An Introduction to the Prose and Poetical Works of John Milton. Джон МильтонЧитать онлайн книгу.
own virtues, have incited me to defend, may be convinced from the purity and integrity of my life, that my defence, if it do not redound to their honour, can never be considered as their disgrace.'
A noble motive nobly presented!
There are no authors in the literature more distinctly revealed in their writings than is John Milton. His personality is felt in his every production, poetical and prose, and felt almost as much in the earliest as in the latest period of his authorship. And there is no epithet more applicable to his personality than the epithet august. He is therefore one of the most educating of authors, in the highest sense of the word, that is, educating in the direction of sanctified character.
''Tis human fortune's happiest height to be
A spirit melodious, lucid, poised, and whole:
Second in order of felicity
I hold it, to have walked with such a soul.'
The prime value attaching to the prose works of Milton at the present day is their fervent exposition of true freedom—a freedom which involves a deep sympathy with truth; a freedom which is induced by a willing and, in its final result, a spontaneous obedience to one's higher nature. Without such obedience no one can be truly free. Outward freedom, so called, may only afford an opportunity to one with evil inward tendencies to become, morally, an invertebrate. Lord Byron speaks of his Lara as
'Left by his sire, too young such loss to know,
Lord of himself; that heritage of woe,
That fearful empire which the human breast
But holds to rob the heart within of rest!—
With none to check, and few to point in time
The thousand paths that slope the way to crime.'
There is more outward freedom at the present time than there was ever before, perhaps, in the world's history, and the temptations which it involves can be adequately resisted only by the subjective freedom which Milton so strenuously advocated. His ideas of all kinds of true freedom (explicit expressions of which have been brought together in the second section of this book) need to be instilled into all young minds, first, for their own intrinsic value, and, secondly, as a means—the sole means—of checking the present and ever increasing tendency toward unrestrained desires, toward what many mistake for true freedom, namely, license. Of such, Milton says, in one of his sonnets,
'License they mean when they cry liberty;
For who loves that must first be wise and good.'
The passage on Discipline (pp. 108–111) from 'The Reason of Church Government urged against Prelaty,' should be learned by heart (in the vital sense of the phrase, not in the sense of merely memorizing) by all young people in our schools. Everything should be done to induce a sympathetic assimilation on their part of the lofty utterances in this passage on Discipline, 'whose golden surveying rod,' says Milton, 'marks out and measures every quarter and circuit of New Jerusalem.'
The translations (not acknowledged in the text) of the two Latin poems addressed to the poet's Anglo Italian friend, Charles Diodati ('Elegia Prima. Ad Carolum Diodatum,' p. 28, and 'Elegia Sexta. Ad Carolum Diodatum, ruri commorantem,' p. 31), and of the Familiar Letters ('Epistolæ Familiares'), Nos. III.-X., XII., XIV., XXI., XXIX., and XXXI. are by Dr. Masson. His translations of the latter are much closer to the meaning and tone of the original than those by Robert Fellowes, given in the Bohn edition of the prose works, which hardly warrant the characterization of them by the editor, J. A. St. John, as 'the very elegant translation of Mr. Fellowes, of Oxford, who, in most instances, has happily and with much feeling entered into and expressed the views of Milton.' The translation of No. XV. of the Familiar Letters, 'To Leonard Philaras, Athenian,' is by my colleague, Professor Charles E. Bennett.
Students who are sufficiently good Latin scholars should read Milton's Latin poems in the original, especially the 'In Quintum Novembris: anno ætatis 17,' the 'Ad Patrem,' and the 'Epitaphium Damonis.' The 'In Quintum Novembris' (On the fifth of November, that is, the anniversary of the discovery of the Gunpowder Plot) is described by Masson as 'one of the very cleverest and most poetical of all Milton's youthful productions, and certainly one of the most characteristic.' The 'Epitaphium Damonis' has been admirably edited with notes by C. S. Jerram, M.A. Trin. Coll. Oxon., along with 'Lycidas.'
The student should first read carefully all the selections, prose and poetical, without referring to the notes. Notes are a necessary evil, and should not be read until after a requisite general impression has been received from an independent reading; often two or more independent readings should precede any attention to explanatory notes. Even such a poem as Browning's 'The Ring and the Book,' abounding as it does in out of the way allusions, difficult syntactical constructions, etc., requiring explanation, should be so read. The student would thus get a better impression of the poem as a whole, and would derive from it a greater pleasure (the pleasure resulting from the less interrupted exercise of his higher faculties) than if he should read it at first with the aid of abundant notes explanatory of details. A special attention to the details should be given only after the reader has, in a general way, taken in the articulating thought and the informing life of the poem.
There are thousands of allusions in the 'Paradise Lost' which a reader might not know, and yet be able to read the whole poem for the first time and enjoy it, and, what is all-important, be uplifted by it, without a single explanatory note.
The portrait of Milton is from that first drawn in crayons by William Faithorne, and afterward engraved by him for the poet's 'History of Britain,' published in 1670. Underneath the original engraving is the inscription, 'Joannis Miltoni Effigies Ætat: 62. 1670. Gul. Faithorne ad Vivum Delin. et Sculpsit' (John Milton's effigy at the age of 62. 1670. Drawn from life and engraved by William Faithorne).
Faithorne was the most distinguished portrait artist and engraver of the time. He appears to have especially excelled in crayon-drawing rather than in painting. His numerous engravings are both from his own studies and from those of other artists, especially of Vandyke. 'No one,' says Masson, 'can desire a more impressive and authentic portrait of Milton in his later life. The face is such as has been given to no other human being; it was and is uniquely Milton's. Underneath the broad forehead and arched temples there are the great rings of eye-socket, with the blind, unblemished eyes in them, drawn straight upon you by your voice, and speculating who and what you are; there is a severe composure in the beautiful oval of the whole countenance, disturbed only by the singular pouting round the rich mouth; and the entire expression is that of English intrepidity mixed with unutterable sorrow.'
H. C.
Cascadilla Cottage, July, 1899.
MILTON'S AUTOBIOGRAPHY
made up of all the more important autobiographical passages contained in his prose and poetical works
It was found quite impossible to avoid somewhat of a jumble in bringing together the many autobiographic passages scattered throughout Milton's prose and poetical works. The passage in the 'Second Defence of the People of England,' in reply to the scurrilous abuse and utterly unfounded charges against his private character contained in the Regii Sanguinis Clamor ad Cœlum, adversus Parricidas Anglicanos, 1652, which occasioned the 'Second Defence,' covers a larger period of Milton's life than any other, extending, as it does, from his birth to the time of his writing the 'Second Defence,' published in 1654, Milton being then in his forty-sixth year; and as there is an autobiographic passage of some importance in the preface to the 'First Defence' (published in 1651), this passage and that in the 'Second Defence' are kept together and given first. In the former he expresses his sense of the honor done him in his having been engaged to reply to the Defensio Regia pro Carolo I., by Salmasius; and he evidently felt, and justly, too, that no abler man could have been engaged for that important function. The extract from 'A Defence of the People of England' is from the translation