  | INTRODUCTION | | PAGE | | "Sciences of conceit"; the difficulties and imperfections of literary criticism; illustrated in the case of Shakespeare; and of Milton; the character and temper of Milton; intensity, simplicity, egotism; his estimate of himself | 1 | CHAPTER I
John Milton | | His birth, and death; his education; early life in London; ships and shipping; adventurers and players; Milton and the Elizabethan drama; the poetic masters of his youth; state of the Church of England; Baxter's testimony; growing unrest; Milton's early poems; the intrusion of politics; the farewell to mirth; the Restoration, and Milton's attitude; the lost paradise of the early poems; Milton's Puritanism; his melancholy; the political and public preoccupations of the later poems; the drama of Milton's life; his egotism explained; an illustration from Lycidas; the lost cause; the ultimate triumph | 12 | CHAPTER II
The Prose Works | | Poets and politics; practical aim of Milton's prose writings; the reforms advocated by him, with one exception, unachieved; critical mourners over Milton's political writings; the mourners comforted; Milton's classification of his prose tracts; the occasional nature of these tracts; allusions in the early prose works to the story of Samson, and to the theme of Paradise Lost; Milton's personal and public motives; his persuasive vein; his political idealism; Johnson's account of his political opinions; the citizen of an antique city; Milton's attitude towards mediÆval romance, and towards the mediÆval Church; his worship of liberty; and of greatness; his belief in human capacity and virtue; Milton and Cromwell; Milton's clear logic; his tenacity; his scurrility, and its excuse; his fierce and fantastic wit; reappearance of these qualities in Paradise Lost; the style of his prose works analysed and illustrated; his rich vocabulary; his use of Saxon; the making of an epic poet | 39 | CHAPTER III
Paradise Lost: The Scheme | | Vastness of the theme; scenical opportunities; the poetry independent of the creed; Milton's choice of subject; King Arthur; Paradise Lost; attractions of the theme: primitive religion, natural beauty, dramatic interest; difficulties of the theme, and forbidden topics; how Milton overcomes these difficulties by his episodes, his similes, and the tradition that he adopts concerning the fallen angels; the cosmography of Paradise Lost; its chronology; some difficulties and inconsistencies; Milton's spiritual beings, their physical embodiment; the poem no treasury of wisdom, but a world-drama; its inhumanity, and artificial elevation; the effect of Milton's simpler figures drawn from rural life; De Quincey's explanation of this effect; another explanation; the homelessness of Eden; the enchanted palace and its engineer; the tyranny of Milton's imagination; its effect on his diction | 81 | CHAPTER IV
Paradise Lost: The Actors. The Later Poems | | Milton's argumentative end; its bearing on the scenes in Heaven; his political bias, and materialism; Milton's Deity; his Satan; the minor devils; Adam; Eve; personal memories; Adam's eulogy of Eve, criticised by Raphael; Milton's philosophy of love and beauty; the opinions of Raphael, of Satan, and of Mrs. Millamant; the comparative merits of Adam and Eve; Milton's great epic effects; his unity and large decorum; morning and evening; architectural effects; the close of Paradise Lost; Addison and Bentley; Paradise Regained; the choice of subject; Milton's favourite theme--temptation; other possible subjects; the Harrying of Hell; Samson Agonistes; the riddle of life. | 126 | CHAPTER V
The Style of Milton: Metre and Diction | | Difficulties of literary genealogy; the ledger school of criticism; Milton's strength and originality; his choice of a sacred subject; earlier attempts in England and France; Boileau's opinion; Milton's choice of metre an innovation; the little influence on Milton of Spenser, and of Donne; Milton a pupil of the dramatists; the history of dramatic blank verse; Milton's handling of the measure; the "elements of musical delight"; Tennyson's blank verse; Milton's metrical licenses; the Choruses of Samson Agonistes; Milton's diction a close-wrought mosaic; compared with the diffuser diction of Spenser; conciseness of Virgil, Dryden, Pope, Milton; Homer's repetitions; repetitions and "turns of words and thoughts" rare in Milton; double meanings of words; Milton's puns; extenuating circumstances; his mixed metaphors and violent syntax, due to compression; Milton's poetical style a dangerous model; the spontaneity and license of his prose | 170 | CHAPTER VI
The Style of Milton; and its Influence on English Poetry | | The relation of Milton's work to the 17th-century "reforms" of verse and prose; the Classicism of Milton, and of the Augustans; Classic and Romantic schools contrasted in their descriptions; Milton's Chaos, Shakespeare's Dover Cliff; Johnson's comments; the besetting sins of the two schools; Milton's physical machinery justified; his use of abstract terms; the splendid use of mean associations by Shakespeare; Milton's wise avoidance of mean associations, and of realism; nature of his similes and figures; his use of proper names; his epic catalogues; his personifications; loftiness of his perfected style; the popularity of Paradise Last; imitations, adaptations, and echoes of Milton's style during the 18th century; his enormous influence; the origin of "poetic diction"; Milton's phraseology stolen by Pope, Thomson, and Gray; the degradation of Milton's style by his pupils and parodists | 218 | | EPILOGUE | | Milton's contemporaries; the poetry of Religion, and of Love; Henry Vaughan; the Court lyrists; Milton's contempt for them; how they surpass him; Sedley; Rochester; the prophet of the Lord and the sons of Belial; unique position of Milton in the history of our literature | 256 | | Index | 265 |
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