From you have I been absent in the spring,
When proud-pied April, dress’d in all his trim,
Hath put a spirit of youth in every thing;
That heavy Saturn23 laugh’d and leap’d with him.
Yet nor the lays of birds, nor the sweet smell
Of different flowers in odour and in hue24,
Could make me any summer’s story tell,
Or from their proud lap pluck them where they grew:
Nor did I wonder at the lilies white,
Nor praise the deep vermilion in the rose;
They were but sweet, but figures of delight,
Drawn25 after you, you pattern of all those.
Yet seem’d it winter still, and you away,
As with your shadow, I with these did play.
I am not aware of any writer of Sonnets worth mentioning here till long after Milton, that is, till the time of Warton and the revival26 of a taste for Italian and for our own early literature. During the rage for French models the Sonnet had not been much studied. It is a mode of composition that depends entirely27 on expression, and this the French and artificial style gladly dispenses28 with, as it lays no particular stress on anything — except vague, general common-places. Warton’s Sonnets are undoubtedly29 exquisite30, both in style and matter; they are poetical31 and philosophical32 effusions of very delightful33 sentiment; but the thoughts, though fine and deeply felt, are not, like Milton’s subjects, identified completely with the writer, and so far want a more individual interest. Mr. Wordsworth’s are also finely conceived and high-sounding Sonnets. They mouth it well, and are said to be sacred to Liberty. Brutus’s exclamation34, ‘Oh Virtue35, I thought thee a substance, but I find thee a shadow,’ was not considered as a compliment, but as a bitter sarcasm36. The beauty of Milton’s Sonnets is their sincerity37, the spirit of poetical patriotism38 which they breathe. Either Milton’s or the living bard’s are defective39 in this respect. There is no Sonnet of Milton’s on the Restoration of Charles II. There is no Sonnet of Mr. Wordsworth’s corresponding to that of ‘the poet blind and bold’ ‘On the late Massacre40 in Piedmont.’ It would be no niggard praise to Mr. Wordsworth to grant that he was either half the man or half the poet that Milton was. He has not his high and various imagination, nor his deep and fixed41 principle. Milton did not worship the rising sun, nor turn his back on a losing and fallen cause.
Such recantation had no charms for him!
Mr. Southey has thought proper to put the author of Paradise Lost into his late Heaven, on the understood condition that he is ‘no longer to kings and to hierarchs hostile.’ In his lifetime he gave no sign of such an alteration42; and it is rather presumptuous43 in the poet-laureate to pursue the deceased antagonist44 of Salmasius into the other world to compliment him with his own infirmity of purpose. It is a wonder he did not add in a note that Milton called him aside to whisper in his ear that he preferred the new English hexameters to his own blank verse!
Our first of poets was one of our first of men. He was an eminent45 instance to prove that a poet is not another name for the slave of power and fashion, as is the case with painters and musicians — things without an opinion — and who merely aspire46 to make up the pageant47 and show of the day. There are persons in common life who have that eager curiosity and restless admiration48 of bustle49 and splendour, that sooner than not be admitted on great occasions of feasting and luxurious50 display, they will go in the character of livery-servants to stand behind the chairs of the great. There are others who can so little bear to be left for any length of time out of the grand carnival51 and masquerade of pride and folly52, that they will gain admittance to it at the expense of their characters as well as of a change of dress. Milton was not one of these. He had too much of the ideal faculty53 in his composition, a lofty contemplative principle, and consciousness of inward power and worth, to be tempted54 by such idle baits. We have plenty of chanting and chiming in among some modern writers with the triumphs over their own views and principles; but none of a patient resignation to defeat, sustaining and nourishing itself with the thought of the justice of their cause, and with firm-fixed rectitude. I do not pretend to defend the tone of Milton’s political writings (which was borrowed from the style of controversial divinity), or to say that he was right in the part he took — I say that he was consistent in it, and did not convict himself of error: he was consistent in it in spite of danger and obloquy55, ‘on evil days though fallen, and evil tongues,’ and therefore his character has the salt of honesty about it. It does not offend in the nostrils56 of posterity57. He had taken his part boldly and stood to it manfully, and submitted to the change of times with pious58 fortitude, building his consolations59 on the resources of his own mind and the recollection of the past, instead of endeavouring to make himself a retreat for the time to come. As an instance of this we may take one of the best and most admired of these Sonnets, that addressed to Cyriac Skinner, on his own blindness:—
Cyriac, this three years’ day, these eyes, though clear,
To outward view, of blemish61 or of spot,
Bereft62 of light their seeing have forgot,
Nor to their idle orbs doth sight appear
Of sun or moon or stars throughout the year,
Or man or woman. Yet I argue not
Against Heav’n’s hand or will, nor bate5 a jot63
Of heart or hope; but still bear up and steer64
Right onward65. What supports me, dost thou ask?
The conscience, Friend, to have lost them overply’d
In liberty’s defence, my noble task,
Of which all Europe talks from side to side.
This thought might lead me through the world’s vain mask,
Content though blind, had I no better guide.
Nothing can exceed the mild, subdued66 tone of this Sonnet, nor the striking grandeur67 of the concluding thought. It is curious to remark what seems to be a trait of character in the two first lines. From Milton’s care to inform the reader that ‘his eyes wore still clear, to outward view, of spot or blemish,’ it would be thought that he had not yet given up all regard to personal appearance; a feeling to which his singular beauty at an earlier age might be supposed naturally enough to lead. Of the political or (what may be called) his State–Sonnets, those to Cromwell, to Fairfax, and to the younger Vane are full of exalted68 praise and dignified69 advice. They are neither familiar nor servile. The writer knows what is due to power and to fame. He feels the true, unassumed equality of greatness. He pays the full tribute of admiration for great acts achieved, and suggests becoming occasion to deserve higher praise. That to Cromwell is a proof how completely our poet maintained the erectness70 of his understanding and spirit in his intercourse71 with men in power. It is such a compliment as a poet might pay to a conqueror72 and head of the state without the possibility of self-degradation:
Cromwell, our chief of men, who through a cloud,
Not of war only, but detractions rude,
Guided by faith and matchless fortitude,
To peace and truth thy glorious way hast plough’d,
And on the neck of crowned fortune proud
Hast rear’d God’s trophies73 and his work pursued
While Darwen stream with blood of Scots imbrued,
And Dunbar field resounds74 thy praises loud,
And Worcester’s laureat wreath. Yet much remains75
To conquer still; peace hath her victories
No less renown’d than war: new foes76 arise
Threatening to bind77 our souls with secular78 chains;
Help us to save free conscience from the paw
Of hireling wolves, whose gospel is their maw.
The most spirited and impassioned of them all, and the most inspired with a sort of prophetic fury, is the one entitled, ‘On the late Massacre in Piedmont.’
Avenge79, O Lord, thy slaughter’d saints, whose bones
Lie scatter’d on the Alpine80 mountains cold;
Even them who kept thy truth so pure of old,
When all our fathers worshipp’d stocks and stones,
Forgot not: in thy book record their groans81
Who were thy sheep, and in their ancient fold
Slain82 by the bloody83 Piedmontese that roll’d
Mother with infant down the rocks. Their moans
The vales redoubled to the hills, and they
To Heav’n. Their martyr’d blood and ashes sow
O’er all the Italian fields, where still doth sway
The triple Tyrant84; that from these may grow
A hundred fold, who having learn’d thy way
Early may fly the Babylonian woe85.
In the Nineteenth Sonnet, which is also ‘On his blindness,’ we see the jealous watchfulness86 of his mind over the use of his high gifts, and the beautiful manner in which he satisfies himself that virtuous87 thoughts and intentions are not the least acceptable offering to the Almighty88:
When I consider how my light is spent
Ere half my days, in this dark world and wide,
And that one talent which is death to hide,
Lodged89 with me useless, though my soul more bent90,
To serve therewith my Maker91, and present
My true account, lest he returning chide92;
Doth God exact day-labour, light denied,
I fondly ask: But patience to prevent
That murmur93, soon replies, God doth not need
Either man’s work or his own gifts; who best
Bear his mild yoke94, they serve him best; his state
Is kingly; thousands at his bidding speed,
And post o’er land and ocean without rest;
They also serve who only stand and wait.
Those to Mr. Henry Lawes on his Airs, and to Mr. Lawrence, can never be enough admired. They breathe the very soul of music and friendship. Both have a tender, thoughtful grace; and for their lightness, with a certain melancholy complaining intermixed, might be stolen from the harp95 of Aeolus. The last is the picture of a day spent in social retirement96 and elegant relaxation97 from severer studies. We sit with the poet at table and hear his familiar sentiments from his own lips afterwards:—
Lawrence, of virtuous father virtuous son,
Now that the fields are dank and ways are mire60,
Where shall we sometimes meet, and by the fire
Help waste a sullen98 day, what may be won
From the hard season gaining? Time will run
On smoother, till Favonius reinspire
The frozen earth, and clothe in fresh attire99
The lily and rose, that neither sow’d nor spun100.
What neat repast shall feast us, light and choice,
Of Attic101 taste, with wine, whence we may rise
To hear the lute102 well-touched, or artful voice
Warble immortal notes and Tuscan air?
He who of these delights can judge, and spare
To interpose them oft, is not unwise.
In the last, ‘On his deceased Wife,’ the allusion to Alcestis is beautiful, and shows how the poet’s mind raised and refined his thoughts by exquisite classical conceptions, and how these again were enriched by a passionate103 reference to actual feelings and images. It is this rare union that gives such voluptuous104 dignity and touching105 purity to Milton’s delineation106 of the female character:—
Methought I saw my late espoused107 saint
Brought to me like Alcestis from the grave,
Whom Jove’s great son to her glad husband gave,
Rescued from death by force, though pale and faint.
Mine, as whom wash’d from spot of child-bed taint108
Purification in the old law did save,
And such, as yet once more I trust to have
Full sight of her in Heav’n without restraint,
Came vested all in white, pure as her mind:
Her face was veil’d, yet to my fancied sight
Love, sweetness, goodness in her person shined
So clear, as in no face with more delight:
But O as to embrace me she inclined,
I waked, she fled, and day brought back my night.
There could not have been a greater mistake or a more unjust piece of criticism than to suppose that Milton only shone on great subjects, and that on ordinary occasions and in familiar life his mind was unwieldy, averse109 to the cultivation110 of grace and elegance111, and unsusceptible of harmless pleasures. The whole tenor112 of his smaller compositions contradicts this opinion, which, however, they have been cited to confirm. The notion first got abroad from the bitterness (or vehemence) of his controversial writings, and has been kept up since with little meaning and with less truth. His Letters to Donatus and others are not more remarkable113 for the display of a scholastic114 enthusiasm than for that of the most amiable115 dispositions116. They are ‘severe in youthful virtue unreproved.’ There is a passage in his prose-works (the Treatise117 on Education) which shows, I think, his extreme openness and proneness118 to pleasing outward impressions in a striking point of view. ‘But to return to our own institute,’ he says, ‘besides these constant exercises at home, there is another opportunity of gaining experience to be won from pleasure itself abroad. In those vernal seasons of the year, when the air is calm and pleasant, it were an injury and sullenness119 against Nature not to go out and see her riches, and partake in her rejoicing with Heaven and earth. I should not therefore be a persuader to them of studying much then, but to ride out in companies with prudent120 and well-staid guides, to all quarters of the land,’ etc. Many other passages might be quoted, in which the poet breaks through the groundwork of prose, as it were, by natural fecundity121 and a genial122, unrestrained sense of delight. To suppose that a poet is not easily accessible to pleasure, or that he does not take an interest in individual objects and feelings, is to suppose that he is no poet; and proceeds on the false theory, which has been so often applied123 to poetry and the Fine Arts, that the whole is not made up of the particulars. If our author, according to Dr. Johnson s account of him, could only have treated epic124, high-sounding subjects, he would not have been what he was, but another Sir Richard Blackmore. — I may conclude with observing, that I have often wished that Milton had lived to see the Revolution of 1688. This would have been a triumph worthy125 of him, and which he would have earned by faith and hope. He would then have been old, but would not have lived in vain to see it, and might have celebrated126 the event in one more undying strain!
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1
sonnet
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| n.十四行诗 | |
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aspiration
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| n.志向，志趣抱负；渴望；(语)送气音；吸出 | |
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sonnets
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| n.十四行诗( sonnet的名词复数 ) | |
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adorn
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| vt.使美化，装饰 | |
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bate
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| v.压制；减弱；n.（制革用的）软化剂 | |
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fortitude
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| n.坚忍不拔；刚毅 | |
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condescend
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| v.俯就，屈尊；堕落，丢丑 | |
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mingling
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| adj.混合的 | |
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melancholy
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| n.忧郁，愁思；adj.令人感伤（沮丧）的，忧郁的 | |
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immortal
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| adj.不朽的；永生的，不死的；神的 | |
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orbs
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| abbr.off-reservation boarding school 在校寄宿学校n.球，天体，圆形物( orb的名词复数 ) | |
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pensive
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| a.沉思的,哀思的,忧沉的 | |
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exhortation
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| n.劝告，规劝 | |
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quaint
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| adj.古雅的，离奇有趣的，奇怪的 | |
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allusion
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| n.暗示，间接提示 | |
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transgressor
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| n.违背者 | |
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sufficiently
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| adv.足够地，充分地 | |
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riddles
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| n.谜（语）( riddle的名词复数 )；猜不透的难题，难解之谜 | |
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profess
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| v.声称，冒称，以...为业，正式接受入教，表明信仰 | |
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monotonous
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| adj.单调的，一成不变的，使人厌倦的 | |
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luscious
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| adj.美味的；芬芳的；肉感的，引与性欲的 | |
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graceful
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| adj.优美的，优雅的；得体的 | |
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Saturn
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| n.农神，土星 | |
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hue
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| n.色度；色调；样子 | |
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drawn
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| v.拖，拉，拔出；adj.憔悴的，紧张的 | |
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revival
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| n.复兴，复苏，（精力、活力等的）重振 | |
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entirely
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| ad.全部地，完整地；完全地，彻底地 | |
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dispenses
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| v.分配，分与；分配( dispense的第三人称单数 )；施与；配（药） | |
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undoubtedly
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| adv.确实地，无疑地 | |
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exquisite
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| adj.精美的；敏锐的；剧烈的，感觉强烈的 | |
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poetical
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| adj.似诗人的；诗一般的；韵文的；富有诗意的 | |
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philosophical
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| adj.哲学家的，哲学上的，达观的 | |
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delightful
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| adj.令人高兴的，使人快乐的 | |
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exclamation
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| n.感叹号，惊呼，惊叹词 | |
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virtue
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| n.德行，美德；贞操；优点；功效，效力 | |
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sarcasm
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| n.讥讽，讽刺，嘲弄，反话 （adj.sarcastic） | |
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sincerity
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| n.真诚，诚意；真实 | |
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patriotism
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| n.爱国精神，爱国心，爱国主义 | |
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defective
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| adj.有毛病的，有问题的，有瑕疵的 | |
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massacre
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| n.残杀，大屠杀；v.残杀，集体屠杀 | |
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fixed
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| adj.固定的，不变的，准备好的；(计算机)固定的 | |
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alteration
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| n.变更，改变；蚀变 | |
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presumptuous
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| adj.胆大妄为的，放肆的，冒昧的，冒失的 | |
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antagonist
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| n.敌人，对抗者，对手 | |
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eminent
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| adj.显赫的，杰出的，有名的，优良的 | |
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aspire
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| vi.(to，after)渴望，追求，有志于 | |
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pageant
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| n.壮观的游行；露天历史剧 | |
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admiration
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| n.钦佩，赞美，羡慕 | |
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bustle
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| v.喧扰地忙乱，匆忙，奔忙；n.忙碌；喧闹 | |
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luxurious
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| adj.精美而昂贵的；豪华的 | |
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carnival
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| n.嘉年华会，狂欢，狂欢节，巡回表演 | |
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folly
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| n.愚笨，愚蠢，蠢事，蠢行，傻话 | |
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faculty
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| n.才能；学院，系；(学院或系的)全体教学人员 | |
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tempted
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| v.怂恿（某人）干不正当的事；冒…的险（tempt的过去分词） | |
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obloquy
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| n.斥责，大骂 | |
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nostrils
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| 鼻孔( nostril的名词复数 ) | |
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posterity
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| n.后裔，子孙，后代 | |
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pious
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| adj.虔诚的；道貌岸然的 | |
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consolations
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| n.安慰，慰问( consolation的名词复数 )；起安慰作用的人（或事物） | |
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mire
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| n.泥沼，泥泞；v.使...陷于泥泞，使...陷入困境 | |
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blemish
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| v.损害；玷污；瑕疵，缺点 | |
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bereft
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| adj.被剥夺的 | |
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jot
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| n.少量；vi.草草记下；vt.匆匆写下 | |
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steer
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| vt.驾驶，为…操舵；引导；vi.驾驶 | |
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onward
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| adj.向前的，前进的；adv.向前，前进，在先 | |
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subdued
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| adj. 屈服的，柔和的，减弱的 动词subdue的过去式和过去分词 | |
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grandeur
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| n.伟大，崇高，宏伟，庄严，豪华 | |
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exalted
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| adj.(地位等)高的，崇高的；尊贵的，高尚的 | |
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dignified
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| a.可敬的，高贵的 | |
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erectness
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| n.直立 | |
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intercourse
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| n.性交；交流，交往，交际 | |
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conqueror
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| n.征服者，胜利者 | |
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trophies
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| n.（为竞赛获胜者颁发的）奖品( trophy的名词复数 )；奖杯；（尤指狩猎或战争中获得的）纪念品；（用于比赛或赛跑名称）奖 | |
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resounds
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| v.（指声音等）回荡于某处( resound的第三人称单数 )；产生回响；（指某处）回荡着声音 | |
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remains
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| n.剩余物，残留物；遗体，遗迹 | |
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76
foes
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| 敌人，仇敌( foe的名词复数 ) | |
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bind
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| vt.捆，包扎；装订；约束；使凝固；vi.变硬 | |
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secular
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| n.牧师，凡人；adj.世俗的，现世的，不朽的 | |
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79
avenge
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| v.为...复仇，为...报仇 | |
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80
alpine
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| adj.高山的；n.高山植物 | |
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81
groans
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| n.呻吟，叹息( groan的名词复数 )；呻吟般的声音v.呻吟( groan的第三人称单数 )；发牢骚；抱怨；受苦 | |
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82
slain
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| 杀死，宰杀，杀戮( slay的过去分词 )； (slay的过去分词) | |
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83
bloody
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| adj.非常的的；流血的；残忍的；adv.很；vt.血染 | |
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84
tyrant
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| n.暴君，专制的君主，残暴的人 | |
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85
woe
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| n.悲哀，苦痛，不幸，困难；int.用来表达悲伤或惊慌 | |
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86
watchfulness
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| 警惕，留心； 警觉（性） | |
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87
virtuous
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| adj.有品德的，善良的，贞洁的，有效力的 | |
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88
almighty
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| adj.全能的，万能的；很大的，很强的 | |
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89
lodged
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| v.存放( lodge的过去式和过去分词 )；暂住；埋入；（权利、权威等）归属 | |
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90
bent
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| n.爱好，癖好；adj.弯的；决心的，一心的 | |
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91
maker
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| n.制造者，制造商 | |
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chide
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| v.叱责；谴责 | |
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murmur
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| n.低语，低声的怨言；v.低语，低声而言 | |
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yoke
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| n.轭；支配；v.给...上轭，连接，使成配偶 | |
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harp
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| n.竖琴；天琴座 | |
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96
retirement
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| n.退休，退职 | |
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relaxation
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| n.松弛，放松；休息；消遣；娱乐 | |
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sullen
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| adj.愠怒的，闷闷不乐的，(天气等)阴沉的 | |
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99
attire
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| v.穿衣，装扮[同]array；n.衣着；盛装 | |
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100
spun
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| v.纺，杜撰，急转身 | |
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101
attic
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| n.顶楼，屋顶室 | |
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102
lute
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| n.琵琶，鲁特琴 | |
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103
passionate
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| adj.热情的，热烈的，激昂的，易动情的，易怒的，性情暴躁的 | |
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104
voluptuous
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| adj.肉欲的，骄奢淫逸的 | |
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105
touching
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| adj.动人的，使人感伤的 | |
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106
delineation
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| n.记述；描写 | |
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107
espoused
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| v.（决定）支持，拥护（目标、主张等）( espouse的过去式和过去分词 ) | |
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108
taint
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| n.污点；感染；腐坏；v.使感染；污染 | |
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109
averse
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| adj.厌恶的；反对的，不乐意的 | |
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110
cultivation
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| n.耕作，培养，栽培（法），养成 | |
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111
elegance
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| n.优雅；优美，雅致；精致，巧妙 | |
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112
tenor
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| n.男高音（歌手），次中音（乐器），要旨，大意 | |
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113
remarkable
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| adj.显著的，异常的，非凡的，值得注意的 | |
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114
scholastic
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| adj.学校的，学院的，学术上的 | |
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115
amiable
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| adj.和蔼可亲的，友善的，亲切的 | |
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116
dispositions
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| 安排( disposition的名词复数 )； 倾向； （财产、金钱的）处置； 气质 | |
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117
treatise
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| n.专著；(专题)论文 | |
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118
proneness
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| n.俯伏，倾向 | |
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119
sullenness
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| n. 愠怒, 沉闷, 情绪消沉 | |
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120
prudent
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| adj.谨慎的，有远见的，精打细算的 | |
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121
fecundity
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| n.生产力；丰富 | |
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122
genial
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| adj.亲切的，和蔼的，愉快的，脾气好的 | |
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123
applied
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| adj.应用的；v.应用，适用 | |
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124
epic
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| n.史诗，叙事诗；adj.史诗般的，壮丽的 | |
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125
worthy
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| adj.(of)值得的，配得上的；有价值的 | |
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126
celebrated
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| adj.有名的，声誉卓著的 | |
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