HENRY HART MILMAN, D.D., DEAN OF ST. PAUL'S.[ToC]
The great prominence which the High Church movement has assumed in the ecclesiastical history of England during the second and third quarters of the nineteenth century, and the extraordinary success with which it has permeated the Established Church by its influence, have led some writers to exaggerate not a little the place which it occupied in the general intellectual development of the time. In the universities, it is true, it long exercised an extraordinary influence, and Mr. Gladstone, who was by far the most remarkable layman whom it profoundly influenced, was accustomed to say that for at least a generation almost the whole of the best intellect of Oxford was controlled by it. It possessed in Newman a writer of most striking and undoubted genius. In an age remarkable for brilliancy of style he was one of the greatest masters of English prose. His power of drawing subtle distinctions and pursuing long trains of subtle reasoning made him one of the most skilful of controversialists, and he had a great insight into spiritual cravings and an admirable gift of interpreting and appealing to many forms of religious emotion. But though he was a man of rare, delicate, and most seductive genius, we have sometimes doubted whether any of his books are destined to take a permanent and considerable place in English literature. He was not a great scholar, or an original and independent thinker. Dealing with questions inseparably connected with historical evidence, he had neither the judicial spirit nor the firm grasp of a real historian, and he had very little skill in measuring probabilities and degrees of evidence. He had a manifest incapacity, which was quite as much moral as intellectual, for looking facts in the face and pursuing trains of thought to unwelcome conclusions. He often took refuge from them in clouds of casuistry. The scepticism which was a marked feature of his intellect allied itself closely with credulity, for it was directed against reason itself; and though he has expressed in admirable language many true and beautiful thoughts, the glamour of his style too often concealed much weakness and uncertainty of judgment and much sophistry in argument.
Many of those who co-operated with him were men of great learning and distinguished ability. No one will question the patristic knowledge of Pusey, the metaphysical acumen of Ward, the genuine vein of religious poetry in Keble and Faber, the wide accomplishments and scholarly criticism of Church. But on the whole the broad stream of English thought has gone in other directions. In politics the Oxford movement had brilliant representatives in Gladstone and Selborne, but the ideal of the relations of Church and State and the ideal of education to which the Oxford school aspired, have been absolutely discarded. The universities have been secularised. The Irish Established Church, which it was one of the first objects of the party to defend, has been abolished by Gladstone himself, and although the English Established Church retains its hold on the affections of the nation, it is defended by its most skilful supporters on very different grounds and by very different arguments from those which were put forward by the Oxford divines. Among the foremost names in lay literature during the fifty years we are considering, it is curious to observe how few were even touched by the movement. Froude is an exception, but he speedily repudiated it. The mediæval sympathies that were sometimes shown by Ruskin sprang from a wholly different source. Macaulay, Carlyle, Hallam, Grote, Mill, Buckle, Tennyson, Browning, and the great novelists, from Dickens to George Eliot, all wrote very much as they might have written if the movement had never existed. An unusual proportion of the best intellect of England passed into the fields of physical science, and the methods of reasoning and habits of thought which they inculcated were wholly out of harmony with the school of Newman, while both geology and Darwinism have made serious incursions into long-cherished beliefs. Even in the Church itself, though the High Church movement was stronger than any other, great deductions have to be made. The school of independent Biblical criticism, which in various degrees has come to be generally accepted, certainly owed nothing to it, and several of the most illustrious Churchmen of this period were wholly alien to it. Thirlwall and Merivale were conspicuous examples, but they devoted themselves chiefly to great works of secular history. Arnold—who was one of the strongest personal influences of his age, and whose influence was both perpetuated and widened by Dean Stanley—and Whately, who was one of the most independent and original thinkers of the nineteenth century, were strongly antagonistic. In the field of ecclesiastical history it might have been expected that a school which was at once so scholarly and so wedded to tradition would have been pre-eminent, but no ecclesiastical histories which England has produced can, on the whole, be placed on as high a level as those which were written by the great Broad Church divine whose name stands at the head of this article.
Milman was, indeed, a man well deserving of commemoration on account of the works which he produced, yet it is perhaps not too much to say that to those among whom he lived the man seemed even greater than his works. For many years he was a central and most popular figure in the best English literary society, and he reckoned most of the leading intellects of his day among his friends. He was in an extraordinary degree many-sided, both in his knowledge and his sympathies. He was an admirable critic, and the eminent sanity of his judgment, as well as the eminent kindness of his nature, combined with a great charm both of manner and of conversation. Few men of his time had more friends, and were more admired, consulted, and loved.
Mr. Arthur Milman has sketched his father's life in one short volume,[48] written in excellent English and with uniformly good taste. We have read it with much interest, yet in laying it down it is impossible not to be sensible how much of the personal charm which was so conspicuous in its subject has passed beyond recovery. More than thirty years have gone by since the old Dean was laid in his grave, and but few of those who knew him intimately survive. He appears to have kept no journal. He wrote nothing autobiographical, and he had a strong sense of the chasm that should separate private from public life. It was wholly contrary to his unegotistical nature to make the great public the confidant of his domestic affairs or of his inner feelings, and he was deeply sensible of the injustice which is so often done by biographers in printing unguarded, unqualified opinions and judgments, expressed in the freedom of private correspondence. He acted sternly on this view. Many of the foremost men in England were among his correspondents, but he deliberately burnt their letters. 'I could never bear,' we have heard him say, 'that what was written to me by dear friends in the most unreserved and absolute confidence should, through my fault, be one day dragged before the public.' This reticence and this strong feeling of the sanctity of friendship and private correspondence, which is now becoming very rare, was one of his most characteristic traits, but it has necessarily deprived his biography of many elements of interest.
He was the youngest son of Sir Francis Milman, the well-known physician of George III. He was born in 1791, and educated at Eton and Oxford, where he soon distinguished himself as one of the most brilliant of students. He won the Newdigate in 1812, the Chancellor's prize for Latin verse in 1813, the prize for English and Latin essays in 1816. He obtained a first class in classics, and in 1815 he was elected a Fellow of his college. He was ordained in the following year, and a year later Lord Eldon, who was then Chancellor of the university, nominated him to the vicarage of St. Mary at Reading, where he spent eighteen happy and fruitful years. Like most young and brilliant men, he first turned to verse, and for several years he poured out in rapid succession a number of dramas and poems which have been collected in three substantial volumes. The tragedy of 'Fazio' was written when he was still at Oxford, and it was speedily followed by a long and ambitious epic poem called 'Samor, Lord of the Bright City'; by three elaborate sacred dramas, the 'Fall of Jerusalem,' the 'Martyr of Antioch,' and 'Belshazzar'; and by an historical tragedy on 'Anne Boleyn,' as well as by a few minor poems.
Some of these works had considerable popularity. 'Fazio' for many years held its place on the stage. Byron, in one of his letters to Rogers, speaks of its 'great and deserved success' when it was brought out at Covent Garden. Its heroine was a favourite part of Miss O'Neil and of Fanny Kemble. It was translated into Italian by Del Ongaro for Ristori, who acted it with admirable power, and there was also a French translation or adaptation in which Mademoiselle Mars took part. The 'Fall of Jerusalem' was never intended for the stage, but it had a great literary success. Murray, who had given only a hundred and fifty guineas for 'Fazio,' gave five hundred for the 'Fall of Jerusalem,' and he gave the same sum both for the 'Martyr of Antioch' and for 'Belshazzar,' which succeeded it. Neither of these, however, proved as popular as the 'Fall of Jerusalem,' but the 'Martyr of Antioch' contains that noble funeral ode beginning 'Brother, thou art gone before us, and thy saintly soul is flown,' which is familiar to numbers who are probably not aware of its authorship. It is worthy of notice that as recently as 1880 Sir Arthur Sullivan set the 'Martyr of Antioch' to music and brought it out at the Leeds Festival, where it achieved an immediate and brilliant success, and was frequently performed.[49] On the other hand, 'Samor' and 'Anne Boleyn' were almost absolute failures, and, on the whole, the longer poems of Milman have not retained their popularity, and probably now rarely find a reader.
Those who turn to them will certainly be struck by the command of language and metre they display. It was shown both in rhyme and in blank verse. Many fine odes are scattered through them, and in the octo-syllabic verse Milman always appears to us peculiarly happy. But his poetry, like most of the poetry that was written under the Byronic influence, was rather the poetry of rhetoric than of imagination, and it wanted both the intensity and the concentration of the great master. Stately, sonorous, fluent, unfailingly lucid, it was too lengthy and too artificial, and Lockhart was not wholly wrong in pronouncing that it showed 'fine talents, but no genius,' and in urging that prose rather than poetry was the vehicle in which its author was destined to succeed. In addition, however, to the funeral ode to which we have referred, Milman has written many hymns, and some of these are of singular beauty. They appeared originally in the collection of that other great hymn-writer, Bishop Heber, who was one of his dearest friends, and one of the men to whose memory he looked back with the fondest affection. The Good Friday hymn, 'Bound upon th' accursèd tree,' the Palm Sunday hymn, 'Ride on, ride on in majesty,' and perhaps still more that exquisitely pathetic hymn (so often misprinted in modern hymn-books) beginning