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Milton and Merry England

So far as I can see, the whole effect is in a certain unexpected order and arrangement of words, independent and distinguished, like the perfect manners of an eccentric gentleman. Say instead "Put on in death the weeds of Dominic," and the whole unique dignity of the line has broken down. It is something in the quiet but confident inversion of "Dying put on" which exactly achieves that perpetual slight novelty which Aristotle profoundly said was the language of poetry. The idea itself is at best an obvious and even conventional condemnation of superstition, and in the ultimate sense a rather superficial one. Coming where it does, indeed, it does not so much suggest moral earnestness as rather a moralizing priggishness. For it is dragged in very laboriously into the very last place where it is wanted, before a splendidly large and luminous vision of the world newly created, and the first innocence of earth and sky. It is that passage in which the wanderer through space approaches Eden; one of the most unquestionable triumphs of all human literature. That one book at least of "Paradise Lost" could claim the more audacious title of "Paradise Found." But if it was necessary for the poet going to Eden to pass through Limbo, why was it necessary to pass through Lambeth and Little Bethel? Why should he go there viâ Rome and Geneva? Why was it necessary to compare the débris of Limbo to the details of ecclesiastical quarrels in the seventeenth century, when he was moving in a world before the dawn of all the centuries, or the shadow of the first quarrel? Why did he talk as if the 223