicated to church politics and the struggle against episcopacy. After his divorce writings, Areopagitica, and a gap, he wrote in 1649–54 in the aftermath of the execution of Charles I, and in polemic justification of the regicide and the existing Parliamentarian regime. Then in 1659–60 he foresaw the Restoration, and wrote to head it off. Milton's own beliefs were in some cases both unpopular and dangerous, and this was true particularly to his commitment to republicanism. In coming centuries, Milton would be claimed as an early apostle of liberalism. According to James Tully: ... with Locke as with Milton, republican and contraction conceptions of political freedom join hands in common opposition to the disengaged and passive subjection offered by absolutists such as Hobbes and Robert Filmer. A friend and ally in the pamphlet wars was Marchamont Nedham. Austin Woolrych considers that although they were quite close, there is "little real affinity, beyond a broad republicanism", between their approaches. Blair Worden remarks that both Milton and Nedham, with others such as Andrew Marvell and James Harrington, would have taken the problem with the Rump Parliament to be not the republic, but the fact that it was not a proper republic. Woolrych speaks of "the gulf between Milton's vision of the Commonwealth's future and the reality". In the early version of his History of Britain, begun in 1649, Milton was already writing off the members of the Long Parliament as incorrigible. He praised Oliver Cromwell as the Protectorate was set up; though subsequently he had major reservations. When Cromwell seemed to be backsliding as a revolutionary, after a couple of years in power, Milton moved closer to the position of Sir Henry Vane, to whom he wrote a sonnet in 1652. The group of disaffected republicans included, besides Vane, John Bradshaw, www.PoemHunter.com - The World's Poetry Archive John Hutchinson, Edmund Ludlow, Henry Marten, Robert Overton, Edward Sexby and John Streater; but not Marvell, who remained with Cromwell's party. Milton had already commended Overton, along with Edmund Whalley and Bulstrode Whitelocke, in Defensio Secunda. Nigel Smith writes that ... John Streater, and the form of republicanism he stood for, was a fulfilment of Milton's most optimistic ideas of free speech and of public heroism As Richard Cromwell fell from power, he envisaged a step towards a freer republic or “free commonwealth”, writing in the hope of this outcome in early 1660. Milton had argued for an awkward position, in the Ready and Easy Way, because he wanted to invoke the Good Old Cause and gain the support of the republicans, but without offering a democratic solution of any kind. His proposal, backed by reference (amongst other reasons) to the oligarchical Dutch and Venetian constitutions, was for a council with perpetual membership. This attitude cut right across the grain of popular opinion of the time, which swung decisively behind the restoration of the Stuart monarchy that took place later in the year. Milton, an associate of and advocate on behalf of the regicides, was silenced on political matters as Charles II returned. Theology Like many Renaissance artists before him, Milton attempted to integrate Christian theology with classical modes. In his early poems, the poet narrator expresses a tension between vice and virtue, the latter invariably related to Protestantism. In Comus Milton may make ironic use of the Caroline court masque by elevating notions of purity and virtue over the conventions of court revelry and superstition. In his later poems, Milton's theological concerns become more explicit. In 1648 he wrote a hymn How lovely are thy dwelling fair, a paraphrase of Psalm 84, that explains his view on God. Milton embraced many heterodox Christian theological views. He rejected the Trinity, in the belief that the Son was subordinate to the Father, a position known as Arianism; and his sympathy or curiosity was probably engaged by Socinianism: in August 1650 he licensed for publication by William Dugard the Racovian Catechism, based on a non-trinitarian creed. A source has interpreted him as broadly Protestant, if not always easy to locate in a more precise religious category. In his 1641 treatise, Of Reformation, Milton expressed his dislike for Catholicism and episcopacy, presenting Rome as a modern Babylon, and bishops as Egyptian taskmasters. These analogies conform to Milton's puritanical preference for Old Testament imagery. He knew at least four commentaries on Genesis: those of John Calvin, Paulus Fagius, David Pareus and Andreus Rivetus. Through the Interregnum, Milton often presents England, rescued from the trappings of a worldly monarchy, as an elect nation akin to the Old Testament Israel, and shows its leader, Oliver Cromwell, as a latter-day Moses. These views were bound up in Protestant views of the Millennium, which some sects, such as the Fifth Monarchists predicted would arrive in England. Milton, however, would later criticise the "worldly" millenarian views of these and others, and expressed orthodox ideas on the prophecy of the Four Empires. The Restoration of the Stuart monarchy in 1660 began a new phase in Milton's work. In Paradise Lost, Paradise Regained and Samson Agonistes Milton mourns the end of the godly Commonwealth. The Garden of Eden may allegorically reflect Milton's view of England's recent Fall from Grace, while Samson's blindness and captivity – mirroring Milton's own lost sight – may be a metaphor for England's blind acceptance of Charles II as king. Illustrated by Paradise Lost is mortalism, the belief that the soul lies dormant after the body dies. Despite the Restoration of the monarchy Milton did not lose his personal www.PoemHunter.com - The World's Poetry Archive faith; Samson shows how the loss of national salvation did not necessarily preclude the salvation of the individual, while Paradise Regained expresses Milton's continuing belief in the promise of Christian salvation through Jesus Christ. Though he may have maintained his personal faith in spite of the defeats suffered by his cause, the Dictionary of National Biography recounts how he had been alienated from the Church of England by Archbishop William Laud, and then moved similarly from the Dissenters by their denunciation of religious tolerance in England. Milton had come to stand apart from all sects, though apparently finding the Quakers most congenial. He never went to any religious services in his later years. When a servant brought back accounts of sermons from nonconformist meetings, Milton became so sarcastic that the man at last gave up his place. Religious Toleration Milton called in the Aeropagitica for "the liberty to know, to utter, and to argue freely according to conscience, above all liberties" (applied, however, only to the conflicting Protestant sects, and not to atheists, Jews, Muslims or Catholics). "Milton argued for disestablishment as the only effective way of achieving broad toleration. Rather than force a man's conscience, government should recognise the persuasive force of the gospel." Divorce His thinking on divorce caused him considerable trouble with the authorities. An orthodox Presbyterian view of the time was that Milton's views on divorce constituted a one-man heresy: The fervently Presbyterian Edwards had included Milton’s divorce tracts in his list in Gangraena of heretical publications that threatened the religious and moral fabric of the nation; Milton responded by mocking him as “shallow Edwards” in the satirical sonnet “On the New Forcers of Conscience under the Long Parliament,” usually dated to the latter half of 1646. Even here, though, his originality is qualified: Thomas Gataker had already identified "mutual solace" as a principal goal in marriage. Milton abandoned his campaign to legitimise divorce after 1645, but he expressed support for polygamy in the De doctrina christiana, the theological treatise that provides the clearest evidence for his views. History History was particularly important for the political class of the period, and Lewalski considers that Milton "more than most illustrates" a remark of Thomas Hobbes on the weight placed at the time on the classical Latin historical writers Tacitus, Livy, Sallust and Cicero, and their republican attitudes. Milton himself wrote that "Worthy deeds are not often destitute of worthy relaters", in Book II of his History of Britain. A sense of history mattered greatly to him: The course of human history, the immediate impact of the civil disorders, and his own traumatic personal life, are all regarded by Milton as typical of the predicament he describes as "the misery that has bin since Adam". Legacy and Influence Once Paradise Lost was published, Milton's stature as epic poet was immediately recognised. He cast a formidable shadow over English poetry in the 18th and 19th centuries; he was often judged equal or superior to all other English poets, including Shakespeare. Very early on, though, he was championed by Whigs, and decried by Tories: with the regicide Edmund Ludlow he was claimed as an early Whig, while the High Tory Anglican minister Luke Milbourne lumped Milton in with other "Agents of Darkness" www.PoemHunter.com - The World's Poetry Archive such as John Knox, George Buchanan, Richard Baxter, Algernon Sidney and John Locke. Early Reception of The Poetry John Dryden, an early enthusiast, in 1677 began the trend of describing Milton as the poet of the sublime. Dryden's The State of Innocence and the Fall of Man: an Opera (1677) is evidence of an immediate cultural influence. In 1695, Patrick Hume became the first editor of Paradise Lost, providing an extensive apparatus of annotation and commentary, particularly chasing down allusions. In 1732 the classical scholar Richard Bentley offered a corrected version of Paradise Lost. Bentley was considered presumptuous, and was attacked in the following year by Zachary Pearce. Christopher Ricks judges that, as critic, Bentley was both acute and wrong-headed, and "incorrigibly eccentric"; William Empson also finds Pearce to be more sympathetic to Bentley's underlying line of thought than is warranted. There was an early, partial translation of Paradise Lost into German by Theodore Haak, and based on that a standard verse translation by Ernest Gottlieb von Berge. A subsequent prose translation by Johann Jakob Bodmer was very popular; it influenced Friedrich Gottlieb Klopstock. The German-language Milton tradition returned to England in the person of the artist Henry Fuseli. Many enlightenment thinkers of the 18th century revered and commented on Milton's poetry and non-poetical works. In addition to John Dryden, among them were Alexander Pope, Joseph Addison, Thomas Newton, and Samuel Johnson. For example in The Spectator Joseph Addison wrote extensive notes, annotations, and interpretations of certain passages of Paradise Lost. Jonathan Richardson, senior, and Jonathan Richardson, the younger, co-wrote a book of criticism. In 1749, Thomas Newton published an extensive edition of Milton's poetical works with annotations provided by himself, Dryden, Pope, Addison, the Richardsons (father and son) and others. Newton's edition of Milton was a culmination of the honour bestowed upon Milton by early Enlightenment thinkers; it may also have been prompted by Richard Bentley's infamous edition, described above. Samuel Johnson wrote numerous essays on Paradise Lost, and Milton was included in his Lives of the Most Eminent English Poets (1779–1781). Blake William Blake considered Milton the major English poet. Blake placed Edmund Spenser as Milton's precursor, and saw himself as Milton's poetical son. In his Milton a Poem, Blake uses Milton as a character. Romantic Theory Edmund Burke was a theorist of the sublime, and he regarded Milton's description of Hell as exemplary of sublimity as aesthetic concept. For Burke it was to set alongside mountain-tops, a storm at sea, and infinity. In The Beautiful and the Sublime he wrote "No person seems better to have understood the secret of heightening, or of setting terrible things, if I may use the expression, in their strongest light, by the force of a judicious obscurity than Milton." The Romantic poets valued his exploration of blank verse, but for the most part rejected his religiosity. William Wordsworth began his sonnet "London, 1802" with "Milton! thou should'st be living at this hour" and modelled The Prelude, his own blank verse epic, on Paradise Lost. John Keats found the yoke of Milton's style uncongenial; he exclaimed that "Miltonic verse cannot www.PoemHunter.com - The World's Poetry Archive be written but in an artful or rather artist's humour." Keats felt that Paradise Lost was a "beautiful and grand curiosity"; but his own unfinished attempt at epic poetry, Hyperion, was unsatisfactory to the author because, amongst other things, it had too many "Miltonic inversions". In The Madwoman in the Attic, Sandra Gilbert and Susan Gubar note that Mary Shelley's novel Frankenstein is, in the view of many critics, "one of the key 'Romantic' readings of Paradise Lost." Later Legacy The Victorian age witnessed a continuation of Milton's influence, George Eliot and Thomas Hardy being particularly inspired by Milton's poetry and biography. By contrast, the early 20th century, with the efforts of T. S. Eliot and Ezra Pound, witnessed a reduction in Milton's critical stature. Harold Bloom, in The Anxiety of Influence, could still write that "Milton is the central problem in any theory and history of poetic influence in English [...]". Milton's Areopagitica is still cited as relevant to the First Amendment to the United States Constitution. A quotation from Areopagitica – "A good book is the precious lifeblood of a master spirit, embalmed and treasured up on purpose to a life beyond life" – is displayed in many public libraries, including the New York Public Library. The title of Philip Pullman's His Dark Materials trilogy is derived from a quotation, "His dark materials to create more worlds", line 915 of Book II in Paradise Lost. Pullman was concerned to produce a version of Milton's poem accessible to teenagers, and has spoken of Milton as "our greatest public poet". T. S. Eliot believed that "of no other poet is it so difficult to consider the poetry simply as poetry, without our theological and political dispositions... making unlawful entry". Literary Legacy Milton's use of blank verse, in addition to his stylistic innovations (such as grandiloquence of voice and vision, peculiar diction and phraseology) influenced later poets. At the time poetic blank verse was considered distinct from its use in verse drama, and Paradise Lost was taken as a unique examplar. Said Isaac Watts in 1734, "Mr. Milton is esteemed the parent and author of blank verse among us". "Miltonic verse" might be synonymous for a century with blank verse as poetry, a new poetic terrain independent from both the drama and the heroic couplet. Lack of rhyme was sometimes taken as Milton's defining innovation. He himself considered the rhymeless quality of Paradise Lost to be an extension of his own personal liberty: This neglect then of Rhime ... is to be esteem'd an example set, the first in English, of ancient liberty recover'd to heroic Poem from the troublesom and modern bondage of Rimeing. This pursuit of freedom was largely a reaction against conservative values entrenched within the rigid heroic couplet. Within a dominant culture that stressed elegance and finish, he granted primacy to freedom, breadth and imaginative suggestiveness, eventually developed into the romantic vision of sublime terror. Reaction to Milton’s poetic worldview included, grudgingly, acknowledgement that of poet’s resemblance to classical writers (Greek and Roman poetry being unrhymed. Blank verse came to be a recognised medium for religious works and for translations of the classics. Unrhymed lyrics like Collins' Ode to Evening (in the meter of Milton's translation of Horace's Ode to Pyrrha) were not uncommon after 1740. A second aspect of Milton's blank verse was the use of unconventional rhythm: www.PoemHunter.com - The World's Poetry Archive His blank-verse paragraph, and his audacious and victorious attempt to combine blank and rhymed verse with paragraphic effect in Lycidas, lay down indestructible models and patterns of English verse-rhythm, as distinguished from the narrower and more strait-laced forms of English metre. Before Milton, "the sense of regular rhythm ... had been knocked into the English head so securely that it was part of their nature". The "Heroick measure", according to Samuel Johnson, "is pure ... when the accent rests upon every second syllable through the whole line The repetition of this sound or percussion at equal times, is the most complete harmony of which a single verse is capable", Caesural pauses, most agreed, were best placed at the middle and the end of the line. In order to support this symmetry, lines were most often octo- or deca-syllabic, with no enjambed endings. To this schema Milton introduced modifications, which included hypermetrical syllables (trisyllabic feet), inversion or slighting of stresses, and the shifting of pauses to all parts of the line. Milton deemed these features to be reflective of "the transcendental union of order and freedom". Admirers remained hesitant to adopt such departures from traditional metrical schemes: "The English ... had been writing separate lines for so long that they could not rid themselves of the habit”. Isaac Watts preferred his lines distinct from each other, as did Oliver Goldsmith, Henry Pemberton, and Scott of Amwell, whose general opinion it was that Milton's frequent omission of the initial unaccented foot was "displeasing to a nice ear". It was not until the late 18th century that poets (beginning with Gray) began to appreciate "the composition of Milton's harmony ... how he loved to vary his pauses, his measures, and his feet, which gives that enchanting air of freedom and wilderness to his versification". While neo-classical diction was as restrictive as its prosody, and narrow imagery paired with uniformity of sentence structure resulted in a small set of 800 nouns circumscribing the vocabulary of 90% of heroic couplets ever written up to the eighteenth century, and tradition required that the same adjectives attach to the same nouns, followed by the same verbs, Milton's pursuit of liberty extended into his vocabulary as well. It included many Latinate neologisms, as well as obsolete words already dropped from popular usage so completely that their meanings were no longer understood. In 1740 Francis Peck identified some examples of Milton's "old" words (now popular). The “Miltonian dialect” as it was called, was emulated by later poets; Pope used the diction of Paradise Lost in his Homer translation, while the lyric poetry of Gray and Collins was frequently criticised for their use of “obsolete words out of Spenser and Milton”. The language of Thomson’s finest poems (e.g. The Seasons, Castle of Indolence) was self-consciously modelled after the Miltonian dialect, with the same tone and sensibilities as Paradise Lost. Following to Milton, English poetry from Pope to John Keats exhibited a steadily increasing attention to the connotative, the imaginative and poetic, value of words. Miltonic Effects The varied manifestations of personal liberty in Milton's works (e.g. abandonment of rhyme, irregular rhythms, peculiar diction) converge to create specific Miltonian effects that live on to this day. Raymond Dexter identifies nine outstanding characteristics specific to Paradise Lost that survived into later poetic movements: 1. Dignity, reserve and stateliness 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 (i. 1–6) 2. Sonorous, orotund voice www.PoemHunter.com - The World's Poetry Archive O thou that, with surpassing glory crown'd Look'st from thy sole dominion like the god Of this new World. (iv. 32-4) 3. Inversion of the natural order of words and phrases Ten paces huge He back recoil’d. (vi. 193-4) "temperate vapours bland"(v. 5) "heavenly form Angelic"(ix. 457-8) "unvoyageable gulf obscure"(x. 366) 4. The omission of words not necessary to the sense And where their weakness, how attempted best, By force or subtlety. (ii. 357-8) 5. Parenthesis and opposition Their song was partial, but the harmony (What could it less when Spirits immortal sing?) Suspended Hell, and took with ravishment The thronging audience. In discourse more sweet (For eloquence the soul, song charms the sense) Others apart sat on a hill retired (ii. 552-7) 6. The use of one part of speech for another "with gems . . . rich emblazed", "grinned horrible", (adjective used as adverb) "Heaven's azure" or "the vast of Heaven". (adjective used as noun) "without disturb they took alarm"; "the place of her retire." (verbs used as nouns ) May serve to better us and worse our foes (adjective used as verb) Yet oft his heart, divine of something ill (verb, adjective employed in participal sense) "fuell'd entrails," "his con-sorted Eve," "roses bushing round." (substantive used as verb). 7. Vocabulary Archaic words from Chaucer, Spenser and Shakespeare: "erst," "grunsel," "welkin," "frore," "lore," "grisly," "ken" etc. Unusual Words from Greek or Latin: "dulcet," "panoplie," "sapience," "nocent," "congratulant” etc. Words employed in senses obsolete to the eighteenth century: "the secret top Of Oreb," "a singèd bottom all in-volved With stench," "tempt an abyss,” "his uncouth way" 8. The introduction into a comparatively short passage of proper names in number, not necessary to the sense, but adding richness, color, and imaginative suggestiveness And what resounds In fable or romance of Uther's son, Begirt with British and Armoric knights; And all who since, baptised or infidel, jousted in Aspramont, or Montalban, Damasco, or Marocco, or Trebisond; Or whom Biserta sent from Afric shore When Charlemain with all his peerage fell By Fontarabbia. (i. 579-87) 9. Unusual compound epithets "Sail-broad vans," "high-climbing hill," "arch-chemic sun," "half-rounding guards," "night-warbling bird," "love-labour'd song" www.PoemHunter.com - The World's Poetry Archive Works: Poetic and dramatic works 1631: L'Allegro 1631: Il Penseroso 1634: A Mask Presented at Ludlow Castle, 1634 commonly known as Comus (a masque) 1638: Lycidas 1645: Poems of Mr John Milton, Both English and Latin 1655: On the Late Massacre in Piedmont 1667: Paradise Lost 1671: Paradise Regained 1671: Samson Agonistes 1673: Poems, &c, Upon Several Occasions Political, philosophical and religious prose Of Reformation (1641) Of Prelatical Episcopacy (1641) Animadversions (1641) The Reason of Church-Government Urged against Prelaty (1642) Apology for Smectymnuus (1642) Doctrine and Discipline of Divorce (1643) Judgement of Martin Bucer Concerning Divorce (1644) Of Education (1644) Areopagitica (1644) Tetrachordon (1645) Colasterion (1645) The Tenure of Kings and Magistrates (1649) Eikonoklastes (1649) Defensio pro Populo Anglicano [First Defence] (1651) Defensio Secunda [Second Defence] (1654) A treatise of Civil Power (1659) The Likeliest Means to Remove Hirelings from the Church (1659) The Ready and Easy Way to Establish a Free Commonwealth (1660) Brief Notes Upon a Late Sermon (1660) Accedence Commenced Grammar (1669) History of Britain (1670) Artis logicae plenior institutio [Art of Logic] (1672) Of True Religion (1673) Epistolae Familiaries (1674) Prolusiones (1674) A brief History of Moscovia, and other less known Countries lying Eastward of Russia as far as Cathay, gathered from the writings of several Eye-witnesses (1682) De Doctrina Christiana (1823) www.PoemHunter.com - The World's Poetry Archive
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