Among Milton's first employments in his new and larger house in Barbican, while his wife was resuming her duties and the schoolroom was getting gradually into use, we are able to distinguish one of particular interest. It was nothing else than the revision for the press of the proof-sheets of the first collected edition of his Miscellaneous Poems.
By his dealings with the Press hitherto, it is to be remembered, Milton had made himself known to most people chiefly as a prose pamphleteer. Except his linesOn Shakespeare, written in 1630, and prefixed anonymously to the Second Folio Shakespeare in 1632; hisComus, written and acted in 1634, and sent to the press, also without the author's name, by his friend Henry Lawes in 1637; and hisLycidas, written in 1637, and printed in 1638, in the Cambridge University volume of Verses on Edward King's death, but only with the initials "J.M.":— except these, and perhaps another scrap or two of Latin or English verse that had been printed in a semi-private manner, all Milton's poems, written at intervals over a period of more than twenty years, had remained in his own keeping in manuscript, and had been communicated to friends only in that form. In consequence of what had been thus printed, or privately circulated, a certain reputation for Milton as a poet had, indeed, been established; but the voice of this reputation was hardly heard amid the much louder uproar caused by his eleven prose-pamphlets between 1641 and 1645. Now, to a man who believed Poesy to be his true calling, who had consented reluctantly to put aside "his garland and singing robes" in order that he might engage in the work of politics, and who had announced while doing so that in that work it was but the strength of his left hand he could lend and not the nobler cunning of his right, this state of public opinion about himself must have begun to be a little disagreeable. It was the most natural thing in the world that, as soon as there should be a lull in the political tumult, the least leisure of the public for a return to purer and blander literature, Milton should make some sign of resuming his garland, so as to remind those about him of his original vocation. But, precisely in the year 1045, when Naseby had assured the victory of Parliament, there did come, for the first time since the war had begun, or indeed since the Long Parliament had met, such a lull of the polemical tumult. The statistics of the English book- trade, as they are presented in the Registers of the Stationers' Company, verify and illustrate this statement.
Even in the year 1640, when there was political agitation enough in England, but the Long Parliament had not yet met, there was still so much leisure for the purer forms of literature in English society that London publishers were bringing out such things as Masques and other remains of Ben Jonson, the Works of Thomas Carew, various Plays by Shirley, Glapthorne, Habington, Heywood, Killigrew, and Brome, an edition of Herrick's Poems, and Thomas May's Supplement to Lucan. As soon, however, as we pass beyond 1640, and the real work of the Long Parliament is begun, such books almost entirely cease to appear. The matter then provided for the reading of the English public consisted of a huge jumble of Pamphlets on the Church-question, Sermons, semi-controversial Treatises of Theology, Political Speeches, fragments of Ecclesiastical History, Prose Invectives and Satires, and latterly, when the Civil War was in progress, an abundance of Diurnals, Intelligencers, Mercuries, and other news-sheets. Between 1640 and 1645 one does indeed discern twinkling in this jumble some gems or would-be gems of the purer ray serene. The "Epigrams Divine and Moral" of Sir Thomas Urquhart, the translator of Rabelais, were published in April 1641; Howell's "Instructions for Foreign Travel" came out in September in the same year; Baker's "Chronicle of the Kings of England" in the following December; in April 1642 there was a London edition of Thomas Randolph's Poems, which had appeared originally at Oxford in 1638; and the publication of Denham's "Cooper's Hill" and his "Tragedy called The Sophy" is a rather notable event of August 1642, the very month in which the King raised his standard. In the same month one London publisher, Francis Smethwick, registered for his copies a number of books of the poetical kind which had been the property of his late father, including "Mr. Drayton's Poems," "Euphues's Golden Legacy," Meres's "Witt's Commonwealth," and also "Hamblett, a Play," "The Taming of the Shrew," "Romeo and Juliet," and "Love's Labour's Lost." This transaction, however, hardly implied that these books were in demand, but only that Smethwick wanted to secure his interest in them on succeeding to his father's business. Afterwards, while the war was actually raging, it is not till December 1644 that one comes upon anything of the finer sort worth mentioning. On the 14th of that month there was registered for publication the first edition of "Poems, &c., written by Mr. Edmund Waller, of Beckonsfield, Esq., lately a member of the Honourable House of Commons," but then, as we know, a disgraced plotter, who, having, by great favour, been permitted to carry his dear-bought life, and his remaining wealth, into exile in France, left this parting gift to his countrymen, that they might think of him meanwhile as kindly as they could. Except that I have not taken notice of a publication or two of the voluminous Scotchman Alexander Rosse, Chaplain to his Majesty, [Footnote: This Alexander Rosse, or "Dr. Alexander Ross," made famous inHudibras, was one of the singular characters of the time, and a memoir of him, with a complete list of his writings, would be a not uninstructive curiosity. He was a native of Aberdeen, born about 1590, but had migrated to England, where he became Master of the Free School at Southampton, and Chaplain in Ordinary to King Charles. By a succession of publications of all kinds, in Latin and in English., he acquired the reputation of being "a divine, a poet, and an historian." He made a good deal of money, and, at his death in 1654, left bequests, for educational purposes, to Aberdeen, Southampton, Oxford, and Cambridge. ] the foregoing enumeration fairly represents, I believe, the amount of book-production of the purer or non-controversial kind that went on in London in the four loud-roaring years between 1640 and 1645.
In 1645, however, and especially after Naseby, there are symptoms of a slightly revived leisure for other kinds of reading than were supplied by Diurnals, Sermons, Pamphlets, and books of Polemical Theology, and of a willingness among the London booksellers to cater for this leisure. In that year, interspersed amid the still continuing tide of Pamphlets, Diurnals, Sermons, and other ephemerides, were such novel appearances in the London book-world as these—two Treatises, one physical, the other metaphysical, by Sir Kenelm Digby, then abroad; an edition of Buxtorf's Hebrew Grammar; an Essay by Lord Herbert of Cherbury; some metrical religious remains of Francis Quarles, then just dead; some attempts to introduce the mystic Jacob Bohme, by specimens of his works; a translation of Æsop's Fables and those of Phædrus; the issue of the second and third parts of theEpistolæ Hoelianæor James Howell's Letters, with a re-issue of his "Dodona's Grove;" and a re-issue of Randolph's comedy of "The Jealous Lovers." Clearly, as the Civil War was drawing to a close, the Muses of pure History, pure Speculation or Philosophy, Scholarship for its own sake, and even lighter Phantasy, did hover over England again, timidly seeking some spots where they might rest themselves in the all-prevailing controversy between Independency and Presbyterianism.
Almost always, in such cases, a social tendency is represented in the activity of some particular person. Nor is it otherwise here. So far as Poetry and so-called Light Literature are concerned, one has no difficulty in pointing to the particular London publisher who in 1645, and from that year onwards, stood out from all his fellows by his alertness in the trade. This was HUMPHREY MOSELEY, who had his shop at the sign of the Prince's Arms in St Paul's Churchyard. Something in his personal tastes, I am inclined to think, must have determined him to the line of business which he selected; so marked is his avoidance of all dealings in sermons, ephemeral treatises on theology, and pamphlets either way on the present crisis, and his preference for poetry and books of general culture. He had been in the trade, in partnership with a Nicholas Fussel, in St. Paul's Churchyard, as early as 1634, [ Footnote: Wood's Ath. II 503.] and shortly after that is heard of as in business for himself. I have a note of him as registering for his copyright, on March 16, 1639-40, Howell's "Dodona's Grove;" and thenceforward, in worse times, he stuck to Howell. He not only published Howell's "Instructions for Foreign Travel" in September 1641, and again the second and third parts of Howell's "Letters" in 1645, with a re-issue of "Dodona's Grove;" but he acquired, in the same year, the copyright of the first part of the "Letters," which had been originally brought out by another publisher. More significant still is the fact that it was Moseley that was the publisher of Waller's Poems in December 1644. [Footnote: "Poems &c. written by Mr. Ed. Waller of Beckonsfield, Esquire; lately a member of the Honourable House of Commons. All the Lyrick Poems in this Booke were set by Mr. Henry Lawes, Gent. of the King's Chappell, and one of his Majestie's Private Musick. Printed and Published according to Order. London. Printed by T.W. for Humphrey Mosley at the Princes Armes in Paul's Churchyard: 1645:" pp.96 small 8vo. My authority for the date of the publication of the volume—December 1644—is the Stationers' Registers.] After that date his tendency to trade-dealings in Poetry and the like is so manifest in the Stationers' records that I find appended to my MS. notes, from these records, for the London Bibliography of the year 1646, this memorandum:—"Poetry and Pure Literature looking up again this year, and chiefly through the medium of Moseley's shop." By that time Moseley had distinguished himself as the publisher of original editions of books, not only by Howell and Waller, but also by Milton, Davenant, Crashaw, and Shirley, and moreover as the ready purchaser of whatever copyrights were in the market of poems and plays by Beaumont and Fletcher, Webster, Ludwick Carlell, Shirley, Davenant, Killigrew, and other celebrities dead or living. To this group of Moseley's authors Cowley and Cartwright were soon added; and it was not long before he snapped out of the hands of duller men Denham's Poems, Carew's Poems, various things of Sir Kenelm Digby, and every obtainable copyright in any of the plays of Shakespeare, Massinger, Ford, Rowley, Middleton, Tourneur, or any other of the Elizabethan and Jacoban dramatists. For at least the ten years from 1644 onwards there was, I should say, no publisher in London comparable to Moseley for tact and enterprise in the finer literature.
Moseley was only on the way to make all this reputation for himself, and indeed Waller's volume of Poems, published in Dec. 1644, was yet the principal advertisement of his shop, when he and Milton came together. Pleased with the success of the Waller, it appears, Moseley thought of a collection of Mr. Milton's Poems as a likely second experiment of the same kind, and applied to Milton for the copy. The application was not disagreeable to Milton; and, accordingly, some time after the middle of 1645, or just while he was preparing to remove from Aldersgate Street to Barbican, and there came upon him the great surprise of his wife's re- appearance, Moseley and he were busy in arrangements for the new volume. Milton's acknowledged London publishers hitherto had been these three— "Thomas Underhill, of the Bible in Wood Street" (Of Reformation, 1641,Of Prelatical Episcopacy, 1641, andAnimadversions on Remonstrant's Defence, 1641), "John Rothwell, at the sign of the Sun in Paul's Churchyard" (Reason of Church Government, 1641, and _Apology for Smectymnuus, 1642), and "Matthew Symmons" (theBucer Tract, 1644); and this last-mentioned Symmons, who does not give the locality of his shop, had been probably the printer also of those pamphlets of Milton which bore no publisher's name (Doctrine and Discipline of Divorce, 1643, 1644, and 1645,Of Education, 1644,Areopagitica, 1644, andTetrachordonandColasterion, 1645). Now, however, these were forsaken for the moment, and for bringing out the Volume of Poems the conjunction was Milton and Humphrey Moseley. The revisal of the proof- sheets may have been begun in Aldersgate Street, but it must mainly, as I have said, have been among Milton's first employments at the new house in Barbican. Here, at all events, is Moseley's entry of the new volume in the Stationers' Registers: "Oct.6 [1645],Mr. Moseley ent. for his copie, under the hand of Sir Nath. Brent and both the Wardens, a booke called Poems in English and Latyn by Mr. John Milton." Usually the entry of a book in the Stationers' Registers was about simultaneous with its publication. In this case, however, there was a delay of nearly three months between the registration and the actual appearance. The precise day of the publication of the new volume was Jan. 2, 1645-6. [Footnote: This is ascertained by a MS. note of the collector Thomason's, or by his direction, on a copy among the King's Pamphlets in the British Museum; Press-mark E. 1126. "Jan. 2" is inserted before the word "London" in the title-page.] Either, therefore, Moseley had registered the volume before the printing had proceeded far, or after the sheets were printed there was some little cause of delay.
The following is the title-page of this interesting and now very rare volume:—
"Poems of Mr. John Milton, both English and Latin, compos'd at severaltimes. Printed by his true Copies. The Songs were set in Musick by Mr.Henry Lawes, Gentleman of the King's Chappel, and one of His Majestie'sPrivate Musick.
'Baccare frontemCingite, ne vati noceat mala lingua futuro.'VIRGIL,Eclog.vii.
Printed and publish'd according to Order. London, Printed by RuthRaworth, for Humphrey Moseley; and are to be sold at the signe of thePrinces Arms in Paul's Churchyard. 1645."
The volume is a very tiny octavo, divided into two parts in the paging. First come the ENGLISH POEMS, occupying 120 pages, and arranged thus:—On the Morning of Christ's Nativity, compos'd1629;A Paraphrase on Psalm CXIV.;Psalm CXXXVI.;The Passion;On Time;Upon the Circumcision;At a Solemn Music;An Epitaph on the Marchioness of Winchester;Song on May Morning;On Shakespear, 1630;On the University Carrier who, &c.;Another on the Same;L'Allegro;Il Penseroso;Sonnets, English and Italian—ten in number (I. "O Nightingale;" II. "Donna leggiadra;" III. "Qual in colle," with the attached "Canzone;" IV. "Diodati e te'l;" V. "Per certo i bei;" VI. "Giovane piano;" VII. "How soon hath Time;" VIII. "Captain or Colonel;" IX. "Lady that in the prime;" X. "Daughter to that good Earl");—Arcades;Lycidas;Comus. [Footnote: To this enumeration of the English pieces in the volume of 1645 I may append three bibliographical notes—(1) Of the 28 pieces the original drafts of 10 still exist in the volume of Milton MSS. in Trinity College, Cambridge—viz.:On Time,Upon the Circumcision,At a Solemn Music, Sonnets 7, 8, 9, and 10,Arcades,Lycidas, andComus. All these drafts are in Milton's own hand, except that of Sonnet 8, only the heading of which is in his hand. Of the other 18 pieces, the most important of which areL'AllegroandIl Penseroso, the original MSS. have not come down to us. (2) It will be seen that two of the known early English Poems are omitted in the volume: viz. the pieceOn the Death of a Fail Infant dying of a Cough—i.e.the poem on the death of his niece, the infant girl Phillips, written in 1626; and the College piece of 1628 entitledAt a Vacation Exercise. These pieces first appeared in the Second Edition of the Poems in 1673. (3) It may also be noted that the latest written pieces which appear in the volume of 1645 are Sonnets 9 and 10—the one to the anonymous young lady, the other to the Lady Margaret Ley. We have assigned them to the year 1644, but theymayhave been as late as 1645.] As if to call attention toComusas the longest and chief of the poems, it has a separate title-page, thus, "A Mask of the same Author, presented at Ludlow Castle, 1634, before the Earl of Bridgewater, then President of Wales, Anno Dom. 1645;" but, though there is this break of a new title-page, the paging runs on without interruption,Lycidasending p. 65, andComustaking up the rest to p. 120. Here, however, there is acompletebreak, as if it were intended that the English Poems, there ending, might be bound by themselves. The LATIN POEMS follow as a separate collection, paged separately from p. 1 to p. 88, and with this new title-page prefixed to them: "Joannis Miltoni Londinensis Poemata: quorum pleraque intra annum oetatis vigesimum conscripsit: nunc primum edita. Londini, Typis R.R., Prostant ad Insignia Principis, in Coemeterio D. Pauli, apud Humphredum Moseley, 1645." There is, however, a double arrangement of the Latin Poems, or a distribution of them into two classes. First come those which constitute the so-called ELEGIARUM LIBER; viz., the "Elegies" proper, numbered from I. to VII., as they now stand in all editions of Milton, together with the eight little scraps in the same elegiac verse (five of them on the subject of the Gunpowder Plot, and three on the Italian singer Leonora) which some modern editors have preferred to detach from the Elegies, and put under the separate heading of "Epigrams." This is contrary to Milton's intention; for the phrase "Elegiarum Finis"followsthose scraps in the volume, showing that he meant them to go with the Elegies, and that, in fact, he thought it permissible to call anything an Elegy that was written in the ordinary elegiac verse of alternate Hexameter and Pentameter. Accordingly, all his Latin poems in that kind of verse having been included in theElegiarum Liber, all his other Latin poems, not in that kind of verse, but either in Hexameter pure or in rarer metres, together with two fragments of Greek verse, are regarded as "Sylvæ," and constitute the distinct SYLVARUM LIBER which ends the volume. First among the "Sylvæ" come the six Latin poems of the Cambridge period—In obitum Procancellarii Medici, In Quintum Novembris, In obitum Præsulis Eliensis, Naturam non pati Senium, De Ideâ Platonicâ quemadmodum Aristoteles intellexit, and Ad Patrem; then, by way of typographic interruption, come the two scraps of Greek verse—viz.Psalm LXIV. and the scrap entitledPhilosophus ad Regem Quendam, &c.; after which are the two Latin pieces,Ad SalsillumandMansus, written in Italy, and theEpitaphium Damonis, written immediately after the return to England. This last stands a little apart from the body of the "Sylvæ," as if Milton attached a peculiar sacredness to it.
Such is a general description of the First or 1645 Edition of Milton's Miscellaneous Poems. The volume, however, presents some points of additional interest:——Has the reader noticed the motto on the title- page from Virgil's seventh Eclogue? It is peculiarly significant of the mood in which the volume was published. Milton, who had called himself Thyrsis in theEpitaphium Damonis, here adopts in the happiest manner the words of the young poet-shepherd Thyrsis in Virgil's pastoral. Thyrsis there, contending with Corydon for the prize in poetry, begs from his brother shepherds, if not the ivy of perfectly approved excellence, at least
"Some green thing round the brow,Lest ill tongues hurt the poet yet to be."
Could anything more gracefully express Milton's intention in the volume? This collection of his Poems, written between his sixteenth year and his thirty-eighth, was a smaller collection by much, he seems to own, than he had once hoped to have ready by that point in his manhood; but it might at least correct the impression of him common among those who knew him only as a prose pamphleteer. Something green round his brow for the present, were it only the sweet field-spikenard, would attest that he had given his youth to Poesy, and would re-announce, amid the clamour of evil tongues which his polemical writings had raised, that he meant to return to Poesy before all was done, and to die, when he did die, a great Poet of England.
This feeling, which is the motive of the publication, appears curiously in all the details of its arrangement. The order in which the poems are printed, within each division or class, is, as nearly as possible, the order in which they were written; the deviations being only such as proper editorial art required. To almost every juvenile piece, too, whether in English or in Latin, there is prefixed some indication of the exact date of its composition; and the title-page of the Latin Poems distinctly solicits attention to the fact that most of them were composed before the author was twenty. Even more remarkable than this care in the dating is the introduction into the volume of all the eulogiums which Milton had already received from private friends on account of the Poems, or of any portion of them. To theComusthere is prefixed Henry Lawes's eulogistic Dedication of it, in the edition of 1637, to Viscount Brackley, and also Sir Henry Wotton's cordial letter to Milton, with its praise of the poem in that edition, when Milton was on the start for his continental tour in the spring of 1638. To the Latin Poems as a whole there is even a more formal vestibule of encomiums. First of all, there is a little preface by Milton in Latin apologizing to the reader for troubling him with them. "Though these following testimonies concerning the Author," he says, "were understood by himself to be pronounced not so muchabouthim asoverhim, by way of subject or occasion— it being the general habit of men of brilliant genius, if they are at the same time one's friends, to fashion their praises too eagerly rather by the standard of their own excellencies than by truth—yet he was unwilling that the singular goodwill of such persons towards him should remain unknown, and the rather because others advised him strongly to the step he is now taking. While therefore he puts from him with all his strength the imputation of desiring overpraise, and would rather not have attributed to him more than is due, he cannot deny but he considers the opinion of him meantime by wise and celebrated men a very high honour." Accordingly there here follow the encomiums of his various Italian friends, known to us long ago, and which had been carefully preserved by him till now among his papers—the Latin distich by the famous Marquis Manso of Naples; the outrageously complimentary Latin verses of the two Romans, Salzilli and Selvaggi; and the more interesting Italian ode of compliment and Latin Dedication by the two Florentines, Francini and Carlo Dati. (See Vol. I. pp. 732-4, 753-4, and 768.) One has to remember that the insertion of such commendatory verses in new volumes of poetry was a fashion of the day. But, besides, there was really the anxiety for "something green round the brow." In short, it is as if Milton said to his countrymen—"Here is plenty of greenery, and to spare, with florid stuff intermixed, of which I am rather ashamed: pick out as much or as little of it as you like; only, at this date in my life, to prevent mistake, let me havesomekind of garland."
The publisher, Humphrey Moseley, for one, was most willing to oblige Milton. Prefixed to the volume, on the blank space before the poems themselves begin, is this most interesting preface in Moseley's own name:—
"It is not any private respect of gain, gentle Reader—for the slightest Pamphlet is nowadays more vendible than the works of learnedest men—but it is the love I have to our own language, that hath made me diligent to collect and set forth such pieces, both in prose and verse, as may renew the wonted honour and esteem of our English tongue; and it's the worth of these both English and Latin Poems, not the flourish of any prefixed encomions, that can invite thee to buy them—though these are not without the highest commendations and applause of the learnedest Academicks, both domestick and foreign, and amongst those of our own country the unparalleled attestation of that renowned Provost of Eton, Sir Henry Wootton. I know not thy palate, how it relishes such dainties, nor how harmonious thy soul is: perhaps more trivial Airs may please thee better. But, howsoever thy opinion is spent upon these, that encouragement I have already received from the most ingenious men, in their clear and courteous entertainment of Mr. Waller's late choice pieces, hath once more made me adventure into the world, presenting it with these ever- green and not to be blasted laurels. The Author's more peculiar excellency in these studies was too well known to conceal his papers or to keep me from attempting to solicit them from him. Let the event guide itself which way it will, I shall deserve of the age by bringing into the light as true a birth as the Muses have brought forth since our famous Spenser wrote; whose poems in these English ones are as rarely imitated as sweetly excelled. Reader, if thou art eagle-eyed to censure their worth, I am not fearful to expose them to thy exactest perusal.
"Thine to command, HUMPH. MOSELEY."
This is most creditable to Moseley, and confirms the impression of him which is to be derived from all the known facts of his publishing life. One notices, with real respect, his introductory statement about himself, that, in an age when only pamphlets were thought vendible, he was resolved, from his own liking for good literature, to keep to a finer line of business; one observes with interest the admission that it was Moseley who had solicited the copy from Milton, and not Milton who had offered the copy; and one is struck with the justness of taste shown in the hint that, however choice Mr. Waller's late Pieces might be, here was a poet of "more peculiar excellency." Above all, nothing could be critically truer than the assertion that since Spenser's death there had been no English poetry of Spenser's kind equal to that contained in this volume.
Another feature of the volume, for which Moseley, without doubt, is also responsible, is a prefixed portrait of the Author. There was then living in London a certain William Marshall, an engraver and sketcher of designs for books. He had been some fourteen or fifteen years in this employment; and among the many heads he had done, separately, or as frontispieces to books, ere those of Richard Brathwayte the Poet, Dr. Donne, Archbishop Abbot, Laud, and Dr. Daniel Featley. Very probably Moseley had already had dealings with Marshall, as he had certainly had with the more celebrated engraver Hollar, who had done a frontispiece for him for Howell's "Instructions for Foreign Travel." At all events, Hollar being now out of the way and in trouble (he and Inigo Jones were in the Marquis of Winchester's house at Basing when it was taken by Cromwell), it was Marshall that came in for most such pieces of engraving work as Moseley and other London publishers required. The connexion between him and Moseley became, indeed, a permanent one, so that Marshall is perhaps best remembered now by Horace Walpole's description of him as "the graver of heads for Moseley's books of poetry." If the first head he did for Moseley was this for the edition of Milton's Poems in 1645, it was an unlucky beginning of the connexion. It turned out, at all events, to be an unfortunate piece of work for Marshall's own memory with posterity:— Moseley, we are to suppose, insisted on a portrait of Milton as a proper ornament to be prefixed to such a volume, chose Marshall to do it, and sent him to Milton. Now Milton, as we know, had some recollection of Marshall, and not a very respectful one. It was Marshall that had done not only Dr. Featley's portrait, but also the caricature of the different sorts of Anabaptists and Sectaries, including a river-scene with bathers of both sexes, which had been inserted in the Doctor's treatise entitledThe Dippers Dipt. Milton, as we have seen (antè, p. 311), while administering punishment to Dr. Featley in hisTetrachordonon account of a passage in this treatise, had not allowed the vulgarity of the engraving in Featley's book to escape. "For which I do not commend hismarshalling" had been Milton's punning notice of it in a parenthesis of the punishment. When, therefore, Mr. Marshall came to Milton from Moseley, Milton must have remembered him as the caricaturist for Dr. Featley's book. Nevertheless, he seems to have given him every facility for the portrait wanted. Marshall's habit, in such cases, was to take a sketch from the life when he could get it, but to assist himself with whatever was at hand in the shape of a picture or former engraving. Milton, therefore, may have given him a sitting or two, but perhaps avoided unnecessary trouble by referring to that portrait of himself at the age of 21, now celebrated as "the Onslow Portrait," which then hung in some room in the house in Barbican. As the forthcoming volume consisted largely of Milton's juvenile Poems, an engraving from that portrait, touched up a little, would be the very thing. And so Marshall set to work. His dilatoriness over the plate may have been the cause of the unusual delay in the publication of the volume after it had been registered. In due time, however, the result was presented to Moseley and to Milton. And what a result! How they must have both stared! The general design of the plate was, indeed, pretty enough—an oval containing the portrait, with a background partly of curtain and low wall or window- sill, partly of an Arcadian scene of trees and meadow beyond, in which a shepherd is piping under one of the trees, and a shepherd and shepherdess are dancing; and then, outside the oval, in the four corners, the Muses Melpomene, Erato, Urania, and Clio, with their names. All this was passable; it was the portrait within the oval that gave the shock. The face is that of a grim, gaunt, stolid gentleman of middle age, looking like anybody or nobody, with long hair parted in the middle and falling down on both sides to the lace collar round the neck; one shoulder is cloaked, and the other shown tight in the buttoned tunic or coat; and the arms meet clumsily across the breast, the left arm uppermost. Round the oval was the legend, "Joannis Miltoni Angli Effigies, anno ætatis vigess: pri. W. M. Sculp."—i.e. "Portrait of John Milton, Englishman, in the 2lst year of his age: W. M. Sculp." The legendsaidtwenty-one years of age; the portraitlookedsomewhere about fifty. What was to be done? Whatoughtto have been done was to cancel the plate and print the book without it. Perhaps not to vex Moseley, Milton did not insist on this, but allowed the engraving, just as it was, to be prefixed to the volume. But he took his revenge in one of the most malicious practical jokes ever perpetrated. "Mr. Marshall," he must have said to the unfortunate engraver, "here are a few lines of Greek which I should like to have carefully engraved on the plate under the portrait," at the same time handing him the following:—
[Greek: Amathei gegraphthai cheiri tænde men eikonaPhaiæs tach an, pras eidos autophues blepon.Ton d'ektupoton ouk epignontes, philoi,Gelate phaulou dusmimæma xographou.]
Away went Mr. Marshall, and duly, and with some pains, engraved these letters on the plate, utterly ignorant of their meaning. Accordingly, when the volume appeared (Jan. 2, 1645-6), purchasers of it did indeed find Marshall's portrait of Milton in it, but those among them who knew Greek could read, underneath it, inscribed by Marshall's own graving tool, this damning criticism of his handiwork:—
"That an unskilful hand had carved this printYou'd say at once, seeing the living face;But, finding here no jot of me, my friends,Laugh at the botching artist's mis-attempt."
[Footnote: This was very savage in Milton; but really, as it turned out, it was a prudent precaution. For, till 1670, Marshall's botch prefixed to the Poems was the only published portrait of Milton-the only guide to any idea of his personal appearance for those, whether friends or foes, whether in Britain or abroad, who were not acquainted with himself. Especially among enemies on the Continent, as we shall find, both Marshall's portrait and Milton's sarcastic disavowal of it were eagerly scanned and interpreted for the worst. As late as 1655, Milton, in hisPro se Defendio contra Alexandrum Morion, had to refer to both portrait and disavowal as follows:—"Now I am a Narcissus with you, because I would not be the Cyclops you paint me from your sight of the most unlike portrait of me prefixed to my Poems. Really, if, in consequence of the persuasion and importunity of my publisher, I allowed myself to be clumsily engraved by an unskilful engraver, because there was not another in the city in that time of war, this argued rather my entire indifference in the affair than the too great care with which you upbraid me." The passage quite confirms the view taken in the text of the way in which the portrait came to be published. In justice to Marshall, it is right to say that he had done much better things, and did better things afterwards for Moseley, than this head of Milton. "Marshall," says Bliss (Wood's Ath. III. 518, Note), "though in general a coarse and hasty performer, is not to be despised, since his heads, though often very rough sketches, bear evident marks of authenticity and resemblance to the originals. The best head he ever engraved, in my opinion, is one of Dr. Donne when young." I can confirm this by saying that his head of Featley really gives one an idea of that obstinate and consequential old divine. I only wish he had done Milton half as well. About Marshall's engraving of Milton see Mr. J. F. Marsh's tract on theEngraved and Pretended Portraits of Milton(Liverpool, 1860). Mr. Marsh thinks, with me, that Marshall based his engraving partly on the Onslow picture, and that that picture suggested the date,ætat. 21, so absurdly given to the engraving.]
Moseley's precious little volume, with the engraver Marshall thus grimly immortalized in it, brings Milton to the beginning of 1646, or twelve months beyond hisTetrachordonandColasterion. His wife having been for some months back with him, for better or worse, in the house at Barbican, he had dropped the Divorce argument, or at least its public prosecution. That he did so with a certain reluctance, and in no spirit of recantation, appears from two of his Sonnets, which must have been written about the time of the publication of his volume of Poems (Oct. 1645—Jan. 1645-6), but which are not included in that volume, either because they were too late to come in their places after the Ten Sonnets contained in it, or because Milton thought it better not then to print them. "On the Detraction which followed upon my writing certain Treatises" is the title given by Milton himself in MS. to the two Sonnets together; but they may have been written separately.
I did but prompt the age to quit their clogs,By the known rules of ancient liberty,When straight a barbarous noise environs meOf Owls and Cuckoos, Asses, Apes, and Dogs;As when those hinds that were transformed to frogsRailed at Latona's twin-born progeny,Which after held the sun and moon in fee.But this is got by casting pearl to hogs,That bawl for freedom in their senseless mood,And still revolt when Truth would set them free.Licence they mean when they cry Liberty;For who loves that must first be wise and good:But from that mark how far they rove we see,For all this waste of wealth and loss of blood.
A book was writ of late calledTetrachordon,And woven close, both matter, form, and style;The subject new. It walked the town a whileNumbering good intellects; now seldom pored on.Cries the stall-reader "Bless us! what a word onA title-page is this!" and some in fileStand spelling false while one might walk to Mile-End Green. Why is it harder, Sirs, thanGordon,Colkitto, orMacdonnell, orGalasp?Those rugged names to our like mouths grow sleek,That would have made Quintilian stare and gasp.Thy age, like ours, O soul of Sir John Cheke,Hated not learning worse than toad or asp,When thou taught'st Cambridge and King Edward Greek.
The second of these Sonnets is printed first in all the editions of Milton, but there is proof that it was written second. [Footnote: It stands first in the Second or 1673 Edition of Milton's Poems; but in the Cambridge MSS, it comes second in Milton's own hand.] And, while the two together form what may be called Milton's poetical farewell to the Divorce subject, the mood in the second, it may be noted, is more humorous than in the first. In the first Milton, still angry, clenches his fist in the face of his generation, as a generation of mere hogs and dogs, unable to appreciate any real form of the liberty for which they are howling and grunting; in the second the spleen is less, and he is content with a rigmarole of rhyme about the queer effects among the illiterate of the Greek title of his last Divorce Pamphlet. And here what is chiefly interesting in the rigmarole is the evidence that Milton had been recently attending to the news from Scotland. The "Colkitto, orMacdonnell, orGalasp" of the Sonnet is no other than our friend Alexander MacDonnell,aliasMacColkitto,aliasMacGillespie, Montrose's gigantic Major-general; and the "Gordon" is either Lord Aboyne, the eldest son of the Marquis of Huntly, who adhered to Montrose till Philiphaugh, or it is a general name for the many Gordons who were with him (seeantè, pp. 348, 358, 367). The odd Scottish and Gaelic names had amused Milton's delicate ear;Gordonrhymed aptly toTetrachordon; and hence the notion of the Sonnet. [Footnote: Those annotators on Milton who have tried to identifyGalaspat all have supposed him to be the Mr. George Gillespie who was one of the Scottish Divines in the Westminster Assembly. Theremaybe a side-reference to him, for Milton must have heard much of him; but the primary reference is not to the Presbyterian minister, but to the huge Colonsay Highlander, recently heard of everywhere as Montrose's comrade in arms, and who wasColkitto,MacDonnell, andGalasp, all in one.]
A third Sonnet, written about the same time, shows even more distinctly the calming effect on Milton's mind produced by his changed mode of life in the house in Barbican, after his wife's return and the publication of his little Volume of Poems. It is the well-known Sonnet to his friend Henry Lawes, the musician.
So far as the two artists, William and Henry Lawes, concerned themselves in the politics of the time, they were, of course, Royalists. Officially attached to his Majesty's household and service, what else could they be? The elder of the two, indeed, William Lawes, had gone into the Royalist army, taken captain's rank there, and been slain quite recently at the siege of Chester (October 1645), much regretted by the King, who is said to have put on private mourning for him. Henry, the younger, and much the more celebrated as a composer, had remained in London, exercising his art as much as might be at such a time, and kept by it in acquaintance with many who, differing in other things, were at one in their love of music. Everybody liked and admired the gentle Harry Lawes, and he was welcome everywhere. But there was still no family with which he was on more intimate terms than with his old patrons of the accomplished Bridgewater group, and there can have been no house where his visits were more frequent than at their house in Barbican. True, the family was greatly reduced from what it had been in the old days of theArcadesandComus, when Lawes was teacher of music to its budding girls and boys, and the master and stage-director of their tasteful masques and private concerts. The Countess had been ten years dead; Lord Brackley, the heir of the house, and the elder of the boy-brothers inComus, had wedded, in July 1642, when only nineteen years of age, the Lady Elizabeth Cavendish, daughter of the powerful Royalist Earl, afterwards Marquis and Duke, of Newcastle; and one or two of his sisters, unmarried in theComusyear, had since found husbands. With the widower Earl, however, inhabiting now his town-house in Barbican, and visiting but seldom his country mansion at Ashridge, Herts, there still remained his youngest daughter, the Lady Alice ofComus, verging on her twenty-fifth year, and Mr. Thomas Egerton, the younger of the boy- brothers inComus, now a youth of about twenty. Probably elder and married members of the family gave the Earl their occasional company; for he was now about sixty-five years of age, in an infirm state of health, sorely impoverished, and in the unfortunate condition of a Peer who would have been with the King if he could, and whom the King had expected to be with him, but who was obliged to plead his infirm health and his poverty for a kind of semi-submission to Parliament. He had reluctantly taken the Covenant (antè, pp. 39,40), and there are entries in the Lords Journals proving that his excuses for non-attendance in the House were barely allowed to pass. Music and books were among the invalid Earl's chief recreations; and some of his happiest moments in his old age may have been in listening to the Lady Alice, or another of his daughters, singing one of Lawes's songs, with Lawes, now the privileged artist- friend rather than the professional tutor, standing by or accompanying. What if it were the Lady Alice, and the song were that well-remembered one ofComuswhich she had sung, when a young girl, eleven years before, in the Hall of Ludlow Castle, before the assembled guests of her father's Welsh Presidency, her proud mother then among the listeners,—
"Sweet Echo, sweetest nymph that liv'st unseenWithin thy airy shell"?
If so, the sound of her voice might have almost reached Milton inhishouse close by in the same street. At all events, here, in the street called Barbican, by a strange chance, were assembled, within a few yards of each other, at the very time whenComuswas first published by Milton himself, and acknowledged among his other poems, at least five of the persons chiefly concerned in the masque on its first production—the Earl in whose honour it had been composed; the Lady Alice, and Mr. Thomas Egerton, two of the chief actors: the musician Lawes, who had directed all, composed the music, and sustained the parts of Thyrsis and the Attendant Spirit in the, performance; and the poet who had written the words.
When Lawes was in Barbican of an evening, it was but a step for him from the Earl's house to Milton's. And then would there not be more music, mingled with talk perhaps about the Bridgewater family, while Mrs. Milton sat by and listened? And would not the old Scrivener come down from his room to see Mr. Lawes, and bring out his choicest old music-books, and almost set aside his son in managing the visit for musical delight? So one fancies, and therefore keeps to the interrogative form as the safest; but the fancy here is really the most exact possible apprehension of the facts as they are on record. Lawes's friendship with Milton had been uninterrupted since 1634; but it so chances that the third point in Milton's life at which his intimacy with Lawes emerges into positive record is precisely the winter of 1645-6, when Milton was the Earl of Bridgewater's neighbour in Barbican, and his Volume of Poems was going through the press. Not only was there reprinted in this volume Lawes's Dedication of theComusin 1637, "To the Right Honourable John, Lord Brackley, son and heir-apparent to the Earl of Bridgewater;" but in the very title-page of the volume, as arranged by Moseley, Lawes's name is associated with Milton's. "The Songs were set in musick by Mr. Henry Lawes, &c.," says the title-page; and this may mean that not only the songs inArcadesandComus, but other lyrical pieces in the volume, had been set to music by Lawes. If so, a good deal more of Lawes's music to Milton's words may have been in existence about 1645 than his settings of the five songs inComus, which are all that have come down to us in his own hand. Songs of Milton set by Lawes may have been in circulation in MS. copies, and may have been as well known in musical families as the numerous songs by Carew, Herrick, Waller and others, which had been set by the same composer; and it may be to this that Moseley alludes by the prominent mention of Lawes in the title-page of the collected Poems. And, if Lawes had done so much for Milton's verse, it was fitting that Milton should make some return in kind. He had indeed introduced skilful compliments to Lawes personally in hisComus; but something more express might be now appropriate. Accordingly, on the 9th of February, 1645-6, or five weeks after the publication of the Poems, Milton wrote the following:—
"Harry, whose tuneful and well-measured songFirst taught our English music how to spanWords with just note and accent, not to scanWith Midas ears, committing short and long,Thy worth and skill exempts thee from the throng,With praise enough for Envy to look wan:To after-age thou shalt be writ the manThat with smooth air could humour best our tongue.Thou honour'st Verse, and Verse must lend her wingTo honour thee, the priest of Phoebus' quire,That tun'st their happiest lines in hymn or story.Dante shall give Fame leave to set thee higherThan his Casella, whom he wooed to sing,Met in the milder shades of Purgatory."
The original draft of this Sonnet, entitled as above, and with the date "Feb. 9, 1645," attached, and a corrected transcript underneath, both in Milton's own hand, are in the Cambridge volume of Milton MSS. The Sonnet was prefixed by Lawes, with the same title, in 1648 to a publication of some of his own and his deceased brother's compositions, entitledChoice Psalmes put into Musick for Three Voices; but in the Second or 1673 Edition of Milton's Poems it reappeared with the title which it has retained in all subsequent editions: viz. "To Mr. Henry Lawes on his Airs." For biographical purposes it is well to remember the first title and the dating. The Sonnet is, in fact, a memorial of a time when Milton and Lawes must have been much together. [Footnote: The details about the state of the Bridge water family in the text are partly from Todd's Note prefixed toComus(Todd's Milton, ed. 1852, IV 38-44), partly from entries in theLords Journalsalready referred to in this volume. Todd has also (ibid.45-54) an elaborate, though ill-digested, note on Lawes, with particulars of his continued connexion, to 1653 and beyond, with various members of the Bridgewater family. In the Stationers' Registers there is this entry:—"Nov. 16, 1647, Rich. Woodnoth entered for his copy under the hands of Mr. Downham and Mr. Bellamy, warden, a book called 'Compositions of Three Parts,' by Henry and William Lawes, servants to his Majesty." I suppose this was the book published in 1648 with the title "Choice Psalmes," &c.]
Altogether it was beginning to be a more placid time with Milton. With his book out, his wife restored to him, the Divorce argument dropped, and his pupils to teach, he might look about him quietly on the state of public affairs, and expect what should be the next call on him. There did not seem to be any immediate call. In the month when his volume of Poems appeared Presbyterianism was at its fullest tide in Parliament; but in the succeeding months, what with the increase of Recruiters in the Commons, what with the tramp of Independency in the field growing louder and nearer as the New Model ended its work, he could see the political power of the Presbyterians gradually waning, until, in April 1646, when Cromwell reappeared in London, Anti-Toleration was abashed and the Westminster Assembly itself under control. The spectacle must have been quite to Milton's mind; but, as he had already expressed himself sufficiently on the main question between the Independents and the Presbyterians, and as nobody doubted on which side he was to be ranked, he was disposed to take his ease on this subject too, and to leave the issue to the Parliament and the Army. He was too marked a man, however, to be quite let alone. The Presbyterian writers, true to their policy of publicly naming all prominent heretics and sectaries, and painting their opinions in the most glaring colours, with a view to disgust people with the idea of a Toleration, could not part with Milton and his Divorce Doctrine. After he and his wife were in the Barbican house together, he was still pursued by the hue and cry. Here are two specimens:—
Mr. Baillie on Milton.—"Mr. Milton permits any man to put away his wife upon his mere pleasure without any fault, and without the cognisance of any judge," writes Baillie in the Table of Contents to the First Part of hisDissuasive, published in November 1645; and in the text of the work (p. 116) the statement is amplified as follows:—"Concerning Divorces, some of them [the Independents] go far beyond any of the Brownists; not to speak of Mr. Milton, who in a large treatise hath pleaded for a full liberty for any man to put away his wife, whenever he pleaseth, without any fault in her at all, but for any dislike or dyssympathy of humour. For I do not certainly know whether this man professeth Independency, albeit all the heretics here whereof ever I heard avow themselves Independents. Whatever therefore may be said of Mr. Milton, yet Mr. Gorting and his company were men of renown among the New English Independents before Mistress Hutchinson's disgrace; and all of them do maintain that it is lawful for every woman to desert her husband when he is not willing to follow her in her church-way." In other words, Baillie is not sure that it is fair to charge Milton's extreme opinion upon Independency as such, inasmuch as it may be the crotchet of a solitary heretic; but he is inclined to think that Miltonisan Independent, and he knows at least that Mr. Gorting and other Independents have broached a milder form of the same heresy. In his Notes (pp. 144,145) he quotes sentences to the amount of a page from Milton'sDoctrine and Discipline of Divorceto prove that he does not misrepresent him.—The "Gorting" here mentioned by Baillie is the "Samuel Gorton" who had been such a sore trouble to the New Englanders, and even to Roger Williams at Providence, by his anarchical opinions and conduct (Vol. II. 601). He had returned or been ejected from America, and was making himself notorious in London. "This I am assured of from various hands," wrote Edwards (Gangr.Part II. p. 144), "that Gorton is here in London, and hath been for the space of some months; and I am told also that he vents his opinions, and exercises in some of the meetings of the sectaries, as that he hath exercised lately at Lamb's Church, and is very great at one Sister Stagg's, exercising there too sometimes." This will explain Baillie's allusion to Gorton in connexion with Milton's Divorce Doctrine. Strange that Gorton should be cited as holding amilderform of the heresy than Milton's!
Mr. Edwards on Milton.—Of course, Milton got into theGangræna.Everybody that deviated in anything, to the right or left, from the path of Presbyterian orthodoxy, got into that register of scandals; and we have already availed ourselves of information incidentally supplied in the Second and Third Parts of it as to the horror caused by Milton's Divorce Doctrine among the Presbyterians (antè, pp. 189-192). We have still to present, however, Edwards's direct notice of Milton in the First Part of his scandalous medley. It was published in January or February 1645-6; so that, at the very time when Milton's volume of Poems was out, and he was writing his Sonnet to Lawes, he found himself pilloried again in the new book which all London was reading greedily. A leading portion of the book, as we know (antè, pp. 143-5), consisted of a catalogue of 176 "Errors, Heresies, and Blasphemies" that had been vented by divers Sectaries and were then distracting and corrupting the soul of England. Well, the 154th Error, Heresy, and Blasphemy in this catalogue is this:— "That 'tis lawful for a man to put away his wife upon indisposition, unfitness, or contrariety of mind, arising from a cause in nature unchangeable; and for disproportion and deadness of spirit, or something distasteful and averse in the immutable bent of nature; and man, in regard of the freedom and eminency of his creation, is a law to himself in this matter, being head of the other sex, which was made for him; neither need he hear any judge therein above himself." To this summary by Edwards of Milton's Doctrine, partly in Milton's own words, the reference is appended in the margin: "Vide Milton's Doctrine of Divorce." (Gangræna, Part I. p. 29.) And so for the moment Edwards dismisses Milton, very much as Baillie had done, to return to him again in the Second and Third Parts of hisGangræna, as Baillie was to do in the Second Part of hisDissuasive.
Milton was provoked. It was not in his nature to let any attack upon him, from whatever quarter, pass without notice; and attacks by persons of such popular celebrity as Baillie and Edwards could hardly be ignored. But, as he had given up the public prosecution of the Divorce argument, his punishment for Edwards and Baillie came in a different form from that which he had administered in theTetrachordonandColasterionto Herbert Palmer, Dr. Featley, Mr. Caryl, Mr. Prynne, and the anonymous attorney. It came in verse, thus—
"Because you have thrown off your Prelate lord,And with stiff vows renounced his Liturgy,To seize the widowed whore PluralityFrom them whose sin ye envied, not abhorred,Dare ye for this adjure the civil swordTo force our consciences that Christ set free,And ride us with a Classic Hierarchy,Taught ye by mereA. S.andRutherford?Men whose life, learning, faith, and pure intentWould have been held in high esteem with Paul,Must now be named and printed hereticsByshallow EdwardsandScotch What d'ye call.But we do hope to find out all your tricks,Your plots and packing, worse than those of Trent,That so the ParliamentMay, with their wholesome and preventive shears,Clip your phylacteries, though baulk your ears,And succour our just fears,When they shall read this clearly in your charge—New PRESBYTER is but old PRIEST writ large."
Milton, we are to suppose, having already written two Divorce Sonnets, did not care to write a third, but preferred to punish Edwards and Baillie in a general Anti-Presbyterian Sonnet. It turned out, however, not a Sonnet proper, but aSonetto con coda, as the Italians call it, or "Sonnet with a tail"—the Anti-Presbyterian rhythm prolonging itself beyond the fourteen lines that would have completed the normal Sonnet, and demanding the scorpion addition of six lines more. Into this peculiar "tailed Sonnet" Milton condenses metrically all the rage against Presbytery, the Westminster Assembly, and the Anti-Tolerationists, which had already broken forth at large in his later prose pamphlets. The piece is unusually full of historical allusions. It breathes throughout his acquired hatred of the Presbyterians for their opposition to Liberty of Conscience, and their determination that the "Classic Hierarchy," or system of Presbyterianclasseswhich they were establishing in England, should be as compulsory on all as the Prelacy they had thrown off; and there is a palpable side-hit at the recent acquisition by some of the leading Presbyterian Divines in the Assembly of University posts and the like in addition to their previous livings, notwithstanding their outcries against Pluralities in the time of Episcopacy. In this side-hit not a few known Divines are slashed; and among them, I fear, Milton's old tutor Thomas Young, now Master of Jesus College, Cambridge, as well as Vicar of Stowmarket. But the open personal references are four. The "A. S." selected as one prominent expounder of Presbytery is the Scotchman, Dr. Adam Steuart, who, under his initials "A. S.," had been one of the first to rush into print in behalf of strict Presbytery and Anti- Toleration against theApologetical Narrativeof the Independents of the Assembly, and who had been replied to by John Good win, but had since gone into Holland (antè, p. 25). The "Rutherford" coupled with him is the celebrated Scottish divine, and Commissioner to the Assembly, Samuel Rutherford, who had set forth several expositions of strict Scottish Presbytery for the enlightenment of the English. "Shallow Edwards" is obvious enough: he is Mr. Edwards of theGangræna, once far from a nobody in London, but who will now, through Milton's mention of him, be "Shallow Edwards" to the world's end. In Milton's draft of the Sonnet he was "hair-brained Edwards;" but "hair-brained" was erased, and "shallow" substituted. The "Scotch What d'ye call" has cost the commentators more trouble. Most of them have identified him with George Gillespie, whom they also, though erroneously, suppose to be the "Galasp" of one of the Divorce Sonnets. There can be little doubt now, I think, that I have detected the real "What d'ye call" in Gillespie's fellow- Commissioner from Scotland, our good friend Baillie, whoseDissuasive, with its reference to Milton as one of the heretics of the time, had just preceded Edwards'sGangræna. I am sorry for this, but it cannot be helped. There was, I ought to add, in the original draft of the Sonnet, a fifth personal allusion, which Milton saw fit, on second thoughts, to omit. Line 17, which now stands "Clip your phylacteries, though baulk your ears" (i.e." though pass over your ears and leave them undipped"), was originally "Crop ye as close as marginal P—'s ears." As Milton had already, in hisColasterion, said enough about Prynne and the heavy margins of his many pamphlets, and as the circumstances in which Prynne had lost his ears made the subject hardly a proper one for a public joke, it was but good taste in Milton to make the change.
It is from internal evidence that I assign this famous Anti-Presbyterian outburst of Milton to some early month of the year 1646. [Footnote: The lines were first published in the Second or 1673 Edition of Milton's Poems, and not there among the Sonnets, but as a piece apart, with the title, since always given to it,On the New Forcers of Conscience under the Long Parliament. The draft of it among the Milton MSS. at Cambridge has the simpler titleOn the Forcers of Conscience. This draft, however, is not in Milton's own hand, but is a transcript by an amanuensis. Hence we have not the means of determining the date so exactly as if Milton's own draft had been preserved. I am pretty confident that the date cannot be later than 1646, and I fancy copies may have been in private circulation in that year.] It fits in exactly with the state of public affairs and of Milton himself at that time; all the motives to it, public and private, were in existence by the March of that year; and it is difficult to suppose that the composition was of much later date. Or, if it was a little later, the lines fairly represent Milton's feeling at the time to which I assign them. In March, April, and May, 1646, Milton was one of those Englishmen who had done for ever with Presbyterianism, who rejoiced over the curb imposed at length upon the Westminster Assembly by the Independents and Erastians of the Parliament, and who longed to see that conclave dismissed, and the Scots sent packing home.
That the Scots should be sent packing home, but that they should leave the King behind them in English custody, was the result for which all the Independents were anxious. Through May and June 1646, it was for Milton, among the rest, to watch the progress of the negotiations with the Scots at Newcastle round the person of the King, and at the same time to observe the surrender of one after another of the few remaining Royalist garrisons, including the great Royalist capital of Oxford. The siege of this city by Fairfax, begun May 1, a week after the King had left it, and continued for seven or eight weeks with the help of Cromwell and Skippon, must have been a matter of considerable personal interest to Milton, and of more interest to his wife. She was now in a state of health requiring as much freedom from anxiety as possible; but, while the siege was going on, there was good reason for anxiety in the fact that her father and mother, with the rest of her family, or some of them, were in the besieged city and undergoing its dangers. They had taken refuge there on the approach of the Parliamentarian troops into Oxfordshire, leaving their house at Forest-hill to take its chance. What might that chance be, and what worse chances might come of the siege itself? It was a relief when the news came of the actual surrender of the city (June 24), on terms exceedingly liberal to the garrison, the citizens, and all the resident Royalists. The terms, indeed, were thought far too liberal by the Presbyterians. "The scurvy base propositions which Cromwell has given to the Malignants at Oxford has offended many," writes Baillie, June 26; [Footnote: Baillie, II. 376] the reason for the offence being that it was but too clear that the Independents had been in haste to obtain Oxford on any terms whatever, in order that the army might be free to act, if necessary, against the Scots in the north. Anyhow the surrender had taken place. The Princes Rupert and Maurice had left the city with a retinue and promise of liberty to go abroad; the garrison, to the number of 7,000 men, had marched out honourably, with arms and baggage; security for the property of the citizens and the colleges had been guaranteed; and all the miscellaneous crowd of Royalists of various ranks that had been cooped up so long in Oxford were at liberty to disperse themselves on certain stipulated conditions. To one of the Articles of the Treaty of Surrender I must ask special attention, as it came to be of much domestic consequence to Milton in future years:—
"XI. That all lords, gentlemen, clergymen, officers, soldiers, and all other persons in Oxford, or comprised in this capitulation, who have estates real or personal under or liable to sequestrations according to the Ordinance of Parliament, and shall desire to compound for them (except persons by name excepted by Ordinance of Parliament from pardon), shall at any time within six months after the rendering of the garrison of Oxford be admitted to compound for their estates; which composition shall not exceed two years' revenue for estates of inheritance, and for estates for lives, years, and other real and personal estates, shall not exceed the proportion aforesaid for inheritances, according to the value of them: And that all persons aforesaid whose dwelling-houses are sequestered (except before-excepted) may after the rendering of the garrison repair to them, and there abide, convenient time being allowed to such as are placed there under the sequestrations for their removal. And it is agreed that all the profits and revenues arising out of their estates after the day of entering their names as Compounders shall remain in the hands of the tenants or occupiers, to be answered to the Compounders when they have perfected their agreements for their compositions; And that they shall have liberty, and the General's pass and protection, for their peaceable repair to and abode at their several houses or friends, and to go to London to attend their compositions, or elsewhere upon their necessary occasions, with freedom of their persons from oaths, engagements, and molestations during the space of six months, and after so long as they prosecute their compositions without wilful default or neglect on their part, except an engagement by promise not to bear arms against the Parliament, nor wilfully to do any act prejudicial to their [Parliament's] affairs so long as they remain in their quarters. And it is further agreed that, from and after their compositions made, they shall be forthwith restored to and enjoy their estates, and all other immunities, as other subjects, together with the rents and profits, from the time of entering their names, discharged from sequestrations, and from fifths and twentieth parts, and other payments and impositions, except such as shall be general and common to them with others." [Footnote: Whitlocke (ed. 1853), II. 38; also in Rushworth, VI. 282, 283.]
Some hundreds of persons in Oxford at the time of its surrender must have had their movements for the next few months determined by this article. Among these was Milton's father-in-law, Mr. Richard Powell.
The view we arrived at as to the condition of the Powell family before the Civil War was (Vol. II. p. 499) that they were then "an Oxfordshire family of good standing, keeping up appearances with the neighbour- gentry, and probably more than solvent if all their property had been put against their debts, but still rather deeply in debt, and their property heavily mortgaged." During the war, we have now to record, on the faith of a statement afterwards made by Mr. Powell himself, the losses of the family in one way or another had amounted to at least 3,000_l_. Remembering this heavy item, I will try to present in figures the state of Mr. Powell's affairs while he was shut up in Oxford:—
1. Lease, till 1672, of the Forest-hill mansion and £ estate, worth about . . . . . . . . 270 a year. 2. Furniture, household-stuff, and corn in the Forest- hill mansion and appurtenances, valued at . 500 3. Wood and timber stacked about the Forest-hill premises, worth . . . . . . . . . 400 4. Property in land and cottages at Wheatley, valued at . . . . . . . . . . . 40 a year. 5. Debts owing to Mr. Powell . . . . . . . . 100
1. Due to Mr. John Milton, by recognisance since1627, as unpaid part of an original debt of£500 . . . . . . . . . . . . . 3002. Promised to the said Mr. Milton, when he marriedMr. Powell's eldest daughter, amarriage portion of. . . . . . . . . 1,0003. Due to Mr. Edward Ashworth, or his representatives,in redemption of a mortgage on theWheatley property since 1631, a capital sum(besides arrears of interest) of . . . . 4004. Due to Sir Robert Pye, in redemption of a mortgageon the Forest-hill mansion and propertysince 1640, a capital sum (besides arrears ofinterest) of . . . . . . . . . . . 1,4005. Other debts, as estimated by Mr. Powell . . . 1,200
It is difficult to square this ragged account (which, however, is the best one can produce); [Footnote: My authorities for it are—(1) My own previous accounts of the state of Mr. Powell's affairs before the ware, Vol. II. pp. 492-9, based on authorities there cited. (2) "A Particular of the Real and Personal Estate of Richard Powell of Forest-hill," after the surrender of Oxford, attested by himself Nov. 21, 1646, and given in the Appendix to Hamilton'sMilton's Papers. (3) Other papers in the same Appendix, especially an attestation of Milton himself at p. 95. (4) The documents relative to Milton's Nuncupative Will printed by Todd and others.] but the general effect is that Mr. Powell's affairs were in a woful condition. It was almost mockery now to style him Mr. Powell of Forest-hill and Wheatley; for, before he could call these Oxfordshire properties his own, with their joint revenue of 310_l._ a year, he had to clear off a debt of 1,400_l._ to Sir Robert Pye, and another of 400_l._ to one Ashworth, each with heavy arrears of interest. Actually, in furniture, goods, corn, and timber in the house at Forest-hill and its premises, and in debts owing to him, he fancied himself worth 1,000_l._; but his debts, apart from those to Pye and Ashworth, and apart also from the 300_l_. legally owing to his son-in-law Milton (which, with the promised marriage-portion of 1,000_l._, might stand over to a convenient time), amounted to 1,200_l._ Nay, this is too favourable a view; for, while the siege of Oxford had been going on, incidents had happened which much increased Mr. Powell's difficulties:—(l) The terms of the mortgage of the Forest-hill mansion and estate to Sir Robert Pye had been that the mortgage was to be void if Mr. Powell should pay Sir Robert a sum of 1,510_l._ by the 1st of July, 1641. This not having been done, Sir Robert had had, ever since that date, a legal right to eject Mr. Powell from the mansion and lands and take possession of them for his debt. A friendly compromise appears to have been arranged on the subject in May, 1642, by the payment to Sir Robert of l10_l._, being the difference between the original debt and the higher sum which was to void the mortgage. Nevertheless the right to take possession remained with Sir Robert; and that he had not exercised it may have been as much owing to the fact that Oxford was difficult of access to a Parliamentarian creditor during the war as to neighbourly forbearance. But, now that Parliament was at the gates of Oxford, and its troops quartered in and about Forest-hill, it was but common prudence in Sir Robert to use the only method left of saving himself from the loss of his 1,400_l._ with the unpaid interest. Some time in May, accordingly, or early in June, while the siege of Oxford was in progress, he caused his servant, or agent, Laurence Farre, to take formal possession of the Forest-hill premises. At the date of the surrender of Oxford, therefore, Mr. Powell was no longer owner of the Forest-hill manor and mansion; they belonged to his neighbour, Sir Robert Pye. There was, perhaps, a temporary convenience in this for Mr. Powell. If he had lost the property, his debt to Sir Robert was cancelled by the loss in the meantime; and, if at any future time he or his heirs should be in a position to re-acknowledge the debt with arrears, arrangements for the redemption of the property would be easier with the Pye family than with strangers. Besides, Sir Robert had taken possession of the property just in time to anticipate its sequestration by Parliament as part of the estate of a Delinquent; and in this too there may have been some intention of neighbourly service, or saving of future trouble, to Mr. Powell. Still it was a hard thing for the Powells to know that their lease of their family residence and estate was gone, and they were no longer the Powells of Forest-hill. [Footnote: The vouchers for the statements in the text about the transfer of Forest-hill to Sir Robert Pye in May or June, 1646, are in various documents printed in Mr. Hamilton'sMilton Papers. See especially p. 56 and Documents xxii., xli., xlii., and xlv. in the Appendix. The Forest-hill property, we shall find, did eventually come back to the Powell family; but it is worthy of remark that in Mr. Powell's own "Particular" of the state of his property in 1646 the Forest-hill lease is not mentioned, but only the goods and household stuff on the premises. On the other hand, of course, the 1,400_l_. and arrears of interest due to Sir Robert Pye are omitted from the list of debts, as cancelled by the loss of the property.] (2). But not only was the lease of the family house and lands gone. There had come a sequestration, and worse than a sequestration, upon the goods, household stuff, and timber on the Forest-hill premises, which formed now the best part of Mr. Powell's worldly all. The order for the sequestration was issued by the Committee of Parliamentary Sequestrations for the County of Oxford just after Sir Robert Pye had possessed himself of the premises; and, on the 16th of June, while Mr. Powell and his family were in Oxford with the rest of the besieged, three of the sequestrators, John Webb, Richard Vivers, and John King, with assistants and spectators, were rummaging the rooms and offices at Forest-hill, and taking an inventory and valuation of all the furniture, goods, and stock of every kind contained in them. The inventory still exists, and has been used in our description of the house when Milton went to fetch his bride from it (Vol. II. pp. 500, 501). Now, however, it comes in more sadly.A copy of the Inventory, with the prices of the goods as they were appraysed the 16th of June 1646, is the title of the document; and, as we read it, we see the sequestrators, with their pens behind their ears, going round the house, and through the house, and in among the wood- yards, attended by gaping country-people, and jotting down particulars. A trunk of linen first attracts them, and they set down its contents, including "1 pair of sheets, 3 napkins, 6 yards of broad tiffany," at 16_s._ Next is a heavier entry—to wit, "240 pieces of tymber, 200 loades of firewood, 4 carts, 1 wain, 2 old coaches, 1 mare colt, 3 sows, 1 boar, 2 ewes, 3 parcels of boards," valued in the aggregate at 156_l_. l2_s_. And so on they go, pell-mell, putting down "hops in the wool-house" at 2_l_., "a bull" at 1_l._ 10_s._, "14 quarters of mastline" at l4_l._, "5 quarters of malt" at 5_l._, "6 bushels of wheat" at 1_l._ 2_s._, two more parcels of wood at 100_l._ and 60_l._ respectively, a piece of growing corn at 42_l._, a piece of growing wheat at 6_l._ l3_s._ 4_d._, and even two fields of meadow, which they leave unappraised for the good reason that they had been "eaten up by the souldiers." At this point also are mentioned, as also unappraised, some bit of land at Forest-hill, apparently not included in the lease that had gone to Sir Robert Pye, and also Mr. Powell's property at Wheatley. Then, having concluded the outer survey, and brought the total, so far as appraised, up to 400_l._ or a little more, the sequestrators proceed to a separate and special inventory of the household goods. "In the hall" they find furniture which they value at 1_l._ 4_s._; "in the great parlour" 7_l._; "in the little parlour" 3_l._; "in the study or boys' chamber" 2_l._ l3_s._; and so on through the other rooms—"Mrs. Powell's chamber," as the best furnished of all, counting for 8_l._ 4_s._, while "Mr. Powell's study" goes for only 1_l._ l4_s._ Altogether the household stuff amounts in their estimate to a little over 70_l._ It was a monstrously good bargain to any one who would give that sum for it. Nor, in fact, had the sequestrators been taking all the trouble of the inventory without inducement. Going about with them all the while, and possibly haggling with them over the values, was an intending purchaser in the person of a certain Matthew Appletree from London—one of those dealers who followed in the wake of the Parliamentary forces as they advanced into Royalist districts, with a view to pick up good bargains for ready money in the confiscated property of Delinquents. To this Appletree the aforesaid sequestrators, Webb, Vivers, and King, did sell all the household stuff they had inventoried, together with the best part of the out-of-door-stock, including the carts, wain, and old coaches, the mare, the bull, and other animals, and all of the timber except 100%, worth in keeping of a Mr. Eldridge. The sum which Appletree was to give for the whole was 335_l._, whereas the real value may have been about 800_l._ or 900_l._; and no sooner had he concluded his bargain than he began to cart some of the lighter things away. We can tell what went off in the first cart. They were: "1 arras work chayre, 6 thrum chayres, 6 wrought stooles, 2 old greene carpetts, 1 tapestry carpett, 1 wrought carpett, 1 carpett greene with fringe, 3 window curtaines." [Footnote: Document xxvi. in Appendix to Hamilton'sMilton Papers, with references to other Documents in same Appendix.] All this took place on the 16th of June, 1646, eight days before the surrender of Oxford. On the preceding day, June 15, Cromwell had been at Halton, close to Forest-hill, seeing his daughter Bridget married to Ireton.