MILTON REVIEW [5]
Reviewed by John M. Thomson thomson@nadn.navy.mil
The particular species of liberty for which Milton argues in
Areopagitica, according to Paul Dowling's careful dissection of
the pamphlet, is not the liberty of unlicensed printing, or the
liberty to engage in unfettered civil or religious discourse, but
the liberty of philosophic speech in the tradition of the
"heathen" philosophers--Socrates, Plato, and Isocrates, in
particular. Dowling agrees with earlier commentators that
Areopagitica is a thoroughly ironic piece of prose, the
irony made necessary for Milton's own protection against possible
retribution from the Long Parliament, should its members perceive
his true purpose. To learn that "philosophic freedom" is
what made necessary the rhetorical complexities--the disguised
allusions, the deliberate errors, the omissions, the
obliquities--that Dowling explicates in Milton's tract was for me
a bit of an anti-climax. But I anticipate.
Dowling has two purposes in this book. He first argues for
two levels of meaning for Areopagitica, one intended for the
"vernacular" audience, the other for the cognoscenti. This
purpose is supported by a detailed rhetorical analysis of the
tract. His second, and overarching purpose, is to argue for a
way of reading Milton historically, one that assumes that
"thought is absolutely conditioned by history" (xi). Dowling is
an intentionalist whose stated purpose is to restore the writer
to the central position that has been usurped, as Dowling sees
it, by the historicist critics of the twentieth century, all of
whom, in his view, assume that they understand Milton's writings
better than he does himself. Dowling seeks to carve out a
position for himself differentiated on the one hand from Arthur
Barker's Milton and the Puritan Dilemma (1942)and on the other
from such recent critics as Christopher Kendrick (Milton: A
Study in Ideology and Form [1986]) and Catherine Belsey (John
Milton: Language, Gender, Power [1988]). Barker's reading of
Milton is skewed, he finds, by Barker's insistence on seeing
Milton's "writings as the product of the religious orthodoxy of
his day" (xxvi), while Kendrick's and Belsey's post-structuralist
readings find Milton incapable of controlling his own text. Both
ways of reading Milton are condescending.
The two parts of Dowling's title suggest the two levels on
which, according to his reading, Milton intended his pamphlet to
be understood. Like his classical model, Isocrates, Milton
brings philosophy to the marketplace; he makes wisdom polite.
But the "heathen" rhetoric in the speech functions as a code for
the specialists, the "fit . . . though few," who will perceive
its real meaning. He defines the "so-called Heathens" as
"university men who in the 1640s opposed monarchy, not on
religious, but on philosophic grounds" (xx). Dowling uses the
term "heathen" because he wants to start with "the history the
poet gives" (xxx), but the word is problematic because he doesn't
offer any evidence that Milton ever used the word to apply
favorably to himself. That there were students at Cambridge who
took their study of ancient philosophy sufficiently seriously to
apply it to the institutions of their own day, and that Milton
was among them, is not news, and I wouldn't niggle over the use
of the word except that Dowling makes a claim to have discovered
a truer Milton, and a truer, more historically accurate,
interpretation of Areopagitica, than previous twentieth-century
critics. But he adduces no evidence that either Milton or his
contemporaries referred to those who looked at the world from the
standpoint of ancient philosophy as Heathens. In fact, for
Milton the term was always derogatory, and was the one he chose
in Eikonklastes to characterize Pamela's Prayer, plagiarized in
the royalist apology Eikon Basilike from Sidney's Arcadia,
and therefore non-Christian.
To the extent we can trust Milton's description of his
career as a polemicist in the self-aggrandizing rhetoric of the
Second Defence, he there assigns Areopagitica to the category
of writing in support of "domestic or personal liberty" (4.624).
Of course, it would still have been necessary during the period
of the republic to disguise any "heathen" leanings. The
contemporary writers Dowling cites--Thomas Hobbes, John Aubrey,
and John Toland--certainly were aware of Milton's lack of
affiliation with any particular Christian sect and his admiration
for ancient philosophers; but, at least according to the evidence
cited by Dowling, none of them actually used the word "heathen"
to refer to Milton. Nor does the word find a place in
Christopher Hill's accounts of the era's intellectual, religious,
and political factions, or in Parker's biography or in the
Milton Encyclopedia. Dowling might say that is exactly the
point. The only non-twentieth-century writer whose use of the
word Dowling actually cites is also a non-seventeenth-century
writer, Macaulay, who refers to a "party . . . distinguished by
learning and ability" composed of men "whom Cromwell was
accustomed to call the Heathens," (cited by Dowling, xxiv). I
don't know how Macaulay knew that or why Victorian historicism
should be preferable to that of more recent years. I expect that
Dowling's real reason for using the term is as a substitute for
"humanist," in order to dramatize the difference between his
Milton and Douglas Bush's Milton.
Dowling organizes his book according to the formal,
four-part partition Milton provides for the "Homily" (Milton's
word) he intends to lay before Parliament, with a chapter for
each section as well as for the introduction, digression on the
nation, and peroration. Milton's first argument against
licensing is that "the inventors of it [are] those whom ye will
be loath to own" (Yale Complete Prose 2.491), namely the "Popes
of Rome engrossing what they pleas'd of Politicall rule into
their own hands" (501). The censorship exercised by the popes
contrasts, in Milton's account, with the practice of the
primitive Christian community that seventeenth-century
English Protestants took as the model for their reformation, and
even before that, with the practice of Athens, Lacedaemon (i.e.,
Sparta), and Rome itself. Neither in those famous cities of
the ancient world nor in early Christian times was censorship or
licensing seen as desirable, necessary, or good.
As Dowling would have it, however, the argument I have just
summarized is the "vernacular" reading. Like Joseph Wittreich in
his 1972 Milton Studies article ("Milton's Areopagitica: Its
Isocratic and Ironic Contexts" 4: 101-15), Dowling posits a
bifurcated readership to explain his ironic reading. Whereas
Wittreich's fit audience is superior to the ordinary reader only
by its ability to discern certain ambivalences and an "ironic
inversion" in the peroration to Areopagitica, Dowling's fit
readers have mastered and remembered detailed knowledge of
ancient and church history. "The real teaching," he asserts, "is
hidden in the interstices of the rhetoric to be ferreted out by a
few fit readers" (26). What such readers discover when we have
done such ferreting, according to Dowling, is that Milton has
manipulated his account of classical history to make the
Athenians, Lacedaemonians, and Romans appear more tolerant and
open-minded than they actually were. For example, Milton omits
mention of the trial and execution of Socrates in his account of
Athens. Not only does Milton expect fit readers to notice such
an omission, he also expects them to notice the hidden critique
in his (deliberately) inaccurate history of the primitive
church--as Ernest Sirluck did in his introduction to the Yale
edition (2.158). Milton seems to say that such censorship as
took place in early Christian times was relatively insignificant.
The only writings censored "were plaine invectives against
Christianity" (2.501) such as Porphyrius and Proclus. The
vernacular reader, including, I expect, most Milton scholars,
passes over the two relatively unfamiliar names without
suspicion, but the reaction of the fit reader to the statement
that Christianity "only" censored Porphyrius and Proclus
is akin to the reaction a modern reader would have upon learning
that America only censored James Joyce and D. H. Lawrence--or so
Dowling claims. Despite the esteem in which Milton allegedly
held Porphyrius (according to Dowling), there is no article on
him in the Milton Encyclopedia, and Purvis Boyette, the author
of the article on Proclus, asserts that Milton couldn't have
read either of them. The conclusion Dowling draws from Milton's
manipulation of history is that Milton was really arguing that
only the cities of ancient Greece and Rome--not the polity of
early Christianity--should serve as the models for
seventeenth-century English society and law.
Dowling's method of laying bare Milton's "true" intention in
the historical argument is the model he follows for the remaining
three parts of the partition. In the second, the argument
regarding the value of books, Dowling says, Milton, through
deliberate distortion, makes the writers of the Hebrew Bible
appear more receptive of learning than in fact they really are,
and he "distorts Paul" (34) to suggest that the apostle saw no
need for restraints on knowledge when in fact the opposite is
true. For Dowling, Milton's famous Faerie Queene error
regarding the presence of the Palmer together with Sir Guyon in
the Cave of Mammon is "one of a number of such deliberate
mishandlings of sources" whose purpose is to contrast "Christian
and pagan understandings of virtue" to the advantage of the
latter (39). In the third and fourth arguments, that the
licensing act "avails nothing to the suppressing of scandalous,
seditious, and libellous Books" and that "it will be primely to
the discouragement of all learning, and the stop of Truth"
(2.491), Dowling identifies further misreadings, distortions,
misquotations, and ambiguities, all of them designed by Milton to
placate the vernacular reader and enlighten the specialist. In
his analysis of the third argument, the argument of the licensing
act's insufficiency, Dowling interestingly uses Plato's Laws as
a guide and gloss, concluding that Milton's focus is primarily
on the licensing act's effect on the English people's "manners,"
which Parliament is trying to shape by means of law. Instead,
following the precepts of the Athenian Stranger in the Laws,
Parliament should recognize that law must grow out of the customs
and manners of society.
In the Digression on the Nation, Dowling finds that Milton's
praise of England is riddled with irony--irony whose existence
"historicist scholars" have been unwilling to admit. They,
Dowling notes, have been puzzled by Milton's optimistic outlook
for England's future, in apparent denial of the military
disasters suffered by the Parliamentary army in the year of
Areopagitica's publication. He also observes that Milton's
praise of England is directed at its nurturing of knowledge and
its concern for religious reformation, but that--in contrast, for
example, to Of Education--Milton does not praise his country or
its people for their skills in or attention to the military arts.
The fit reader will rightly understand Milton's withheld praise
as implied criticism, for rather than education and religion, the
English people in this time of crisis should primarily concern
themselves with military preparedness. Here as elsewhere I find
Dowling's argument strained. Areopagitica's subject, after all,
is the licensing of printing, and if Parliament were to enforce
its licensing legislation it would adversely affect not treatises
on military strategy, but pamphlets like Milton's on divorce,
published in defiance of the licenser. A writer may refrain
from mentioning a particular subject simply because it is not
germane.
In the short chapter devoted to Milton's peroration, Dowling
attempts to account for, if not reconcile, the variety of
interpretations that have been offered by other critics as well
as the various contradictions he finds here by saying that Milton
has switched into a dramatic mode: "I suggest we begin by
doubting that every statement in the conclusion is Milton's--any
more than we assume that every speech in a Shakespeare play is
the poet's" (93). He finds, for example, that Milton's "cry" for
liberty of conscience contradicts his own suggestion in the
Digression that only a "moderate" range of religious opinion can
be tolerated--certainly not including Catholics, whom Milton
explicitly excludes. Dowling's insistence on logical consistency
is too severe for a peroration, whose listeners (or readers),
rather than dissecting every clause for hidden meanings, were
supposed to be caught up in its emotionally heightened
language.
I find Dowling's analysis of Areopagitica provocative, and
certainly he is in agreement with most critics in finding
ambivalences and inconsistencies in the tract. Its ironic nature
is fairly well accepted. Scholars do not see it as general
readers do, as a clarion call for freedom of speech.
Furthermore, I am even sympathetic with his intentionalist
stance. But taken in all of its detail, the analysis requires too
long a reach, and the central conclusion is unpersuasive. For
me, the book's weakest aspect is its reliance on fit readers,
this supposed coterie of "heathens" whom Milton was
addressing--in pamphlet form, no less. Even if such a reader, or
group of readers, existed, he or they would not only have to
notice all of the twisted allusions and omissions, but the
allusions would have to lead them, through a complex series of
steps and associations, to very particular conclusions; and they
would have to fill in the omissions "correctly." And yet, by
their very nature, polemical pamphlets are to be read and
understood as they were written--quickly. As Dowling's book
itself demonstrates, the reading process he demands is slow, and
the conclusion, once one reaches it, does not truly satisfy the
effortexpended. One imagines a sort of George Smiley of the
Civil Wars realizing that the pamphlet, because it was written by
John Milton, is actually encrypted, and sitting down for several
evenings to decode it (and without the benefit of the notes in
the Yale edition, either). At last he is finished. Astounding,
he exclaims, smacking his palm on his forehead. Mr. Milton is
here advocating, not general freedom from licensing or other
government censorship, not toleration for the various Christian
sects that inhabit our land in these days, but freedom of
philosophic speech!
John M. Thomson
Dowling, Paul M. Polite Wisdom: Heathen Rhetoric in Milton's
Areopagitica. Lanham:Rowman and Littlefield, 1995. 113+xxxii.
$21.00
March 15, 1996
U.S. Naval Academy
Library of Congress Information
Author: Dowling, Paul M., 1940-
Title: Polite wisdom : heathen rhetoric in Milton's
Areopagitica / Paul M. Dowling.
Published: Lanham, Md : Rowman & Littlefield Publishers, 1995.
Description: p. cm.
LC Call No.: K3255 .D69 1995
Dewey No.: 323.44/5 20
ISBN: 0847680525 (cloth : alk. paper)
0847680533 (pbk. : alk. paper)
Notes: Includes index.
Subjects: Milton, John, -- 1608-1674. -- Areopagitica.
Milton, John, -- 1608-1674 -- Style.
Milton, John, -- 1608-1674 -- Political and social
views.
Freedom of the press.
Censorship in literature.
Control No.: 95008664