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Rh with any justice what they are to us, or our idea of what they are to the world at large—to make any estimate of the vast fund of pure gold they contain and allow for the residuum of local and partial judgment and human frailty—to examine the bearings of various essays on the past and present with even that degree of thought and justice of which we are capable, would be a work of months. It would be to us a careful, a solemn, a sacred task, and not in anywise to be undertaken in the columns of a daily paper. Beside, who can think of Milton without the feeling which he himself expresses?—

“He who would not be frustrate of his hope to write well hereafter in laudable things, ought himself to be a true poem; that is, a composition and pattern of the best and honorablest things; not presuming to sing high praises of heroic men, or famous cities, unless he have in himself the experience and the practice of all that which is praiseworthy.”

We shall, then, content ourselves with stating three reasons which at this moment occur to us why these Essays of Milton deserve to be sought and studied beyond any other volumes of English prose:

1st. He draws us to a central point whither converge the rays of sacred and profane, ancient and modern Literature. Those who sit at his feet obtain every hour glimpses in all directions. The constant perception of principles, richness in illustrations and fullness of knowledge, make him the greatest Master we have in the way of giving clues and impulses. His plan tempts even very timid students to hope they may thread the mighty maze of the Past. This fullness of knowledge only a genius masculine and divine like his could animate. He says, in a letter to Diodati, written as late as his thirtieth year: “It is well known, and you well know, that I am naturally slow in writing and adverse to write.” Indeed his passion for acquisition preceded long and far outwent, in the first part of his prime, the need of creation or expression, and, probably, no era less grand and fervent than his