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‘But, after all, what Poetry and Art there was in that day, good or bad, all belonged to the Royalists.

All? There are those who think that, if mere concettism be a part of poetry, Quarles is as great a poet as Cowley or George Herbert, Vaughan or Withers. On this question, and on the real worth of the seventeenth century lyrists, a great deal has to be said hereafter. Meanwhile, there are those, too, who believe John Bunyan, considered simply as an artist, to be the greatest dramatic author whom England has seen since Shakspeare; and there linger, too, in the libraries and the ears of men, words of one John Milton. He was no rigid hater of the beautiful, merely because it was heathen and Popish; no more, indeed, were many highly-educated and highly-born gentlemen of the Long Parliament: no more was Cromwell himself, whose delight was (if we may trust that double renegade Waller) to talk over with him the worthies of Rome and Greece, and who is said to have preserved for the nation Raphael’s cartoons and Andrea Mantegna’s triumph when Charles’s pictures were sold. But Milton had steeped his whole soul in romance. He had felt the beauty and glory of the chivalrous Middle Age as deeply as Shakspeare himself: he had as much classical lore as any Oxford pedant. He felt to his heart’s core (for he sang of it, and had he not felt it he would only have written of it) the magnificence and worth of really high art, of the drama when it was worthy of man and of itself.

‘Of gorgeous tragedy,
Presenting Thebes’ or Pelops’ line,
Or the Tale of Troy divine,
Or what, though rare, of later age,
Ennobled hath the buskin’d stage.’

No poet, perhaps, shows wider and truer sympathy with every form of the really beautiful in art, nature, and history: and yet he was a Puritan.

Yes, Milton was a Puritan; one who, instead of trusting himself and his hopes of the universe to second-hand hearsays, systems, and traditions, had looked God’s Word and his own soul in the face, and determined to act on that which he had found. And therefore it is that to open his works at any stray page, after these effeminate Carolists, is like falling asleep in a stifling city drawing-room, amid Rococo French furniture, not without untidy traces of last night’s ball, and awaking in an Alpine valley, amid the scent of sweet cyclamens and pine boughs, to the music of trickling rivulets and shouting hunters, beneath the dark cathedral aisles of mighty trees, and here and there, above them and beyond, the spotless peaks of everlasting snow; while far beneath your feet –

‘The hemisphere of earth, in clearest ken,
Stretched to the amplest reach of prospect, lies.’

Take any–the most hackneyed passage of ‘Comus,’ the ‘Allegro,’ the ‘Penseroso,’ the ‘Paradise Lost,’ and see the freshness, the sweetness, the simplicity which is strangely combined with the pomp, the self-restraint, the earnestness of every word; take him even, as an experimentum crucis, when he trenches upon ground heathen and questionable, and tries the court poets at their own weapons –

‘Or whether (as some sager sing),
The frolic wind that breathes the spring,
Zephyr, with Aurora playing,
As he met her once a-Maying,
There on beds of violets blue,
And fresh-blown roses washed in dew–‘

but why quote what all the world knows?–where shall we find such real mirth, ease, sweetness, dance and song of words in anything written for five and twenty years before him? True, he was no great dramatist. He never tried to be one; but there was no one in his generation who could have written either ‘Comus’ or ‘Samson Agonistes.’ And if, as is commonly believed, and as his countenance seems to indicate, he was deficient in humour, so were his contemporaries, with the sole exception of Cartwright. Witty he could be, and bitter; but he did not live in a really humorous age: and if he has none of the rollicking fun of the foxhound puppy, at least he has none of the obscene gibber of the ape.