longer time than he had expected England remained in a condition in which he did not think it right, even had it been possible, that men like him should be writing poems. Only towards the end of Cromwell's Protectorate, when Milton had reached his fiftieth year, and had been for five or six years totally blind, does he seem to have been in circumstances to resume effectually the design to which he had pledged himself seventeen years before. By that time, however, there was no longer any doubt as to the theme he would choose. All the other themes once entertained had faded more or less into the background of memory, and PARADISE LOST stood out, bold, clear, and without competitor. Nay more, the dramatic form, for which, when the subject first occurred to him, Milton had felt a preference, had been now abandoned, and it had been resolved that the poem should be an epic. He began this epic in earnest almost certainly before Cromwell was dead," about 2 yeares before the K[ing] came in," says Aubrey on Phillips's authority; that is in 1658, when, notwithstanding his blindness, he was still in official attendance on Cromwell at Whitehall as his Latin Secretary, and writing occasional letters, in Cromwell's name, to foreign states and princes.

The uncertain state of affairs after Cromwell's death, or, at all events, after the resignation of his son Richard, may have interfered with the progress of the poem; and, when the Restoration came, there was danger for a time that not only the poem but the author's life might be cut short. That danger over, he was at liberty, "on evil days though fallen, and evil tongues," to prosecute his labour in obscurity and comparative peace. He had finished it, according to Aubrey, "about 3 years after the K.'s restauracion," i.e. about 1663. If so, he had been five or six years in all engaged on the poem, and the places in which he had successively pursued the task of meditating and dictating it had been mainly these,-first, Petty France (now York Street), Westminster, till within a few weeks of the Restoration; next, some friend's house in Bartholomew Close, West Smithfield, where he lay concealed for a while after the Restoration; then, a house in Holborn, near Red Lion Fields, whither he removed as soon as it was safe for him to do so; and, finally, from 1661 onwards, in Jewin Street, close to that part of Aldersgate Street where he had had his house some

eighteen or nineteen years before, when Paradise Lost first occurred to his thoughts. During the five or six years occupied in the composition of the poem in these places Milton's condition had been that of a widower,-his first wife having died in 1652 or 1653, in the house in Petty France, leaving him three daughters; the second, whom he had married in Nov. 1656, while residing in the same house, having survived the marriage little more than a year; and his marriage with his third wife, Elizabeth Minshull, not having taken place till February 1662-63, when, if Aubrey's account is correct, the poem was finished, or nearly so. It is most probable, however, that, though Milton may have had the poem well advanced in Jewin Street before his third marriage, there may have still been a good deal of it left to be done in the house in Artillery Walk, Bunhill Fields, to which he and his wife removed shortly after their marriage (in 1663 or 1664), and which was the last of Milton's many London residences, and that in which he died. We have an interesting glimpse of this manuscript, at any rate, as in Milton's possession, in a satisfactory state, during the summer of 1665. As the Great Plague was then raging in London, Milton had removed from his house in Artillery Walk to a cottage at Chalfont - St.-Giles, in Buckinghamshire, which had been taken for him, at his request, by Thomas Ellwood, a young Quaker, whose acquaintance with him had begun a year or two before in Jewin Street. Visiting Milton here as soon as circumstances would permit, Ellwood was received in a manner of which he has left an account in his Autobiography. "After some common discourses," he says, "had passed between us, he called for a manuscript of his; which, being brought, he delivered to me, 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 excellent poem which he entitled Paradise Lost."

The anecdote proves the existence of at least one, and inferentially of more than one, complete copy in August or September 1665,-which may, accordingly, be taken as the date when the poem was considered ready for press. The delay of publication till two years after that date is easily accounted for. It was not, says Ellwood, till "the Sickness

was over, and the city well cleansed, and become safely habitable again," that Milton returned to his house in Artillery Walk; then, still farther paralysing business of all sorts, came the Great Fire of Sept. 1666; and there were difficulties, as we have seen, about the licensing of a poem by a person of Milton's political antecedents and principles.

Whether the time spent by Milton in the composition of Paradise Lost was five years (1658-1663), or seven or eight years (1658-1665), it is certain that he bestowed on the work all that care and labour which, on his first contempla. tion of such a work in his earlier manhood, he had declared would be necessary. The "industrious and select reading,' which he had then spoken of as one of the many requisites, had not been omitted. Whatever else Paradise Lost may be, it is certainly one of the most learned poems in the world. In thinking of it in this character we are to remember, first of all, that, ere his blindness had befallen him (1652), Milton's mind was stored with an amount of various and exact learning such as few other men of his age possessed; so that, had he ceased then to acquire more, he would have still carried in his memory an enormous resource of material out of which to build up the body of his poem. But he did not, after his blindness, cease to add to his knowledge by reading. At the very time when he was engaged on his Paradise Lost, he had, as his nephew Phillips informs us, several other great undertakings in progress of a different character, for which daily reading and research were necessary, even if they could have been dispensed with for the poem, to wit, the construction of a Body of Divinity from the Scriptures, the completion of a History of England, and the collection of materials for a Thesaurus, or Dictionary, of the Latin tongue. Laboriously every day, with a due division of his time from early morning, he pursued those tasks by a systematic use of assistants whom he kept about him. As at the time when the composition of Paradise Lost was begun the eldest daughter, Anne, was but twelve years of age, the second, Mary, but ten, and the youngest, Deborah, but six, and as when the poem was certainly finished their ages were about eighteen, sixteen, and twelve respectively, their services as readers during its composition can have been but partial. But, whether with them as his readers,

or with young men and grown-up friends performing the part for hire or for love, he was able to avail himself for his poem, as well as for the drier works on which he was simultaneously engaged, of any help which books could give. He may, accordingly, at this time, if not before, have made himself acquainted with some of those poems and other works, Italian and Latin, in which his subject, or some portion of it, had been previously treated. He was very likely to do so, and to take any hint he could get.

It would not be difficult to prove, at any rate, that among the "select readings" engaged in specially for the purposes of Paradise Lost while it was in progress must have been readings in certain books of geography and Eastern travel, and in certain Rabbinical, early Christian, and medieval commentators on the subjects of Paradise, the Angels, and the Fall. Nothing is more striking in the poem, nothing more touching, than the frequency, and, on the whole, wonderful accuracy, of its references to maps: and, whatever wealth of geographical information Milton may have carried with him into his blindness, there are evidences, I think, that he must have refreshed his recol. lections of this kind by the eyes of others, and perhaps by their guidance of his finger, after his sight was gone. In short, for the Paradise Lost, as well as for the prose labours carried on along with it, there must have been abundance of reading; and, remembering to what a stock of prior learning, possessed before his blindness, all such increments were added, we need have no wonder at the appearance now presented by the poem. To say merely that it is a most learned poem,-the poem of a mind full of miscellaneous lore wherewith its grand imagination might work,-is not enough. Original as it is, original in its entire conception, and in every portion and passage, the poem is yet full of flakes-we can express it no otherwise-full of flakes from all that is greatest in preceding literature, ancient or modern. This is what all the commentators have observed, and what their labours in collecting parallel passages from other poets and prose writers have served more and more to illustrate. As it is but here and there that we can exemplify this in our notes, let the observation be made once for all. In the first place, Paradise Lost is permeated from beginning to end with citations from the Bible. Milton must have almost had the

So

Bible by heart; and, besides that some passages of his poem, where he is keeping close to the Bible as his authority, are avowedly coagulations of Scriptural texts, it is possible again and again, throughout the rest, to detect the flash, through his noblest language, of some suggestion from the Psalms, the Prophets, the Gospels, or the Apocalypse. So, though in a less degree, with Homer, the Greek tragedians (Euripides was a special favourite of his), Plato, Demosthenes, and the Greek classics generally, and with Lucretius, Cicero, Virgil, Horace, Ovid, Juvenal, Persius, and the other Latins. with the Italian writers whom he knew so well,-Dante, Petrarch, Ariosto, Tasso, and others now less remembered. So with modern Latinists of various European countries still less recoverable. Finally, so with the whole series of preceding English poets, particularly Spenser, Shakespeare, and some of the minor Spenserians of the reigns of James and Charles I., not forgetting that uncouth popular favourite of his boyhood, Sylvester's Du Bartas. In connection with all which, or with any particularly striking instance of the use by Milton of a thought or a phrase from previous authors, let the reader remember his own definition of Plagiarism, given in his Εικονοκλαστης. "Such kind of borrowing as this," he there says, "if it be not bettered by the borrower, among good authors is accounted plagiary." And again of quotations from the Bible," It is not hard for any man who hath a Bible in his hands to borrow good words and holy sayings in abundance; but to make them his own is a work of grace only from above."

How was the poem, as it grew in Milton's mind, committed to paper? It was dictated by parcels of ten, twenty, thirty, or more lines at a time. Even before his blindness, Milton had made use of amanuenses; but, after his blindness, he scarcely wrote at all with his own hand. It would be difficult to produce more than one genuine autograph of his of later date than 1652. On this matter Phillips is again our most precise authority. "There is another very remarkable passage," he says, "in the composure of this poem, which I have a particular occasion to remember; for, whereas I had the perusal of it from the very beginning, for some years as I went from time to time to visit him, in a parcel of ten, twenty, or thirty verses at a time,—which,