The first reply to Milton's 'Defensio Populi' was published in 1651, called 'Apologia pro Rege et Populo Anglicano, contra Johannis Polypragmatici (alias Miltoni) defensionem destructivam Regis et Populi.' Of this the author was not 5 known; but Milton and his nephew Phillips, under whose name he published an answer, so much corrected by him that it might be called his own, imputed it to Bramhal; and, knowing him no friend to regicides, thought themselves at liberty to treat him as if they had known what they only 10 suspected. Next year appeared 'Regii Sanguinis clamor ad Coelum.' Of this the author was Peter du Moulin, who was afterwards prebendary of Canterbury; but Morus, or More, a French minister, having the care of its publication, was treated as 15 the writer by Milton, in his 'Defensio Secunda,' and overwhelmed by such violence of invective, that he began to shrink under the tempest, and gave his persecutors the means of knowing the true author. Du Moulin was now in great danger; but Milton's pride operated against his 20 malignity; and both he and his friends were more willing that Du Moulin should escape, than that he should be convicted of mistake. In this second Defence he shows that his eloquence is not merely satirical; the rudeness of his invective is equalled 25 by the grossness of his flattery. Deserimur, Cromuelle, tu solus superes, ad te summa nostrarum rerum rediit, in te solo consistit, insuperabili tuae virtuti cedimus cuncti, nemine vel obloquente, nisi qui aequales inaequalis ipse honores sibi quaerit, aut digniori concessos invidet, aut non intelligit nihil esse in 30 societate hominum magis vel Deo gratum, vel rationi consentaneum, esse in civitate nihil aequius, nihil utilius, quam potiri rerum dignissimum. Eum te agnoscunt omnes, Cromuelle, ea tu civis maximus, et gloriosissimus, dux publici consilii, exercituum fortissimorum imperator, pater patriae gessisti. Sic tu spon tanea bonorum omnium et animitus missa voce salutaris. Caesar, when he assumed the perpetual dictatorship, had not more servile or more elegant flattery. A translation may show its servility; but its elegance is less attainable. 5 Having exposed the unskilfulness or selfishness of the former government, We were left,' says Milton, 'to ourselves: the whole national interest fell into your hands, and subsists only in your abilities. To your virtue, overpowering and resistless, every man gives way, except some 10 who, without equal qualifications, aspire to equal honours, who envy the distinctions of merit greater than their own, or who have yet to learn, that in the coalition of human society nothing is more pleasing to God, or more agreeable to reason, than that the highest mind should have the 15 sovereign power. Such, sir, are you by general confession; such are the things achieved by you, the greatest and most glorious of our countrymen, the director of our public councils, the leader of unconquered armies, the father of your country; for by that title does every good man hail 20 you with sincere and voluntary praise.' Next year, having defended all that wanted defence, he found leisure to defend himself. He undertook his own vindication against More, whom he declares in his title to be justly called the author of the 'Regii Sanguinis Clamor.' 25 In this there is no want of vehemence nor eloquence, nor does he forget his wonted wit. Morus es? an Momus? an ulerque idem est ? He then remembers that Morus is Latin for a mulberry-tree, and hints at the known transformation: -Poma alba ferebat With this piece ended his controversies; and he from 30 this time gave himself up to his private studies and his civil employment. As secretary to the Protector he is supposed to have written the Declaration of the reasons for a war with 5 Spain. His agency was considered as of great importance; for, when a treaty with Sweden was artfully suspended, the delay was publicly imputed to Mr. Milton's indisposition; and the Swedish agent was provoked to express his wonder that only one man in England could write Latin, 10 and that man blind. Being now forty-seven years old, and seeing himself disencumbered from external interruptions, he seems to have recollected his former purposes, and to have resumed three great works which he had planned for his future employ15 ment-an epic poem, the history of his country, and a dictionary of the Latin tongue. To collect a dictionary seems a work of all others least practicable in a state of blindness, because it depends upon perpetual and minute inspection and collation. Nor would 20 Milton probably have begun it, after he had lost his eyes; but, having had it always before him, he continued it, says Phillips, even very near to his dying day; but the papers were so discomposed and deficient, that it could not be made fit for the press.' The compilers of the Latin dictionary, 25 printed at Cambridge, had the use of those collections in three folios; but what was their fate afterwards is not known. ( To compile a history from various authors, when they can only be consulted by other eyes, is not easy, nor possible, but with more skilful and attentive help than can be 30 commonly obtained; and it was probably the difficulty of consulting and comparing that stopped Milton's narrative at the Conquesta period at which affairs were not very intricate, nor authors very numerous. For the subject of his epic poem, after much deliberation, 'long choosing, and beginning late,' he fixed upon 'Paradise Lost,' a design so comprehensive, that it could be justified only by success. He had once designed to celebrate King Arthur, as he hints in his verses to Mansus; but Arthur 5 was reserved,' says Fenton, 'to another destiny.' It appears, by some sketches of poetical projects left in manuscript, and to be seen in a library at Cambridge, that he had digested his thoughts on this subject into one of those wild dramas which were anciently called Mysteries; 10 and Phillips had seen what he terms part of a tragedy, beginning with the first ten lines of Satan's address to the Sun. These mysteries consist of allegorical persons, such as Justice, Mercy, Faith. Of the tragedy or mystery of 'Paradise Lost' there are two plans: 15 The Evening Star, Hesperus. 20 Chorus of Angels. Eve, Conscience. Death. Labour, Sickness, Discontent, Mutes. Ignorance, with others; Faith. Hope. Charity. Lucifer. PARADISE LOST. The Persons. Moses рoλoyice, recounting how he assumed his true body; that it corrupts not, because it is with God in the 5 mount; declares the like with Enoch and Elijah; besides the purity of the place, that certain pure winds, dews, and clouds, preserve it from corruption; whence exhorts to the sight of God; tells they cannot see Adam in the state of innocence, by reason of their sin. 10 Justice, Mercy, debating what should become of man, if he fall. Chorus of Angels singing a hymn of the Creation. 15 Heavenly Love. ACT II. Evening Star. Chorus sing the marriage-song, and describe Paradise. ACT III. Lucifer contriving Adam's ruin. 20 Chorus fears for Adam, and relates Lucifer's rebellion and fall. 25 ACT IV. Conscience cites them to God's examination. ACT V. Adam and Eve driven out of Paradise. presented by an angel with 30 Labour, Grief, Hatred, Envy, War, Famine, Pestilence, Sickness, Discontent, Ignor-Mutes. |