Millington; during the plague of 1665 he retires to Chalfont St. Giles, where "a pretty box was taken for him by the Quaker, Thomas Ellwood; Ellwood had previously formed a friendship with Milton, had read Latin books to him, received from him in the "box" at Chalfont the manuscript of "Paradise Lost," and suggested a poem on "Paradise Regained;" the house at Chalfont is still preserved (1898) as a public memorial of Milton; he begins "Paradise Lost" in 1658 and finishes it in 1663; he loses his house in Bread Street (inherited from his father) in the great fire of 1666; on April 27, 1667, Milton sells the copyright of "Paradise Lost" to Samuel Simmons, the terms being that Milton is to receive £5 down and £5 additional for each of the first three editions of not more than 1,500 copies each; he receives his second £5 in April, 1669, and these £10 are all he ever received personally for "Paradise Lost;" in 1680 Milton's widow sells to Simmons a perpetual copyright of the book for £8; 4,500 copies were sold by 1688; Dryden first appreciated its value, saying of Milton: "This man cuts us all out, and the ancients, too;" with Milton's permission, Dryden puts "Paradise Lost" into a drama in rhyme, under the title "A Heroick Opera," published in 1674; Milton is much visited, in his later years, by foreigners and men of rank; "Paradise Lost" is translated into German and into Latin in 1682; Milton publishes "Paradise Regained" and "Samson Agonistes" together in 1671, and could never bear to hear "Paradise Regained" pronounced inferior to his first epic; in 1669 he publishes his Latin grammar and his "History of Britain," written long before; in 1673 he puts forth a new edition of his early poems; he suffers during his last years from the gout and from unpleasant domestic relations; he dies at his house in Artillery Walk, Bunhill Fields, November 8, 1674, leaving £100 each to his "undutiful children," and £600 to his widow.

BIBLIOGRAPHY OF CRITICISM ON MILTON.

Scherer, E., "Essays on English Literature." New York, 1891, Scrib

ner, 111-150.

Bayne, P., "The Puritan Revolution." London, 1878, 297.

Channing, W. E., "Works." Boston, 1867, American Unit. Ass'n, 20: 30.

Coleridge, H., "Essays," etc. London, 1851, E. Moxon, 2: 18-28. Lowell, J. R., Latest Literary Essays." New York, 1892, Houghton, Mifflin & Co.

Taine, H., "History of English Literature." New York, 1874, Holt, I: 409-456.

Ward, T. H., English Poets" (Pattison). New York, 1881, Macmillan, 2: 293-306.

Gilfillan, G., "Literary Portraits."

Edinburgh, 1851, J. Hogg, 2: I-27. Arnold, M., "Mixed Essays." New York, 1879, Macmillan, 256–257. Hazlitt, W., "Lectures on the English Poets." London, 1884, G. Bell &

Sons, 75-90.

Hallam, H., "Works." New York, 1859, Harper, 1: 131, and 2: 182, and see index.

Hazlitt, W., "Table Talk." London, 1882, G. Bell & Sons, 240-249. Newman, J. H., "Essays on Milton's Style." London, 1872, Longmans, 54-60.

Garnett, R., "John Milton " (Great Writers). London, 1890, W. Scott, v. index.

Bagehot, W., "Works." Hartford, 1889, Travellers' Insurance Co., 1:

303-352.

Pattison, M., "Milton " (English Men of Letters). New York, 1879, Harper, 79.

Saintsbury, G., "A History of Elizabethan Literature." New York,

1887, Macmillan, 317-330.

Macaulay, T. B., "Essays " (Micellaneous Works). New York, 1880,

Harper, 1: 13-64, and v. index.

Lowell, J. R., "Among My Books." Boston, 1891, Houghton, Mifflin & Co., 274-276.

Dowden, E., “Studies in Literature." London, 1878, Kegan Paul & Co., 88-90.

Arnold, M., "Essays in Criticism" (Second Series). New York, 1888, Macmillan, 56–69.

De Quincey, T., "Works." Edinburgh, 1890, A. & C. Black, 11: 453-473, and 4: 86-118.

Addison, J., "Works." London, 1889, Bell, 3: 176–283.

Keightly, F., "The Life, Opinions, and Writings of John Milton." London, 1855, Chapman & Hall.

Johnson, S., "Works ” (Lives of the Poets). New York, 1846, Harper, 2: 22-46.

Birrell, A., "Obiter Dicta." New York, 1887, Scribner, 2: 1-52.

Minto, Wm., "English Prose Literature." Edinburgh, 1876, Black, 311. Masson, D., "Essays, Biographical and Critical." Cambridge, 1856, Macmillan, 37-53

Brooke, S., "John Milton." New York, 1879, Appleton, 112-125. Nicoll, H. J., "Landmarks of English Literature." New York, 1883, Appleton, 112-125.

Dawson, G., “ Biographical Lectures." London, 1886, Kegan Paul, Trench & Co., 82-88.

Rice, A. T., " Essays from North American Review" (Emerson). New

York, 1879, Appleton, 99-122.

Dowden, E., "Transcripts and Studies." London, 1888, Kegan Paul, Trench & Co., 454-473.

Windsor, A. L., "Ethica." London, 1860. Smith, Elder & Co., 57-112.

Browning, E. B., 'Essays on the Poets." New York, 1863, James Miller, 192-199.

Collier, W. F., "History of English Literature." London, 1892, Nelson, 194-211.

Reed, H., "British Poets." Philadelphia, 1857, Parry & Macmillan, 1: 199-233.

Hunt, L., Selections from English Poets." Philadelphia, 1854, W. P. Hazard, 172.

Masson, D., "Three Devils." London, 1874, Macmillan, 125-150. Philips, N. G., “A Manual of English Literature." New York, 1885, Harper, 1: 293-373

Carlyle, T., "Essays." London, 1869, Chapman & Hall, 2: 64. Welsh, A. H., "The Development of English Literature." Chicago, 1884, Griggs, I: 472-495.

Hunt, T. W., "English Prose and Prose Writers." New York, 1887, Armstrong, 246-264.

Dennis, J., "Heroes of Literature." London, 1883, Society for Promoting Christian Knowledge, 114-147.

Rossetti, W. M., "Lives of Famous Poets." London, 1878, E. Moxon, 65-79.

Dobson, W. T., "The Classic Poets." London 1879, Smith, Elder &

Co., 394-452.

Seeley, J. R., "Lectures and Essays." London, 1870, Macmillan, 89–

154.

Yonge, C. D., "Three Centuries of English Literature."

1889, Appleton, 185-210.

New York,

Graham, W., "Essays." London, 1868, Nesbit, 137-180. Russell, W. C., "The Book of Authors." London, n. d., 1867, Warne, 64-67.

Hutton, L., "Literary Landmarks of London." New York, 1892, Harper, 210-216.

Howitt, Wm., "Homes and Haunts of British Authors."

1847, Bentley, 1: 67-104.

London,

Masson, D., "In the Footsteps of the Poets." New York, 1893, Whittaker, 13-105.

Sterling, John, "Essays and Tales." London, 1848, Parker, 1: 73-87. Contemporary Review, 19: 198–209 (Dowden); 22: 427-460 (Bayne). Quarterly Review, 143: 186–204 and 32: 442-457 and 63: 29-61 (J. H. Lord).

Edinburgh Review, 69: 112-121 (Channing); 42: 304-346 (Macaulay); 25: 485-501 (Mackintosh).

Christian Examiner, 3: 29-77 (W. E. Channing).

Littell's Living Age, 44: 497-499 (Lamartine).
British Quarterly, 29: 185-214 (D. Masson).
International Review, 9: 125-135 (H. C. Lodge).

North British Review, 16: 295-335 (D. Masson).

Fortnightly Review, 54: 510-519 (Pollock); 16: 767-781 (J. A. Symonds).

The Nation, 30: 30-32 (G. B. Smith).

Century Magazine, 36: 53-55 (M. Arnold); 14: 53-55 (M. Arnold). North American Review, 47: 56-73 (Emerson); 82: 388-404 (Whitney); 22: 364-373; 31: 101-103 and 338 and 451-452; 38: 243-246; 41: 375-382 (W. E. Channing); 46: 216-217 (Emerson); 126: 536-543 (D. Masson); 114: 204-(Lowell).

Fortnightly Review, 54: 510-520 (Pollock); 22: 767 (J. A. Symonds). Bibliotheca Sacra, 4: 251-269 (T. W. Hunt).

Presbyterian Review, 4: 681-709 (H. Van Dyke).

Fraser's Magazine, 17: 627–635 (W. E. Channing).

Contemporary Review, 19: 198-211 (E. Dowden); 22: 427-460

(Bayne).

Macmillan's Magazine, 31: 554-556 (J. C. Shairp) and 380-387 (M. Pattison); 28: 536-547 (G. B. Smith).

PARTICULAR CHARACTERISTICS.

1. Sublimity-Majesty.—" This is the quality which the poverty of our language tries to express by the words solemnity, gravity, majesty, nobility, loftiness, and which, name it as we may, we all feel in reading Paradise Lost.' His rage, when almost delirious, is always a Miltonic rage; it is grand, sublime, terrible; mingled with the scurrillities of theological brawl are passages of the noblest English ever written. The elevation is communicated to us not by the dogma or deliverance but by the sympathy. We catch the contagion of the poet's mental attitude. Milton's mind was full to overflowing with vague conceptions of the lofty, the vast, and the sublime."-Mark Pattison.

"The author seems to think but in images, and these images are grand and proud as his own soul.. There are moments when, shaking the dust of argument from off him, the poet suddenly bursts forth and carries us off on the torrent of an incomparable eloquence. It is poetic enthusiasm, a flood of images shed over the dull and arid theme, a wingstroke which sweeps us high above piddling controversy.

. The poetry of Milton is the very essence of poetry. There is something indescribably heroical and magnificent which overflows from Milton, even when he is engaged in the most miserable discussions. . . The eloquence is now sad, tender, and again wild and tempestuous as the hurricane of heaven."-Edmond Scherer.

"From one end of Paradise Lost' to the other, Milton is, in his diction and rhythm, constantly a great artist in the great style. . . . In our race are thousands of readers, presently there will be millions, who know not a word of Greek or Latin, and will never learn those languages. If this host of readers are ever to gain any sense of the power and charm of the great poets of antiquity, their way to gain it is