PS4
PS4
Sony, as of November 22, has now sold 30.2 million units of the PlayStation 4. By comparison, total sales of the Xbox One are somewhere between 15 and 18 million (Microsoft hasn't released an exact figure since last year).
With over 30 million units sold since it first went on sale in November 2013, the Sony press release declares that "PS4 [has the] fastest and strongest growth in PlayStation hardware history." The PS4 isn't the fastest selling console of all time, though: the Nintendo Wii, which sold around 45 million units in its first two years, still retains that accolade.
PARADISE LOST. We have seen that the dominating idea of Milton's life was his resolve to write a great poem great in theme, in style, in attainment. To this purpose was he dedicated as a boy: as Hannibal was dedicated, at the altar of patriotism, to the cause of his country's revenge, or Pitt to a life of political ambition. Milton's works particularly his letters and prose pamphlets enable us to trace the growth of the idea which was shaping his intellectual destinies ; and as every poet is best interpreted by his own words, Milton shall speak for himself. Two of the earliest indications of his cherished plan are the Vacation Exercise and the second Sonnet. The Exercise commences with an invocation (not without significance, as we shall see) to his "native language," to assist him in giving utterance to the teeming thoughts that knock at the portal of his lips, fain to find an issue thence. The bent of these thoughts is towards the loftiest themes. Might he choose for himself, he would select some "grave subject": " Such where the deep transported mind may soar Above the wheeling poles, and at Heaven's door Look in, and see each blissful deity. Then sing of secret things that came to pass When beldam Nature in her cradle was." But recognising soon that such matters are inappropriate to the occasion a College festivity he arrests the flight of his muse with a grave descende ccelo, and declines on a lower range of subject, more fitting to the social scene and the audience. This Exercise was composed in 1628, in Milton's twentieth year, or, according to his method of dating, anno cEtatis xix. It is important as revealing firstly, the poet's consciousness of the divine impulse within, for which poetry is the natural outlet ; secondly, the elevation of theme with which that poetry must deal. A boy in years, he would like to handle the highest 'arguments,' challenging thereby comparison with the sacri P. L. (, xxvi INTRODUCTION. vates of inspired verse, the elect few whose poetic appeal is to the whole world. A vision of Heaven itself must be unrolled before his steadfast eagle-gaze : he will win a knowledge of the causes of things such as even Vergil, his master, modestly disclaimed. Little wonder, therefore, that, filled with these ambitions, Milton did not shrink, only two years later (1629 30), from attempting to sound the deepest mysteries of Christianity the Nativity and the Passion of Christ ; howbeit, sensible of his immaturity, he left his poem on the latter subject unfinished 1 . The Sonnet to which reference has been made deserves quotation at length : " How soon hath Time, the subtle thief of youth, Stolen on his wing my three-and-twentieth year ! My hasting days fly on with full career, But my late spring no bud or blossom shew'th. Perhaps my semblance might deceive the truth, That I to manhood am arrived so near ; And inward ripeness doth much less appear, That some more timely-happy spirits endu'th. Yet be it less or more, or soon or slow, It shall be still in strictest measure even To that same lot, however mean or high, Toward which Time leads me, and the will of Heaven ; All is, if I have grace to use it so, As ever in my great Task- Master's eye." Mr Mark Pattison justly calls these lines "an inseparable part of Milton's biography" : they bring out so clearly the poet's solemn devotion to his self-selected task, and his determination not to essay the execution of that task until the time of complete "inward ripeness" has arrived. The Sonnet was one of the last poems composed by Milton during his residence at Cambridg-e. 1 A passage in the sixth Elegy shows that the Nativity Ode (a prelude in some respects to Paradise Lost] was begun on Christmas morning, 1629. The Passion may have been composed for the following Easter; it breaks off with the notice "This Subject the Author finding to be above the years he had when he wrote it, and nothing satisfied with what was begun, left it unfinished." Evidently Milton was minded to recur to both subjects ; see later. PARADISE LOST. XXV11 The date is 1631. From 1632 to 1638 was a period of almost unbroken self-preparation, such as the Sonnet foreshadows. Of the intensity of his application to literature a letter written in 1637 (the exact day being Sept. 7, 1637) enables us to judge. " It is my way," he says to Carlo Diodati, in excuse for remissness as a correspondent, " to suffer no impediment, no love of ease, no avocation whatever, to chill the ardour, to break the continuity, or divert the completion of my literary pursuits. From this and no other reasons it often happens that I do not readily employ my pen in any gratuitous exertions 1 ." But these exertions were not sufficient : the probation must last longer. In the same month, on the 23rd, he writes to the same friend, who had made enquiry as to his occupations and plans : " I am sure that you wish me to gratify your curiosity, and to let you know what I have been doing, or am meditating to do. Hear me, my Diodati, and suffer me for a moment to speak without blushing in a more lofty strain. Do you ask what I am meditating ? By the help of Heaven, an immortality of fame. But what am I doing? TTTpo(f)v5)j I am letting my wings grow and preparing to fly; but my Pegasus has not yet feathers enough to soar aloft in the fields of air 2 ." Four years later we find a similar admission " I have neither yet completed to my mind the full circle of my private studies... 3 ." This last sentence was written in 1640 (or 1641). Meanwhile his resolution had been confirmed by the friendly and flattering encouragement of Italian savants a stimulus which he records in an oft-cited passage 4 : "In the private academies 5 of Italy, whither I was favoured 1 P. W. in. 492. 2 P m IIL 5> 3 P. W. n. 47 6. 4 The Reason of Church Government, P. W. 11. 477, 478 ; a few lines have been quoted in the Life of Milton. A passage similar to the concluding sentence might be quoted from the pamphlet Animadversions, published the same year (1641) as the Church Government-, see P. IV. in. 72. 5 He refers to literary societies or clubs, of which there were several at Florence, e.g. the Delia Crusca, the Svogliati, etc. C 2 xxvin INTRODUCTION. to resort, perceiving that some trifles 1 which I had in memory, composed at under twenty or thereabout, (for the manner is, that every one must give some proof of his wit and reading there,) met with acceptance above what was looked for ; and other things 2 , which I had shifted in scarcity of books and conveniences to patch up amongst them, were received with written encomiums, which the Italian is not forward to bestow on men of this side the Alps ; I began thus far to assent both to them and divers of my friends here at home, and not less to an inward prompting which now grew daily upon me, that by labour and intense study (which I take to be my portion in this life), joined with the strong propensity of nature, I might perhaps leave something so written to aftertimes, as they should not willingly let it die." It was during this Italian journey (1638 39) that Milton first gave a hint of the particular direction in which this ambition was setting : at least we are vouchsafed a glimpse of the possible subject-matter of the contemplated poem, and there is that on which may be built conjecture as to its style. He had enjoyed at Naples the hospitality of the then famous writer Giovanni Battista Manso, whose courteous reception the young English traveller, ut ne ingratutn se ostenderet^ acknowledged in the piece of Latin hexameters afterwards printed in his Sylv(z under the title Mansus. In the course of the poem Milton definitely speaks of the remote legends of British history more especially, the Arthurian legend as the theme which he might some day treat. " May I," he says, "find such a friend 3 as Manso," 1 i.e. Latin pieces; the Elegies, as well as some of the poems included in his Sylva, were written before he was twenty-one. 2 Among the Latin poems which date from his Italian journey are the lines Ad Sahillum, a few of the Epigrams, and Mansus. Perhaps, too, the "other things" comprehended those essays in Italian verse which he had the courage to read before a Florentine audience, and they the indulgence to praise. 3 i.e. a friend who would pay honour to him as Manso had paid honour to the poet Marini. Manso had helped in the erection of a monument to Marini at Naples ; and Milton alludes to this at the beginning of the poem. From Manso he would hear about Tasso. PARADISE LOST. XXIX " Siquando 1 indigenas revoeabo in car/nina reges, Artururnque etiani sub terris bella moventem, Aut dicam invictce sociali feeders mensce Mngnaniiiios heroas, et (O modo spiritus adsif) Frangam Saxonicas Britonum sub Marie phalanges ! " This was in 1638. In the next year, after his return to England, he recurs to the project in the Epitapkium Damonis (162 71), his account being far more detailed : "Ipse"* 1 ego Dardanias Riitupina per aquora puppes Dicam, et Pandrasidos regnum vetus Inogenitz, Brennumque Arviragumque duccs, priscumqu? Belinum, Et tandem Armoricos Britonum sub lege colonos ; Turn gravidam Arturo fatali fraude logernen; Mendaces vultus, assumptaque Gorlois anna, Merlini dolus. O, mihi turn si vita supersit, Tu procul annosa pendebis, fistula, pinu, Multum oblita mihi, aut patriis mutata Camccnis Brittonicum strides ! " Here, as before, he first glances at the stories which date from the very dawn of British myth and romance, and then 1 "If ever I shall revive in verse our native kings, and Arthur levying war in the world below ; or tell of the heroic company of the resistless Table Round, and be the inspiration mine ! break the Saxon bands neath the might of British chivalry" (Mansus, 80 84). His Common-place Book has a quaint reference to " Arturs round table." 2 "I will tell of the Trojan fleet sailing our southern seas, and the ancient realm of Imogen, Pandrasus' daughter, and of Brennus, Arvi- ragus, and Belinus old, and the Armoric settlers subject to British laws. Then will I sing of logerne, fatally pregnant with Arthur how Uther feigned the features and assumed the armour of Gorlois, through Merlin's craft. And you, my pastoral pipe, an life be lent me, shall hang on some sere pine, forgotten of me; or changed to native notes shall shrill forth British strains." In the first lines he alludes to the legend of Brutus and the Trojans landing in England. Riitupina=. Kentish. The story of Arthur's birth at which he glances is referred to in the Idylls of the King. The general drift of the last verses is that he will give up Latin for English verse ; strides is a future, from strido (cf. <neid entirely="" autobiographical.="" shows="" why="" em-="" barked="" such="" controversies,="" how="" much="" cost="" so,="" hopes="" returning="" poetry,="" view="" poet's="" mission="" capacity="" discharge="" mission.="" prose="" works="" contain="" nothing="" valuable="" these="" ten="" pages="" self-="" criticism.="" xxxi="" abroad,="" perhaps="" attain="" that,="" content="" british="" islands="" world."="" here="" clear="" announce-="" ment="" ambition="" take="" rank="" great="" poet.="" note="" struck="" patriotism.="" produce="" shall="" set="" english="" level="" favoured="" italian,="" give="" countrymen="" cause="" proud="" "dear="" dear="" land,="" her="" reputation="" through="" world="" ."="" us="" indeed="" appear="" strange="" should="" have="" thought="" worth="" while="" emphasise="" now="" considered="" self-evident="" necessity="" :="" poet,="" serious="" conception="" office="" duty,="" dream="" employing="" any="" other="" language="" ?="" we="" remember="" days="" empire="" classics="" unquestioned="" scholarship="" accorded="" higher="" dignity="" long="" poems="" still="" custom="" honoured="" observance="" whoso="" sought="" appeal="" "laureate="" fraternity"="" scholars="" men="" letters,="" in-="" dependently="" race="" naturally="" turn="" lingua="" franca="" learned.="" at="" rate,="" less="" known="" either="" french="" placed="" poet="" disadvantage,="" far="" concerned="" acceptance="" foreign="" lands="" when="" determined="" rely="" patrice="" camcence,="" foresaw="" circumscribe="" audience,="" rest="" applause="" countrymen.="" again,="" lines="" epitaphium="" some="" grounds="" surmise="" proposed="" form="" poem.="" historic="" events="" epitomised="" passage="" too="" separated="" time,="" devoid="" internal="" coherence="" connection,="" admit="" dramatic="" treatment.="" evi-="" dently="" contemplated="" narrative="" one="" drunk="" deep="" classical="" spirit="" scarce="" meant="" aught="" else="" epic.="" thus="" implied="" sentences="" govern-="" richard="" 1l="" i.="" 57,="" 58.="" xxx11="" mentj="" represent="" considering="" whether="" attempt="" epic="" whereof="" two="" homer,="" virgil="" tasso,="" are="" diffuse,="" job="" brief="" model...="" constitutions,="" wherein="" sophocles="" euripides="" reign,="" doctrinal="" exemplary="" nation="" 'dramatic'="" introduces="" fresh="" phase;="" first="" period="" history="" lost,="" rather="" finally="" took="" shape="" closes="" epita-="" phium="" (1639),="" amiss="" summarise="" impressions="" deduced="" up="" from="" various="" passages="" quoted="" milton.="" seen,="" then,="" milton's="" early="" resolve="" ambitious="" scope="" self-preparation="" en-="" couragement="" received="" italy="" friends="" home="" announcement="" 1638,="" repeated="" 1639,="" discovered="" suitable="" fable="" especially,="" coming="" passing="" arthur="" formal="" farewell="" verse,="" favour="" tongue;="" desire="" win="" recognition="" vates="" selection="" style.="" respect="" chronology="" reached="" year="" 1639="" 40.="" extends="" 1640="" 1642.="" see="" lost="" written="" about="" 1642="" after="" 1642,="" till="" 1658,="" hear="" no="" poem="" proof="" temporarily="" abandoned="" under="" stress="" politics.="" therefore="" regarded="" ulterior="" limit="" period.="" not,="" think,="" fanciful="" consider="" entered="" stage="" 1640,="" because="" between="" plans="" underwent="" change="" character="" altered.="" shown="" decided="" bias="" discarded="" mention="" king="" arthur.="" hint="" led="" drop="" lain="" increasing="" re-="" publicanism.="" treated="" ii.="" 47="" 8,="" 479.="" xxxiii="" unfavourable="" standpoint.="" him,="" our="" age,="" type="" kingly="" grandeur="" gone="" sore="" grain="" future="" apologist="" regicide="" exercise="" powers="" creating="" royal="" figure="" shed="" lustre="" monarchy,="" measure="" plead="" institution="" detested="" heartily="" .="" only="" royalist="" retold="" story,="" making="" illustrate="" divine="" right="" kings,"="" embodying="" blameless="" monarch="" cavalier="" charles="" fluenced="" discovering,="" fuller="" research,="" mythical="" legend.="" remarks="" britain.="" intense="" earnestness="" build="" mainly="" fiction.="" may,="" subject,="" finds="" place="" list="" hundred="" possible="" subjects="" secondly,="" period,="" 42,="" dates="" alteration="" design="" work.="" hitherto="" tendency="" towards="" form:="" (1640="" 1641)="" find="" preferring="" dramatic.="" imitate="" transplant="" soil="" lofty="" grave="" tragedians="" greece="" question="" answered="" affirmative.="" continued="" opening="" drama,="" possibly="" trilogy="" dramas,="" cast="" particular="" manner,="" observed="" presently.="" transference="" inclinations="" "dramatic="" style="" appears="" date="" 1641.="" manifested="" mss.="" trinity="" college.="" present="" library="" college,="" erection="" begun="" during="" mastership="" isaac="" barrow,="" completed,="" earliest="" benefactors="" former="" member="" trinity,="" sir="" henry="" newton="" puckering.="" gifts="" thin="" ms.="" volume="" fifty-four="" pages,="" served="" common-place="" book.="" came="" into="" possession="" puckering="" known.="" contemporary="" notes="" l.="" xu.="" 24,="" 36.="" xxxiv="" with,="" junior="" to,="" admirers="" visited="" closing="" years="" life,="" discharged="" amanuensis="" family="" connection="" means="" passed="" hands.="" if="" obscure,="" contains="" autograph,="" other,="" unidentified="" handwritings="" original="" drafts="" several="" notably="" arcades,="" lycidas="" camus,="" together="" sonnets.="" random="" collection="" scattered="" papers="" bound="" death="" exists="" (apart="" sumptuous="" investiture)="" exactly="" same="" knew="" used="" centuries="" half="" agone.="" important="" order="" and,="" consequence,="" contents,="" index="" poems.="" 1631,="" sheets="" paper="" stitched="" then="" worked="" little="" volume,="" page="" page,="" inserting="" pieces="" they="" written.="" cover="" 16="" 1658:="" earlier="" marked="" sonnet,="" last="" series="" methought="" saw."="" more-="" way="" light="" entries="" direct="" bearing="" notes,="" himself="" (probably="" 1641),="" occupying="" seven="" manuscript,="" seemed="" suitable,="" varying="" degrees="" appropriate-="" ness,="" very="" concise="" jottings="" down,="" three="" words,="" him.="" others="" detailed="" salient="" features="" episode="" selected,="" sketch="" method="" treating="" them="" added.="" few="" instances="" sketches="" filled="" minuteness="" care:="" 'economy'="" arrangement="" action="" traced="" point.="" but,="" apart,="" done="" cases="" dozen,="" most.="" rule,="" source="" whence="" material="" drawn="" indicated.="" themselves,="" numbering="" hundred,="" fall,="" rough="" classification,="" headings="" scriptural="" xxxv="" *="" '="" drew="" chronicles="" prior="" norman="" conquest.="" numerous="" class="" sixty-two="" derived="" bible,="" testament="" claims="" fifty-four.="" illustrated="" quotation="" typical="" examples="" abram="" egypt.="" josuah="" gibeon.="" josu.="" 10.="" jonathan="" rescu'd="" sam.="" 14.="" saul="" gilboa="" -28.="" 31.="" gideon="" idoloclastes="" jud.="" 6.="" 7.="" abimelech="" usurper.="" 9.="" samaria="" liberata="" 2="" reg.="" asa="" ^ethiopes.="" chron.="" deposing="" mother,="" burning="" idol.="" new="" testa-="" christ="" crucifi'd="" risen.="" lazarus="" joan.="" christus="" patiens="" scene="" y="" e="" garden="" beginning="" fr5="" comming="" thither="" judas="" betraies="" &="" officers="" lead="" away="" message="" chorus,="" agony="" receav="" noble="" expressions="" thirty-three.="" assigned="" scotch="" stories="" brittish="" north="" parts.="" macbeth="" conspicuous.="" practically="" grouped="" thirty-three,="" combined="" remark-="" able="" does="" include="" arthurian="" legend,="" title="" obvious="" allusion="" tasso's="" gerusalemme="" liberata.="" attitude="" indirectly="" historian="" read="" before="" academy="" recently="" (nov.="" 25,="" 1908)="" professor="" frith="" treatment="" interest="" legendary="" anecdotic="" side="" revealed.="" appeared="" books="" earlier,="" certain="" episodes,="" space="" devoted="" them,="" often="" explained="" inclusion="" suggested="" tragedies.'="" xxxvi="" exercised="" powerful="" fascination="" brevity,="" compared="" subjects,="" suggests="" preference="" sacred="" story="" fall="" assumes="" prominent="" place.="" friend="" glancing="" 1641="" conjectured,="" tolerable="" certainty,="" where="" fall.="" four="" refer="" stand="" head="" themes.="" least="" intention="" treat="" patent.="" mere="" enumerations="" dramatis="" persona="" run="" seen="" longer="" simply="" expansion="" persons="" michael.="" moses="" heavenly="" love="" justice="" 8="" mercie="" wisdome="" chorus="" angels="" lucifer="" hesperus="" evening="" staire="" dam="" l="" serpent="" ^ho*="" eve="" |="" conscience="" adam="" labour="" \="" 4="" sicknesse="" discontent="" \-="" mutes="" ignorance="" f="" faith="" feare="" hope="" charity="" neither="" introduced="" title.="" wrote="" michael,"="" list,="" substituted="" moses."="" 3="" epithet="" divine,="" qualifying="" justice,="" inserted="" crossed="" again.="" "wisdome"="" added="" death,="" deleted="" it,="" (inutce="" persona,="" characters="" without="" speaking).="" xxxvii="" lists="" underneath="" stands="" sketch,="" tragedy="" shown,="" division="" acts="" observed.="" here,="" too,="" meet="" scheme="" follows="" irpoxoyifei="" recounting="" assum'd="" true="" bodie,="" corrupts="" god="" mount="" declares="" like="" enoch="" eliah,="" besides="" purity="" pi="" certaine="" pure="" winds,="" dues,="" clouds="" preserve="" corruption="" horts="" sight="" god,="" tells="" cannot="" se="" state="" innocence="" thire="" sin="" ^j="" v="" debating="" become="" man="" wisdomej="" sing="" hymne="" act="" 2.="" starre="" mariage="" song="" 5="" describe="" paradice="" 3.="" contriving="" adams="" ruine="" feares="" relates="" lucifers="" rebellion="" 6="" 4.="" adam)="" -="" .,="" fallen="" j="" cites="" gods="" examination="" 7="" bewails="" good="" ada="" hath="" margin="" frayed="" here.="" they,="" i.e.="" imaginary="" audience="" whom="" prologue="" addressed.="" cf.="" commencement="" comus.="" begins.="" vii.="" 253="" 60,="" note.="" 711.="" bks.="" vi.="" x.="" 97="" et="" stq.="" whome="" gives="" names="" likewise="" winter,="" heat="" tempest="" &c="" xxxv111="" eve,="" driven="" presented="" angel="" greife="" hatred="" envie="" warre="" famine="" pestilence="" enterd=""> comfort him and Istruct him Charity! Chorus breifly concludes This draft of the tragedy, which occurs on page 35 of the MS., is not deleted ; but Milton was still dissatisfied, and later on, page 40, we come to a fourth, and concluding, scheme which reads thus : Adam unparadiz'd 3 The angel Gabriel, either descending or entering 4 , shewing since this globe was created, his frequency as much on earth, as in heavn, describes Paradise, next the Chorus shewing the reason of his 5 comming to keep his watch in Paradise after Lucifers rebellion by command from god, & withall expressing his desire to see, & know more concerning this excellent new creature man. the angel Gabriel as by his name 1 Cf. bks. xi xn. 2 See X. 651, note. 3 Underneath was written, and crossed out, an alternative title Adams Banishment. 4 Cf. Comus, "The Attendant Spirit descends or enters" (adinit. ). 5 his^ i.e. the chorus's ; he makes the chorus now a singular, now a plural, noun. PARADISE LOST. xxxix signifying a prince of power tracing 1 paradise with a more free office passes by the station of y e chorus & desired by them relates what he knew of man as the creation of Eve with thire love, & manage, after this Lucifer appeares after his overthrow, bemoans himself, seeks revenge on man the Chorus prepare resistance at his first approach at last after discourse of enmity on either side he departs wherat the chorus sings of the battell, & victorie in heavn against him & his accomplices, as before after the first act 2 was sung a hymn of the creation, heer 3 again may appear Lucifer relating, & insulting in what he had don to the destruction of man. man next & Eve having by this time bin seduc't by the serpent appeares confusedly cover'd with leaves conscience in a shape accuses him, Justice cites him to the place whither Jehova call'd for him in the mean while the chorus entertains 4 the stage, & his [sic] inform'd by some angel the manner of his fall heer 3 the chorus bewailes Adams fall. Adam then & Eve returne accuse one another but especially Adam layes the blame to his wife, is stubborn in his offence Justice appeares reason 5 with him convinces him the 3 chorus admonisheth Adam, & bids him beware by Luciters example of impenitence the Angel is sent to banish them out of paradise but before causes to passe before his eyes in shapes a mask of all the evills 6 of this life & world he is humbl'd relents, dispaires. at last appeares Mercy comforts him promises the Messiah, then calls in faith, hope, & charity, instructs him he repents gives god the glory, submitts to his penalty the chorus breifly concludes, compare this with the former draught. " It appears plain," says Todd, " that Milton intended to have marked the division of the Acts in this sketch, as well as in the preceding. Peck has divided them ; and closes the first Act with Adam and Eve's love." The other Acts may be supposed to conclude at the following points : Act 2 at " sung a hymn of the creation"; Act 3 at "inform'd... the manner of his fall"; Act 4 at "bids him beware... impenitence" ; Act 5 at "the chorus breifly concludes." It is in regard to the first Act that this fourth draft, which 1 passing through ; cf. Comus, 423. 2 i.e. in the third draft. 3 Each of these sentences was an after-thought, added below or in the margin. 1 occupies. & i-e. reasons ; or ' to reason.' 6 See xi. 47793. note. xi INTRODUCTION. Milton bids us "compare with the former," marks a distinct advance. Milton made Moses the speaker of the prologue in the third draft because so much of the subject-matter of Paradise Lost is drawn from the Mosaic books of the Old Testament. But the appearance of a descendant of Adam, even in a prologue, where much latitude is allowed by con- vention, seems an awkward prelude to scenes coincident with Adam's own creation. It is far more natural that, before the subject of man's fall is touched upon at all, we should be told who man is, and that this first mention of him should come from the supernatural beings who had, or might have, witnessed the actual creation of the universe and its inhabitants. The explanation, too, why Moses is able to assume his natural body is very forced. And altogether this fourth draft exhibits more of drama, less of spectacle, than its predecessor. With regard to the subject, therefore, thus much is clear : as early as 1641 2 Milton has manifested an unmistakeable preference for the story of the lost Paradise, and the evidence of the Trinity MSS. coincides with the testimony of Aubrey and Phillips, who say that the poet did, about 1642, commence the composition of a drama on this theme of which drama the opening verses of Paradise Lost, book IV. (Satan's address to the sun), formed the exordium. It is, I think, by no means improbable that some other portions of the epic are really fragments of this unfinished work. Milton may have written two or three hundred lines, have kept them in his desk, and then, years afterward, when the project was resumed, have made use of them where opportunity offered. Had the poem, however, been completed in accordance with his original conception we should have had a tragedy, not an epic. Of this there is abundant proof. The third and fourth sketches, as has been observed, are dramatic. On the first page of these entries, besides those lists of dramatis persona which we have treated as the first and second sketches, stand the words "other Tragedies," followed by the enumeration of several feasible subjects. The list of British subjects is prefaced with the heading "British Trag." (i.e. tragedies). PARADISE LOST. xli Wherever Milton has outlined the treatment of any of the Scriptural themes a tragedy is clearly indicated. Twice, indeed, another form is mentioned the pastoral, and probably a dramatic pastoral was intended 1 . These, however, are ex- ceptions, serving to emphasise his leaning towards tragedy. But what sort of tragedy ? I think we may fairly conclude that, if carried out on the lines laid down in the fourth sketch, Adam unparadiz'd would have borne a very marked resem- blance to Samson Agonistes : it would have conformed, in the main, to the same type that, namely, of the ancient Greek drama. With the romantic stage of the Elizabethans Milton appears to have felt little sympathy 2 : else he would scarce have written // Penseroso, 101, 102. Nor do I believe that his youthful enthusiasm for Shakespeare remained unmodified 3 : certainly, the condemnation of one important aspect of Shake- spearian tragedy in the preface to Samson Agonistes is too plain to be misinterpreted. So had Milton been minded to dramatise the story of Macbeth we have marked its presence in the list of Scottish subjects his Macbeth would have differed toto ccelo from Shakespeare's. In the same way, his tragedy of Paradise Lost would have been wholly un-Shakespearian, wholly un- Elizabethan. Nor would it have had any affinity to the drama of Milton's contemporaries 4 , those belated Elizabethans bungling with exhausted materials and forms that had lost all vitality. Tragedy for Milton could mean but one thing the tragic stage of the Greeks, the " dramatic constitutions " of Sophocles and Euripides : and when we examine these sketches of Paradise 1 These are the two entries in the MS. : " Theristria. a Pastoral out of Ruth " ; and " the sheepshearers in Carmel a Pastoral, i Sam. 25." There is but one glance at the epical style ; in the list of " British Trag." after mentioning an episode in the life of King Alfred appropriate to dramatic handling, he adds "A Heroicall Poem may be founded somwhere in Alfreds reigne. especially at his issuing out of Edelingsey on the Danes, whose actions are wel like those of Ulysses." 2 See Appendix to Samson Agonistes. 3 See note on V Allegro, 133, 134. 4 In the treatise On Education, 1644, he speaks of "our common rhymers and play-writers" as "despicable creatures," P. W. III. 474. P. L. d xlii INTRODUCTION, Lost we find in them the familiar features of Athenian drama certain signs eloquent of the source on which the poet has drawn. Let us, for example, glance at the draft of Adam unparadiz* d. Milton has kept the 'unities' of place and time. The scene does not change ; it is set in some part of Eden, and everything represented before the eyes of the audience occurs at the same spot. But whoso regards the unity of place must suffer a portion of the action to happen off the stage not enacted in the presence of the audience (as in a modern play where the scene changes), but reported. In Samson Agonistes Milton employs the traditional device of the Greek tragedians he relates the catastrophe by the mouth of a messenger. So here : the temptation by the serpent is not represented on the scene : it is described partly by Lucifer, "relating, and insulting in what he had don to the destruction of man"; partly by an angel who informs the Chorus of the manner of the fall. Again, the unity of time is observed. The time over which the action of a tragedy might extend, according to the usual practice of the Greek dramatists, was twenty-four hours. In Samson Agonistes the action begins at sunrise and ends at noon, thus occupying seven or eight hours. In Adam unparaditfd the action would certainly not exceed the customary twenty-four hours. Again a Chorus is introduced (sure sign of classical influence), and not only introduced, but handled exactly as Milton, following his Greek models, has handled it in Samson Agonistes : that is to say, closely identified with the action of the tragedy, even as Aristotle recommends that it should be. Further, in the fourth scheme the division into acts is carefully avoided an advance this on the third scheme. Similarly, in Samson Agonistes Milton avoids splitting up the play into scenes and acts, calling attention to the fact in his preface. Proofs 1 of Milton's 1 Thus, apart from P. L., the Scriptural themes whereof the fullest sketches are given, are three tragedies severally entitled " Abram from Morea, or Isack redeemed Baptistes" (i.e. on the subject of John the Baptist and Herod) and "Sodom Burning." In each two unities (time and place) are kept, and a Chorus used. In " Isack redeemed" the PARADISE LOST. xliii classical bias might be multiplied from these Milton MSS. ; and personally I have no doubt that when he began the tragedy of which Aubrey and Phillips speak, he meant to revive in English the methods and style of his favourite Greek poets. But the scheme soon had to be abandoned ; and not till a quarter of a century later was it executed in Samson Agonistcs\ With Milton as with Dante the greatest came last after long delay : the life's work of each marked the life's close : and, the work done, release soon came to each, though to Dante sooner 2 . The third period in the genesis of Paradise Lost dates from 1658. In that year, according to Aubrey, Milton began the poem as we know it. By then he had gone back to the epic style. He was still Secretary, but his duties were very light, and allowed him to devote himself to poetry. At the Restoration he was in danger, for some time, of his life, and was imprisoned for a few months. But in spite of this interruption, and of his blindness 3 , the epic was finished about 1663. The history of incident of the sacrifice is reported, and the description of the character of the hero Abraham as Milton meant to depict him is simply a paraphrase on Aristotle's definition of the ideal tragic hero. Most of the other subjects have a title such as the Greek tragedians employed e.g. " Elias Polemistes," "Elisseus Hydrochoos," "Zedechiah j/eore- 1 The point is important because it disposes of the notion that Milton borrowed the idea of writing a tragedy on the classical model from the play of Samson by the Dutch poet Vondel. 2 "There is at once similarity and difference in the causes which made each postpone the execution of his undertaking till a comparatively late period in his life ; and a curious parallel may be observed in the length of time between the first conception and the completion of their monumental works, as well as in the period that elapsed between the end of their labours and their death." (Courthope.) 3 According to Edward Phillips, Milton dictated the poem to any one who chanced to be present and was willing to act as amanuensis; afterwards Phillips would go over the MS., correcting errors, under his uncle's direction. The original transcript submitted to the Licenser is extant, and is one of the many literary treasures that have gone to xliv INTRODUCTION. each of his longer poems shows that he was exceedingly careful in revising his works loth to let them go forth to the world till all that was possible had been done to achieve perfection 1 . It is Aubrey's statement that Paradise Lost was completed in 1663 ; while Milton's friend Thomas Ellwood, the Quaker, describes in a famous passage of his Autobiography, how in 1665 the poet placed a manuscript in his hands " bidding me take it home with me and read it at my leisure, and, when I had so done, return it to him with my judgment thereupon. When I came home, and had set myself to read it, I found it was that ex- cellent poem which he intituled Paradise Lost" Ellwood's account may be reconciled with Aubrey's on the reasonable supposition that the interval between 1663 and 1665 was spent in revision. Still, some delay in publishing the poem ensued. On the outbreak of the Plague in 1665 Milton had left London, retiring to Chalfont in Buckinghamshire, where Ellwood had rented a cottage for him. He returned in the next year, 1666 ; but again there was delay this time through the great Fire of London which disorganised business. . Not till 1667 did Paradise Lost appear in print. The agreement (now in the possession of the British Museum) drawn up between Milton and his publisher by which he received an immediate payment of ^5, and retained certain rights over the future sale of the book is dated April 27, 1667. The date on which Paradise Lost was entered in the Stationers' Register is August 20, 1667. No doubt, copies were in circulation in the autumn of this year. America. It "passed from the possession of the first printer of the poem, Samuel Simmons, to Jacob Tonson [the publisher], and thence to his collateral descendants, remaining in the same family... until 1904," when it was bought by an American collector. (From an article in The Athenaum on " Miltoniana in America.") 1 "When we look at his earlier manuscripts, with all their erasures and corrections, we may well wonder what the Paradise Lost would have been if he had been able to give it the final touches of a faultless and fastidious hand. When we think of it composed in darkness, preserved in memory, dictated in fragments, it may well seem to us the most astonishing of all the products of high genius guided by unconquerable will" (J. W. Mackail). PARADISE LOST. xlv The system of licensing publications, against which Milton had protested so vehemently in his Areopagitica, had been revived by the Press Act of 1662 and was now strongly enforced. " By that act," says Dr Masson, " the duty of licensing books of general literature had been assigned to the Secretaries of State, the Archbishop of Canterbury, and the Bishop of London ; but it was exceptional for any of those dignitaries to perform the duty in person. It was chiefly performed for them by a staff of under- licencers, paid by fees. 37 Five or six of his chaplains acted so for the Archbishop ; and according to tradition one of them, to whom Paradise Lost was submitted, hesitated to give his im- primatur on account of the lines in the first book about eclipses perplexing monarchs with fear of change (i. 594 99). Milton must have remembered grimly the bitter gibes in his pamphlets, e.g. in the A nimadversions (1641) against "monkish prohibitions, and expurgatorious indexes," and "proud Imprimaturs not to be obtained without the shallow surview, but not shallow hand of some mercenary, narrow-souled, and illiterate chaplain." The wheel had come full circle with a vengeance. This first edition of Paradise Lost raises curious points 1 of bibliography into which there is no need to enter here ; but we must note three things. The poem was divided into not twelve books but ten. In the earlier copies issued to the public there were no prose Arguments ; these (written, we may suppose, by Milton himself) were printed all together and inserted at the commencement of each of the later volumes of 1 For example, no less than nine distinct title-pages of this edition have been traced. This means that, though the whole edition was printed in 1667, only a limited number of copies were bound up and issued in that year. The rest would be kept in stock, unbound, and published in instalments, as required. Hence new matter could be inserted (such as the prose Arguments)^ and in each instalment it would be just as easy to bind up a new title-page as to use the old one. Often the date had to be changed : and we find that two of these pages bear the year 1667; four, 1668 ; and three, 1669. Seven have Milton's name in full ; two, only his initials. Mr Leigh Sotheby collated them carefully in his book on Milton's autograph, pp. 81 84. xlvi INTRODUCTION. this first edition an awkward arrangement changed in the second edition. Milton prefixed to the later copies the brief prefatory note on The Verse, explaining why he had used blank verse ; and it was preceded by the address of The Printer to the Reader. It seems that the number of copies printed in the first edition was 1500; and the statement of another payment made by the publisher to Milton on account of the sale of the book shows that by April 26, 1669, i.e. a year and a half after the date of publication, 1300 copies had been disposed of. In 1674 the second edition was issued with several changes. First, the epic (said to be 670 lines longer than the ^Eneid} was divided into twelve books, a more Vergilian number, by the subdivision of books VII. and X. Secondly, the prose Argu- ments were transferred from the beginning and prefixed to their respective books. Thirdly, a few changes were introduced into the text few of any great significance. It was to the second edition that the commendatory verses by Samuel Barrow and Andrew Marvell were prefixed. Four years later, 1678, came the third edition, and in 1688 the fourth. This last was the well-known folio published by Tonson ; Paradise Regained and Samson Agonistes were bound up with some copies of it, so that Milton's three great works were obtainable in a single volume. The first annotated edition of Paradise Lost was that edited by Patrick Hume in 1695, being the sixth reprint. And during the 1 8th century editions 1 were numerous. "Milton scholar- ship 2 ,'' it has been justly said, "was active throughout the whole period." There is, indeed, little (if any) ground for the view which one so frequently comes across that Paradise Lost met with scant appreciation, and that Milton was neglected by his contem- 1 Pre-eminent among them is Bishop Newton's edition (1749). He was the first editor who took pains to secure accuracy of text, doing, on a smaller scale, for Milton what Theobald did for Shakespeare. His services too in the elucidation of certain aspects (notably the Scrip- tural) of Milton's learning have never been surpassed. 2 See Professor Dowden's Tercentenary paper "Milton in the Eighteenth Century (1701 1750)." PARADISE LOST. xlvii poraries, and without honour in his lifetime. To the general public epic poetry will never appeal, more especially if it be steeped in the classical feeling that pervades Paradise Lost ; but there must have been a goodly number of scholars and lettered readers to welcome the work else why these successive editions, appearing at no very lengthy intervals? One thing, doubtless, which prejudiced its popularity was the personal resentment of the Royalist classes at Milton's political actions. They could not forget his long identification with republicanism ; and there was much in the poem itself covert sneers and gibes which would repel many who were loyal to the Church and the Court. Further, the style of Paradise Lost was something very different from the prevailing tone of the literature then current and popular. Milton was the last of the Elizabethans, a lonely survival lingering on into days when French influence was beginning to dominate English taste. Even the metre of his poem must have sounded strange to ears familiarised to the crisp clearness and epigrammatic ring of the rhymed couplet 1 . Yet, in spite of these obstacles, many whose praise was worth the having were proud of Milton : they felt that he had done honour to his country. He was accorded that which he had sought so earnestly acceptance as a great national poet ; and it is pleasant to read how men of letters and social distinction would pay visits of respect to him, and how the white-winged Fame bore his name and reputation abroad, so that foreigners came to England for the especial purpose of seeing him. And their visits were the prelude of that foreign renown and influence from which he seemed to have cut himself off when he made his native tongue the medium of his great work. " Milton was the first English poet to inspire respect and win fame for our literature on the Continent, and to his poetry was due, to an extent that has not yet been fully recognised, the change which came over European ideas in the eighteenth century with regard to the nature and scope of the epic. Paradise Lost was the mainstay of those 1 Cf. Marvell's "Commendatory Verses," 45 54. xlviii INTRODUCTION. critics who dared to vindicate, in the face of French classicism, the rights of the imagination over the reason in poetry 1 ." There has been much discussion about the 'sources' of Paradise Lost, and writers well nigh as countless as Vallom- brosa's autumn leaves have been thrust forth from their obscurity to claim the honour of having 'inspired' (as the phrase is) the great epic. Most of these unconscious claimants were, like enough, unknown to Milton ; but some of them do seem to stand in a relation which demands recognition. I should place first the Latin tragedy Adamus Exul (1601), written in his youth by the great jurist Hugo Grotius after the model of Seneca. Apart from the question of actual resemblances to Paradise Lost, it might fairly be conjectured, if not assumed, that Milton read this tragedy. He knew Grotius personally and knew his works. Describing, in the Second Defence, his Italian tour in 1638, Milton mentions his stay in Paris and friendly reception by the English ambassador, and adds : " His lordship gave me a card of introduction to the learned Hugo Grotius, at that time ambassador from the Queen of Sweden to the French court; whose acquaintance I anxiously desired 2 ." He quotes the opinions of Grotius with high respect in his treatise on divorce 3 . The alternative titles of the fourth draft of Milton's own con- templated tragedy, viz. Adam unparadisfd and Adams Banish- ment, certainly recall the title Adamus Exul \ and it may be 1 Professor J. G. Robertson, ''Milton's Fame on the Continent," a paper read before the British Academy, Dec. 10, 1908. Perhaps the strangest and most delightful evidence of Milton's acceptance among foreigners was Mr Maurice Baring's discovery of the popularity of Paradise Lost, in a prose translation, amongst the Russian peasantry and private soldiers : " The schoolmaster said that after all his experience the taste of the peasants in literature baffled him. ' They will not read modern stories,' he said. 'When I ask them why they like Paradise Lost they point to their heart and say, "It is near to the heart ; it speaks; you read, and a sweetness comes to you." ' 2 P. W. i. 255- 3 See chapters XVII., XVHI. of The Doctrine and Discipline. PARADISE LOST. xlix noted that this draft was sketched in that period (about 1641) of Milton's life to which his meeting with Grotius belongs. Of the likeness between Paradise Lost and the Adarmts Exut, and other works dealing with the same theme, it is impossible to say how much, if not all, is due to identity of subject and (what is no less important) identity of convention as to the machinery proper for its treatment. But I do not think that community of subject accounts entirely for the resemblances between Paradise Lost and Grotius's tragedy. The conception of Satan's character and motives unfolded in his long introductory speech in the Adatmis, the general idea of his escaping from Hell and sur- veying Eden, his invocation of the powers of evil (amongst them Chaos and Night) these things and some others, such as the Angel's narrative to Adam of the Creation, seem like far-off embryonic drawings of the splendours of the epic. It should be added that Grotius's other religious plays were known in England. A free rendering of his Christus Pattens into rhymed heroics was published in London in 1640 under the title Christ's Passion; while his tragedy Sophompaneas^ or Joseph, appeared in an English version in 1650. And a sidelight may be thrown not merely on the contemporary estimate of Grotius by the ex- ceptionally eulogistic mention of his works in the Theatrum Poetarum (1675) of Milton's nephew Edward Phillips. The Theatrum is commonly supposed to reflect in some degree Milton's own views 1 and it is significant therefore to find Grotius described as one "whose equal in fame for Wit & Learning, Christendom of late Ages hath rarely produc'd, particularly of so happy a Genius in Poetry, that had his Annals, 1 See v. 177, 673, notes. Other touches in the Theatrum of Mil tonic interest are the accounts of Spenser and Sylvester, and the praise of Henry Lawes in the notice of Waller. One may conjecture, too, that the obscure Erycus Puteanus would not have had his niche but for Comus. The Theatrum includes also Andreini but not Vondel. Phillips's account of Milton himself is admirably discreet : and he expressly terms Paradise Lost and Paradise Regained " Heroic Poems." The relations between uncle and nephew were more than ordinarily close. INTRODUCTION. his Book De Veritate Christiana Religionis...&K& other his extolled works in Prose, never come to Light, his extant and universally approved Latin Poems, had been sufficient to gain him a Living Name." It is an easy transition from the Adamus Exulto the Adamo of the Italian poet Giovanni Battista Andreini (15781652), a Florentine, which is said to owe something to Grotius's tragedy. Voltaire, in his Essai s ur la Podsie Epique written in 1727, related that Milton during his residence at Florence saw "a comedy called Adamo^ The subject of the play was the Fall of Man: the actors, the Devils, the Angels, Adam, Eve, the Serpent, Death, and the Seven Mortal Sins Milton pierced through the absurdity of that performance to the hidden majesty of the subject ; which, being altogether unfit for the stage, yet might be, for the genius of Milton, and his only, the foundation of an epick poem." What authority he had for this legend Voltaire does not say. It is not alluded to by any of Milton's contemporary bio- graphers. It may have been a mere invention by some ill-wisher of the poet, a piece of malicious gossip circulated out of political spite against the great champion of republicanism. But the authenticity of the story is not perhaps very important, for inde- pendently there seems to be evidence in the Adamo itself that Milton was acquainted with it even before his visit to Italy. One cannot read the scene of the Adamo (v. 5) in which the World, personified, tempts Eve with all its pomps and vanities, without being reminded of the scene in Comus of the temptation of the Lady. And, as with the Adamus Exul, some of the coincidences of incident and treatment between the Adamo and Paradise Lost, or Milton's early dramatic sketches of the action, seem to constitute a residuum of resemblance after full allowance has 1 It had been printed in 1613 (Milan), and again in 1617. The title-page of the first edition describes the work as " L' Adamo, Sacra Rapresentatione." It is more " a hybrid between a miracle play and an opera" (Courthope) than a "comedy." A translation by Cowper and Hayley was printed in their edition of Milton ; and it is in this translation that the work is known to me. The fact that Cowper took the Adamo theory seriously is significant. PARADISE LOST. li been made for the influence of practical identity of theme. Thus the list of characters in the Adamo has abstractions like the World, Famine, Labour, Despair, Death : and the ap- pearance of these and kindred evils of life to Adam and Eve (Act iv., scenes 6 and 7) recalls the early drafts of the scheme of Paradise Lost and also the vision shown to Adam in the eleventh (477 99) book of the poem. Andreini makes Michael drive Adam and Eve out of Paradise and depicts a final struggle between Michael and Lucifer. Andreini's representation of the Serpent's temptation of Eve has been thought to have left some impression on the parallel scene in Paradise Lost. After the Fall Lucifer summons the spirits of air and fire, earth and water a counterpart to Paradise Regained, II. 115 et seq. And occasion- ally a verbal similarity arrests as where Lucifer says (iv. 2, end) " Let us remain in hell ! Since there is more content To live in liberty, tho' all condemn'd, Than, as his vassals, blest 1 " (" Pot, ch? I maggior contento viver in liberta tutti dainnati^ che sudditi foafi"); and inveighs (iv. 2) : " Ahi luce, ahi luce odiata ! " or where the Angels describe Man (n. i) : "For contemplation of his Maker form'd 71 ("Per contemplar del suo gran Fabro il merto"}. 1 See I. 263, note ; but of course the idea was not peculiar to any writer. So tradition, literary or theological, may explain the following similarity, which is at least an interesting illustration of P. L. v. 688, 699. Andreini makes Lucifer (i. 3) address his followers : "I am that Spirit, I, who for your sake Collecting dauntless courage, to the north Led you far distant from the senseless will Of him