The first aim in studying this piece of prose, as has already been said (see page xxxvii.), must be to understand what Macaulay has written, to give these pages of his so careful a study as to be able to explain accurately and definitely any passage in it. As an aid in conducting this process and in attaining this result— a clear understanding of the text the preceding Explanatory Notes have been added. They are intended to touch briefly on the more important references and allusions with which a pupil may be unfamiliar. But it is the pupil that must extend and complete the work. Much has been passed over without comment, from a conviction that it is wise to force the young student to depend as little as possible on notes, and as much as possible on his own efforts, in judging what information he really needs, and how he may best secure it. However he does it, the pupil must master the text of Macaulay's Life of Johnson as thoroughly as he would the text of Cicero's Oration against Catiline. The Life is prescribed for actual study, not for reading, and the student must not leave it until he has gone through it word by word, allusion by allusion, sentence by sentence. He must understand exactly what Macaulay meant. That does not necessarily imply that he should know all about every character to whom Macaulay refers, but it does mean that he should know enough about the subject of each reference to understand why it was made. To assist the pupil in testing the extent and accuracy of this preliminary study, the following questions have been prepared, to which answers will not be found in the preceding Explanatory Notes. They will indicate the sort of understanding of the text that the pupil must in some way attain. A few may appear trivial; but whoever has gone conscientiously through the labor of preparing boys for college in English will realize that seemingly trivial questions are often not without value. Simple things are easily overlooked.

SPECIMEN QUESTIONS ON THE TEXT FOR ORAL REVIEW OR WRITTEN EXAMINATION. What does Macaulay mean by Augustan delicacy of taste (2 26)? Is Latin taught in England in a way to which we are not accustomed? Why gown (4 2) ? Explain refracted (5 28), registrar (6 4), ceruse (6 31), ordinaries (9 21). Define sycophancy (9 28). Just what is meant by parts

(11 13)? By pilloried, mangled with the shears, whipped at the cart's tail (11 27)? By hack (13 6)? By Jewish rabbis and Christian fathers (13 23)? Why palm (168)? Is carcase (16 17) a familiar word? What does acidulated mean (17 15)? Why closet (17 29) ? What is a turgid style (19 15)? Comment on are known to everybody (19 29). What is the difference between the authority of a Dictator and that of a Pope (21 1, 2)? What is a folio (21 4) ? What is the derivation, and what the meaning, of lexicographer (21 18), etymologist (21 29)? What is meant by sheets (22 35) ? By epithet (23 20)? By women are married without ever being seen (24 12) ? Define adjured (26 24). To what language does Pomposo belong (26 32)? What is meant by happy conjectural emendation (27 15)? By period (28 34)? What is the Southern Cross (30 30)? Explain quarto (31 32). How could Johnson have an apartment at a brewery (32 26)? What is a squire (34 32) ? Explain Celtic (35 1). Why is the line quoted a detestable Latin hexameter (36 34)? Why at that season (38 28)? What is meant by poetasters (39 3)? Explain the reference in Cibber, who had mutilated the plays of two generations of dramatists (39 6,7)? What is the meaning, and what the derivation, of anfractuosities (44 28), and why does Macaulay use the word ?

Not even when the pupil has mastered the full meaning of the text, word for word, and sentence for sentence, is it safe to assume that he has Macaulay's ideas thoroughly in mind. That must be made certain by requiring careful summaries. The pupil should reduce the thought of cach paragraph to a single sentence, should determine what are the main ideas of the whole composition, and then make a scheme of the structure. Such a plan from Macaulay's Essay on Milton is here reprinted as a good example of what a thoughtful analysis of a similar piece of writing should show.

§§ 1-8. PREFATORY REMARKS. Description of a theological work by John Milton, lately discovered.

§§ 8-49. FIRST DIVISION OF THE ESSAY: MILTON'S POETRY. §§ 8-18. First topic: Is Milton's place among the greatest mas

1From Mr. Croswell's edition of Macaulay's Essay on Milton, in this series.

ters? Yes, for he triumphed over the difficulty of writing poetry in the midst of a highly civilized society. A discussion of the relation of poetry to civilization.

§§ 18-20. Second topic: Milton's Latin poetry.

§§ 20-25. Third topic: Some striking characteristics of Milton's poetic methods. A description of the effect produced by the

peculiar suggestiveness of the words he uses. gro and Il Penseroso.

Examples, L'Alle

Like the

The Greek

§§ 25-30. Fourth topic: Milton's dramatic poetry. Greek drama, it has much of the lyric character. drama and Samson Agonistes; Comus and the Italian Masques.

§§ 30-47. Fifth topic: Paradise Lost. Parallel between Milton and Dante. A discussion of Milton's superiority in the management of the agency of supernatural beings.

§§ 47-49. Sixth topic: The sonnets.

§§ 49-87. SECOND DIVISION OF THE ESSAY: MILTON'S CONDUCT AS A CITIZEN. THE CONDUCT OF HIS PARTY ASSOCIATES. §§ 4972. First topic : Milton's joining the party of the Parliament in 1642. §§ 49-51. Under the impressions derived from seventeenth and eighteenth century literature, many Englishmen fail to see that the Long Parliament was defending principles of government accepted by all England since 1688, and now struggling for recognition in the rest of the world. §§ 51-57. The rebellion of Parliament against Charles I. is therefore justified by a comparison, point by point, with the glorious Revolution dethroning James II. §§ 57-72. Admitting, then, the justice of Parliament's quarrel with the king, was their rebellion too strong a measure? When are revolutions justified?

§§ 72-78. Second topic: Milton's association with the Regicides and Cromwell. §§ 72-75. The execution of Charles not so very different a measure from the deposition of James. But even if one disapproves of the regicide, one may admit the necessity of defending it at that time. §§ 75-78. Discussion of Cromwell's good government compared with Parliament's betrayal of trust on one side and the Stuart misgovernment on the other.

§§ 78-87. Third topic: Milton's contemporaries classified and described. §§ 79-84. The Puritans. § 84. The Heathens. § 85. The Royalists. § 86. Milton's own character compounded of many different strains.

§§ 87-92. THIRD DIVISION OF THE ESSAY: MILTON'S PROSEHis pamphlets devoted to the emancipation of human

WRITINGS.

thought.
§§ 92 to End.

CONCLUSION. A vision of Milton.

After a scheme of the thought has been made, in this or some other fashion equally good, the pupil should write a number of short essays, each of which should have for its object the reproduction in the pupil's own language, and on a smaller scale, of the ideas contained in one of the large divisions of the Life.

CRITICAL NOTE

UNDER this heading are gathered certain detailed suggestions as to the further study of Macaulay's Life of Johnson. Up to this point we have considered only a single part of our work—that pertaining to the understanding of the text. The pupil must not stop here, however, nor slacken his efforts. The pleasantest part of his task remains undone. We have yet to see (1) what we can gain from a study of Macaulay's style, (2) what we can gain by considering the truth, appropriateness, or suggestiveness of Macaulay's ideas, and (3) what progress we can make, after this introduction by Macaulay, in the study of Johnson's life and times and in the enjoyment of his works and those of his contemporaries. In such matters teacher and pupils must be left largely to their own devices, but a few hints may seasonably be given under the successive heads of Rhetorical Study, Suggestive Study, and Literary Study.

Rhetorical Study. Rhetorical work in the preparatory schools should have simply the aim of enabling pupils to write simply, clearly, and correctly. Minute precept, the philosophy and logic of expression, detailed analysis of style-all these are subjects for college work. To write simply, clearly, and correctly is all that can reasonably be asked of a sub-Freshman. Fluency, grace, beauty, power-all these may be inculcated later. Simplicity, clearness, and correctness are the essential qualities, and no one is a better teacher of them than Macaulay. Fine critics have found fault with his style, but they cannot deny that it has proved the most successful prose style of the century. Success means something. To receive wide and long continued approbation a style must have the very best of qualities. Macaulay is an excellent model.

The student has two things to do if he would get the most out of Macaulay's style. First, he must like it and learn the "tune"