His History of England from the Earliest Times is not profound, nor philosophical; he followed standard chronicle authorities, but made few, if any, original investigations, and gives us little philosophy. His tractate on Education contains peculiar views of a curriculum of study, but is charmingly written. He also wrote a treatise on Logic. Little known to the great world outside of his poems, there is one prose work, discovered only in 1823, which has been less read, but which contains the articles of his Christian belief. It is a tractate on Christian doctrine: no one now doubts its genuineness; and it proves him to have been a Unitarian, or High Arian, by his own confession. This was somewhat startling to the great orthodox world, who had taken many of their conceptions of supernatural things from Milton's Paradise Lost; and yet a careful study of that poem will disclose similar tendencies in the poet's mind. He was a Puritan whose theology was progressive until it issued in complete isolation: he left the Presbyterian ranks for the Independents, and then, startled by the rise and number of sects, he retired within himself and stood almost alone, too proud to be instructed, and dissatisfied with the doctrines and excesses of his earlier colleagues.
In 1653 he lost his wife, Mary Powell, who left him three daughters. He supplied her place in 1656, by marrying Catherine Woodstock, to whom he was greatly attached, and who also died fifteen months after. Eight years afterward he married his third wife, Elizabeth Minshull, who survived him.
Chapter XIX.
The Poetry of Milton.
[The Blind Poet]. [Paradise Lost]. [Milton and Dante]. [His Faults]. [Characteristics of the Age]. [Paradise Regained]. [His Scholarship]. [His Sonnets]. [His Death and Fame].
The Blind Poet.
Milton's blindness, his loneliness, and his loss of power, threw him upon himself. His imagination, concentrated by these disasters and troubles, was to see higher things in a clear, celestial light: there was nothing to distract his attention, and he began that achievement which he had long before contemplated—a great religious epic, in which the heroes should be celestial beings and our sinless first parents, and the scenes Heaven, Hell, and the Paradise of a yet untainted Earth. His first idea was to write an epic on King Arthur and his knights: it is well for the world that he changed his intention, and took as a grander subject the loss of Paradise, full as it is of individual interest to mankind.
In a consideration of his poetry, we must now first recur to those pieces which he had written at an earlier day. Before settling in London, he had, as we have seen, travelled fifteen months on the Continent, and had been particularly interested by his residence in Italy, where he visited the blind Galileo. The poems which most clearly show the still powerful influence of Italy in all European literature, and upon him especially, are the Arcades, Comus, L'Allegro, Il Penseroso, and Lycidas, each beautiful and finished, and although Italian in their taste, yet full of true philosophy couched in charming verse.
The Arcades, (Arcadians,) composed in 1684, is a pastoral masque, enacted before the Countess Dowager of Derby at Harefield, by some noble persons of her family. The Allegro is the song of Mirth, the nymph who brings with her
Jest and youthful jollity,
Quips and cranks, and wanton wiles,
Nods and becks and wreathèd smiles,
Sport that wrinkled Care derides,
And Laughter holding both his sides.