When, however, we come to John Milton (1608-1674), we remember he was only three years old when our version was issued; that when at fifteen, an undergraduate in Cambridge, he made his first paraphrases, casting two of the Psalms into meter, the version he used was this familiar one.A biographer says he began the day always with the reading of Scripture and kept his memory deeply charged with its phrases.In later life the morning chapter was generally from the Hebrew, and was followedby an hour of silence for meditation, an exercise whose influence no man's style could escape.As a writer he moved steadily toward the Scripture and the religious teaching which it brought his age.His earlier writing is a group of poems largely secular, which yet show in phrases and expressions much of the influence of his boyhood study of the Bible, as well as the familiar use of mythology.The memorial poem "Lycidas," for example, contains the much-quoted reference to Peter and his two keys--"Last came and last did go The pilot of the Galilean lake; Two massy keys he bore of metals twain, (The golden opes, the iron shuts amain)."But after these poems came the period of his prose, the work which he supposed was the abiding work of his life.George William Curtis told a friend that our civil war changed his own literary style: "That roused me to see that I had no right to spend my life in literary leisure.I felt that I must throw myself into the struggle for freedom and the Union.I began to lecture and to write.The style took care of itself.But I fancy it is more solid than it was thirty years ago." That is what happened to Milton when the protectorate came.[1] It made his style more solid.He did not mean to live as a poet.He felt that his best energies were being put into his essays in defense of liberty, on the freedom of the press and on the justice of the beheading of Charles, in which service he sacrificed his sight.All of it is shot through with Scripture quotations and arguments, and some of it, at least, is in the very spirit of Scripture.The plea for larger freedom of divorce issued plainly from his own bitter experience; but his main argument roots in a few Bible texts taken out of their connection and urged with no shadow of question of their authority.Indeed, when he comes to his more religious essays, his heavy argument is that there should be no religion permitted in England which is not drawn directly from the Bible; which, therefore, he urges must be common property for all the people.There is a curious bit of evidence that the men of his own time did not realize his power as a poet.In Pierre Bayle's critical survey of the literature of the time, he calls Milton "the famous apologist for the execution of Charles I.," who "meddled in poetry and several of whose poems saw the light during his life or after his death!" For all that, Miltonwas only working on toward his real power, and his power was to be shown in his service to religion.His three great poems, in the order of their value, are, of course, "Paradise Lost," "Samson Agonistes," and "Paradise Regained." Whoever knows anything of Milton knows these three and knows they are Scriptural from first to last in phrase, in allusion, and, in part at least, in idea.There is not time for extended illustration.One instance may stand for all, which shall illustrate how Milton's mind was like a garden where the seeds of Scripture came to flower and fruit.He will take one phrase from the Bible and let it grow to a page in "Paradise Lost." Here is an illustration which comes readily to hand.In the Genesis it is said that "the spirit of God moved on the face of the waters." The verb suggests the idea of brooding.There is only one other possible reference (Psalm xxiv: 9.) which is included in this statement which Milton makes out of that brief word in the Genesis:
"On the watery calm His broadening wings the Spirit of God outspread, And vital virtue infused, and vital warmth Throughout the fluid mass, but downward purged The black tartareous cold infernal dregs, Adverse to life; then formed, then con-globed, Like things to like; the rest to several place Disparted, and between spun out the air-- And earth self-balanced on her center swung."[1] Strong, The Theology of the Poets.
Any one familiar with Milton will recognize that as a typical instance of the way in which a seed idea from the Scripture comes to flower and fruit in him.The result is that more people have their ideas about heaven and hell from Milton than from the Bible, though they do not know it.
It seems hardly fair to use John Bunyan (1628-1688) as an illustration of the influence of the English Bible on literature, because his chief work is composed so largely in the language of Scripture.Pilgrim's Progress is the most widely read book in the English language after the Bible.Its phrases, its names, its matter are either directly or indirectly taken from the Bible.It has given us a long list of phrases which are part of our literary and religious capital.Thackeray took the motto of one of his best- known books from the Bible; but the title, Vanity Fair, comes from Pilgrim's Progress.When a discouraged man says he is "in the slough ofdespond," he quotes Bunyan; and when a popular evangelist tells the people that the burden of sin will roll away if they look at the cross, "according to the Bible," he ought to say according to Bunyan.But all this was only the outcome of the familiarity of Bunyan with the Scripture.It was almost all he did know in a literary way.Macaulay says that "he knew no language but the English as it was spoken by the common people; he had studied no great model of composition, with the exception of our noble translation of the Bible.But of that his knowledge was such that he might have been called a living concordance."[1]
[1] History of England, vol.III., p.220.
