The Complete Harvard Classics - ALL 71 Volumes: The Five Foot Shelf & The Shelf of Fiction: The Famous Anthology of the Greatest Works of World Literature

by Charles William Eliot

And, indeed, if it be the design of Providence to extirpate these savages in order to make room for cultivators of the earth, it seems not improbable that rum may be the appointed means. It has already annihilated all the tribes who formerly inhabited the sea-coast.

Needs further investigation

asinine

Noun : asininity

O God my God, what miseries and mockeries did I now experience, when obedience to my teachers was proposed to me, as proper in a boy, in order that in this world I might prosper, and excel in tongue-science, which should serve to the "praise of men," and to deceitful riches. Next I was put to school to get learning, in which I (poor wretch) knew not what use there was; and yet, if idle in learning, I was beaten. For this was judged right by our forefathers; and many, passing the same course before us, framed for us weary paths, through which we were fain to pass; multiplying toil and grief upon the sons of Adam. But, Lord, we found that men called upon Thee, and we learnt from them to think of Thee (according to our powers) as of some great One, who, though hidden from our senses, couldest hear and help us.

Tongue-Science alluded to in the highlighted part could only mean Rhetorics. Fain is a good adverb, almost obsolete , which means " willig or compelled under the circumstances. Augustine here is lamenting the fix and awkward displacement in Establishments common to genuises.

‘Lo you now, how vainly mortal men do blame the gods! For of us they say comes evil, whereas they even of themselves, through the blindness of their own hearts, have sorrows beyond that which is ordained.

And yet those who see farther may not see so well.

“rejoicing like a bridegroom.”

"Dizzied faith and guilt and woe; Loftiest aims by earth defiled, Gleams of wisdom sin-beguiled, Sated power's tyrannic mood, Counsels shared with men of blood, Sad success, parental tears, And a dreary gift of years."

We are far from being concerned, however, just now, with the doctrine of divorce on its intrinsic merits: we were only intending to give such an account of Milton's opinions upon it as might serve to illustrate his character. We think we have shown that it is possible there may have been in his domestic relations, a little overweening pride; a tendency to overrate the true extent of masculine rights, and to dwell on his wife's duty to be social towards him rather than on his duty to be social towards her,—to be rather sullen whenever she was not quite cheerful. Still, we are not defending a lady for leaving her husband for defects of such inferior magnitude. Few households would be kept together, if the right of transition were exercised on such trifling occasions.

If from the man we turn to his works, we are struck at once with two singular contrasts. The first of them is this:—The distinction between ancient and modern art is sometimes said, and perhaps truly, to consist in the simple bareness of the imaginative conceptions which we find in ancient art, and the comparatively complex clothing in which all modern creations are embodied. If we adopt this distinction, Milton seems in some sort ancient, and in some sort modern. Nothing is so simple as the subject-matter of his works. The two greatest of his creations, the character of Satan and the character of Eve, are two of the simplest—the latter probably the very simplest—in the whole field of literature. On this side Milton's art is classical. On the other hand, in no writer is the imagery more profuse, the illustrations more various, the dress altogether more splendid; and in this respect the style of his art seems romantic and modern.

Men awake with their best ideas; it is seldom worth while to investigate very curiously whence they came. Our proper business is to adapt and mold and act upon them. Of poets perhaps this is true even more remarkably than of other men: their ideas are suggested in modes, and according to laws, which are even more impossible to specify than the ideas of the rest of the world. Second-hand poetry, so to say, often seems quite original to the poet himself; he frequently does not know that he derived it from an old memory: years afterwards it may strike him as it does others.