In Milton’s prose there is a constant assertion of himself as a man set apart to a divine ministry. He seems to translate himself out of Hebrew into English. And yet so steeped was he in Greek culture that it is sometimes hard to say whether he would rather call himself the messenger of Jehovah or the son of Phœbus. Continually the fugitive mists of dialectics are rent, and through them shine down serene and solemn peaks that make us feel that we are encamped about by the sacred mounts of song, but whether of Palestine or of Greece is doubtful. We may apply to Milton what Schiller says of the poet, “Let the kind divinity snatch the suckling from his mother’s breast, nourish him with the milk of a better age, and let him come to maturity beneath a distant Grecian sky. Then when he has become a man let him return, a foreign shape, into his century, not to delight it with his apparition, but terrible, like Agamemnon’s son, to purify it.” I said that Milton had a sublime egotism. The egotism of a great character is inspiration because it generalizes self into universal law. It is a very different thing from the vulgar egotism of a little nature which contracts universal Law into self. The one expands with a feeling that it is a part of the law-making power, the other offers an amendment in town-meeting as if it came from Sinai. Milton’s superb conception of himself enters into all he does; if _he_ is blind, it is with excess of light--it is a divine favor, an overshadowing with angel’s wings. Phineus and Tiresias are admitted among the prophets because they, too, had lost their sight. There is more merit in the blindness of Mæonides than in his “Iliad” or “Odyssey.” If the structure of _his_ mind is undramatic, why, then the English drama is barbarous, and he will write a tragedy on a Greek model with blind Samson for a hero. It results from this that no great poet is so uniformly self-conscious as he. Dante is individual rather than self-conscious, and the cast-iron Dante becomes pliable as a field of grain at the breath of Beatrice, and his whole nature, rooted as it is, seems to flow away in waves of sunshine. But Milton never lets himself go for a moment. As other poets are possessed by their theme, so is he always self-possessed, his great theme being Milton, and his duty being that of interpreter between John Milton and the world. I speak it reverently--he was worth translating. We should say of Shakspeare that he had the power of transforming himself into everything, and of Milton that he had that of transforming everything into himself. He is the most learned of poets. Dante, it is true, represents all the scholarship of his age, but Milton belonged to a more learned age, was himself one of the most learned men in it, and included Dante himself among his learning. No poet is so indebted to books and so little to personal observation as he. I thought once that he had created out of his own consciousness those exquisite lines in “Comus”: