Chapter V: Paradise Regained and Samson Agonistes (1)

_Paradise Regained_, like the _Odyssey_, the _Aeneid_ and the second part of _Faust_, has been an inevitable victim of the human taste for comparison. It cannot fail to be compared with _Paradise Lost_ and cannot fail to suffer by it. The poets and critics have indeed been kinder to it than the public. Johnson said that if it had not been written by Milton "it would receive universal praise." Wordsworth thought it "the most perfect in execution of anything written by Milton." But the great body of readers finds an epic with only two main actors in it, and hardly anything that can be called a story, too severe a demand upon its poetic taste. And when unprofessional opinion remains constant for several generations, as it has in this case, it is never wise to ignore or defy it. _Paradise Regained_ is a very bare poem. It has none of the splendours of its predecessor: no {197} scenes in which we hear the full voice of that Milton

"Whose Titan angels, Gabriel, Abdiel,
Starr'd from Jehovah's gorgeous armouries,
Tower, as the deep-domed empyrean
Rings to the roar of an angel onset;"

nor yet any of those others which delighted Tennyson even more, the scenes of Adam's

"bowery loneliness,
The brooks of Eden mazily murmuring,
And bloom profuse and cedar arches."

It has no love, no sin, no quarrel, no reconciliation, no central moment of tragic suspense, indeed no human action at all. And Milton has refrained almost absolutely from adorning it with the similes which are among the chief glories of _Paradise Lost_. It is, in fact, as Mark Pattison has said, "probably the most unadorned poem extant in any language."

At the very beginning of _Paradise Lost_ Milton had cast his eye on to that second chapter in the Christian history of man without which the first is a mere picture of despair. His subject was to be man's first disobedience and its results; death, woe and loss of Eden

"till one greater Man
Restore us and regain the blissful seat."

{198} Whether he then had any thought of attempting to deal with that restoration we do not know. Nor do we know what motives induced him to choose the story of the Temptation in the Wilderness as the action in which the new order of things was to be manifested. Some critics have been surprised that he did not take the Crucifixion or the Resurrection. And it is obvious that the first, with the Tree of Calvary pointing back to the Tree in the Garden, would have afforded a natural sequence to _Paradise Lost_. Others have wondered that he did not use the Descent into Hell in which the liberation of Satan's captives would have followed on the story of how they fell into his power. And it is obvious that there were great poetic, and especially Miltonic, possibilities in the theme of the victorious Son of God entering the very kingdom in which the Satan of _Paradise Lost_ had exercised such splendid rule, and setting free the saints and prophets and kings of the Old Testament. But it is possible, as Sir Walter Raleigh has suggested, that Milton was no longer in the vein for grandiose themes of external majesty and might such as this story would have afforded. "His interest was now centred rather in the sayings of the wise than in the deeds of the mighty." That {199} may be so: though his _Samson_ which was yet to come is certainly not without its mighty deeds. But, whatever were his reasons for putting aside such subjects as the Descent into Hell, it is not difficult to discover several which he probably found decisive in inducing him to prefer the Temptation to the Passion. To begin with, he must have been conscious of the immensely greater difficulty of handling the story of the Passion in such a way that Christian readers could bear to read it. Then, even more certainly operative on his mind was the fact that the Passion is related to us in great detail, the Temptation in a few words of mysterious import; so that the one leaves almost no freedom of invention to the poet, while the other scarcely binds him at all. Then again there is the close parallelism between the temptation in the Garden and the temptation in the Wilderness; and finally, most important of all, the fact that the Temptation is the only event in the life of Christ in which Satan plays a visible and important part. A poem that was to be a second part of _Paradise Lost_ could not do without Satan; and in fact he is even more prominent in _Paradise Regained_, where he is present throughout, than in its predecessor of which there are several books which scarcely so {200} much as mention him. This was no doubt decisive.

So Milton chose the Temptation in the Wilderness as his subject, with Satan once more as one of the two principal actors in his story. But the actor is even more changed than the story. The Satan of the later poem is no longer the splendid rebel of _Paradise Lost_. _Paradise Regained_ has in it no heavenly battles and its council of devils is a mere shadow of the great parliament of hell. It has, therefore, no place either for the general of the infernal armies or for the Prime Minister of the infernal Senate. The magnificent figure who imposes himself on the imagination--

"Like Teneriffe or Atlas unremoved"--

becomes in it something far less impressive, a political theorist instead of a statesman, a student of the balance of power instead of a soldier, a casuistical disputant about culture and morals in place of a devil venturing all for empire and revenge. It is as if Alexander were exchanged for Aristotle: almost as if St. George were replaced by Mr. Worldly Wiseman. The imagination is affected by the inevitable loss of colour, and _Paradise Regained_ is the sufferer in fame and popularity. It also suffers from the old difficulty {201} inherent in supernatural personages which affects it even more than _Paradise Lost_. The whole action is a succession of Temptations. The question how far such attempts by a devil upon a Divine Being can afford any hope to the one or any fear or danger to the other is a mystery of which the Church itself scarcely claims to offer a full explanation. Into the theological difficulty this is not the place to enter. It is only with the corresponding poetic difficulty which we are concerned. Just as in _Paradise Lost_ it is impossible not to feel the unreality of the war in heaven, so in _Paradise Regained_ it is impossible not to feel, in spite of some inconsistency of language on the subject, that Satan commonly knows who it is whom he is assailing and is known by Him in return, and that consequently the whole action has for poetic purposes a certain unreality. He knows that Jesus is the Son of God; with a right to the homage of all nature and the power to take all as His own. He asks--

"Hast thou not right to all created things?
Owe not all creatures, by just right, to thee service?"

Yet he discusses with Him various very human methods of arriving at power, just as {202} if He were subject to the same conditions as other men who desire to rule or influence the world. The consequence is that, although the speeches contain much interesting thought and much fine poetry, they are seldom or never dramatically convincing. Our Lord, in particular, instead of the gracious and winning figure of the Gospels, becomes a kind of self-sufficient aristocratic moralist. His speeches, as Milton gives them, display rather the defiant virtue of the Stoic, or the self-conscious righteousness of the Pharisee, than the simple and loving charity of the Christian. The weapon of moral and intellectual contempt, so freely employed in them and so natural both to Jew and to Greek, strikes to us a false and jarring note when put into the mouth of Him who taught His disciples that the only way of entry into His kingdom was that of being born again and becoming as little children.

These are all serious drawbacks and they are not the only ones. If from one point of view Milton in _Paradise Regained_ is too little of a Christian, from another he is too much. One of the gravest difficulties with which Christian apologists have always had to contend is the entire indifference of the New Testament and, generally speaking, of the {203} Church in all ages, especially the most devout, not only to economic and material progress, but to all elements except the ethical and spiritual in the higher civilization of humanity. At its friendliest the Church has hardly ever been willing to allow to such things any inherent or independent importance of their own. Those who feel that they owe an incalculable debt to art and poetry and philosophy and therefore to the Greeks, have inevitably found this attitude a stumbling-block. And they will always read with exceptional surprise and indignation the narrow obscurantism of the speech which Milton, scholar and artist as he was, is not ashamed to put into the mouth of Christ in the fourth book. He cannot himself have been a victim of the shallow fallacy expressed in line 325 (he who reads gets little benefit unless he brings judgment to his reading "and what he brings what need he elsewhere seek?"); and his lifelong practice shows that he did not think Greek poetry was

"Thin-sown with aught of profit or delight."

Nor could he have seriously thought that the Hebrew prophets taught "the solid rules of civil government," of which in fact they knew nothing except on the moral side, better than the statesmen and philosophers of Rome and {204} Athens. The explanation is, perhaps, partly that Milton was an Arian, and therefore felt at liberty to emphasize the Jewish limitations of Christ: limitations the possibility of which, as recent controversies have shown, even Athanasian opinion has been forced to face. But, in any case, in the _Paradise Regained_ stress is necessarily, for dramatic purposes, laid on the Hebrew and Messianic character of Christ, and from that point of view it is not unnatural to make Him the spokesman of Hebrew resistance to the intellectual encroachments of Greece and Rome. Another part of the explanation is that the strong Biblical and Hebraic element in Milton's character does seem to have increased in strength during his later years. It was far from getting exclusive possession even then, and all the evidence shows that he was always the very opposite of the narrow-minded Puritan fanatics of his day. But his tendencies in that direction would be exaggerated while he was occupied with a purely Biblical subject. And he may have thought, if he thought about the question at all, that the contemptuous tone adopted about classical culture in the speech of Christ was not only dramatically defensible, but balanced by the far finer passage, evidently written from his {205} heart, in which Satan exalts the glories of Athens. It is, perhaps, the most famous thing in the poem.

"Look once more, ere we leave this specular mount,
Westward, much nearer by south-west; behold
Where on the Aegean shore a city stands,
Built nobly, pure the air and light the soil--
Athens, the eye of Greece, mother of arts
And eloquence, native to famous wits
Or hospitable, in her sweet recess,
City or suburban, studious walks and shades.
See there the olive-grove of Academe,
Plato's retirement, where the Attic bird
Trills her thick-warbled notes the summer long;
There flow'ry hill Hymettus, with the sound
Of bees' industrious murmur, oft invites
To studious musing; there Ilissus rolls
His whispering stream. Within the walls then view
The schools of ancient sages, his who bred
Great Alexander to subdue the world,
Lyceum there; and painted Stoa next.
There thou shalt hear and learn the secret power
Of harmony, in tones and numbers hit
By voice or hand, and various-measured verse,
Aeolian charms and Dorian lyric odes,
And his who gave them breath, but higher sung,
{206}
Blind Melesigenes, thence Homer called,
Whose poem Phoebus challenged for his own.
Thence what the lofty grave Tragedians taught
In chorus or iambic, teachers best
Of moral prudence, with delight received
In brief sententious precepts, while they treat
Of fate, and chance, and change in human life,
High actions and high passions best describing."

It is plainly the very voice of the poet himself, and he may have felt certain that we should so understand it. But it is difficult not to regret that it is the Devil who is made to pay Milton's great debt to Athens and Christ who is made to repudiate it.

Yet, in spite of all this, in spite of its disdain of the obvious attractions open to poetry, in spite of much in it that alienates the sympathies of many, the _Paradise Regained_ has received very high praise from the finest judges of English poetry. Johnson and Wordsworth have already been quoted, and to them may be added Coleridge, who says of it that "in its kind it is the most perfect poem extant," and Mr. Mackail, who has spoken of its "unique poetic qualities." Why have the poets and critics been so much {207} more favourable to it than the public? Perhaps because artists are always inclined to value work in proportion to its difficulties. Indeed, this fallacy seems natural to all classes of men about their own work. Gardeners in England tend to admire a man who grows indifferent oranges more than a man who grows good strawberries. It is like what Johnson said of the preaching lady: "Sir, a woman's preaching is like a dog's walking on his hinder legs. It is not done well; but you are surprised to find it done at all." This tendency to let surprise sit in the seat which belongs to judgment is greatly intensified by professional knowledge. The architect is apt to exaggerate the merit of a building placed on a very awkward site, the artist to think a piece of very difficult foreshortening more beautiful than it really is. The public may not be so good a judge either of the building or of the drawing: but, knowing nothing of the technical difficulties, it at least forms its judgment on the true criterion which is, of course, the value of the product, not the surprisingness of its having been produced or the difficulties overcome in its production.

Something of this kind may account for the fact that _Paradise Regained_ has been more appreciated by the poets than by the public. {208} The public finds it rather bare and dry and judges accordingly. The poets know how infinitely hard a task it was that Milton set himself, and find no praise too great for the man who did not fail in it. They see a poem of two thousand lines whose single subject is the attempt of a devil who knows himself doomed to defeat to persuade a divine Person who knows Himself assured of victory to be false to the law of His being. And into this barren theme they see art and nature, ethics and politics, luxury and splendour and empire, cunningly interwoven and

"Eden raised in the waste Wilderness."

They see a style stripped of almost all ornament especially in the speeches of our Lord: the poet deliberately walking always on the very edge of the gulf of prose and yet always as one perfectly assured that into that gulf his feet can never fall. Here and there, as when we come upon such lines as

"I never liked thy talk, thy offers less,"

we are nervous as we watch: but the poet passes on his way serenely unconscious of our fears, and in the very next speech is on the heights of poetry with the great description {209} of Athens. Once only, perhaps, in the reply to Satan after the storm--

"Me worse than wet thou find'st not,"

we feel that the cunningly maintained balance has failed and that the limit has been passed which divides the severe from the grotesque.

The truth is that, if the narrowness of its subject and the austerity of its style be admitted, _Paradise Regained_ is a poetic achievement as great as it is surprising. It cannot be _Paradise Lost_, of course, and that is the fault for which it has not been forgiven. And its fine things are even less evident, much less evident, at a first reading than those of _Paradise Lost_. But Milton has left nothing more Miltonic. He did greater things but nothing in which he stands so entirely alone. There is no poem in English, perhaps none in any language of the world, which exhibits to the same degree the inherent power of style itself, in its naked essence, unassisted by any of its visible accessories. There are in it, of course, some passages of characteristic splendour, the banquet in the wilderness, the vision of Rome, and others; but a large part of the poem is as bare as the mountains and, to the luxurious and conventional, as bleak and forbidding. Its grave Dorian music, scarcely {210} heard by the sensual ear, is played by the mind to the spirit and by the spirit to the mind. Ever present as its art is, it is an art infinitely removed from that to which all the world at once responds and surrenders. It is not at first seen to be art at all. The verse which in truth dances so cunningly appears to the uninitiated to stumble and halt. The music, which the common ear is so slow to catch, makes us think of those Platonic mysteries of abstract number seen only in their perfection by some godlike mathematician who lives rapt above sense and matter in the contemplation of the Idea of Good.

But, if there is much in an art so consummate as Milton's which escapes analysis, there are also elements which can be measured and weighed. Here as in the _Paradise Lost_ students of metre can count and compare his stresses and pauses, and set out some finite portion of the infinite variety of rhythms which, even more needed here than in _Paradise Lost_, sustain the poem in its difficult flight over so apparently barren a country. The art of the poet as distinct from the musician is less difficult to trace. An avowed sequel has to recall its predecessor and yet not to recall it too much. _Paradise Regained_ recalls _Paradise Lost_ by its central action, a {211} temptation, by its council of devils, by its assembly of the heavenly host, by a hundred echoes of phrase and circumstance. But though the heavenly host is itself unchanged, though it is still the old "full frequence bright Of Angels" yet there is now no real council. The Son, the only spokesman who can address the Father, is no longer present, and even the hymn of the angels gets no more than a vague description. A greater change has come over the infernal council: scarcely any longer infernal, for their leader can now open his address to them with

"O ancient Powers of Air and this wide World,"

and the meeting is held in mid air and no longer in hell. Nor is any rivalry attempted with the great debate of _Paradise Lost_: only enough to awaken its memory in the reader and to enable the poet to find a place in the second meeting for the most obvious of temptations which yet reverence forbade him to introduce into the main action. And note how this contains at least one of those small dramatic touches for which, except from Mr. Mackail, Milton has got too little credit. Satan asks how he is to assail the new enemy: and Belial, who stands for the sensualist man of the world, at once offers his suggestion. {212} He is sure, as such men always are, that the lowest motive is invariably the true mainspring and explanation of all human actions: there is no beating about the bush with him: he is frank and cynical, and begins at once without shame, apology or preface--

"Set women in his eye and in his walk."

What could be more exactly in the downright manner affected by men of his type in the world of to-day and every day? And there are other similar touches. Then again the sequel recalls its predecessor when we hear Satan strike the very note he struck so often in _Paradise Lost_--

"'Tis true, I am that Spirit unfortunate,"

and when we see him fall in ruin at the awful end of the long debate--

"Now shew thy progeny; if not to stand
Cast thyself down; safely, if Son of God;
For it is written: 'He will give command
Concerning thee to his Angels: in their hands
They shall uplift thee, lest at any time
Thou chance to dash thy foot against a stone.'
To whom thus Jesus: Also it is written
'Tempt not the Lord thy God.' He said, and stood:
But Satan, smitten with amazement, fell."

{213}

Nor must it be supposed by those who have not read the _Paradise Regained_ that the bareness of its style is invariable. Most conspicuous, for reasons of reverence no doubt, in the speeches of Christ, it is far less marked in those of Satan and disappears altogether in some of the descriptive passages. Take, for instance, the famous temptation of the banquet--

"He spake no dream; for, as his words had end,
Our Saviour, lifting up his eyes, beheld
In ample space under the broadest shade,
A table richly spread in regal mode,
With dishes piled, and meats of noblest sort
And savour; beasts of chase, or fowl of game,
In pastry built, or from the spit, or boiled,
Grisamber-steamed; all fish from sea or shore
Freshet or purling brook, of shell or fin,
And exquisitest name, for which was drained
Pontus, and Lucrine bay, and Afric coast.
Alas, how simple, to these cates compared,
Was that crude apple that diverted Eve!
And at a stately sideboard, by the wine,
That fragrant smell diffused, in order stood
Tall stripling youths rich-clad, of fairer hue
Than Ganymed or Hylas; distant more,
Under the trees now tripped, now solemn stood,
Nymphs of Diana's train, and Naiades
With fruits and flowers from Amalthea's horn,
{214}
And ladies of the Hesperides, that seemed
Fairer than feigned of old, or fabled since
Of faery damsels met in forest wide
By knights of Logres, or of Lyones,
Lancelot, or Pelleas, or Pellenore."

_Paradise Lost_ itself contains no more intricately beautiful passage than this. It is one of those things that have been the delight and despair of poets ever since. For all his disdain of the follies of the Middle Age Milton can never touch the old romances, as Joseph Warton well noted, without immediately rising into the most exquisite poetry: and this reluctant homage of classical genius is the greatest tribute ever paid to their undying fascination.

But of course such a passage as this is not typical of the poem: it is one of its far-shining heights which cannot be altogether missed even by eyes quite blind to the beauties of the lower country through which _Paradise Regained_ takes the most part of its course. Ordinarily the poem is grave, plain and unadorned, engaged in the discussion of moral problems which give little opportunity for the more obvious graces of poetry. The interest of the speeches which constitute the bulk of it is threefold: technical, in the rhythmical or metrical skill by which Milton sustains an {215} abstract discourse expressed in unadorned language and keeps it at the level of high poetry; moral or intellectual, the interest of the subjects discussed; and, the greatest of all for many readers, autobiographical, the interest of the evidence they afford of the poet's own thoughts and character. All may be seen, for instance, in such a confession as that of Satan in the first book--

"Envy, they say, excites me, thus to gain
Companions of my misery and woe!
At first it may be; but, long since with woe
Nearer acquainted, now I feel by proof
That fellowship in pain divides not smart,
Nor lightens aught each man's peculiar load."

There is scarcely a word in it that prose cannot use even to-day. The thought is one that might come from any moralist; there is nothing daring or imaginative about it. Yet out of this what poetry Milton has made! The personal emotion of it, the note of confession and individual experience, has lifted it altogether above the level of the cold maxims of the preacher who gives no sign of having suffered, or sinned, or so much as lived, himself. Then the art of it: so entirely unperceived by the ordinary reader, so invincible in its effect upon him. The whole secret of it defies analysis: but a few ingredients can {216} be detected. There is comparatively little of Milton's favourite alliteration: the tone of the passage is too quiet for the free use of an artistic device so instantly visible. But note the beautiful line--

"Companions of my misery and woe"--

itself free flowing without a pause of any kind, so as to prepare the better for the full pause both of sense and of rhythm which separates it from what follows. Then there is the vivid conversational "At first it may be," and its pause, contrasting so finely with the next line where the pause is also after the fifth syllable, but with a totally different effect. Note again the variety of rhythm which distinguishes the last two lines. Neither has any strong pause in it: and they might so easily have been a monotonous repetition. Is it fanciful to think that, perhaps half unconsciously, Milton has suggested the quick stab of pain or sorrow in the swift movement of the first: and that the long-drawn rhythm of the second is meant to convey something of the dull years of misery which so often follow? Its first six syllables--

"Nor lightens aught each man's,"

if given their full effect of sound, take perhaps half as long again to read as the first six of the {217} preceding line. In any case, whatever was meant by it, the line is a most beautiful one in itself, as well as full of one of the most moving of human things, a strong man's confession that his strength does not always suffice him.

These obviously autobiographical passages are to be found all through the poem. There are the stately Roman embassies coming and going in all their pomp: in which it is surely Cromwell's Foreign Secretary who sees nothing but

"tedious waste of time, to sit and hear
So many hollow compliments and lies,
Outlandish flatteries."

There is the old contempt of war and those who in virtue of their victories

"swell with pride, and must be titled Gods,"

and of the mob who praise and admire

"they know not what,
And know not whom, but as one leads the other;
And what delight to be by such extolled,
To live upon their tongues and be their talk?
Of whom to be dispraised were no small praise,
His lot who dares be singularly good."

There is the contempt of wealth--

"Extol not riches then, the toil of fools,
The wise man's cumbrance, if not snare;"

{218} a contempt which Milton shares with nearly all saints and heroes and most philosophers; a little ungratefully, perhaps, as if forgetting that, compared with the mass of men, he had himself always been rich, and that what he owed to the toil of his father had not proved in his case a snare or a cumbrance, but the necessary condition of the learning and the leisure he had used so nobly. Finally, to give no more instances, there is the confession at once so personal and so representative of the feeling of all men who have ever made the smallest effort to live well--

"Hard are the ways of truth, and rough to walk,
Smooth on the tongue discoursed, pleasing to the ear,
And tunable as sylvan pipe or song."

Who knows whether behind such words as these there lies the memory of some rapturous vision of the new world of love as St. Paul saw it, which had been cooled only too soon by humbling experience of the difficulty of "bearing all things" when all things included Salmasius, or an unthankful daughter?

This grave introspective note, present from the first in everything written by Milton and far more conspicuous in _Paradise Regained_ than in _Paradise Lost_, is felt still more in the {219} last of his works, the drama _Samson Agonistes_. It is in the Greek form with a Chorus: and is as broodingly full as Aeschylus or Sophocles of the folly of man and the uncertainty and sadness of human life; but Milton has added an angry sternness of judgment on the one hand, and on the other an assured faith in divine deliverance, both of which are rather Hebrew than Greek. Into this strange drama, so alien from all the literature of his day, Milton has poured all the thoughts and emotions with which the spectacle of his own life filled him. All through it we hear a faith that was strong but never blind battling with the spectacle of the wickedness of men and the dark uncertainty of the ways of God. The Philistines have triumphed, lords sit "lordly in their wine" at Whitehall, the Dagon of prelatism is once more enthroned throughout the land, the saints are dispersed and forsaken, and he himself, who had as he thought so signally borne his witness for God, sits blind and sad in his lonely house, "to visitants a gaze Or pitied object," with no hope left of high service to his country and no prospect but that of a "contemptible old age obscure." No doubt he did not always feel like that, for the evidence shows him cheerful and friendly in company: and, of {220} course, the picture has undergone the imaginative heightening of art besides being coloured by the story of Samson, so much sadder than Milton's own. But the lonely hours of a blind man of genius who has fought for a great cause and been utterly defeated must often be full of the hopeless half-resigned and half-rebellious broodings in which throughout _Samson_ we hear so plainly the voice of Milton himself.

"God of our fathers! what is Man,
That thou towards him with hand so various--
Or might I say contrarious?--
Temper'st thy providence through his short course;
Not evenly, as thou rulest
The angelic orders and inferior creatures mute,
Irrational and brute?
Nor do I name of men the common rout,
That wandering loose about
Grow up and perish as the summer fly,
Heads without name, no more remembered;
But such as thou hast solemnly elected,
With gifts and graces eminently adorned,
To some great work, thy glory,
And people's safety, which in part they effect:
Yet toward these thus dignified thou oft,
Amidst their highth of noon,
Changest thy countenance and thy hand, with no regard
Of highest favours past
From thee on them, or them to thee of service."

{221} This is Milton undisguised speaking of and for himself. And so is the still sadder outburst in the very first speech of Samson--

"O dark, dark, dark, amid the blaze of noon,
Irrecoverably dark, total eclipse
Without all hope of day!
O first-created beam, and thou great Word,
'Let there be light, and light was over all';
Why am I thus bereaved thy prime decree?
The Sun to me is dark
And silent as the Moon
When she deserts the night,
Hid in her vacant interlunar cave.
Since light so necessary is to life,
And almost life itself, if it be true
That light is in the soul,
She all in every part, why was the sight
To such a tender ball as the eye confined,
So obvious and so easy to be quenched,
And not, as feeling, through all parts diffused,
That she might look at will through every pore?
Then had I not been thus exiled from light,
As in the land of darkness, yet in light,
To live a life half dead, a living death,
And buried; but, O yet more miserable!
Myself my sepulchre, a moving grave;
Buried, yet not exempt,
By privilege of death and burial,
From worst of other evils, pains, and wrongs,
But made hereby obnoxious more
{222}
To all the miseries of life,
Life in captivity
Among inhuman foes."

This sublime music in which the soul's emotion finds and obeys its own law was scarcely audible to the age which followed Milton's death, when poets had concentrated all their art on the effort to make both language and metre as instantaneously intelligible as possible. They succeeded much better in the second task than in the first: for the truth is that the exact meaning of a verse is much more often difficult to ascertain in the case of Pope than in the case of Milton. But no one has ever doubted how to read aloud a line of Pope or Dryden. And this has obvious advantages and was, of course, at first a great source of pleasure. It made Pope's poetry the most immediately popular we have ever had, as it still is the most effective for public quotation. Almost everybody, as Mr. Bridges has said, "has a natural liking for the common fundamental rhythms" and "it is only after long familiarity with them that the ear grows dissatisfied and wishes them to be broken." But in poetry as in music the more cultivated the ear the sooner it gets tired of being given too little to do: and as soon as every warbler had Pope's {223} tune by heart critical readers began to wish for something less obvious. The ultimate result of that dissatisfaction was the metrical experiments of Coleridge and the rich harvest of varied rhythms and melody with which Shelley and Tennyson and Swinburne enriched the nineteenth century. And all this movement had also, of course, a retrospective effect. It may be true that, as Mr. Bridges says, "there are very few persons indeed who take such a natural delight in rhythm for its own sake that they can follow with pleasure a learned rhythm which is very rich in variety, and the beauty of which is its perpetual freedom to obey the sense and diction;" but it could not fail to be the case that their number was increased by the comparative sensitiveness to the more intricate music of words which was inevitably produced in those who had learnt much Shelley or Tennyson by heart. And such people at once heard things in Milton which were absolutely inaudible to the ears of Dr. Johnson's generation. The comparative subtlety, both in imagination and in form, of the poetry of the nineteenth century made it impossible for poets to compete with journalists for the attention of the big public as Pope had done triumphantly; but as a set off against that loss it gave a far {224} richer delight to those who were capable of that interaction of the natural ear and the spiritual to which all great poetry makes its appeal. This led straight back to Milton who made that double appeal as only a very few poets in all the world have ever made it. And the more poetry is studied and loved as the greatest of the arts, as the medium through which that combination of the vision of genius with the slow trained cunning of the craftsman, which is what great art is, finds its most perfect expression, the more will men, or at least Englishmen, return to Milton. And especially, in some ways, to _Samson_, where his art is at its boldest and freest, and where it suffered longest from the indifference of dull ears.

A little book of this kind is not the place for a discussion of English metre, or even, in any detail, of Milton's. Those who wish to go into such studies will find much of what they want in the Poet Laureate's book on _Milton's Prosody_. It is possible to disagree with some of his proposed scansions of doubtful lines, but it is impossible not to learn a great deal from suggestions as to the rhythmical effects intended by Milton which come, as these do, from one who is himself a master of rhythm and has never concealed the fact {225} that Milton's was one of the schools in which he passed his apprenticeship. So his analysis, line by line, of the opening of the first chorus of _Samson_ will be a revelation to many of what they have, perhaps, never felt at all, or felt only unconsciously without understanding anything of what it was which they felt or why. But even without such help no one whose ear has had the smallest training can fail to notice some of the more daring of Milton's metrical effects. In the lines quoted above, for instance, who can miss the triple stab of passionate agony in the thrice repeated, strongly accented "dark, dark, dark"? The most careless reader cannot fail to be arrested by the line, though he may not realize the means employed by Milton to enforce attention, the rare six stresses in a ten-syllabled line, the still rarer effect of three strongly stressed syllables following immediately upon one another, the inversion of three out of the five stresses of the next line, "irrecoverably dark" suggesting the spasmodic disorder of violent grief. These are certainly devices deliberately chosen for producing the required effects. And so, probably, are the more regular rhythm of the words which express the calming aspiration up to the throne of God, and the quiet {226} mono-syllabic simplicity of the divine utterance, "Let there be light," which continues its softening influence over the return in the following lines to his own sad conditions. How smoothly the complaint now goes: "The sun to me is dark And silent as the moon." It is in comparison with the earlier abruptness as if he had gone through something like the process of the psalmist, "until I went into the sanctuary of God: then understood I" what had before been "too painful for me." Then there is the comparatively unmarked rhythm of the intellectual argumentative passage which follows: till emotion begins again to overwhelm reflection, and shows itself in the strong alliteration of "light," "land," "light," "live," "life," "living," and in the strong caesura after "buried," the more marked for coming so early in the verse.

Such poor noting of technicalities as this gives, of course, no more of the secret of Milton's wonderful poetry than anatomy gives of the power and beauty of the human body. But it has its interest and even its use: provided that too much importance is not attributed to it and that no one makes the mistake of the lady who, according to the story, hopefully asked the painter what he mixed {227} his paints with, and received the crushing reply, "With my brains, Madam."

_Samson Agonistes_ stands in marked contrast to its predecessor, _Paradise Regained_. And not only in being a drama. Its intense omnipresent emotion makes a still more important difference. In passing from one to the other we pass from the least to the most emotional of Milton's works. This would in any case have been a gain for most readers: but the gain is made more important by the extreme severity of Milton's final poetic manner. A style which excludes almost all ornament stands in especial need of the support of a visibly felt emotion. It has been said by a living writer that "when reason is subsidiary to emotion verse is the right means of expression, and, when emotion to reason, prose." This is roughly true, though the poetry of mere emotion is poor stuff. The special faculty of the poet, as Johnson well said, is that of joining music with reason. That is to say that the poet unites thought and feeling and gives them perfect expression. They are not distinct: they become in his hands a new single life, a unity. You cannot separate the emotion from the thought in any great line of poetry. When Wordsworth talks of the "unimaginable touch of time," there is {228} plainly emotion as well as thought and memory in his words: when Shelley cries in his despair--

"Fresh spring, and summer, and winter hoar,
Move my faint heart with grief, but with delight
No more--O never more!"

it is no mere cry of the heart: the mind is in it too: and neither in him nor in Wordsworth can you get the two apart again after the poet has joined them together.

Now, though in _Paradise Regained_ the intellect is not allowed, as in much eighteenth-century poetry, to become so dominant as to make us feel that prose and not verse was the proper medium for what the poet had to say, yet it does play a greater part than it can commonly play with safety, perhaps a greater part than it plays in any other English poem of the first rank. It is only Milton's unfailing gift of poetic style which saves the situation. He could do what Wordsworth could not: conduct long discussions on abstract questions without descending from the note of poetry to that of the lecture-room. The gallant explorer who fights his way through the _Prelude_ and the _Excursion_ wins, as he deserves, a great reward, and a greater still if he does it a second time and a third, {229} when he has learnt that they both have marshy valleys into which he need not twice descend. But he has paid a price for the lesson, paid it in the endurance of a great deal of solid and heavy prose. That is partly because Wordsworth often thinks without feeling or imagining: he gives us his thought as it is in itself, as a professor of moral philosophy gives it, without passing it through the transforming processes of the emotions and the imagination. These hardly fail Milton half a dozen times in all his poetry: and the result is the difference between such lines as--

"This is the genuine course, the aim, and end
Of prescient reason; all conclusions else
Are abject, vain, presumptuous, and perverse:"

and such as Milton writes when he is nearest to bare thinking--

"Who therefore seeks in these
True wisdom, finds her not, or by delusion
Far worse, her false resemblance only meets,
An empty cloud."

The difference is also partly due to what, indeed, is another side of the same distinction; the fact that Wordsworth has not and Milton has a constant possession of the great or grand style. This is plain in such passages as those just quoted: it is plainer still where the poets come close to each other in {230} descriptive passages; as, for instance, in Wordsworth's--

"Negro ladies in white muslin gowns,"

and Milton's--

"Dusk faces with white silken turbans wreathed;"

between which yawns an obviously impassable gulf.

Milton is sometimes harsh, crabbed, grim in expression as in thought: but these things are not at all necessarily fatal to poetry as is the cool and contented obviousness of Wordsworth's weak moments. Milton is occasionally contented in his own lofty fashion, but he is never cool, and never less so than in _Samson_. All through it he is face to face with a tremendous issue in which he himself is supremely interested: he is "enacting hell," to use Goethe's curious phrase, which fits Milton so much better than it fits the serenity of Homer. Twenty years before he had written, in quite another connection, "No man knows hell like him who converses most in heaven": and now in his old age he embodies that tremendous truth in his last poem. All his poems are intensely emotional and personal: but none so much so as _Samson Agonistes_, where he is fixing all eyes on the {231} tragedy of his own life. The parallel between Samson and Milton does not extend, of course, to all the details. But even of them many correspond, such as the blindness, the disastrous marriage with "the daughter of an infidel," the old age of a broken and defeated champion of God become a gazing-stock to triumphant profanity. But more than any special circumstance it is the whole general position of Samson as a man dedicated from his birth to the service of God, and gladly accepting the dedication, yet failing in his task and apparently deserted by his God, which makes of him a type in which Milton can see himself and the Cromwellian saints who lie ground under the heels of the victorious Philistines of the Restoration. To him as to Samson the situation is one that makes questionings on the dark and doubtful ways of God unavoidable: darker to him even than to Samson: for he has no guilty memory of a supreme act of folly to explain the divine desertion.

The action of the drama is extremely simple. Samson is found enjoying a brief respite from his punishment. The day is a feast of Dagon, and the Philistine "superstition" allows no work to be done on it. Accordingly an attendant who is a mute person is leading {232} him to a bank where he is accustomed to take what rest he is allowed and enjoy

"The breath of heaven fresh blowing, pure and sweet
With day-spring born;"

that sensation of delicate scents and cool breezes which, as Milton knew only too well, mean so much more to the blind than to those who can see. Then his restless thoughts begin to crowd upon him--

"Why was my breeding ordered and prescribed
As of a person separate to God,
Designed for great exploits?"

The whole passage belongs naturally enough to Samson: but obviously here, as well as in the blindness, the poet is already thinking of himself. So again, when Samson proceeds to speak of being

"exposed
To daily fraud, contempt, abuse, and wrong,"

one can scarcely miss a reference to the daughters who purloined and sold the blind father's books. When the soliloquy draws to an end the Chorus, men of his tribe, come to visit Samson. Not even Milton ever made the arrangement and sound of words do more to enforce their meaning than he does in this wonderful opening chorus--

{233}

"This, this is he; softly a while;
Let us not break in upon him.
O change beyond report, thought, or belief!"

They chant their inevitable wonder at the contrast between what Samson was and what he is.

"O mirror of our fickle state,
Since man on earth, unparalleled!
The rarer thy example stands,
By how much from the top of wondrous glory,
Strongest of mortal men,
To lowest pitch of abject fortune thou art fallen."

No reader of Greek can fail to be reminded of more than one chorus in the _Oedipus_ of Sophocles--

_io geneai broton_
_hôs hymas isa chai to mêden zôsas enarithmô--_

"Alas, ye generations of men, how utterly a thing of nought I count the life ye have to live! For what man is there who wins more of happiness than just the seeming and after the semblance a falling away. With thy fate before mine eyes, unhappy Oedipus, I can call no earthly creature blest." Here and there, as in this passage, the parallel is very close. But Milton's genius is too great and self-reliant for mere imitation. He sometimes recalls the very words of Greek poets as he {234} does those of the Bible: but that is not because he is artificially imitating either, but because he has assimilated the spirit of both and made them a part of himself.

The Chorus express their sympathy with Samson and he replies, bitterly reproaching his own folly and that of the rulers of Judah who gave him up to their enemies. But human blindness will not ultimately defeat the ways of God: and the Chorus sing their song of faith, in which rhyme is called in to give its touch of impatient contempt at the folly of the atheist.

"Just are the ways of God,
And justifiable to men;
Unless there be who think not God at all.
If any be, they walk obscure;
For of such doctrine never was there school,
But the heart of the fool,
And no man therein doctor but himself."

So ends the first act or episode of the drama. The second is the visit of Samson's father Manoah, whose cry is--

"Who would be now a father in my stead?"

He is trying to negotiate for his son's ransom: but Samson refuses, not desiring life, desiring rather to pay the full penalty of his sin. He cannot share his father's hopes that God will give him back the sight he so misused--

{235}

"All otherwise to me my thoughts portend,
That these dark orbs no more shall treat with light,
Nor the other light of life continue long,
But yield to double darkness nigh at hand:
So much I feel my genial spirits droop,
My hopes all flat; Nature within me seems
In all her functions weary of herself;
My race of glory run, and race of shame,
And I shall shortly be with them that rest."

So Manoah leaves him, and in a noble lyric he laments over his greatest sufferings, which are not those of the body but those of the mind--

"which no cooling herb
Or med'cinal liquor can assuage,
Nor breath of vernal air from snowy Alp."

A choral song on the mysterious dealings of God closes this episode which is followed by the most dramatically effective in the poem, that of the visit of Dalila. The moment the blind man is told that it is "Dalila, thy wife," he cries--

"My wife! my traitress! let her not come near me:"

and his reply to her offer of penitence, affection and help, begins with the daringly expressive line--

"Out, out, hyaena! these are thy wonted arts."

A long and telling debate follows, in which {236} Dalila makes very good points, one of them recalling the scene in which Eve reproaches Adam for indulging her instead of exercising his right to command and control the weakness of her sex. To this argument Dalila receives the stern, characteristically Miltonic reply--

"All wickedness is weakness: that plea, therefore
With God or man will gain thee no remission,"

He refuses her intercession with the Philistine lords, forbids her even to touch his hand;

"Not for thy life, lest fierce remembrance wake
My sudden rage to tear thee joint by joint,"

and drives her to remind him defiantly that, whatever he and his Hebrews may say of her, she appeals to another tribunal of fame--

"In Ecron, Gaza, Asdod, and in Gath,
I shall be named among the famousest
Of women, sung at solemn festivals,
Living and dead recorded."

So she goes out, and the Chorus make Miltonic meditations on the unhappiness of marriage and the divinely appointed subjection of women.

The next visitor is Harapha, the Philistine giant, who comes to taunt Samson, and is defied by him to mortal combat. This {237} episode is perhaps the least interesting, but it advances the action by exhibiting Samson's returning sense that God is still with him and will yet do some great work through him. It fitly leads to the chorus--

"O, how comely it is, and how reviving
To the spirits of just men long oppressed,
When God into the hands of their deliverer
Puts invincible might,
To quell the mighty of the earth, the oppressor,
The brute and boisterous force of violent men,
Hardy and industrious to support
Tyrannic power, but raging to pursue
The righteous and all such as honour truth!"

In the next scene an officer comes to demand Samson's presence at the feast of Dagon that he may entertain the Philistine lords with feats of strength. He at first dismisses the messenger with a contemptuous refusal: but, with a premonition of the end which recalls Oedipus at Colonus, he suddenly changes his mind--

"I begin to feel
Some rousing motions in me, which dispose
To something extraordinary my thoughts.
If there be aught of presage in the mind,
This day will be remarkable in my life
By some great act, or of my days the last."

{238}

"Go, and the Holy One
Of Israel be thy guide,"

sing the Chorus: and he leaves the scene, like Oedipus, to return no more, but to be more felt in his absence than in his presence. Manoah re-enters to utter his further hopes of ransom, in which there is a note of Sophoclean irony recalling the ignorant optimism of Oedipus in the _Tyrannus_; and as he and the Chorus talk they hear at first a loud shouting, apparently of triumph, and then another louder and more terrible--

_Manoah._

"O what noise!
Mercy of Heaven! what hideous noise was that?
Horribly loud, unlike the former shout."

_Chorus._

"Noise call you it, or universal groan,
As if the whole inhabitation perished?"