Poet of Revolution: The Making of John

Milton Nicholas Mcdowell

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 POET OF
R E VOLU TION
 POET OF
REVOLUTION
THE MAKING OF
JOHN MILTON
•
NICHOL AS McDOWELL

PR INCETON UNI V ER SIT Y PR ESS

PR INCETON & OX FOR D
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Jacket/Cover Credit: Portrait of a young man identified as John Milton in the
collection of Christ’s College, Cambridge, attributed to Peter Lely or Mary Beale.
By kind permission of the Master and Fellows of Christ’s College, Cambridge.
This book has been composed in Arno Pro text with Trajan Pro and Gotham display
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1 3 5 7 9 10 8 6 4 2
. . . the childhood shews the man,
As morning shews the day. Be famous then
By wisdom[.]
Joh n M i lton, Pa r a dise R ega i n e d (1671)

In reading [Milton’s] works, we feel ourselves under the influence of

a mighty intellect, that the nearer it approaches to others, becomes
more distinct from them. The quantity of art in him shows the
strength of his genius: the weight of his intellectual obligations would
have oppressed any other writer.
W i l li a m H a zlitt, ‘On Sh a k e spe a r e
a n d M i lton ’ (1818)

Let us never forget Milton, the first defender of regicide.

Fr e der ick Enge l s, T h e Nort h er n Sta r
(18 Dece m ber 1847)

One of the typical features of Dante’s personality, which qualifies

him as an ‘intellectual’ in the modern sense of the word, is his endless
reflection on what he is doing, both as an author and as a man.
M a rco Sa n tagata, Da n te: T h e Story
of H is Li fe (2016)
 C on t e n t s
•

List of Illustrations xi
Acknowledgements xiii
Note on Texts and Abbreviations xv

Introduction: Two University Scenes 1

Part I:
London and St Paul’s School, 1608–­2 5

1. Londiniensis 23

‘Chief of Cities’ 23
The ABC of Salvation 27
‘Excellent Father’ 31
Humanism and Puritanism 35

2. Pure Chaste Eloquence 45

The Grammar of Things 45

Blotterature 50
That Sublime Art 56

3. The Pursuit of Universal Learning 66

Eloquence and Erudition 66

Accelerated Humanism 73

Part II:
Cambridge and Christ’s College, 1625–­9 

4. Philology and Philosophy 81

‘Whip’t Him’ 81
‘Vehement Study and Emulation’ 89

vii
 viii con t e n ts

‘Blind Illiteracy’ 97
‘New Rotten Sophistrie’ 103

5. Beginning as a Poet 108

Fatal Vespers 108

‘That Little Swimming Isle’ 114
The Nature of a Composition 117
Satire and Libel 123

6. Heroes and Daemons 131

Miscellany Poet 131

A Monument More Permanent 135
Living with the Daemons 143
Domina 156

7. The Poetics of Play and Devotion 159

‘His Hand Unstained’ 159

Melancholicus 164
‘A Synchronism of Prophecies’ 172
‘The Lars, and Lemures Moan’ 178

Part III:
Cambridge and Hammersmith, 1629–­3 5

8. Laudian Poet?187
‘Tenet of the Apocalyptical Beast’187
‘Arminianized under his Tuition’192
Mystics in Hammersmith197
‘Above the Years He Had When He Wrote It’ 201
Water and Wine, Tears and Blood206
9. In Search of Patronage212
‘Pluto’s Helmet’212
Genius of the Wood 221
 con t e n ts ix

‘Notorious Whores’ 224

Some Other Circe 229

10. Many Are the Shapes of Things Daemonic 237

Pagan Virtue 237

‘How Charming is Divine Philosophy!’ 243
Apollo’s Lute 249
The Beauty and The Bacchae 253

Part IV:
Horton and Italy, 1635–­9 

11. The Circle of Studies 263

Identity and Belief in 1636 263

‘Subdivisions of Vice and Virtue’ 270
‘Censored by the Inquisitor’ 276
A True Poem 283
Wotton, Hales, and Eton College 286

12. Love and Death in ‘Lycidas’ 293

Two Sorts of Shepherd 293

‘Bacchic Howlings’ 298
Digression and Desire 303

13. Writing and Society in ‘Lycidas’ 311

‘Run Amarillis Run’ 311

Index Expurgatorius 317
Genius of the Shore 327

14. Come un Virtuoso 332

In Circe’s Court 332

‘Flattery and Fustian’ 337
Non Angli, Sed Angeli 344
Be Our Daemon 348
 x con t e n ts

Part V:
London and Aldersgate Str eet, 1639–­4 2

15. Becoming a Polemicist 357

The Method of History 357

‘Brittish of the North Parts’ 361
‘Tearing of Hoods and Cowles’ 366
Ancients and Moderns 373

16. The Poetics of Polemic 382

‘Struggle of Contrarieties’ 382

A Calvinist Suit of Armour 389
‘Inquisitorious and Tyrannical Duncery’ 394
Ignorance of the Beautiful 400

Epilogue: Towards Regicide and Epic 410

Notes 421
Index 463
 L i s t of I l lu s t r at ions
•

1. The 1660 proclamation by Charles II for the calling in and

suppressing of two books by John Milton4
2. Milton’s transcription of the Prologue from a quarto edition of
Romeo and Juliet in his copy of Shakespeare’s First Folio.
Courtesy of the Rare Book Department, Free Library
of Philadelphia.17
3. An early seventeenth-century view of St Paul’s Cathedral and the
surrounding area in London. 25
4. John Milton at the age of ten. After Cornelius Janssen (1618).
National Portrait Gallery, London.41
5. Engraving of Christ’s College, from David Loggan,
Cantabrigia illustrata (Cambridge, 1690). Courtesy of Special
Collections, University of Exeter.87
6. Opening page of Milton’s first Prolusion, in Joannis Miltonii Angli,
epistolarum familiarium (1674). Courtesy of Special Collections,
University of Exeter.93
7. Portrait of a young man identified as John Milton (c. 1629).
By an unknown artist. National Portrait Gallery, London.160
8. Draft of Milton’s 1633 letter to a friend, in the Milton manuscript,
R. 3. 4, Trinity College, Cambridge, p. 6. © The Master and
Fellows of Trinity College, Cambridge.214
9. Title-­page of Poems of John Milton, Both English and Latin (1645)223
10. ‘The Daemon sings or says’, final page of the draft of A Maske,
in the Milton manuscript, R. 3. 4, Trinity College, Cambridge,
p. 29. © The Master and Fellows of Trinity College, Cambridge.239
11. Anonymous title-­page of A Maske presented at Ludlow Castle, 1634
(1637). The British Library, C.34.d.46.254
12. Indexes of John Milton’s commonplace book. The British Library,
Add. MS 36354.275
13. On the prohibition of books, in John Milton’s commonplace book.
The British Library, Add. MS 36354.282

xi
 xii l i s t o f i l l u s t r a t ion s

14. Draft of ‘Lycidas’, in the Milton manuscript, R. 3. 4, Trinity

College, Cambridge, p. 31. © The Master and Fellows of Trinity
College, Cambridge.294
15. Drafts for dramas, in the Milton manuscript, R. 3. 4,
Trinity College, Cambridge, pp. 40–­1. © The Master and
Fellows of Trinity College, Cambridge.363
16. Title-­page of [ John Milton], Of Reformation (1641).
By permission of the Master and Fellows of Christ’s College,
Cambridge.375
 Ac k now l e d g e m e n t s
•

This book took (considerably) longer than it was supposed to take, and
my primary thanks are to my editors at Princeton University Press for
their patience: first Al Bertrand, who commissioned the book, and then
Ben Tate, who waited for it. Thanks also to others who worked on the
book in production, in particular Debbie Tegarden and Tash Siddiqui.
The book’s intellectual origins lie in the invitation of Paul Stevens to
speak at the Canada Milton Seminar at the University of Toronto in
2010, which was a key moment in developing my thinking about the
young Milton. More recently I am grateful to Rachael Hammersley for
asking me to contribute to an ‘Intellectual Biographies Workshop’ at
Newcastle University in 2017, which enabled me to discuss methodolog-
ical issues along with others working on biographical studies of early
modern figures; and to Sarah Mortimer, whose invitation to speak at the
‘Religion in the British Isles, 1400–­1770’ seminar at Oxford in the same
year presented my arguments to salutary interdisciplinary interrogation.
For particular suggestions or bits of help over the years, even though
they might have forgotten they ever gave them, I thank Sharon Achin-
stein, Niall Allsopp, Claire Bourne, Hannah Crawforth, Karen Edwards,
Tobias Gregory, Zoe Hawkins, Ariel Hessayon, Edward Jones, Tom
Keymer, Sarah Knight, Colin Lahive, Rhodri Lewis, Jason McElligott,
Jeff Miller, Joe Moshenska, Henry Power, Jason Scott-­Warren, George
Southcombe, and Blair Worden. I may not agree with all the conclu-
sions of Gordon Campbell and Tom Corns in their 2008 biography but
it is a major work of scholarship that has shaped my own arguments,
and they have both always been generous to me and engaged with my
arguments in the open-­minded spirit in which they are intended.
I owe much of my continued enthusiasm for Milton to discussion and
debate with several generations of lively undergraduates at the Univer-
sity of Exeter and also with recent doctoral students, including Anthony
Bromley, Philippa Earle, Tessa Parslow, and, in particular, Esther van
Raamsdonk, who got me thinking about Milton and European culture
 xiv ack now l e dge m e n ts

in different ways. The three readers for Princeton University Press, who
revealed themselves to be William Poole, David Quint, and Paul Ste-
vens, provided wise and scrupulous reports; David Quint subsequently
directed me towards some important further reading. I have convivially
discussed these matters for many years now with Will Poole, whose
own scholarship on Milton and others sets the highest bar. This book
would almost certainly not exist had I not had the good fortune to be
introduced to Milton’s prose by Nigel Smith over the course of my first
term as a Masters student twenty-­five years ago, which transformed the
Milton I thought I knew from undergraduate study. My parents have
picked up several volumes on Milton from second-­hand bookshops for
me over the years, and they all came in useful in some way. Finally, I
must acknowledge the support and optimism of Sally Faulkner as well
as the tolerance of our sons, Rowan and Cameron, for all the times I told
them I was ‘working on my book’.
St. Leonard’s, Exeter
December 2019
 No t e on T e x t s a n d A bbr e v i at ions
•

In the notes the place of publication is London unless otherwise stated.

All references to Milton’s shorter poems, and to their translations, are to
the Oxford Complete Works of John Milton. Volume III: The Shorter Poems,
ed. Barbara Kiefer Lewalski and Estelle Haan (Oxford, 2012; corrected
impression, 2014), unless otherwise stated, and are incorporated into
the text by line numbers. All references to Paradise Lost are to the 1674
edition and are incorporated into the text by book and line numbers; all
references to Paradise Regained and Samson Agonistes are to the Oxford
Complete Works of John Milton. Volume II, ed. Laura Lunger Knoppers
(Oxford, 2008), and are incorporated by book and line numbers. All
references to Milton’s printed prose works are to the first editions unless
otherwise stated; references to translations of printed prose and to edi-
tions of manuscript writings are specified in the notes.

Abbreviations
Campbell, Milton Chronology Gordon Campbell, A Milton Chronology (Basingstoke,
1997)
Campbell and Corns, John Milton Gordon Campbell and Thomas N. Corns, John Milton:
Life, Work, and Thought (Oxford, 2008)
CELM Catalogue of English Literary Manuscripts, 1450–­1700,
comp. Peter Beal (https://celm-ms.org.uk)
Complete Prose Works Complete Prose Works of John Milton, gen. ed. Don M.
Wolfe, 8 vols. in 10 (New Haven, CT, 1953–­82)
Complete Shorter Poems Milton, Complete Shorter Poems, ed. John Carey, 2nd
edn. (Harlow, 1997)
Early Lives 
Early Lives of John Milton, ed. Helen Darbishire (1932)
Fletcher, Intellectual Development Harris F. Fletcher, The Intellectual Development of John
Milton, 2 vols. (Urbana, IL, 1956–­61)
Lewalski, Life Barbara Kiefer Lewalski, The Life of John Milton: A Criti-
cal Biography (Oxford, 2000; rev. edn., 2002)
Life Records of John Milton, ed. J. Milton French, 5 vols.
Life Records 
(New Brunswick, NJ, 1949–­58)

xv
 xvi n o t e o n t e x t s a n d a b b r e v i a t ion s

McDowell and Smith, Oxford Handbook Nicholas McDowell and Nigel Smith (eds.), The
Oxford Handbook of Milton (Oxford, 2009)
ODNB 
Oxford Dictionary of National Biography
Oxford Milton Complete Works of John Milton, gen. eds. Thomas N.
Corns and Gordon Campbell (Oxford, 2008–­)
 POET OF
R E VOLU TION
 INTRODUCTION
•
Two University Scenes

Two university scenes, half a century apart. First, Cambridge in the

summer of 1632. John Milton supplicated for his Master of Arts degree
on 3 July, at the age of twenty-­three, after seven years of study. To be
awarded the degree, he had to declare in writing, as he had done previ-
ously to obtain the Bachelor of Arts degree in 1629, his subscription to
the liturgy and doctrines of the established Church of England and ac-
knowledgement that the reigning monarch, Charles I, was ‘the King’s
Majesty under God . . . the only Supream Governour of this Realm, and
of all other his Highness Dominions and Countries, as well in all Spiri-
tual or Ecclesiastical Things or Causes, as Temporal’.1 It was this require-
ment that meant Roman Catholics, such as John Donne in an earlier
generation, could study at university but not graduate. Since his arrival
at Cambridge at the beginning of 1625, Milton had tried his hand, with
varying degrees of success, at most of the various forms of poetry mark-
ing specific occasions in which a student with literary ambitions would
have been expected to excel, mainly in Latin, the official language of the
university, but also in the vernacular: satirical epigrams to mark the an-
niversary of the failed Gunpowder Plot; funeral elegies for noted eccle-
siastical and university figures; verses for formal university exercises and
college entertainments; and devotional poems linked to ceremonial
feast days. He had in fact already written two thirds of the poems that
he would collect in his first volume of verse, Poems . . . Both English and
Latin, at the end of 1645. Milton was evidently known within his college,
Christ’s, as an able Latinist, for he had ghost-­written Latin verse for Fel-
lows of Christ’s to recite at important occasions, possibly including the

1
 2 i n t r o du c t i on

visit of the French ambassador in September 1629.2 But that reputation

may not have stretched much beyond the college, as he did not appear
in any of the printed university anthologies of verse of the years 1625–32,
and he certainly did not leave Cambridge with the level of renown of
such contemporaries as Richard Crashaw (1612/13–1648), whose col-
lection of Latin devotional verse, Epigrammatum Sacrorum liber (A
Book of Sacred Epigrams), would be given the honour of publication
by the University Press on Crashaw’s BA graduation in 1634.
Second, the Schools quadrangle of the Bodleian Library in Oxford
in the summer of 1683. In the aftermath of the foiling of the so-­called
Rye House plot to assassinate Charles II and his brother, James, Duke
of York, the Convocation of the University of Oxford met on Saturday,
21 July—the day on which Lord William Russell was executed for his
alleged involvement in the plot—and issued a ‘Judgment and Decree’,
printed at the Sheldonian Theatre. It included the writings of Milton
among its list of ‘pernicious books’ containing ‘certain Propositions . . .
repugnant to the holy Scriptures, Decrees of Councils, Writings of the
Fathers, the Faith and Profession of the Primitive Church: and also de-
structive of the Kingly Government, the safety of his Majestie’s Person,
the Public Peace, the Laws of Nature, and bonds of humane Society’.
The Convocation forbade any member of the university from ‘reading
the said Books, under the penalties in the Statutes exprest’, and ordered
them to hand in such books ‘to be publicly burnt, by the hand of our
Marshal in the court of our Scholes’. Though it was nine years after Mil-
ton’s death, the decree specifically cited Milton for advancing two prop-
ositions: ‘That if lawful Governors become Tyrants, or govern other-
wise then by the laws of God and man they ought to do, they forfeit the
right they had unto their Government’, and that ‘King Charles the first
was lawfully put to death, and his murtherers were the blessed instru-
ments of Gods glory in their Generation’.3 The decree did not specify
which of Milton’s works were forbidden; presumably the books in ques-
tion were his prose defences of the execution of Charles I published in
English in 1649–50 and in Latin in 1651, the arguments of which correlate
broadly with the propositions ascribed to him in the decree.
 t wo u ni v er sit y scenes 3

Two of these defences—Eikonoklastes (1649), in English, and the Pro

Populo Anglicano Defensio (Defence of the English People, 1651), in
Latin—had previously been the subject of a proclamation by Charles
II for their confiscation and public burning in London, Oxford, and
Cambridge in August 1660, three months after the Stuart monarchy was
restored after an absence of over eleven years (although signed by
Charles as ‘given in the Twelfth Year of our Reign’), for containing ‘sun-
dry Treasonable Passages against Us and Our Government, and most
Impious endeavors to justifie the horrid and unmatchable Murther of
Our late Dear Father, of Glorious Memory’.4 The effect of this earlier
proclamation is indicated by an entry for the Pro Populo Anglicano De-
fensio in the Donors’ Register of the library of Sidney Sussex College,
Cambridge, which has been struck through and a marginal note inserted
to explain that the book was ‘burnt by ye K[ing]’s p[ro]clamat[ion]’. The
force of the 1683 Oxford decree was felt by James Parkinson, who in
September 1683 was ejected from his Fellowship at Lincoln College for
‘holding, maintaining and defending some unwarrantable and seditious
opinions’: one of the specific charges against Parkinson was that he
‘commended to some of his pupils Milton as an excellent book and an
antidote against Sir Robert Filmer, whom [Parkinson] calls “too high a
Tory” ’.5 The ‘excellent book’ in question was likely either the 1651 De-
fensio or Milton’s first vernacular defence of the execution of Charles I,
The Tenure of Kings and Magistrates (1649), published within two weeks
of the regicide, which secured Milton his position as Latin Secretary
and, in effect, chief propagandist for the new republican government—a
position that Milton retained throughout the decade of kingless rule of
the 1650s. Filmer, renowned for his defence of the divine right of kings,
had in his Observations Concerning the Original of Government (1652)
specifically attacked the political arguments advanced by Milton in both
the Tenure and the Defensio.
The 1683 decree came sixteen years after the publication of the first
edition of Paradise Lost in 1667. It is probably unlikely that Oxford stu-
dents, facing punishment for being found with unspecified books by
‘Milton’, would have have handed in their copies of Paradise Lost, or of
Another random document with
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 HILMA. Ne menivät mukaan. — Tulin tänne, että pääsisitte sinne,
äiti, jos tahdotte.

SOHVI. En minä… En minä voi nähdä, kun Rusko ja Muurikki

myödään. Se ottaa niin luonnolleni. Ja onhan isä siellä.

SIIRI. Mutta sitte menen minä.

HILMA. Siiri! Hän on siellä — Sipi.

SIIRI. Minä tiedän sen. Hänhän kävi täällä — tuvassa.

HILMA. Kävikö täällä?

SIIRI. Kävi. Ja sen tautta juuri pitää minun olla siellä mukana.
(Menee.)

HILMA. Äiti! Milloinka hän täällä kävi? Ja mitä varten?

SOHVI. Vast'ikään. Kun olin yksin, niin hän tuli. Hän tahtoi meitä
auttaa ja antoi minulle kaksikymmentä markkaa.

HILMA. Ja te otitte?

SOHVI. Otin. Ja miks'en olisi ottanut? Vaan sitte sattui Siiri

tulemaan, tempasi kädestäni rahan ja pakoitti Sipin ottamaan sen
takaisin.

HILMA. Se oli hyvä. Se oli oikein, äiti.

SOHVI. Oikeinko? Sinäkin hupsu! Saat nyt nähdä, mitä hän tekee,
kun hän siitä suuttuu, että me noin hylkäsimme hänen apunsa ja
sovinnon tarjouksensa.
 HILMA. Enempää Sipi ei voi meille tehdä, äiti, kuin on jo tehnyt.

SOHVI (ikkunan luona). Kas tuossa! Nyt Ruskoa jo myödään. Ja

siinä seisoo Siiri ja Sipi vastatusten.

HILMA (katsahtaen ikkunaan). Näyttää, niinkuin he huutaisivat

kilvan.

SOHVI. Sanoinhan minä. Sipi voi tehdä jotakin uhallakin.

HILMA. Mutta Siiri pitää kyllä puoliaan, äiti.

SOHVI. Mitä voi hän Sipiä vastaan.

HILMA. Hän saa ainakin hinnan nousemaan.

SOHVI. Vaan jos isä jää ilman hevosta. Hän kun tahtoi lähteä
hevosineen
Karjalan rautatielle työn hakuun.

HILMA. Parempihan se on, äiti, saada siitä hyvä hinta, kuin jos
uupuu ja täytyy talokin ryöstöön panna. Muutenkin on kaikki muu niin
halvalla mennyt.

SOHVI. No. Nyt se päättyi. Mitä ne ihmiset noin nauravat?

HILMA. Ja mitähän se Sipi tuossa Siirille haastaa, näetkös?

SOHVI. Kädellään vaan huiskautti hänelle, Siiri, vastaukseksi ja

lähti juoksemaan tänne päin.

HILMA. Siinä paikassa saamme kuulla, kuinka kävi.

SIIRI (tulee juosten sisään).

 HILMA. No, kellekä Rusko jäi, Siiri?

SIIRI. Hänellehän minä sen jätin.

SOHVI Vai Sipille se jäi?

SIIRI. Tahallanihan minä sen tein. Sillä semmoista hintaa ei Antti

olisi saanut siitä keltään.

HILMA. Mistä hinnasta se sitte meni?

SIIRI. Sadasta neljästäkymmenestä kolmesta.

HILMA. Sehän oli hyvin, äiti.

SOHVI. Olihan se kyllä.

SIIRI. Korotin ja korotin — kiusallani. Ja sitte yht'äkkiä jätin. Ja niin

sanoi Sinkkonenkin, että kolmekymmentä markkaa ainakin Sipi siitä
maksoi enemmän, kuin se on väärtti. — Vaan nyt on jo varmaan
kohta Muurikin vuoro.

SOHVI. Tuossapa se jo tuodaankin (Ulkoa kuuluu lehmän kellon

kalahduksia). Muurikkini! Muurikki lehmäni! Tuota! Kun tänne katsoo,
että missä se emäntä nyt on, kun antaa vieraiden taluttaa. Näetsen!
Ihan kuin ymmärtäisi, luontokappalekin, että erota pitää ja että toisen
käsiin joutuu! Muurikki lehmäni! (Puhkeaa itkemään ikkunalaudalle.)

HILMA. Elkää, elkää nyt, äiti kulta…!

SIIRI. Niin, ennen aikoja. Kyllä täti sen huutaa. Minä pyysin… Hän
lupasi.

SOHVI. Vielä mitä! Toinen antaa enemmän, niin sillehän se jääpi.

 SIIRI. Olkaa nyt huoleti! Eipä siellä näy juuri olevankaan sen
huutajia. Tuossa vallesmanni jo kohottaa vasarata. Noin:
ensimmäinen — toinen — ja kolmas kerta. Täti sen varmaan sai.
Minä lähden kuulemaan.

SOHVI. Jumala suokoon! Muutenhan jäämme kokonaan ilman

särvintä kaikki tyyni.

HILMA. Rouva Vallström tulee tänne. Nyt saamme kuulla.

Kahdeksas kohtaus.

Edelliset ja rouva VALLSTRÖM.

SIIRI (ovella). No, täti, kuinka kävi?

ROUVA VALLSTRÖM (nyökäyttää Siirille myöntävästi). No, hyvää

päivää, Sohvi! (Tervehtii häntä.) Sohvi saa nyt pitää Muurikkinsa.
Minä huusin sen.

SOHVI (lankee maahan ja halailee rouva Vallströmin jalkoja).

Kiitoksia, kiitoksia tuhansin kerroin, rakas, rakas rouva!!

ROUVA VALLSTRÖM. Mitä te, mitä te nyt, Sohvi?! Ei pidä!

Nouskaa ylös.
(Nostaa Sohvia käsivarresta.)

Yhdeksäs kohtaus.

Edelliset, PUPUTTI, ANTTI, SINKKONEN, PAAKKUNAINEN,

EEVA-STIINA ja muutamia muita henkilöitä.
 SIIRI. Minkälainen on tulos, herra vallesmanni?

PUPUTTI. Paikalla. Jahka minä lyön nämä summat yhteen.

(Istuutuu, lyijykynä kädessä, pöydän taakse.)

(Rouva VALLSTRÖM ja SOHVI sekä SIIRI ja HILMA haastelevat

keskenään.)

PAAKKUNAINEN (lähestyy vallesmannia, kaivaen taskusta esiin

kukkaronsa). Minä olisin, tuota, pyytänyt saada maksaa, herra
vallesmanni.

PUPUTTI. Vuota! Näethän, että minä tässä räknään.

EEVA-STIINA (Paakkunaisen takana). Olisi pitänyt päästä tästä

lähtemään kotiin.

PUPUTTI (polkien jalkaansa). Hä? Kuka se siellä…? Vuota, sanon

minä!
Ja minne sinulla on sen kiireempi kuin muillakaan? (Jatkaa
laskujaan.)

PAAKKUNAINEN ja EEVA-STIINA (peräytyvät kansan joukkoon).

PUPUTTI (kotvasen kuluttua). Tästä ei tule täyteen sitä summaa,

minkä
Antti Valkeapää on velkaa.

ANTTI. Arvaahan sen. Mistäpä sitä niin äi'ää olisi lähtenyt, kun
kaikki niin vähään nousi.

SIIRI. Paljonko siinä uupuu, vallesmanni?

 PUPUTTI. Noin seitsemänkymmentäviisi markkaa. — Pitää siis
jatkaa irtaimiston myöntiä täällä tuvassa, ja joll'ei sekään piisaa, niin
on kiinteimistö…

ROUVA VALLSTRÖM (joka on mennyt vuoteen luo ja tarttunut

Liisun käteen). Herra Jumala! Hänhän on kylmä!

SOHVI (heittäytyy vuoteen yli). Liisu tyttöni! Kuollut! — — Kuollut!!!

HILMA. Kuollutko? — Siskoni! (Itkee.)

ANTTI (seisoo, äänetönnä katsellen ja kädet ristissä, vuoteen

vieressä).

SIIRI. Liisu parka! Hän pääsi vaivastaan keskellä tätä kurjuutta.

(Kansan joukossa hämmästystä ja hiljaista kuiskatusta. Muutamat

menevät vuoteen luo katsomaan ja palaavat jälleen peremmälle.
Joku menee kohta sitte poiskin.)

EEVA-STIINA. Hiljaapa se sielu erosi ruumiista, kun ei sitä kukaan

huomannut.

ROUVA VALLSTRÖM. Niin, milloinka hän lähti? Eikös täällä koko

ajan ollut joku tuvassa?

SOHVI. Taannoin se varmaan oli loppu, kun hän enkelistä haastoi.

Ja se se hänen sielunsa silloin korjasi. (Lankeaa polvilleen vuoteen
viereen ja nostaa kätensä taivasta kohti!) Siellä nyt taivaassa ei ole
Liisulla puutetta, ei vaivoja, ei kyyneleitä. Ja Herra tiesi, että täällä
hänellä ei olisi ollut enää mitään, mitään.

ROUVA VALLSTRÖM (lohduttelee Sohvia).

 PUPUTTI (kansaan päin). Tällä kertaa meillä nyt ei täällä ole enää
mitään tekemistä. Maksut otan vastaan kotonani. (Antille.) Mutta
meidän täytyy jatkaa toiste, että saadaan kokoon uupuva summa.
(Panee luettelon taskuunsa.)

(Kansa poistuu.)

ANTTI. Niinhän se on tehtävä. Tyhjilleenhän tässä talo kuitenkin

jääpi.

SIIRI. Herra vallesmanni!

PUPUTTI (joka on aikonut mennä). Neiti!

SIIRI. Sanoitte uupuvan seitsemänkymmentäviisi markkaa?

PUPUTTI. Niillä paikoin.

SIIRI. Olkaa niin hyvä: odottakaa vähän! (Ottaa kukkaronsa esiin.)

Ehkä saisin minä… Minulla sattuu olemaan… niin ei teidän tarvitse
enää vaivata — itseänne.

HILMA. Mitä sinä teet, Siiri?!…

SOHVI. Siirihän tarvitsee itse.

ANTTI. Ei nyt pidä…!

SIIRI. Kas tässä! Ottakaa nämä, herra vallesmanni! Siinä pitäisi

olla.

PUPUTTI. Te annatte ne siis Antti Valkeapäalle? Hänen

puolestaan?
 SIIRI. Kuinka tahdotte? Sama se, kunhan hän vaan on kuitti?
Piisaahan se?

PUPUTTI (ottaen rahat.) Kyllä, kyllä. Tässä on ehkä pikkuruisen

liikaakin, neiti, mutta sen minä sitte annan takaisin, jahka lopetan
rätingin.

SIIRI. Se on sama. Ett'ei vaan uutta ryöstöä tarvita? Eihän?

PUPUTTI. Ei suinkaan. — Te olette jalomielinen ihminen, neiti!

(Menee pöydän luo ja merkitsee rahat luetteloon.) Hyvästi sitte!
(Hyvästelee.) Nyt on minun puolestani täällä kaikki lopussa.
(Menee.)

PAAKKUNAINEN, EEVA-STIINA ja SINKKONEN (jotka ihmetellen

ovat keskenään puhelleet jotakin perällä, poistuvat myöskin).

SIIRI. Niin. Pitäähän meidänkin lähteä, täti, ja jättää heidät

rauhaan
Liisulle viimeistä velvollisuutta toimittamaan.

ROUVA VALLSTRÖM (taputtaen Siiriä). Kyllä, kultaseni,

lähdetään. Tahdoin vaan ensin sanoa Hilmalle, että Hilma sen
tähden juuri nyt saa jäädä muutamaksi päiväksi kotiin auttamaan ja
sitte tulla palvelukseeni, jos tahtoo. (Hyvästelee.)

HILMA. Hyvä on. Ja kiitoksia, rakas rouva!

ANTTI. Vaikeahan Sohvin nyt alussa olisi ilman Hilmaakin.

Kiitoksia vaan kaikesta!

SOHVI. Tästä ja kaikesta kiitos teille, rakas rouva ja Siiri! Jumala

teitä palkitkoon!…
 SIIRI (joka sillä välin on kätellyt Sohvia ja Anttia, suutelee Hilmaa).
Me siis emme nyt tapaa enää toisiamme, Hilma. Voi hyvin!

ROUVA VALLSTRÖM ja SIIRI (menevät).

HILMA (ei saa sanotuksi mitään, vaan pyyhkii silmiään, katsoen

Siirin jälkeen).

SOHVI (menee Liisun vuoteen luo). Ja nyt… (Jää tuijottamaan

Liisuun kädet ristissä.)

ANTTI. — työhön jälleen —

HILMA (ottaa nyyttinsä, vie sen pöydälle ja alkaa aukoa huivin

päitä) — uutta elämää alkamaan — alusta taas!

Esirippu.

(Loppu.)
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