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the outworks luud been carried and the breach entered. He pressed into the forlorn hope. At the beginning of the changes, he wrote with incomparable energy and eloquence against the bishops. But, when his opinion seemed likely to prevail, he passed on to other subjects, and abandoned prelacy to the crowd of writers who now hastened to insult a falling party. There is no more hazardous enterprise than that of bearing the torch of truth into those dark and infected recesses in which no light has ever shone. But it was the choice and the pleasure of Milton to penetrate the noisome vapors, and to brave the terrible explosion. Those who most disapprove of his opinions must respect the hardihood with which he maintained them. He, in general, left to others the credit of expounding and defending the popular parts of his religious and political creed. He took his own stand upon those which the great body of his countrymen reprobated as criminal, or derided as paradoxical. He stood up for divorce and regicide. He attacked the prevailing systems of education. His radiant and beneficent career resembled that of the god of light and fertility.

“ Nitor in adversum; nec me, qui cætera, vincit

Impetus, et rapido contrarius evehor orbi.” It is to be regretted that the prose writings of Milton should, in our time, be so little read. As compositions, they deserve the attention of every man who wishes to become acquainted with the full power of the English language. They abound with passages compared with which the finest declamations of Burke sink into insignificance. They are a perfect field of cloth of gold. The style is stiff with gorgeous embroidery. Not even in the earlier books of the Paradise Lost” has the great poet ever risen higher than in those parts of his controversial works in which his feelings, excited by conflict, find a vent in bursts of devotional and lyric rapture. It is, to borrow his own majestic language, "a sevenfold chorus of hallelujahs and harping symphonies.

We had intended to look more closely at these performances, to analyze the peculiarities of the diction, to dwell at some length on the sublime wisdom of the “Areopagitica” and the nervous rhetoric of the “ Iconoclast,” and to point out some of those magnificent passages which occur in the " Treatise of Reformation," and the “ Animadversions on the Remonstrant." But the length to which our remarks have already extended renders this impossible.

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We must conclude. And yet we can scarcely tear ourselves away from the subject. The days immediately following the publication of this relic of Milton appear to be peculiarly set apart, and consecrated to his memory. And we shall scarcely be censured if, on this his festival, we be found lingering near his shrine, how worthless soever may be the offering which we bring to it. While this book lies on our table, we seem to be contemporaries of the writer. We are transported a hundred and fifty years back. We can almost fancy that we are visiting him in his small lodging; that we see him sitting at the old organ beneath the faded green hangings; that we can catch the quick twinkle of his eyes, rolling in vain to find the day; that we are reading in the lines of his noble countenance the proud and mournful history of his glory and his affliction. We image to ourselves the breathless silence in which we should listen to his slightest word, the passionate veneration with which we should kneel to kiss his hand and weep upon it, the earnestness with which we should endeavor to console him, if indeed such a spirit could need consolation, for the neglect of an age unworthy of his talents and his virtues, the eagerness with which we should contest with his daughters, or with his Quaker friend Elwood, the privilege of reading Homer to him, or of taking down the immortal accents which flowed from his lips. These are perhaps foolish feelings. Yet we cannot be ashamed

nor shall we be sorry if what we have written shall in any degree excite them in other minds. We are not much in the habit of idolizing either the living or the dead.

And we think that there is no more certain indication of a weak and illregulated intellect than that propensity which, for want of a better name, we will venture to christen Boswellism. But there are a few characters which have stood the closest scrutiny and the severest tests, which have been tried in the furnace and have proved

pure, which have been weighed in the balance and have not been found wanting, which have been declared sterling by the general consent of mankind, and which are visibly stamped with the image and superscription of the Most High. These great men we trust that we know how to prize ; and of these was Milton. The sight of his books, the sound of his name, are pleasant to us. His thoughts resemble those celestial fruits and flowers which the Virgin Martyr of Massinger sent down from the gardens of Paradise to the earth, and which were distinguished from the productions of other soils, not only by superior

of them;

bloom and sweetness, but by miraculous efficacy to invigorate and to heal. They are powerful, not only to delight, but to elevate and purify. Nor do we envy the man who can study either the life or the writings of the great poet and patriot, without aspiring to emulate, not indeed the sublime works with which his genius has enriched our literature, but the zeal with which he labored for the public good, the fortitude with which he endured every private calamity, the lofty disdain with which he looked down on temptations and dangers, the deadly hatred which he bore to bigots and tyrants, and the faith which he so sternly kept with his country and with his fame.

JOHN BUNYAN.1

The Life of Bunyan is, of course, not a performance which can add much to the literary reputation of such a writer as Mr. Southey. But it is written in excellent English, and, for the most part, in an excellent spirit. Mr. Southey propounds, we need not say, many opinions from which we altogether dissent; and his attempts to excuse the odious persecution to which Bunyan was subjected have sometimes moved our indignation. But we will avoid this topic. We are at present much more inclined to join in paying homage to the genius of a great man than to engage in a controversy concerning church-government and toleration.

We must not pass without notice the engravings with which this volume is decorated. Some of Mr. Heath's wood-cuts are admirably designed and executed. Mr. Martin's illustrations do not please us quite so well. His Valley of the Shadow of Death is not that Valley of the Shadow of Death which Bunyan imagined. At all events, it is not that dark and horrible glen which has from childhood been in our mind's eye. The valley is a cavern: the quagmire is a lake: the straight path runs zigzag: and Christian appears like a speck in the darkness of the immense vault. We miss, too, those hideous forms

, which make so striking a part of the description of Bunyan, and which Salvator Rosa would have loved to draw. It is with unfeigned diffidence that we pronounce judgment on any question relating to the art of painting. But it appears to us that Mr. Martin has not of late been fortunate in his choice of subjects. He should never have attempted to illustrate the “Paradise Lost.” There can be no two manners more directly opposed to each other than the manner of his painting and the manner of Milton's poetry. Those things which are mere accessories in the descriptions become the principal objects in the pictures ; and those figures which are most prominent in the descriptions can be detected in the pictures only by a very close scrutiny. Mr. Martin has succeeded perfectly in representing the pillars and candelabra of Pandemonium. But he has forgotten that Milton's Pandemonium is merely the background to Satan. In the picture, the Archangel is scarcely visible amidst the endless colonnades of his infernal palace. Milton's Paradise, again, is merely the background to his Adam and Eve. But in Mr. Martin's picture the landscape is everything. Adam, Eve, and Raphael attract much less notice than the lake and the mountains, the gigantic flowers, and the giraffes which feed upon them. We read that James the Second sat to Varelst, the great flower-painter. When the performance was finished, his Majesty appeared in the midst of a bower of sun-flowers and tulips, which completely drew away all attention from the central figure. All who looked at the portrait took it for a flower-piece. Mr. Martin, we think, introduces his immeasurable spaces, his innumerable multitudes, his gorgeous prodigies of architecture and landscape, almost as unseasonably as Varelst introduced his flower-pots and nosegays. If Mr. Martin were to paint Lear in the storm, we suspect that the blazing sky, the sheets of rain, the swollen torrents, and the tossing forest, would draw away all attention from the agonies of the insulted king and father. If he were to paint the death of Lear, the old man, asking the by-standers to undo his button, would be thrown into the shade by a vast blaze of pavilions, standards, armor, and heralds' coats. Mr. Martin would illustrate the “ Orlando Furioso” well, the “ Orlando Innamorato” still better, the “ Arabian Nights” best of all. Fairy palaces and gardens, porticoes of agate, and groves flowering with emeralds and rubies, inhabited by people for whom nobody cares, these are his proper domain. He would succeed admirably in the enchanted ground of Alcina, or the mansion of Aladdin. But he should avoid Milton and Bunyan.

1 A review of Robert Southey's illustrated edition of “ The Pilgrim's Progress.”

The characteristic peculiarity of the "Pilgrim's Progress" is that it is the only work of its kind which possesses a strong human interest. Other allegories only amuse the fancy. The allegory of Bunyan has been read by many thousands with tears. There are some good allegories in Johnson's works, and some of still higher merit by Addison. In these performances there is, perhaps, as much wit and ingenuity as in the “ Pilgrim's Progress.” But the pleasure which is produced by the “ Vision of Mirza," the “ Vision of Theodore,” the genealogy of Wit, or the contest between Rest and Labor, is exactly similar to the pleasure which we derive from one of Cowley's odes or from a canto of Hudibras. It is a pleasure which belongs wholly to the understanding, and in which the feelings have no part whatever. Nay, even Spenser himself, though assuredly one of the greatest poets that ever lived, could not succeed in the atiempt to make allegory interesting. It was in vain that he lavished the riches of his mind on the House of Pride and the House of Temperance. One unpardonable fault, the fault of tediousness, pervades the whole of the “Fairy Queen.” We become sick of cardinal virtues and deadly sins, and long for the society of plain men and women. Of the persons who read the first canto, not one in ten reaches the end of the first book, and not one in a hundred perseveres to the end of the poem. Very few and very weary are those who are in at the death of the Blatant Beast. If the last six books, which are said to have been destroyed in Ireland, had been preserved, we doubt whether any heart less stout than that of a commentator would have held out to the end.

It is not so with the “ Pilgrim's Progress.” That wonderful book, while it obtains admiration from the most fastidious critics, is loved by those who are too simple to admire it. Dr. Johnson, all whose studies were desultory, and who hated, as he said, to read books through, made an exception in favor of the “ Pilgrim's Progress.” That work was one of the two or three works which he wished longer. It was by no common merit that the illiterate sectary extracted praise like this froin the most pedantic of critics and the most bigoted of Tories. In the wildest parts of Scotland the “ Pilgrim's Progress" is the delight of the peasantry. In every nursery the “ Pilgrim's Progress ” is a greater favorite than “ Jack the Giant-killer." Every reader knows the straight and narrow path as well as he knows a road in which he has gone backward and forward a hundred times. This is the highest miracle of genius, that things which are not should be as though they were, that the

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