it--the ordinary illusion of those who do not consider that the vogue
of a printed appeal depends, not on the contents of the appeal, but on
a predisposition of the public temper.

Selden, the most learned man, not only of his party, but of
Englishmen, was first thought of, but the task was finally assigned
to the Latin Secretary. Milton's ready pen completed the answer,
_Eikonoklastes_, a quarto of 242 pages, before October, 1649. It
is, like all answers, worthless as a book. Eikonoklastes, the
Image-breaker, takes the Image, Eikon, paragraph by paragraph, turning
it round, and asserting the negative. To the Royalist view of the
points in dispute Milton opposes the Independent view. A refutation,
which follows each step of an adverse book, is necessarily devoid of
originality. But Milton is worse than tedious; his reply is in a tone
of rude railing and insolent swagger, which would have been always
unbecoming, but which at this moment was grossly indecent.

Milton must, however, be acquitted of one charge which has been made
against him, viz., that he taunts the king with his familiarity with
Shakespeare. The charge rests on a misunderstanding. In quoting
Richard III. in illustration of his own meaning, Milton, says, "I
shall not instance an abstruse author, wherein the King might be less
conversant, but one whom we well know was the closet companion of
these his solitudes, William Shakespeare." Though not an overt gibe,
there certainly lurks an insinuation to Milton's Puritan readers, to
whom stage plays were an abomination--an unworthy device of rhetoric,
as appealing to a superstition in others which the writer himself does
not share. In Milton's contemptuous reference to Sidney's _Arcadia_ as
a vain amatorious poem, we feel that the finer sense of the author of
_L'Allegro_ has suffered from immersion in the slough of religious and