MILTON AS PROPHET
But Milton did not use his poetical powers for the mere pleasure of exercising them. In him, as in Isaiah, the great artist is embodied in the greater prophet. This is a commonplace, yet many approach Milton as if it were untrue. In the case of “Paradise Lost,” admittedly the fullest expression of his message, the first two books are mistakenly recommended as typical. In them, to be sure, are superbly displayed his artistic powers, but certainly not his dominant thought. In fact, to confine oneself to them has proved a direct way to misunderstand him. Because they deal with the fallen angels, we have arising the persistent error that Satan is the hero of “Paradise Lost,” and that the arch-rebel preoccupied the poet’s interest. The result in our day, when belief in a personal devil is faint, is the impression that Milton devotes his genius to themes that, however picturesque, possess for us slight moral significance. And so we have the pitiable result that the mere artist is admired, but the prophet not hearkened to. Yet his message, grasped as a whole, comes home to our very hearts.