and swing before him the incense of a senseless and absurd homage. In our school-days most of us were led to look upon the sightless poet as a being more than man, if a little less than God. Virtues, as he understood them, he certainly possessed; but many more virtuous than he suffered ignominy and death for presuming to exercise the very liberty which he grandly claimed for himself, but which, we find on examining his prose, he was dilatory in awarding to others, even in the abstract. These prose writings are at once curious and monstrous, and exhibit the real Milton in a true and natural light, even as _Samson Agonistes_, _Lycidas_, and _Paradise Lost_ manifest his superb and supreme characteristics as a poet. In prose he wrote as he thought; in verse he wrote as he could. He was always the rhetorician, making an art of what men of less genius can display only as the artificial; but while his poetry is the complete manifestation of his art, his prose, always written with an obvious and acknowledged personal purpose, manifests himself. His prose works are already scarce; the day is not distant when nothing will remain of them but their ashes, for the types will plead release from perpetuating the hard, angular, stony reality of a man whom taste, if not instinct, yearns to withdraw from our painful knowledge of what he was, and veil him in a radiant mistiness of what we wish he might have been. Nothing better illustrates the idealism with which the pencil of youth paints Milton than Macaulay’s essay, written while he was still a boy, but included with the mature expressions of his manhood. Nothing could more completely pulverize this roseate estimate than Milton’s own works in the days when he wrote for time and not for immortality. No matter what the theme, his prose is always ponderous and polysyllabic, abounding in magnificent metaphor, violent epithets, arrogant dogmatism, and personal abuse of those who differed from him, of which no trace, happily, remains in our day. The higher the man, the coarser the missile which he hurled at him with a giant’s force. In his reply to Salmasius he addresses that eminent scholar as “a vain, flashy man,” and, in the progress of his argument, reminds him that he is also a knave, a pragmatical coxcomb, a bribed beggar, a whipped dog, an impotent slave, a renegade, a sacrilegious wretch, a mongrel cur, an obscure scoundrel, a fearful liar, and a mass of corruption.