Milton by Mark Pattison
page 31 of 211 (14%)
page 31 of 211 (14%)
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the period, which may be read in Professor Masson's excellent summary.
All I desire to point out here is, that in _Lycidas_, Milton's original picturesque vein is for the first time crossed with one of quite another sort, stern, determined, obscurely indicative of suppressed passion, and the resolution to do or die. The fanaticism of the covenanter and the sad grace of Petrarch seem to meet in Milton's monody. Yet these opposites, instead of neutralising each other, are blended into one harmonious whole by the presiding, but invisible, genius of the poet. The conflict between the old cavalier world--the years of gaiety and festivity of a splendid and pleasure-loving court, and the new puritan world into which love and pleasure were not to enter--this conflict which was commencing in the social life of England, is also begun in Milton's own breast, and is reflected in _Lycidas_. For we were nurs'd upon the self-same hill. Here is the sweet mournfulness of the Spenserian time, upon whose joys Death is the only intruder. Pass onward a little, and you are in presence of the tremendous Two-handed engine at the door, the terror of which is enhanced by its obscurity. We are very sure that the avenger is there, though we know not who he is. In these thirty lines we have the preluding mutterings of the storm which was to sweep away mask and revel and song, to inhibit the drama, and suppress poetry. In the earlier poems Milton's muse has sung in the tones of the age that is passing away; the poet is, except in his austere chastity, a cavalier. Though even in _L'Allegro_ Dr. Johnson |
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