About the time when Milton sent this collection of his pamphlets to Patrick Young, or perhaps a little later, he sent a similar gift to another librarian, expressly in his official capacity. This was John Rous, M.A., chief Librarian of the Bodleian at Oxford from 1620 to 1652, Milton, there is reason to believe, had known Rous since the year 1635 (see Vol. I. p. 590); at all events an acquaintance had sprung up between them, as could hardly fail to be the case between a reader like Milton and the keeper of the great Oxford Library; and, as Rous's political leanings, Oxonian though he was, were distinctly Parliamentarian, there was no reason for coolness on that ground. Accordingly, Rous, it appears, had asked Milton for a complete copy of his writings for the Bodleian, and had even been pressing in the request. Milton at length had despatched the required donation in the form of a parcel containing two volumes—the Prose Pamphlets bound together in one volume, and the Poems by themselves in the tinier volume as published by Moseley. On a blank leaf at the beginning of the larger volume he had written very carefully with his own hand a long Latin inscription, "Doctissimo viro, proloque librorum æstimatori, Joanni Rousio" &c.; which may be given in translation as follows: "To the most learned man, and excellent judge of books, John Rous, Librarian of the University of Oxford, on his testifying that this would be agreeable to him, John Milton gladly forwards these small works of his, with a view to their reception into the University's most ancient and celebrated Library, as into a temple of perpetual memory, and so, as he hopes, into a merited freedom from ill- will and calumny, if satisfaction enough has been given at once to Truth and to Good Fortune. They are—'Of Reformation in England,' 2 Books; 'Of Prelatical Episcopacy,' 1 Book; 'Of the Reason of Church-government,' 2 Books; 'Animadversions on the Remonstrant's Defence,' 1 Book; 'Apology against the same,' 1 Book; 'The Doctrine and Discipline of Divorce,' 2 Books; 'The Judgment of Bucer on Divorce,' 1 Book; 'Colasterion,' 1 Book; 'Tetrachordon: An Exposition of some chief places of Scripture concerning Divorce,' 4 Books; 'Areopagitica, or a Speech for the Freedom of the Press;' 'An Epistle on Liberal Education;' and 'Poems, Latin and English,' separately." Here, it will be seen, Milton sends to Rous the same pamphlets he had sent to Patrick Young, and in the same order, only adding the Letter on Education to Hartlib, and the Moseley volume of Poems. Now, all the pieces so enumerated, with the inscription, had duly reached Rous in the Bodleian, with one exception. In the carriage of the parcel to Oxford the tiny volume of Poetry had somehow dropped out or been abstracted; so that Rous, counting over the pieces by the inventory, found himself in possession only of the eleven prose-pamphlets. He had intimated this to Milton, and petitioned for another copy of the Poems to make good the loss of the first. Milton complied; but, as the loss of the first copy had amused him, he took the trouble of writing a mock-heroic Latin ode on the subject to Rous, and causing this ode, transcribed on a sheet of paper in a secretary hand of elaborate elegance, to be inserted by the binder in the new copy, between the English and the Latin portions of the contents. This is the Ode to Rous of which we have spoken as, with the exception of Sonnet XIV., the sole known production of Milton's muse during those eight months of his Barbican life which have brought us to our present point. When he printed it in the second or 1673 edition of his Poems, he prefixed the exact date, "Jan. 23, 1646" (i.e. 1646-7). It was written, therefore, in the interval between Mr. Powell's death and his father's—three weeks after the one, and six or seven weeks before the other. The manuscript copy sent to Rous still exists in the Bodleian in the volume into which it was inserted; and in the same library they show also the volume of the eleven collected prose pamphlets, with the previous inscription to Rous in Milton's autograph. [Footnote: Warton's Note on the Ode to Rous (Todd's Milton, IV. 507-9); Milton's Poems ed. 1678, Latin portion, p. 90; Sotheby's Milton Ramblings, pp. 113-121, where there is a fac-simile of the inscription in the Bodleian volume of the prose pamphlets, and also a fac-simile of a considerable portion of the Latin Ode to Rous from the MS. copy in the other Bodleian volume. The "inscription" is indubitably Milton's autograph; Mr. Sotheby thinks the "ode" also to be in his penmanship, though not in his usual hand, but in a "beautiful secretary hand" which he assumed for the special purpose. Judging from the fac-simile, I doubt this, and think the transcript may have been by some professional scribe.—According to Warton's account, it is by accident that these two precious volumes have been preserved in the Bodleian. In 1720 a number of books, whether as being duplicates or as being thought useless, were weeded out of the Library and thrown aside, and a Mr. Nathaniel Crynes, one of the Esquire Bidels and a book collector, was permitted to have the pick of these for himself on the understanding that he was to leave the Library a valuable bequest. Fortunately Mr. Crynes did not care for the Milton volumes, and so they went back to the shelves.]
The ode is headed "Ad Joannem Rousium, Oxoniensis Academiæ Bibliothecarium: de Libro Poematum amisso, quem ille sibi denuo mitti postulabat, ut cum aliis nostris in Bibliothecâ publicâ reponeret, Ode" ("To John Rous, Librarian of the University of Oxford: An Ode on a lost Book of Poems, of which he asked a fresh copy to be sent him, that he might replace it beside our other books in the Public Library").
What strikes one first in reading the Ode is the strange metrical structure. Evidently in a whim, and to suit his mock-heroic purpose, Milton chose a peculiar form of mixed verse, distantly suggested by the choruses of the Greek dramatists, and more closely by some precedents in Latin poetry. There are three Strophes, each followed by an Antistrophe, and the whole is wound up by a closing Epodos. In an appended prose note Milton calls attention to this novelty, and explains moreover that he had taken considerable liberties with the verse throughout, pleasing his own ear, and regarding rather the convenience of modern reading than ancient prosodic rules. Altogether, in this respect, the poem was a bold experiment, for which Milton has been taken to task by purists among his commentators down to our own time.
It is the matter, however, that interests us most here. The ode opens half-humorously with an address to the little book he was sending to Rous. It is described as a pretty little book enough, with two sets of contents and a double arrangement of paging to match, neatly but simply bound (fronde licet geminâ, munditieque nitens non operosâ), and containing the juvenile productions of a certain Poet of no superlative merit (haud nimii poetæ), written partly in Britain and partly in Italy, partly in English and partly in Latin. [Footnote: Critics have objected to Milton's volume, phrase "fronde licet geminâ," on the ground that "fronte" would be the better Latin word for "title- page." But Milton did not mean only that there were two title pages in the volume, one to the English and one to the Latin poems; he meant also that these two sets of poems were paged separately throughout. His phrase "fronde geminâ," ("with double leafing") was therefore perfectly exact.] Then the Antistrophe asks what had become of the former copy of the same, on its way to the sources of the Thames and the great seat of learning there established. The second Strophe and Antistrophe continue the strain, with a hope that now at length the wretched civil tumults may cease in England and Peace and Literature come back, but still with a return of the query what could possibly have become of the missing volume between London and Oxford, and into what clownish hands it might have fallen. In the third Strophe and Antistrophe there is a compliment to Rous as the faithful keeper of one of the most splendid libraries in the world, with acknowledgment of his kindness in seeking to have the missing volume replaced, so that it might have a chance of readers in such glorious company and in all-famous Oxford. The closing Epode may be given in the skilful, though rather lax, rendering of Cowper:—
"Ye, then, my Works, no longer vain
And worthless deemed by me,
Whate'er this sterile genius has produced,
Expect at last, the rage of envy spent,
An unmolested happy home,
Gift of kind Hermes and my watchful friend,
Where never flippant tongue profane
Shall entrance find,
And whence the coarse unlettered multitude
Shall babble far remote.
Perhaps some future distant age,
Less tinged with prejudice, and better taught,
Shall furnish minds of power
To judge more equally.
Then, malice silenced in the tomb,
Cooler heads and sounder hearts,
Thanks to Rous, if aught of praise
I merit, shall with candour weigh the claim."
ITALIAN REMINISCENCES: LOST LETTERS FROM CARLO DATI OF FLORENCE: MILTON'S REPLY TO THE LAST OF THEM.
Our next trace of Milton, through anything written by himself in his Barbican abode, belongs to April 1647, the month after his father's death. We owe it also perhaps to the fact that the publication of his Poems by Moseley had given him an opportunity of distributing presentation-copies of some of his former writings.
A feature in that volume, it may be remembered, was its richness in Italian reminiscences. Not only were there included among the English Poems the five Italian Sonnets and the Italian Canzone which Milton is believed to have written in Italy; not only were the encomiums of his Italian friends, Manso of Naples, Salzilli and Selvaggi of Rome, and Francini and Dati of Florence, prefixed to the Latin Poems, with a note of explanation; not only among these Latin poems did he print the three pieces to the singer Leonora, the Scazontes to Salzilli, and the fine farewell to Manso; but in the Epitaphium Damonis, or pastoral on Charles Diodati's death, which ended the volume, and which had been written immediately after his return to England, there were references throughout to his Italian experiences, and passages of express mention of Dati, Francini, the Florentine group generally, and the venerable Manso. What more natural than to have sent copies of such a volume to the various Italian friends named in it, to remind them of the Englishman to whom they had been so kind. The venerable Manso, indeed, was by this time dead; Salzilli seems to have been dead; the great Galileo, whom Milton had at least once visited near Florence, had died in 1642; but most of the Florentine group were still alive. To these last, all of them poets themselves more or less, Milton might have been expected to send copies of his volume. Or, if he did not trouble them with the English part, which they could not read, he might have sent them at least the Latin part, which had been separately paged, and provided with a separate title and imprint, precisely in order that it might be so detached. For a reason which will appear Milton did not even do this. He seems, however, to have procured from the printer some copies of the last eleven pages of the Latin part, which contained the Epitaphium Damonis by itself, and to have sent these to Florence. Either so, or by some prior transmission of this particular poem to his Florentine friends, unaccompanied by any letter, copies of it had reached them. This we learn from the sequel.
Of all Milton's Florentine friends none had remembered him more faithfully than young Carlo Dati (see Vol. I. pp. 724-5). Only nineteen years of age when Milton had visited Florence in 1638-9, but then a leading spirit in the literary Academies of the city, and especially enthusiastic in his attentions to strangers, he had outgone all the others, except Francini, in his admiration of the Englishman who had come among them, and in the extravagance of his parting adieu. The admiration was real; and, after Milton had gone, young Dati had often thought of him, often talked of him among his companions of the Delia Crusca and of Gaddi's more private Academy of the Svogliati, often wondered what he was doing in his native land. Three times at intervals he had written to Milton; but all the letters had miscarried. Conceive, then, Dati's pleasure, when, some time in 1646 (if that is the correct supposition), a copy of the Epitaphium Damonis reached him from London, and he read the passage there in which Milton had made such affectionate mention of his Florentine friends of 1638-9, and of himself and Francini in particular. Immediately he wrote to Milton a fourth time; and this letter, more fortunate than its predecessors, did arrive at its destination. Milton, on his part, though the letter must have reached him about the time of his father's death, had peculiar pleasure in receiving it and returning an answer. The answer was in Latin, and may be translated as follows:—
"To CHARLES DATI, Nobleman of Florence.