Milton's life is a drama in three acts. The first discovers him in the calm and peaceful retirement of Horton, of which L'Allegro, Il Penseroso, and Lycidas are the expression. In the second act he is breathing the foul and heated atmosphere of party passion and religious hate, generating the lurid fires which glare in the battailous canticles of his prose pamphlets. The three great poems, Paradise Lost, Paradise Regained, and Samson Agonistes, are the utterance of his final period of solitary and Promethean grandeur, when, blind, destitute, friendless, he testified of righteousness, temperance, and judgment to come, alone before a fallen world.
In this delicious retirement of Horton, in alternate communing with nature and with books, for five years of persevering study he laid in a stock, not of learning, but of what is far above learning, of wide and accurate knowledge. Of the man whose profession is learning, it is characteristic that knowledge is its own end, and research its own reward. To Milton all knowledge, all life, virtue itself, was already only a means to a further end. He will know only "that which is of use to know," and by useful, he meant that which conduced to form him for his vocation of poet.
From a very early period Milton had taken poetry to be his vocation, in the most solemn and earnest mood. The idea of this devotion was the shaping idea of his life. It was, indeed, a bent of nature, with roots drawing from deeper strata of character than any act of reasoned will, which kept him out of the professions, and now fixed him, a seeming idler, but really hard at work, in his father's house at Horton. The intimation which he had given of his purpose in the sonnet above quoted had become, in 1641, "an inward prompting which grows daily upon me, that by labour and intent study, which I take to be my portion in this life, joined with the strong propensity of nature, I might perhaps leave something so written to after times, as they should not willingly let it die."
What the ultimate form of his poetic utterance shall be, he is in no hurry to decide. He will be "long choosing," and quite content to be "beginning late." All his care at present is to qualify himself for the lofty function to which he aspires. No lawyer, physician, statesman, ever laboured to fit himself for his profession harder than Milton strove to qualify himself for his vocation of poet. Verse-making is, to the wits, a game of ingenuity; to Milton, it is a prophetic office, towards which the will of heaven leads him. The creation he contemplates will not flow from him as the stanzas of the Gerusalemme did from Tasso at twenty-one. Before he can make a poem, Milton will make himself. "I was confirmed in this opinion, that he who would not be frustrated of his hope to write well hereafter in laudable things ought himself to be a true poem…. not presuming to sing high praises of heroic men or famous cities, unless he have in himself the experience and practise of all that which is praiseworthy."
Of the spontaneity, the abandon, which are supposed to be characteristic of the poetical nature, there is nothing here; all is moral purpose, precision, self-dedication. So he acquires ail knowledge, not for knowledge' sake, from the instinct of learning, the necessity for completeness, but because he is to be a poet. Nor will he only have knowledge, he will have wisdom; moral development shall go hand in hand with intellectual. A poet's soul should "contain of good, wise, just, the perfect shape." He will cherish continually a pure mind in a pure body. "I argued to myself that, if unchastity in a woman, whom St. Paul terms the glory of man, be such a scandal and dishonour, then certainly in a man, who is both the image and glory of God, it must, though commonly not so thought, be much more deflouring and dishonourable." There is yet a third constituent of the poetical nature; to knowledge and to virtue must be added religion. For it is from God that the poet's thoughts come. "This is not to be obtained but by devout prayer to that Eternal Spirit that can enrich with all utterance and knowledge, and sends out his seraphim with the hallowed fire of his altar, to touch and purify the life of whom he pleases. To this must be added industrious and select reading, steady observation, and insight into all seemly and generous acts and affairs; till which in some measure be compast, I refuse not to sustain this expectation." Before the piety of this vow, Dr. Johnson's morosity yields for a moment, and he is forced to exclaim, "From a promise like this, at once fervid, pious, and rational, might be expected the Paradise Lost."
Of these years of self-cultivation, of conscious moral architecture, such as Plato enacted for his ideal State, but none but Milton ever had the courage to practise, the biographer would gladly give a minute account. But the means of doing so are wanting. The poet kept no diary of his reading, such as some great students, e.g. Isaac Casaubon, have left. Nor could such a record, had it been attempted, have shown us the secret process by which the scholar's dead learning was transmuted in Milton's mind into living imagery. "Many studious and contemplative years, altogether spent in the search of religious and civil knowledge" is his own description of the period. "You make many inquiries as to what I am about;" he writes to Diodati—"what am I thinking of? Why, with God's help, of immortality! Forgive the word, I only whisper it in your ear! Yes, I am pluming my wings for a flight." This was in 1637, at the end of five years of the Horton probation. The poems, which, rightly read, are strewn with autobiographical hints, are not silent as to the intention of this period. In Paradise Regained (i. 196), Milton reveals himself. And in Comus, written at Horton, the lines 375 and following are charged with the same sentiment,—
And wisdom's self
Oft seeks to sweet retired solitude,
Where, with her best nurse, contemplations
She plumes her feathers, and lets grow her wings,
That in the various bustle of resort
Were all-to ruffled and sometimes impair'd.
That at Horton Milton "read all the Greek and Latin writers" is one of Johnson's careless versions of Milton's own words, "enjoyed a complete holiday in turning over Latin and Greek authors." Milton read, not as a professional philologian, but as a poet and scholar, and always in the light of his secret purpose. It was not in his way to sit down to read over all the Greek and Latin writers, as Casaubon or Salmasius might do. Milton read with selection, and "meditated," says Aubrey, what he read. His practice conformed to the principle he has himself laid down in the often-quoted lines (Paradise Regained, iv. 322)—
Who reads
Incessantly, and to his reading brings not
A spirit and judgment equal or superior,
Uncertain and unsettled still remains,
Deep vers'd in books, and shallow in himself.
Some of Milton's Greek books have been traced; his Arattis, Lyeophron, Euripides (the Stepharnis of 1602), and his Pindar (the Benedictus of 1620), are still extant, with marginal memoranda, which should seem to evince careful and discerning reading. One critic even thought it worth while to accuse Joshua Barnes of silently appropriating conjectural emendations from Milton's Euripides. But Milton's own poems are the beat evidence of his familiarity with all that is most choice in the remains of classic poetry. Though the commentators are accused of often, seeing an imitation where there is none, no commentary can point out the ever-present infusion of classical flavour, which bespeaks intimate converse far more than direct adaptation. Milton's classical allusions, says Hartley Coleridge, are amalgamated and consubstantiated with his native thought.