The Story of The only other work of Bunyan that still invites reading is The Life and Death of Mr. Badman, which was intended as a complement to Pilgrim's Progress, picturing the earthly pilgrimage of an unredeemed soul. With a vivid realism, so real as to be frequently gross and unsavory, it tells the story of Mr. Badman, who "went to school with the devil from his childhood to the end of his life." He is a vulgar hypocrite and scoundrel, who enjoys all the pleasures of the unregenerate, succeeds in business by trickery and fraud, treads with perfect content the primrose path to the everlasting bonfire, and dies in peace, giving no sign of repentance, the most tragic end, as Bunyan regarded it, that could come to his hero, in view of what awaited him in the next life. The story is a precursor of the realistic novels of Defoe and Fielding and gives color to the claim that Bunyan is virtually the first modern English novelist. PROGRAM OF WORK CLASS READING. BROWNE: Religio Medici: Theological Controversy, pt. 1, secs. 6, 9; Divinity of Nature, sec. 16; Spirits and Angels, secs. 33-35; Charity, pt. II, secs. 1-3; Pride, sec. 8; Urn Burial, ch. v. Read the whole essay, if possible. FULLER: The Holy State: The Good Schoolmaster, bk. 11, ch. xvi (Garnett); Life of Sir Francis Drake, bk. 11, ch. xxii (Manly, Century). BURTON: Anatomy of Melancholy: Definition of Melancholy, pt. 1, sec. 1, memb. 3, subsec. 1; Nature of Devils, pt. 1, sec. 2, memb. 1, subsec. 2; Heroical Love causeth Melancholy, pt. III, sec. 2, memb. 1, subsec. 1 (Manly). WALTON: Complete Angler: ch. i (Manly); ch. iv (Century). If interesting, read the whole. DONNE: Song: Sweetest love, I do not go; The Will; Love's Deity; A Hymn to God the Father; Lovers' Infiniteness; from The Second Anniversary. HERBERT: Virtue; Love: The Pulley; The Quip; The Collar; Employment; The Pearl: The Altar. CRASHAW: Wishes; The Flaming Heart; The Holy Nativity. HABINGTON: To Roses; To Cupid, upon a Dimple in Castara's Cheek; WITHER: Shall I, wasting in Despair; When we are upon the Seas; HERRICK: Corinna's Going a-Maying; The Rock of Rubies; To Blos- WALLER: Go, Lovely Rose; On a Girdle; The Story of Phœbus and Daphne Applied; from The Battle of the Summer's Islands. DENHAM: Praise of the Thames, from Cooper's Hill. COWLEY: A Wish; The Swallow; The Wish; To Mr. Hobbes (A "Pindarique Ode"); Essays: Of Myself; Danger of Procrastination. MARVELL: The Garden; To his Coy Mistress; A Horatian Ode upon Cromwell's Return from Ireland. These poems will be found in Ward, Bronson, Century, and Schelling's Seventeenth Century Lyrics. BUNYAN'S Pilgrim's Progress: First part entire, or selections in Manly, Century, Oxford, or Craik. LITERARY HISTORY. Saintsbury's Elizabethan Literature; Courthope, vol. III, chs. x, xi, xii; Cambridge, vol. vII, ch. i (Cavalier Lyrists), ch. ii (The Sacred Poets), ch. iii (Writers of the Couplet), ch. vii (Bunyan), ch. x (Browne, Fuller, Walton); Dowden's Puritan and Anglican; Masterman's Age of Milton; Reed's English Lyrical Poetry, ch. v; Gosse's Sir Thomas Browne (E. M. L.); Pater's Appreciations (Browne); Stephen's Hours in a Library (Browne); Lowell's Latest Literary Essays (Walton); Gosse's Life and Letters of John Donne; Dowden's New Studies in Literature (Donne); Gosse's Jacobean Poets, ch. iii (Donne); Hale's Selections from Herrick (Athenæum Series); Palgrave's Selections from Herrick (G. T. S.); Aldrich's Ponkapog Papers (Herrick); Swinburne's Studies in Prose and Poetry (Herrick); More's Shelburne Essays, Fourth Series (Herbert); Palmer's Life and Works of Herbert; Palgrave's Landscape in Poetry, 160-165 (Vaughan); Gosse's Jeremy Taylor (E. M. L.); Birrell's Marvell (E. M. L.); Critical Introductions in Ward's Poets and Craik's Prose. Froude's Bunyan (E. M. L.); Venables's Bunyan (G. W. S.); Brown's Life, Times and Works of Bunyan; Woodberry's Makers of Literature; Macaulay's Essays. HISTORICAL BACKGROUND. Green, ch. viii; Cheyney, chs. xiv, xv; Traill, vol. IV, ch. xiv (Civil War and Commonwealth); Harrison's Oliver Cromwell; Gardiner's Oliver Cromwell; Tullock's English Puritanism and its Leaders; Gardiner's The First Two Stuarts and the Puritan Revolution; Selections from Clarendon's History of the Rebellion, edited by Boyle (Cl. Press); Masson's Life and Times of John Milton; Mrs. Mead's Milton's England; Trevelyan's England under the Stuarts. TOPICS FOR DISCUSSION AND RESEARCH 1. The contrast between Puritan and Cavalier. 2. Lights and shadows of the Puritan character (Macaulay's Milton; Taine, bk. 11, ch. v, sec. 5). 3. Reasons for the Puritans' attitude toward the arts, especially the drama. 4. Relation of the Bible to the national changes of the period (Green, ch. viii, sec. 1). 5. Account for the difference in style between the Authorized Version and other prose works of the period. 6. The beauties and affectations of Browne's style. 7. Extract some of the good things from Fuller's Worthies. 8. Account for the undying popularity of Walton's Complete Angler. 9. Explain and illustrate the singularities of Donne's poetry (See Johnson's Cowley, in Lives of the Poets). 10. Make a study of Herbert's verse workmanship (Palmer's George Herbert, vol. 1, 121-167). 11. Personal and poetical characteristics of the Cavalier Poets. 12. Examine minutely Lovelace's To Althea from Prison for beauties and defects. 13. The prevailing spirit of Herrick's poetry. 14. Compare Herrick's delicate lyric art with the art of Thomas Bailey Aldrich. 15. Show that Herrick is "preeminently the poet of flowers." 16. Origin of the classic, or Augustan, couplet (Gosse's From Shakespeare to Pope). 17. Compare Cowley's prose style with that of Browne. 18. Compare the form of Cowley's Pindaric ode with that of the real Pindaric ode in Gray's The Bard. 19. Source and character of Bunyan's style. 20. Compare Bunyan's use of allegory with Spenser's. 21. Why was Pilgrim's Progress superior to all the other works of Bunyan? CHAPTER XI JOHN MILTON 1608-1674 THE position of Milton was one of peculiar isolation. He was the supreme poet of Puritanism, and yet among the Puritans he was a lonely figure. His life stretched between two great literary epochs, to neither of which he belonged. He was born while Shakespeare was writing his great tragedies, and A Lonely he died in a period that had forgotten Shakespeare and repudiated his art. With the poets of his own time, Herrick, Suckling, and the others, he had nothing in common, and scorned them as "vulgar amorists," and "rhyming parasites." The great epic, upon which his world fame rests, he wrote while living in darkness and silence, an exile in his own land. It was singularly true, as Wordsworth sang of him: Thy soul was like a star and dwelt apart. John Milton was born in Bread Street, London, December 9, 1608. Near by in the same street was the Mermaid Tavern, and we may easily believe that Ben Jonson and Shakespeare sometimes paused to admire the large-eyed child. The Milton The home was in the very heart of old London, near Bow Bells and St. Paul's Cathedral, with its surrounding booksellers' stalls, and St. Paul's School, where Milton prepared for the university. There were two other children, an elder sister and a younger brother. The father Home was a prosperous scrivener, and a Puritan of the earlier type, whose religion did not prohibit enjoyment of the beautiful. He was a lover of the fine arts, something of a poet, an accomplished musician, and a composer of hymn tunes, two of which at least, "York" and "Norwich," are still familiar. In music the young Milton was well trained; his favorite instrument was the organ, whose tones are heard in all his poetry. He was early destined by his father, he writes, "for the pursuits of literature, which I seized with such eagerness that from the twelfth year of my age I scarcely ever went from my lessons to bed before midnight." And he adds: "When I had acquired |