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    Milton's Tercentenary An address delivered before the Modern Language Club of Yale University on Milton's Three Hundredth Birthday.
    Milton's Tercentenary An address delivered before the Modern Language Club of Yale University on Milton's Three Hundredth Birthday.
    Milton's Tercentenary An address delivered before the Modern Language Club of Yale University on Milton's Three Hundredth Birthday.
    Ebook40 pages29 minutes

    Milton's Tercentenary An address delivered before the Modern Language Club of Yale University on Milton's Three Hundredth Birthday.

    By Henry A. (Henry Augustin) Beers

    ()

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    LanguageEnglish
    PublisherArchive Classics
    Release dateNov 25, 2013
    Milton's Tercentenary An address delivered before the Modern Language Club of Yale University on Milton's Three Hundredth Birthday.

    Read more from Henry A. (Henry Augustin) Beers

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      Book preview

      Milton's Tercentenary An address delivered before the Modern Language Club of Yale University on Milton's Three Hundredth Birthday. - Henry A. (Henry Augustin) Beers

      The Project Gutenberg EBook of Milton's Tercentenary, by Henry A. Beers

      This eBook is for the use of anyone anywhere at no cost and with

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      re-use it under the terms of the Project Gutenberg License included

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      Title: Milton's Tercentenary

      An address delivered before the Modern Language Club of

      Yale University on Milton's Three Hundredth Birthday.

      Author: Henry A. Beers

      Release Date: November 23, 2010 [EBook #33248]

      Language: English

      *** START OF THIS PROJECT GUTENBERG EBOOK MILTON'S TERCENTENARY ***

      Produced by Al Haines

      MILTON'S

      TERCENTENARY

      An address delivered before the Modern

      Language Club of Yale University

      on Milton's Three Hundredth

      Birthday.

      By

      HENRY A. BEERS

      NEW HAVEN

      Yale University Press

      1910

      MILTON'S TERCENTENARY

      It is right that this anniversary should be kept in all English-speaking lands. Milton is as far away from us in time as Dante was from him; destructive criticism has been busy with his great poem; formidable rivals of his fame have arisen—Dryden and Pope, Wordsworth and Byron, Tennyson and Browning, not to speak of lesser names—poets whom we read perhaps oftener and with more pleasure. Yet still his throne remains unshaken. By general—by well-nigh universal—consent, he is still the second poet of our race, the greatest, save one, of all who have used the English speech.

      The high epics, the Iliad, the Divine Comedy, do not appear to us as they appeared to their contemporaries, nor as they appeared to the Middle Ages or to the men of the Renaissance or of the eighteenth century. These peaks of song we see foreshortened or in changed perspective or from a different angle of observation. Their parallax varies from age to age, yet their stature does not dwindle; they tower forever, like Teneriffe or Atlas unremoved. Paradise Lost does not mean the same thing to us that it meant to Addison or Johnson or Macaulay, and much that those critics said of it now seems mistaken. Works of art, as of nature, have perishable elements, and suffer a loss from time's transhifting. Homer's gods are childish, Dante's hell grotesque; and the mythology of the one and the scholasticism of the other are scarcely more obsolete to-day than Milton's theology. Yet in the dryest parts of Paradise Lost we feel the touch of the master. Two things in particular, the rhythm and the style, go on victoriously as by their own

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