show that he resorted to the Vulgate for assistance.29 It seems likely, however, that he was as competent as anyone in his time to interpret his originals, and the errors seem, in some cases, at least, to be due to the recollection of a phrase from some other version that was familiar to him.30 Finally, in 1653, on almost successive days, he turned Psalms I to VIII into a variety of metrical and stanzaic forms, no two being exactly the same. One surmises that he had resumed his task this time as a means of amusement and spiritual consolation in the early period of his blindness. The attempt to follow the Hebrew with minute fidelity is now abandoned; occasional touches reveal the degree to which Milton is reading his own experiences into the psalmist's cry to God out of the anguish of his soul. A single non-Scriptural translation appeared in the 1673 edition, the remarkably ingenious version of Horace's "Quis multa gracilis," "rendered almost word for word without Rhyme according to the Latin Measure, as near as the Language will permit." Other fragmentary bits (generally in blank verse) from classic and Italian authors are scattered through the prose. 29 Baldwin, Milton and the Psalms. 30 For a discussion of Milton's relation to earlier versions see Studley, Milton and his Paraphrases of the Psalms. CHAPTER IV PARADISE LOST COMPOSITION AND PUBLICATION TEPS IN THE DEVELOPMENT OF MILTON'S PLAN. ST The story of the evolution of Paradise Lost in Milton's mind is an intimate and vital part of his biography for a period of over a quarter of a century. The record of his preliminary meditation of the project is to be found chiefly in his published writings and in his preserved manuscript notes. This record, including his early deliberations as to a choice of subject, is here given chronologically and in considerable detail. 1628. Vacation Exercise. Milton expresses his ambition to employ the English language in some lofty subject comparable to the Iliad or the Odyssey. December, 1629. Elegy VI. Milton dedicates himself to the seriousness of epic as opposed to the lightness of elegiac poetry and prescribes for himself a way of life appropriate to such an ambition. For the later account in the Apology for Smectymnuus of the resolution thus taken on his twenty-first birthday and of the steps which led to it see Appendix. 1637. Lycidas. The poet complains in the opening lines that the sad occasion of the death of Edward King has compelled him to write again before his time. The di gression on fame and the closing line "To-morrow to fresh woods and pastures new" illustrate his mood. 1639-40. Mansus. He announces the legendary history of Britain as his theme. "I will some day recall in song the things of my native land, and Arthur, who carried war even into fairyland. Or I shall tell of those great-hearted champions bound in the society of the Round Table, and (O may the Spirit be in me!) I shall break the Saxon phalanxes with British war." 1640. Epitaphium Damonis. Milton implies that he has made a first attempt at the Arthurian Epic and describes his proposed subject more fully as embracing the history of the Britons from the landing of Brutus to the times of Arthur. 1642. Reason of Church Government. Milton makes an important statement regarding the function and purpose of poetry as he has proposed it for himself, showing, incidentally, that he is now undecided both as to the form and substance of his work. The passage is given in full in the Appendix. 1640-42. The Cambridge Manuscript. Shortly after his return from Italy, Milton set down a list of ninetynine possible literary subjects from Biblical and British history: some of them merely indicated, some already developed into tentative outlines. All the plans are for dramas, but it is possible that there was a similar list of epic themes which has not been preserved.1 The subject of the fall of man evidently now holds first place in his thoughts. His successive redraftings of the plan for a drama on this theme constitute the first definite step in the composition of Paradise Lost. Phillips reports 1 Gilbert, The Cambridge Manuscript. that he actually wrote at this time a version of Satan's address to the sun (Paradise Lost Book IV, lines 30-41) as the opening of such a drama. The four outlines in order of composition are as follows: The Persons. Moses poλoyiga recounting how he assum'd his true bodie, that it corrupts not because of his 2 From the Facsimile of the Cambridge MS. edited by W. A. Wright. with god in the mount declares the like of Enoch and Eliah, besides the purity of the pl[ace] that certaine pure winds, dues, and clouds praeserve it from corruption whence . . . [ex]horts to the sight of god, tells they cannot se Adam in the state of innocence by reason of thire sin. Justice Wisdome 3 debating what should become of man if he fall Chorus of Angels sing a hymne of the creation. Act 2 Evening starre chorus sing the mariage song and describe Paradice. Act 3 Lucifer contriving Adams ruine Chorus feares for Adam and relates Lucifers rebellion and fall Conscience cites them to gods examination Chorus bewails and tells the good Adam hath lost Act 5 Adam and Eve, driven out of Paradice presented by an angel with Labour griefe hatred Envie, warre, famine, Pestilence 8 "Heavenly Love" canceled. |