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PL A CE , L ON D ON
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L A L L E G RO
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PE N S E R O S O
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IV I TH L I F E OF flI I L TO N , I N TR O D UC TI ON , A N D N O TE S
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I
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IA
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L IFE
M I L T ON
OF
O HN
M I LT O N , the son o f J ohn and S a r ah M i l t on ,
was born on the 9th o f D ece mber, 160 8, at h i s fa t h e r s
hou s e in B read Street Che a ps ide H i s fa ther wa s o f
gen t le b i rth a n d the fam i ly h a d been long set t led i n
O xfordshire ; but the grand father o f the p oet was a strong
Pa p ist a n d d i sinherited h i s son who had e mbraced t he
The son se t tled in London where he
Protes t ant faith
pursued the pro fession o f scrivener and a m assed a con
H e w as a m a n o f cul t ure and an
e for t une
s id e r a b l
excellent m usic i an ; and i t was fro m h i m t h a t the p o et
inherited h i s love o f letters and h i s love o f m usic N o
p a i ns and no e x pense were s p ared in his educ a tion F i rst
he was taught at ho m e by Tho m as Youn g a Puritan
divine , a ft erwards M as t er o f J esus College C a mbridge ;
then he was sent to St Paul s Sch o ol ; a n d at the a g e o f
S i x teen he went to Chr i s t s C o llege C a m br i dge where h e
re m a i ned ti l l he t oo k h i s M A degree , in 16 32 There i s
a fooli s h story current o f his h a ving been whi pp ed a t
c ollege ; bu t we m a y s a fely accept h i s own words as
evidence o f the re p uta t i on which he bore as a n un d er
“
—
I found m ore than ord i nary favour and r e
gra duate
spect above any of my equals at the hands o f t hose
cour t eous and learned m e n the fellow s o f the c ollege
”
wherein I Sp en t so m e years
They would, he ad d s
gl a dly have k e p t h i m there ; but he re t i red to the house
of his fa t her, who had now p urchased an estate at H or t on
l
n ~ Buckin g hamshir e , a n d there he spent the next fi ve
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6
LIF E OF M I LTO N
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y ears , w riti n g little, bu t amass ing those vast stores o f
ancient and modern learning wh ich he w as afterwards t o
turn to such good ac c ou nt At one time he had thoughts
of taking orders , but s cruples of c onscienc e prevented
h im H e c ould not bring h imself t o j oin a church i n
wh ich Lau d was the ruling spirit To u se hi s own w ords ,
“
”
he was ch u rch ou sted by the prelates
O n the death
o f hi s mo t her in 16 37, he went abroad , and passed t w o
y ears i n travel on the C ontinent At Pari s he c onversed
w ith the learn ed Grotiu s at Flo renc e he m ade the friend
sh ip of Galileo , then suffering th e pains of the I n quisi
ti on
E verywhere , at R o m e , at N aples at Geneva h e
w as welc omed b y the learned an d noble, and imb ibed a ll
the beauty and s weetnes s of I talian art and literatu re,
w ithou t impairing h i s English virtue or c ompromis ing hi s
u nbending Puritanism H e had intended visiting S ic il y
an d G reec e when n e w s from ho m e made h i m alter hi s
plans Th is was i n 16 39, ju st when the King was pre
“
paring h is sec ond expedition a gainst the S c otch , and h e
thought it base to be travelling for h is pleasure abroad
while hi s c ountry men w ere c ontending for their li b ert y
”
at h o m e
H ere we c onclu de the first pe r i od of M ilton s life , th e
period o f preparation T hirty years and m ore he m a y
be said to have Spent in edu cation T rue he had already
written Co m et s and Ly ci da s , the Ode o n t /t e N a t i v i ty ,
—
s
o
o
an
d
P
e
n
er
s
e nough to S h o w that a poet
e
o
f
l
L A llg r
had been born in E ngland greater than any since Shak e
speare s death , but serv ing only as a prelude to the great
w ork s that were to co m e Le t u s try and p ic ture to ou r
s elves what this education embraced N ever, probably,
has s o great a geniu s been s o care fully tra i ned As we
”
“
read of the devotion of h is father, the i n g e n i o s e scholar
an d his own intens e appl i c ation and prec o ciou s develop
”
“
ment , w e are reminded of another marvell o u s boy, wh o
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1
My fa t h e r des ti n e d
me
wh e n qu i te
h il d to
a c
th e stu dy
of
LIF E O F M I LT O N
7
.
h as,
like M ilton hi m sel f told the story of his childhood
Le t u s turn aside fo r a mo m ent and co mpare the learning
o f J ohn M ilton and J ohn Stuart M ill We could not choose
a more stri k ing instance o f the ra p i d gro w th of science
and the enormous accumu l ation o f k nowle dge during the
llSt t w o centuries
M ilton was inco m p a rably the m ost
le a rned man of his age and th ere was hardly any branch
of knowledge then existing which he had not m astered
N 0 young m a n , we m a y safely say o f our own generation
had read more or k new m ore than M i ll d id a t the age o f
t wenty Yet M i ll s range o f k nowledge e mbrace d but a
segment o f wh a t it is n o w p ossible to k now I n Latin
and Greek we m a y p ronounce the i r a t t a i n m ents e qual ; in
modern languages M i ll s k nowledge o f French w as pro
bably as p erfect as Milton s wa s o f I tal i an and to French
M ill adde d Germ an , which was then in England an u n
k no wn tongue But against M ill s k nowledge o f Pol i tical
Economy, o f J ur i sp ru d ence o f Che m i s t ry and Z oology ,
and of that wide but ill de nned science which has hard ly
yet won for itself the nam e of sociology, what h a ve we
to set on M ilton s side ? A profound k nowledge of H ebrew
and R abbin i cal l i tera ture , and a c onsiderable proficiency
in the theology and p h i loso p hy o f the school m en O bser v e
it is not the m e n we a r e co mp ar i ng but t he ages in wh i ch
they lived The T i ta n s a r e not less T i tans because they
did not batter heaven with Arm strong guns and, more
over, the advantage i s not all on ou r s i de What i s gained
in extent of k nowledge is o ften lost in concentration Con
centration—i n this word we see m to have fou n d the secre t
of M il t on s power, the m ains p ring o f h i s genius
His
innate energy of character, h i s vast stores o f learning
his w ide experience of m e n and manners , all were directed
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l i te ra tu re ; s o e a ge rl y di d I e mb ra ce i t th a t fr o m th e twe lfth
ye a r o f my a g e I ra r e l y qu itt e d my t a sks o r we n t to b e d b e fo r e
”—
Th i s wa s th e fi rs t ca u s e o f my b l in dn e ss
Tr a n s
midn igh t
l
a t ed fr o m th e La ti n D ef en s See
.
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8
LI FE O F
M I LTO N
.
t o a single obj ect a llbrought to a s ingle focus H is wh ol e
“
l ife was a p oe m and a poem i s as i t were , the expres s
i m age o f his l i fe H e has h imself told us the ideal w hich
he set before him the go a l for which he strove I t w as
“
that by labour and intense study he might perhaps leave
s omething so w ritten t o after times as that the y should n o t
”
“
willi n gly let it die
I t wa s t o raise a w ork, n ot from th e
heat o f youth or the vapo u rs of w ine like that which fl ows
at waste fro m the pen of s o m e vulgar amorist or the trenche r
fury o f some riming paras ite ; but b y devout prayer to that
E ternal Spirit wh o can enrich with all utterance and
kn owledge and send ou t hi s S era p hi m with the hallowed
fire of his altar t o touch and purify the lip s of whom he
”
pleases
We have dwelt s omewhat full y on th e first period of
M ilton s life as a neces s a ry introduction to Pa r a di s e L o s t
O f th e second period , fro m his r e tu rn t o E ngland in 16 39
t o t he R estoration , it is impossible w ithin ou r prescribed
li m its to trea t I t e m b races M ilton s public life as Secre
t ary for Foreign Tongu es and nearly all his prose w ritings
—his R efo r m a t i o n i n E ng la n d t h e A r e opag i t i ca , h i s
treatise on D ivorce on E ducation on Chu rch Govern
m ent , and h is D efe n ce of M e Pe ople of E ng la n d for th e
execution of the King H e wh o would know the histor
o f the E nglish C o mm on w ealth m u st study the life of t h e
Puritan p oet no less than the life o f the Puritan Protector
F or u s i t m u st suffic e to call attention to one or two
p oints wh ich have a special bearing on Pa r a di s e L o s t
To begin with his pers onal history H i s domestic life
was not a happ y one H e was thrice married H is firs t
was an ill ass orted marriage H e c o m plained of his firs t
w ife that h e c ould find in her n o ability for fit and
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He wh o w o u l d
.
fru s tra t e o f h is h o p e t o wri te we ll
h e r e a ft e r i n l a u da b l e t h i n gs o ugh t h i ms e lfe t o b e e a tr u e P o e m
t h a t i s a comp o s i t i o n a n d pa t te r n e o f th e be s t a n d h o n o r a bles t
”
th i ngs
2
no
t be
,
.
,
L IFE O F
M I LT O N
9
.
matchable convers a t i o n She le ft h i m a n d only returned
as he was on the eve o f contract i ng a second marriage
H is second wi fe to who m he was fondly attached d i ed
in her first childbed The three daughters left h i m by
his fi rst wife neglected and cheated their fa ther I n h i s
last will he calls the m un ki nd and unduti ful ch i ldren I t
was ch i efly u p on p ersonal ex p erience (t hough h i s Puritan
c reed and Gree k cul t u re may have been in part the cause )
that M ilton founded tha t low es t imate of wo men which
we find i m p lied in Pa r a di s e L o s t a n d set forth at leng t h
in the treatise on D ivorce I n the Paradise of M i lton
there is none of that p a ss i onate tenderness and reverent
devot ion towards wom en which bre a thes in the Pa rad i se
o f t he great Cathol i c poet Adam is the absolute lord,
Eve the so ft and graciou s hand maid I t is s zcoject i o n ,
“
and noth i ng less, that he de m ands though by h im t e
”
qu i red with gentle sway and by her yielded with s weet
sub m ission 3
I t was in 16 5 2 that M il t on wholly lost hi s sight The
i mm ediate cause o f h i s bl i ndness was the i ncessant a p
p lica t ion and overwork in h i s controversy with Sa u m a s e
“
H i s proud boast that he had los t the m overplied in
”
l i ber t y s de fence the a g o n i i e d wail o f his S a mps o n
Ag o n i s t es , and the invoca t ion to ligh t with which the
th i rd boo k o f Pa r a di s e L o s t opens, are p assages fam il i ar
t o u s a l l And i f we exam i ne Closely we Shall not fa i l t o
p erce i ve un m i st a k able evidence o f h i s blin d ness , not o n ly
in detached p a ss a ges but throughout the whole o f his
later poe m s We see it in the li m i t ations which it i m
po sed o n his genius Coler i dge has called attention to t he
absence o f p i cturesqueness in Pa r a di s e L o s t We m i s s
the sharp outlines t he delicate vignettes the faithful tran
’
scripts o f n a ture wh i ch abound in Ly ci da s , in L A lleg r o ,
and I lPe n s e r o s o B ut from this very weak ness he dre w hi s
s trength
H is los s is our gain What though his bodily
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3
Pa r a di se Lost,
iv
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30 8
.
LI F E O F M I LT ON
IO
.
s ion failed, t h e m ind s eye turned inwards beh eld t h e
very fo rm and e s sence of things To himself, the e mb o di
ment of all that w as noblest and best in E ngland, we m a y
apply his own description of the E nglan d he beheld in a
v ision Like an eagle, li e kindled his undazzled eyes at
the full midday beam , purging and uns caling h i s long
abused s igh t at the fountain itself of heavenl y radianc e
O n e top ic remains , w hi ch it i s impos sible to o m it ,
though the barest outline mu st here c ontent u s —M ilton s
religiou s belief F irst an d fo remost , M ilton w as a Puritan ;
that is to s a y, h e believed in a p ers onal and present God,
who executed j udgm ent on the earth, w hos e law, as c on
t a i n e d in th e S c riptures , O l
d and N e w, eac h man w as
b ound to obey and carr y out to the very letter S ec ondly,
n o s ect can claim M ilton as its o wn H e began b y being
a Presb yterian ; but he s o on b roke loo se from Presby
t e r i a n i s m and j oined the I ndependents
T h e In de pe n
dent s held that e ach individual body of Chri stian s was
entitled t o govern itself, t o elect its o w
n ministers and
officers , and to s it in j udgment on its own m embers as
far as w as c on sistent w ith c omplete c ivil and religiou s
libert y S uch was the I ndependent s creed bu t in pra o
t ic e M ilton found it n arro w and intolerant For the last
y ears of h is life h e w orsh ipped in n o temple, and c ould
c all h imself me mber of no vis ible church
The last part of M ilton s life from th e R estoration in
1 6 74 i s at on ce the darkes t
16 60 to his death , N o v 8th
and the most gloriou s H e had fallen on evil days and evil
tongues I t w as only by c onceal m ent that h e esca p ed per
H is o c cupation as a s tatesman was
s e cu t i o n or death
gone , his writings were burned by the hangm an ; but a ll
thi s he patiently endured, c ontent and even rej oic ing that
h e was thu s enabled to resume after a break of twenty one
y ears what he h a d never ceased t o regard as his chief
vocation and c alling Pa r a di s e L o s t w as begun sh ortly
before the R estorat ion i t was published in 166 7 I n th e
same y ear two of h is greates t c onte mporaries , Abraham
vi
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M I LT O N
LI F E O F
II
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d J ere m y Tayl o r d i ed and t he p oe t who wa s
h i m J ohn D ryden p ubl i shed his A n n u s M i r a
co p yr i gh t was sold by Milton to one Si mm ons
and the s a m e s u m to be p aid a fter
n sold and s o on with e a ch edit i on , wh i ch
I t first a pp eared in ten b oo k s, i n
sma ll quar t o its p rice three shillings A
was c a lle d for i n 16 74 Th i s was as Dr
(1 sale for those days , c onsidering
16 64 tha t i s forty one ye a rs the n a tio n
w i t h only two ed it i ons o f the work s o f
h p robably d i d not altogether m ak e one
For an account o f the p oe m itse lf we
ader t o ano t her volume o f the series
ap p ear 4
u o te D ryden s crit i cis m of the
sak e o f t he cr i t i c i s m
o ften been d is p ute d
ra t at leas t with c o mpetent judges i t was fro m its very
rst a pp earance ac k nowle dged as the greatest p oem i n
r e English language
D ryden s ep i gra m wh ich i n m ost
dit i o n s a pp ears on the fi rst p a ge o f Pa r a di s e L o s t , i s
I ore co mpl i mentary th a n ju d i c i ou s ; but i n the p re face to
is S t a t e of I n n o ce n ce he g i ves u s his deliberate o p inion
“
—
f Pa r a di s e L o s t t h a t i t is one o f the greatest m o s t
ob l e a n d m ost sub li me poe m s which e i ther this age or
”
a ti on has p roduced
Le t u s tak e a last loo k at the aged p oet i n his hu mble
o use i n Art i llery W a l k near B u n h i l
lF i elds H e r i ses a t
) u r or i f it is win t er at five
beg i nn i ng the day w it h a
ha pt e r from the H ebrew B ible
H e s t udies t i ll twelve
n d d i c t a t es to his daughters or is read to by h i s young
ma k er fri end El l woo d At twe lv e he d i ne s a n d a ft er
Inner w a lk s a b r oa d t hen re t urn i n g he pl a ys on the organ
1 bass V iol
for that pursu i t alo n e he w a nts no gu i d ing
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A DDI SO N
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Cn ti cts/n
on
li l
to n
Il
.
LIF E OF MILTON
12
.
hand H is old friend an d fellow sec retary Andre w M arvel l,
c omes to see h im and talk of the good old times , o r it may
be s ome I talian vis itor, attracted b y the fame of the old
man eloquent , and the s oft Tu scan tongu e recalls s w eet
memories of youth an d Florence As a student h e had
begu n life, as a student he ended it N ever was t h e prayer
of hi s fa vourite Greek poet more perfectly acc omplis hed
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r
é h o s 6%
d iya m
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é
a
wep fipE
d/ m
v B
l
ov
or rather let u s sa y that to h im was granted that high er
petition of t h e p oet wh o in modern t i mes has mos t t e
s embled h im
The ch i ld i s fa th e r o f th e ma n :
An d 0 th a t allmy da y s m i ght be
B o u n d e a ch t o ea ch i n na tu r a l pi e t y
”
M y mind , sa y s C oleridge,
”
.
“
i s n ot capable of forming
a more august c onception than arises from the c ontem
of
this
great
man
in
his
latter
days
P
o
or
s
ick
l
a
i
o
n
t
,
,
p
blind, sl a ndered, persecu ted,—i n an age in w hich h e was
as little understood b y the part y f o r w hom , as b y that
—
and among men before
a g a i n s t wh om he had c ontended ,
w hom he strode s o far as to dwarf himself b y the distance,
yet still listening to th e mu sic of his o wn th oughts , or, i f
additionall y cheered , yet cheered onl y b y the prophet i c
faith of t w o or three s olitary individuals , he did n eve r
.
th e l
e ss
A rgu e
not
Aga i ns t h e a v e n s h a n d o r w ill n o r b a t e a jo t
O f h e a r t o r h o p e ; but s ti l l b o re u p a n d s te e r e d
R ight o n wa rd
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F S
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M I LT O N
r4
.
originalpoem s w ill sh o w how widel y t h e y di ffe r, b oth i n
sc ope and s t yle
The c oncluding line s of M arlowe s p oem , Th e Pa ss i o n a t e
S h eph er d t o h i s L o ve, mu s t of c ourse hav e suggested
’
the ending of both L A lleg r o and I lPe n ser o s o Thes e
line s a r e a s follo w s
.
’
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I f these del ights thy mi nd m a y move
”
Then l ive w i th m e a n d be my love
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Th e
m e asure i n w hich t h e t w o p iece s are written i s th e
four foot I amb ic, a st yl e e quall y adapte d for light or
’
seriou s subj ects M ilton s first essa y in thi s kind of vers e
wa s hi s Epi taph o n t h e M a r ch i o n ess of Wi n ch es te r
Wh y M ilton chose an I t alian titl e is unknown Possibl y
it w as becau se he c ould not fin d an exact English e q u iv a
lent to the I talian w ords There i s n othing morb id abou t
’
M ilton s M elanch ol y, there is little gaiety or laughte r in
his M irth Th e Ch ee rf u lM a n and Th e Th o zcg h tf nlAla n
perhap s most nearl y expre s s their meaning
T h e poems are pendants , and t o be rightl y u nderstood
’
sh ould be read together I n L A lleg r o M ilton c onc e i ved
the idea of repre senting the objects most likel y to delight
t h e m an of a livel y , cheerful disp osition , and i n I I Pen s e r o s o
on e of a more thoughtful an d serious turn of mind Th e
spec ial points of c ontrast will b e referred to more pa r t i cu
la r l
yjn the notes
“
The chee rful man , after driving a w a y loathed M elan
”
invites
M
irth
t
o
c
ome
with
all
her
train
and
admit
ch o l
y,
him o f her crew H e then proceeds to enumerate all the
l ivel y sights and s ounds that greet him in the earl y
morning—the song of the lark, the c rowing of the c ock
in the farm y ard , and the e ch o of the huntsman s horn
on the hillside H e goes out and hears the ploughman
wh istling at hi s work, an d the mo w er whetting his Scythe
w hile the shepherds in the valle y s a r e c ounti n g over their
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IN
flocks
T R OD UCTI ON
15
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Looking
round , he marks the varied features of th e
andscape — lawn s and fa llows cloud ca p ped mountains ,
l
meadows and wide rivers I n the distance rise towers
and battlements , while near at hand stands a humble
cottage, half hidden b y aged oaks, whose inmates are
t ak ing their homely meal
At another ti m e he will visit the p eaceful hamlet , where
y ouths and maidens are dancing to the sound o f the fiddle
as long as the daylight lasts , and then with the ale cup
passing round, tell stories in turn o f ghosts and fairies
Sometimes he will repair to the c ity and witness the
grander Sights to be seen there —tournam ents and masque s
and marriage feasts and co m edies in the theatre Lastl y
“
and above all he p ra i ses the de lights o f m usic both of
”
instru ment and singi n g and concludes by tell i ng M irth
that if she will give h i m del i ghts like these he w i ll be her
Companion for ever
Il Pe n se r o s o commences in much the same style as
“
”
vain deluding j oys that are
L A ll
eg r o , only it is the
h i dde n to de pa r t wh i le the goddess M elancholy is invo k ed
with her attendant train among whom are Peace Leisure
and, chiefest of all Contemplation S i lence to o i s to be
her c o mpanion , unless the nightingale will deign to s i ng
—
the song that the thought ful m a n
h e r m ournful song
loves to listen to in the woods at eventide Fail i n g th i s
he will in solitude watch the moon sailing through the
clouds , while the sound o f the solemn curfew is borne
across the water I f the weather will not allow him to
leave the house he w ill sit in the quietude of hi s own
cha mber whose only light is from the e mbers on the
hearth ; or again , till dawn o f day he will study the
m ysteries of philoso p hy, or read so m e pathetic tragedy
Thus he prays that m orning u shered in with clouds
and rain m a y o ft en find h i m and when at last the sun
shines brightl y he will see k some s y lvan retreat, where,
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16
M I LTO N
.
invited to sleep b y th e humming of the b e e a n d t h e
mu rmu ring of the fountain , he ma y dream dream s strange
a n d m y steriou s
Amidst these emplo yments h e w ould
n ever fail to pay hi s devotions i n s ome grand old cath e
dral , where th e light i s dim and religiou s , and w here th e
mu sic of the organ and t h e voices of th e choir melt h i s
i nmos t soul and bring all heaven before hi s e y es Las t
of all he pra y s that he ma y end h is day s as a h e rmit , still
gathering w isdom from the stu d y of th e herbs of the field
and the stars of h eaven
Ly ci da s was w ritten i n N ovember, 16 37, w hen M ilton
w as n ot quite t w ent y nine y ears old
I t w as th e last
p oem h e c omp osed during his res idenc e at H ort on , j us t
befor e h e w ent t o I tal y Th e o c casion o f i t wa s th e
s udden death of a co lle g e friend , Edward King, wh o w as
dro w ned on the passag e from Chester t o D ublin King
’
had entered Christ s C ollege, C ambridge , as a stu dent , in
t h e y ear 16 26, abou t sixteen month s after M ilto n , an d
h ad been placed under th e care of the same tutor, a
M r William Chappell , who eventuall y became an I ris h
bi shop I n 16 30 he w as made a fellow of h is c ollege , i n
obedienc e to a ro y al mandate from the king, in wh ich h e
i s described as a y oung s ch olar of hopeful part s ; and i n
1 6 33 he t ook h is full degree of M A , and became tutor as
w ell as fello w, intending in du e time to be ordained
I n 16 37, five y ears after M ilton had left c ollege , King,
then o n l y t w ent y fi v e y ears old s t arted d u ring the long
vacation t o vis it his friends in I reland H e embarked
from Chester B a y ; but before the sh ip had got actually
o ut to sea, i n perfectl y c alm w eather, it struck on a rock ,
and foundered with nearly all on b oard Among the rest
y oung Ed w ard King peri shed and hi s bod y w as neve r
rec overed As a tribute of respec t , and to mark thei r
s orro w at h is untimel y death , his friends at Cambridge
determined t o publish a volu me of verse s i n hi s memor y ,
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I NTR O DUCTI ON
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7
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and M ilton s poem Ly ci da s , appears as the last con
t r i b u t i o n to the set
e
l
pastoral
a
style
of
i
Ly ci da s in form is an g l
g
,
g
g
l gg
poet r y much in vogue during that age M ilton s own title
“
of the poem was as follows : Ly ci da s I n this monody
the author bew ails a learned friend unfortunately drowned
in his passage from Chester on the I rish seas , 16 37 And
by occasion foretells the ruine o f our corrupted Clerg i e
”
then in their height
B ut though M i lton con form s to
the conventional pastoral of Theocritus and V irgil which
had been popularized i n English p oetry by S p enser
J onson , B rowne , and Fletcher the for m sits ligh t ly on
H e introduce s St Peter in the suite o f N eptune
h im
an d Triton ; and in three passages —the reflection on
fame the diatribe on the Engl i sh c l
ergy , and the e pi l
gg u e
—
h e does not even attempt to p reserve the mas k
Such
faults if faults they can be called are m ore than co m
n g and the char m of
by
the
beauty
o
f
the
setti
n
a
e
d
s
t
e
p
the literary associations which he calls up
M i lton himself as we have s een calls t he p oe m n ot a
pastoral but a mo n o aj g that is an elegy on the death of
a friend U nder th i s head the older student will do well
to co mpare it wi th the Epi t aph i u m Di o n i s o f M oschus
m
the
exe
plar
which
all
succeeding
elegists
have
ore
or
m
(
less closely followed ), S p enser s A s t r oph e l (on Sir Philip
S i dney), Shelley s A do n a i s (on Keats ), Tennyson s I n
M e mo r i a m (on Arthu r H allam ), and lastly, M r M
Arnold s Thy r s i s (on Arthur Clough ), a pastoral elegy
which worthily concludes the series of English m emorial
poems
Dr J ohnson s strictures on Ly ci da s have beco m e pro
v e r b i a las an instance of unsym p athetic and consequently
“
blind criticism
The diction is harsh , the rhymes
”
uncertain, and the nu mbers un p leasing
The dict i on ,
“
though at times obscure is musical as br i ght Apollo s
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18
M I LT O N
.
”
T h e rh y mes are subtl y inter woven
lute
i n linked
s weetnes s long drawn ou t
and the occasi onal in sertion
of a blank V erse is so skilfully managed, that a reader,
u nles s forewarned , w ould h ardl y detect it and y et w hen
obse rved it is felt t o add to the general h armon y, like an
occ asional disc ord in mu sic Las tly the numbers c on sist
,
of l ine s of five and three accents at i rregular intervals ,
after the I talian model T hey c annot fail to please an y
one w h o has an ear for the rh ythm of p oetr y ; but it i s
n o more pos sible to reduc e them to rule than to anal y ze
a s ymph on y of B eeth oven
As Warton has w ell said
“
H e wh o w i she s t o kn ow w hether he h as a true taste
for p oetry or n ot , sh ould c ons ider whether he i s highl y
”
delighted or n ot w ith the pe ru sal of M ilton s Ly ci da s
The p oem begins w ith an intimation that it was onl y
the tribute he felt b ound to p ay t o his friend s memory
that induced the p oet again to t a ke up hi s pen The
s ad o ccas ion has , h o w ever, c ompelled h im t o do s o ,
and as a shepherd he mourn s th e death of h is fello w
shepherd
I n pastoral allegor y he relates h ow the y
w ere brought u p at the same c ollege , and followe d the
s ame pursu its and amu sements H e tells of th e heav y
ch ange n o w his frien d is gone, and ho w all nature be w ails
hi s loss H e c alls up on the n y mphs , and reproaches
them for th eir absence w he n the s e a closed over th e head
of their beloved Ly c idas Ye t, h e re flects , their presenc e
w ould have been u seles s Calliope herself c ould n ot save
’
her s on s life — the greatest gen ius must perish After all
then , he asks , What i s the u se of human toil and aspira
tion after fa m e ? At th e m oment when it seems w ithin
ou r grasp , death c uts u s off Wh ile he thu s despondi n gly
meditates on the variety of human effort s, the voice of
the go d arrests him , and rem ind s him that true f ame i s
of no earthl y growth , an d that the j udgment seat o f
h eav en is w here w e mu st look for our final re war d
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INT R O D UCTI O N
19
.
After
this digression three characters are brought in
First comes Triton the herald of the sea , who declares
that it was through no fault o f N eptune that the shi p was
lost The sea was cal m and the winds were still ; the
sh i p itself mu st have been to bla m e , an accursed and
N
ext
appears
C
mus
the
p
res
i
d
i
ng
r fi di o u s craft
e
p
a
deity o f the Ca m who p asses slowly by, and as k s i n
m ourn ful accents who h a d bereaved him o f hi s deare st
child Lastly co m es the pi lot of the Gal i lean lak e S t
Pe t er who be moans the lo s s o f such a pro m ising youth ;
and then tak es occas i on in ste m and severe words t o
rebu k e the clg i g y o f the English Church denounc i ng
t he i r ignorance their greed and neg lec t o f the i r floc k s
and foretelling their sudden and fin a l destruction A ft er
t h i s sec ond d i gress i on the p oet again invok es t he S ic i li a n
Muse and c a lls upon t h e valleys to p our forth the i r
richest store of flowers and c ast t he m upon the bier o f
Lyc i das whose corpse is the s p ort of the ocean , tossed to
and fro in so m e un k nown de p th o f the Atlantic The
p oe m ends wit h the ap otheos i s of the youth The She p
herds are bidden to d r y their tears for their beloved
Lyc idas still lives
H e has rea ched the i slands of the
blest he has j oined the soc i ety of t he s a i nts ab ove, and
henceforth he shall l i ve a s the good gen i us o f the shore
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M I LT O N S P O EM S
’
22
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S port that w rinkled C ar e derides ,
And Laughter holding b oth hi s s ides
C ome , and trip it as you go ,
O n the light fantasti c toe ;
And i n thy right han d lead w ith thee
35
The m ou ntain n y mph , sweet Libe r t y ;
And if I give thee honour due ,
M irth admit me of thy c rew,
T o live with her, an d live w ith thee ,
In unreprov ed pleasures free ;
40
T o hear the lark begin his flight ,
And singing startle the dull night ,
From his watch to w er in t h e s k ies ,
T ill th e dappled daw n doth ri se ;
T hen t o c ome i n sp ite of s orro w,
45
And at m y w indo w b id good morro w,
Through the s w eet briar , or th e v in e ,
O r th e t w isted eglantin e :
While the c ock w ith livel y din
S catters the rear of darknes s thin ,
50
An d to the stack , or the barn door,
Stoutly struts hi s dames before :
O ft listening how the hounds and h orn
Cheerly rous e the slumbering morn ,
From the s ide of some hoar hill,
55
T hrough the high w ood echoing shrill :
S ometime walking, not unseen
B y hedge row elms , on h illocks green ,
R i ght again st the eastern gate ,
60
Where the great sun begin s h is sta t e ,
R obed i n flames and am ber light ,
Th e clou ds in thou sand liveries digh t ;
While the plough m an near at han d
Whistles o er the furrowed land,
65
And the milkmaid singeth blithe ,
And the mower whets h i s scyth e,
An d every shepherd tell s hi s tale
U nder the h awthorn in the dale
Straight min e e y e h ath c augh t new pleasures
Whilst the lands cape round it measures ;
70
R usset law n s , and t allows grey,
Where the n ibbli n g flocks do stray,
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L ALLEG R O
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M ountains , on whose barren breast
The labouring clouds do o ft en rest ;
M e a dows tr i m with da i s i es pi ed
Shallow brooks , and rivers wide
Towers and battle m ents it sees
B o s o m d high in tu fted trees
Where p erha p s some B eau t y lies
The Cynosure of ne i ghbour i ng eyes
H ard by, a cottage chimney s m o k es ,
Fro m betw i xt two ag ed oak s
Where Corydon and T h yr s i s m e t
Are a t their savoury dinner set
O f herbs and other country m esses
Which the neat handed Ph i l li s dr e sses
And then in haste the bower she l eaves
W ith T h e s t ylis to b i nd the sheaves ;
O r , i f the e a r lier season lead ,
To the t a n n d h a ycoc k in the m ead
S o m eti mes with secure delight
The u p land hamlets w i ll invi t e
When the m erry bells ring round
And the j ocun d rebec k s sound
To m any a youth and m any a m aid ,
Da nc i ng in the ch e qu e r d sh a de ;
And young and old c o m e forth to p lay
O n a sunshine hol i day
T il l the live long dayl i ght fail ;
Then to the s pi cy nut brown a le ,
W i t h stories told o f m a ny a fea t
H ow fairy Mab the j un k ets eat ;
She was pi n ch d a n d pu lld she said ,
And he by fr i ar s lanthorn le d
Tells h o w the drudg i ng Gob li n swe a t ,
To earn h i s crea m bowl d uly set
When i n o n e n i ght ere gl i m p se o f m orn ,
H is shadowy fla i l hath t h r e s h d the corn,
That ten da y l a bourers could not end ;
Then lies h i m d o wn the lubb er fiend ,
A n d s t r e t ch d ou t all the ch i m ney s length ,
B a s k s at t he fire his hairy streng t h ,
And c ro p full out o f doors he fli n g s,
E re the fi rst cock his matin rings
,
75
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80
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,
95
’
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-
100
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10 5
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-
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1 10
M I LT O N S P O EMS
’
.
Thu s done the tales , t o bed the y creep
B y whispering winds s oon lu lld asleep
’
T o we r d c ities please u s then ,
And the bu s y hum of men ,
Where throngs of knights and baron s b old
I n weeds of peac e high triu m ph s hold ,
W ith store of ladie s , whose bright e y es
R ai n influenc e , an d judge t h e pri ze
O f wit or arms , wh ile b oth c ontend
T o w in her grac e , w h om all c ommend
There let H ymen oft appear
I n saffron robe, w ith taper clear ,
An d p omp , and feast , and revelry,
With mask an d antiqu e pageant ry
Such s ights as youthful poets dream
O n summer eve s by haunte d s tream
Th en to the w ell trod stage anon
I f J onson s learn ed s o ck be on ,
O r sweetest Shake speare, F a n cy s child ,
Warble h is native w ood n otes w ild
And ever again st eating care s ,
La p me in s oft Ly dian airs
M arried t o immortal verse ,
S u ch as the meeting s oul ma y p ierce ,
I n note s , with m an y a w inding bou t
O f link ed sweetnes s long drawn out
With w anton heed an d gidd y cunning
T h e melting voice through mazes running ,
U ntwis t ing all the chain s that t i e
The hidden s oul of harmon y ;
That O rpheu s self ma y heave i s hea d
From golden slumber on a bed
O f h e a p d E lys ian flowers , and hear
Su ch strains as w ould have w on t h e ear
O f Plu to , to h ave qu ite set fre e
H is half r e g a i n d Eu ry dic e
These delights if th ou cans t give,
M i rth , w i th thee I mean t o live
,
1 15
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1 25
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I 40
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1 45
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15 0
I L PE N S E RO S O
H EN C E vain deluding J oys
The brood o f F olly without father bred
H ow little you bestead
lthe fix ed m ind with all your toys
O r fil
Dwell in s ome idle brain
And fancies fond with gaudy shapes possess,
As thick and nu mberless
As the gay m otes that people the sunbeams
O r likest hovering dreams
The fickle p ensioners of M orpheu s train
B u t h ail thou Goddess , sage and hol y,
H ail divinest M elancholy !
Whose saintly visage is too bright
To hit the sense o f hu m an sight
And there fore to our wea k er vie w
a i d with blac k , sta i d Wisdo m s hu e
O e rl
Blac k , bu t such as in estee m
Prince M e m n o n s S i ster m ight be s ee m
O r that s t a r r d E th i op queen that strove
To set her beauty s p raise above
The Sea N ymphs and the i r po w r s o ffended
Yet thou art h i gher far descended
Thee bright b air d V esta , long of yore
To solitary Saturn bore
H is daughter she (in Saturn s reign ,
Such mi x ture was not held a stain )
Oft in gli m mering bowers and glades
H e met her, and in secret shades
O f woody I da s in m ost grove ,
While yet there was n o fear of J ove
Come, pensive N un , devout and pure ,
Sober, Steadfast , and de m ure ,
All in a robe of dark est grain
Flowing with maje stic train ,
And sable stole of cy p ress lawn ,
O ver thy decent shoulders drawn
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10
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35
26
M I LT O N S P O EM S
’
.
Come bu t keep th y w onted state ,
With even step , and mu sing gait ,
And looks c ommerc ing w ith the skies ,
Th y rapt s oul S itting in th ine eye s
There held in holy passion still ,
Forget th y self t o marble , t ill
With a sad leaden downward cast
Th ou fix them on the earth as fast
And j oin with thee c alm Peac e and Q uiet ,
Spare Fast , that oft with Gods doth diet ,
And hears the Mu se s in a ring
Aye round ab ou t J ove s altar s ing
An d add to these retired Leisu re
That in trim garde n s takes his pleasure
Bu t , first and chiefest , with thee bring,
H im that yon s oars on golden w ing,
Gu iding th e fi e r y wh eel ed throne ,
T h e Cherub C onte m plation
An d the mute Silence his t along
’
Les s Philomel w ill deign a s ong
I n her s w eetest , saddest plight ,
Smoothing the ru gged brow of N ight ,
While C nthia checks her dragon yoke ,
y
Gently 0 er the ac cu stomed oak
S weet bird , that sh u n n s t the noise of fo ll y,
M os t m u s ical , mo st melancholy
Thee , chauntres s oft the woods among
I w oo , to hear thy even s ong
And miss ing thee , I walk unsee n
O n the d ry s m ooth shaven gre en ,
T o beh old the wan de ring moon ,
R iding near he r highest n oon ,
y
Li k e one that had been
Through the heaven s w
es s w a y
And oft as if her head Sh e h ow d,
S tooping through a fle e cy cloud
O ft on a plat of rising ground ,
I hear the far off curfew sound ,
O ver s ome wide wa t e r d S hore ,
S winging slow w ith sullen roar
O r i f the ai r w ill n ot perm it ,
S ome still remov ed p lac e w ill fit,
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75
IL
PEN SE R O SO
.
Where glowing e mbers through the room
Te a ch l i ght t o coun t e rfe i t a gloom
Far fro m all resor t o f m ir t h
Save the cric k et on the hearth
O r the bell m a n s drowsy ch a rm
To bless the doors fro m n i ghtly harm
O r let my lamp at m i d n i gh t hour
B e seen in so m e h i gh lonely tower,
Where I ma y o ft out watch the B e a r
With thr i ce great H erm es or uns p here
The sp i r i t o f Plato to un fold
What worlds , or what vast reg i ons hold
The i mmortal m i nd t h a t hath forsoo k
H er m ans i on i n th i s fle s h ly noo k
And of those De m ons that are found
In fi re a i r floo d or un d er ground
Whose p ower ha t h a t r ue consent
W i th p lanet or w it h ele m ent
So m et i m es let gorgeous t ragedy
In s ce pt red p all c o m e swee p i ng by
Presen ti ng Thebes , or Pe 10 p s li ne
O r the tale o f Troy d i v i ne
O r wha t (though rare ) o f later age
E nnobled h a t h t he b u s k i n d stage
But 0 sad V i rgin t h a t thy p o wer
M i ght ra i se M us aeus fro m h i s bower,
O r b i d t he soul o f O rp heus si n g
S u ch notes as warble d t o t he s t r i ng
D rew i ron t ears down Pluto s chee k
A n d m ade H ell gran t what love did seek
O r c a ll u p h i m that le ft hal
f told
The s t o r y o f Ca m busc a n bold,
O f Ca m bal l a n d o f A l gars ife,
A n d who had Can a ce t o w ife
Th a t o wn d t he v i rtuous ring a n d gl a ss ,
And o f t he wondrous horse o f brass
O n wh ich the Tar t ar k ing d i d r i de
And i f aught else great bards bes i de
In sage and sole m n tunes h a ve sung,
O f turneys a n d of tro p h i e s hung
O f forests , and enchan t men t s d rear
Where m ore is m eant than meets t he e a r
,
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0
9
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10 0
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10
5
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1 10
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1 15
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120
28
M I LT O N S PO EM S
’
.
Thu s N ight o ft see me in t h y pale c areer,
Till c ivil suit ed M orn appear,
N o t t r i ck d and frou nced as she w as w ont
With the Attic boy to hunt ,
B ut k e r ch e f d i n a c omely cloud ,
While rocking winds are p iping loud,
O r u sh e r d w ith a shower s t ill ,
When the gus t h ath blown his fill ,
t
Ending on the ru stling le a v e s uWith minute drop s from off th e eaves
And wh en the sun begin s t o fling
H is flaring beams , me Goddes s , bring
T o arch ed walks of twilight groves ,
And shado w s bro w n that Sylvan love s
O f pine , or monumental oak,
Where the ru de axe w ith heav ed s troke
Was never heard t he N ymph s t o daunt ,
Or fright them from their h allo w d haunt
There in c l ose c overt by s ome brook,
Where n o profa ner eye ma y look,
’
H ide me from day s g arish e y e
While the bee w ith hon ied thigh ,
’
That at her flo w r y work doth s ing,
An d the w aters mu rmuring
With s uch c ons ort as they keep,
Entice the de wy fe a t h e r d sleep
And let some strange m y steriou s dre am
Wave at his wings in ai r y stream
a y d,
O f livel y p ortraiture di s pl
S oftl y on m y e y elids laid
And as I w ake , sweet mu s ic breath e
Ab ove , ab out , or u nderneath ,
S ent b y s ome Spirit to m ortals good,
O r th e u nseen Geniu s of the w ood
Bu t let m y due feet never fail
’
T o walk th e studiou s cloister s pale ,
An d love th e h igh emb o wed roof,
With antic pillars mass y proof,
And storied w indows ri chly dight,
C asting a dim religiou s light
There let the pealing organ blo w,
To t h e full voiced choir belo w,
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140
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I 55
16 0
LYC I DA S
YET once more , O y e laurels , an d once m or e
Ye m yrtles brown , with ivy never sere ,
I c o m e to pluc k your berries harsh and c rude ,
And w ith forced fingers rude
Sha t ter you r leaves before the mellowing year
5
B itter c on straint and s ad occasion dear
Co m pels me to disturb you r season du e
F or Lycidas i s dead dead ere his pri m e ,
Young Lyc idas , and hath not le ft his p eer
Who would n ot sing for Lyc idas
H e kne w
to
H i m s elf to s ing and bu ild the loft y rhy m e
H e mu st n ot float upon his watery bier
U nwe p t and welter to the p arch ing w ind,
Without the meed of s ome melodiou s tear
B egin then , S isters of the sacred well
15
That from beneath the seat of J ove doth spring ;
B egin, an d s omewha t loudly s w eep the string
H ence w ith denial vain , and c oy excu se
S o m a y s ome gentle M u se
W ith luck y words favou r my de stined u rn ,
20
An d as he passes turn ,
And bid fair peace be to m y sable shrou d !
For we were nursed upon the self—
same h ill ,
Fed the sa me flock b y fountain , shade, and rill
Together both , ere the high law ns a ppe a r d
25
U nder the opening eyelid s of the M orn ,
We drove a fi e ld, and both t ogether heard
What time the grey fly winds her sultry horn ,
B a g e n i n g ou r floc k s with the fresh dews of n ight,
O ft till the star th at rose , at even ing bright
3o
T oward heaven s descent had slope d his westering wheel
M ean while the rural ditties were not mute,
T e m pe r d to the oaten flute ,
R ough S atyrs danced , and Fau ns w ith cloven heel
Fro m the glad s ound would not b e absent long,
35
An d old D a moetas loved to he a r our s ong
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LY C I D A s
31
.
But , 0 the heavy change now thou art go n e,
N ow thou art gone and never m ust return
it Thee , She p herd thee the woods a n d desert caves
W i th wild t hy m e and the gadding vine o e r g r o wn ,
40
And all thei r echoes mourn
The willows , and the hazel c opses green
Shall n o w no m ore be seen ,
F a nn i ng their j oyous leaves to thy soft lay s
“
IA s ki ll i ng as the can k er to the rose
d
i l
id i t
45
O r t a int worm to t he weanl i ng herds that graze,
O r frost to flo w r s tha t the i r gay wardrobe wear
!V hen fi r s t the wh i te thorn blows
Su c h Lyc i das thy lo s s to she p herd s ear
Where were ye N ym p hs when the re m orseless deep 5 0
Cl o sed o er t he head o f your l o v ed Lyc i das ?
F o r nei t her were ye p l a y i ng on the s t ee p
Where your old Bards t he fa m ou s D ru i ds lie
N or on the shagg y top o f M ona high
N or yet where D eva spreads her w i sard s t re a m
55
Ay m e ! I fondly dream
Ha d ye been there —for what could that h a ve done ?
What could the M use hersel f that O rpheu s bo r e
7
n
The M use hersel f for her e chanting s on
L
C
!
“ 60
o
Whom universal nature did lam ent ,
lim
‘
When by the r g u t that made the hideous r o a r fj L
S
H i s gory visage down the stream was sen t
D own t he swi ft He b r u s t o the Lesb i an shore ?
Alas what boots it wi t h incessant care
To ten d the ho m ely Slighted shepherd s trade
65
And strictly m ed i tate the than kl ess Mu se ?
Were it no t better done as o t hers u se,
To s p ort with Am aryll i s in the shade ,
O r w i t h the tangles o f N e ae r a s hair ?
Fam e is the sp u r that the clear spirit doth raise
70
(That last in fi rm ity o f noble mind )
To scorn del i gh t s and live la b o r i o u
But the fair guerdon when we ho p e to fi n d ”
A n d thin k to burst out into sudden blaze fi
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t o
M ILTO N
32
’
P O EM S
S
.
S et o ff to t h w orld, n or i n broad rumour lie s
80
Bu t live s and spreads aloft by thos e pure e y es ,
And pe rfe ct w itnes s of all judging J ove
As he pronounces lastl y o n each deed ,
”
O f s o much fa m e i n h e a v n expec t th y meed
O fountain Arethu se , an d thou h o n o u r d flood
85
Smooth sliding M i n ci u s , cr o wn d w ith vo cal reed s ,
That strain I heard w as of a higher mood
Bu t n o w m y oat proceeds ,
And listen s to the h eral d of th e sea
’
That came in N e pt u n é s plea
90
H e a sk d the waves , and a sk d the felon w inds ,
What hard mishap hath do o m d this gentle Swain ?
An d qu e s t i o n d ever y gust of rugged w ings
T hat blows from off each beake d promontory :
T he y kne w n ot of hi s story ,
95
And sage Hippo t a de s their ans w er bri n gs ,
’
T hat no t a b la St w as from his dungeon s t r a y d
Th e a i r was calm , and on the level brine
Sleek Pa n o pe wit h all her sisters pla y d
I t was that fatal and pe r fi di o u s bark,
10 0
B u ilt in t h eclip se, and rigged w ith cu rse s d ark,
T hat sun k s o low that sacred head of thine
N ext Cam u s , reverend S ire went footing slo w,
H i s mantle hairy , and h i s bonnet sedge ,
I nwrought w ith fi gures dim an d o n t h e edge
10 5
Like to that sanguine flo w r ins cribe d w ith w oe
”
“
”
“
Ah Who h ath reft (quoth he ) m y dearest pledge ?
Last c ame , and last did go
Th e pilot of the Galilean lake
1 10
T wo mass y keys he b ore of metals t w ain ,
The
golden
opes
the
iron
shuts
amain
)
,
(
H e shook his mitred
locks
an
d
stern
bespake
,
,
H ow well c ould Lh a ve spared for thee y oung swain
E n o w of such as for their bellies sake
1 15
Creep and intrude , and climb into the fold
Of other c are the y little reckoning make,
Than ho w to s cram ble at the shearers feast ,
And shove a w a y the w orthy bidden g u est
Blind mouths that scarce themselve s kno w ho w to hold
1 20
A s h ee p h ook , or h ave learned aught else th e least
That t o the fai th ful herdman s art b elongs
What recks it them ? What nee d the y ? The y are sped
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LYC I DAS
33
.
And when the y list , their lean and flashy songs
Grate on their scrannel pipes of wretched straw ;
The hungry shee p look up, and are not fed,
But swoln with w i nd and the ran k m ist they dra w,
R ot i nwardly and foul cont a g i on s p read
Beside s what the grim wol f wi t h pri vy p aw
D aily devours ap a ce and nothing said
B ut that two handed engine at the door
”
Stands ready to s m ite once and s m ite no m ore
R eturn Al p heus , the dread voice is p ast ,
Tha t shrun k t hy streams return S icil i an Muse,
And call the vales and bid the m hither cast
The i r bells and flo w r e t s o f a thousand hues
Ye valleys low where the mild whispers use
O f shades and wanton winds , and gushing brooks,
O n whose fresh la p the swart star s p arely l ooks w
Thro w hither all your qu a ih t e n a m e lld eyes
That on the green turf suck the honied showers
And purple a l l the ground with vernal flowers
B ring the rathe p ri m rose that forsaken d i es ,
The tuft ed cro w toe and pale jessam ine
The white pin k , and t he pansy fr e a k d with jet,
The glowing v i olet
The m usk rose and t he well attired woodbine
W i th c owsli p s wan that hang the p ensive head ,
And every flower that sad e mbroidery wears
lBid am aranthus all h i s beauty shed,
And da ffad i ll i e s fi l l the i r cu p s w i th tears
To strow the l a ureate
Lycid lies
1 25
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14 0
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I45
-
,
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,
I
50
.
se surm ise )
Ay m e whilst thee the sh ores and soun d i ng seas
!V ash far away where er t hy bones are hurle d,
Whether beyond t he s torm y H ebr i des
Where thou p erha p s unde r the whel m ing ti d e
V i s i t s t t he bo t to m o f t he m o nstrous world
’
,
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15 5
M I LTO N
34
’
S PO EM S
.
Weep n o more, w oeful shepherds , w eep no m ore ,
For Ly c idas y our sorro w i s n ot dead,
Sunk though he b e beneath the w atery floor
S o s inks the day star i n the oc ean bed ,
And y et anon repairs his droo p ing head ,
And tricks hi s beams , and w ith n e w Spangle d o r e
Flames in the forehead of the morning sky
S o Ly cidas sunk lo w, but mou nted high
Thro the dear might of H im that w alk d the w ave s
Where other groves , an d other stream s along,
With nectar pure his o o z y locks he laves ,
And hears the unexpressive nuptial s ong,
I n the blest kingdoms meek of j o y and love
T here entertai n him all t h e saints abov e ,
I n s olemn tro ops , an d s w eet soc ietie s ,
That sing, and s inging i n their glory move,
And wipe the tears for ever from hi s e y es
N o w, Ly c idas , the shepherds w eep n o more
H en ceforth thou art t h e geniu s of th e shore ,
I n thy large rec o m pense , and shalt be good
T o all that w ander in that perilou s flood
Thu s sang the u nc outh swain to the oak s an d rills ,
While the still morn w ent out with s andals gre y ,
H e t o u ch d the tender stop s of vari ou s qu ills ,
With eager thought w arbling his Doric la y
And no w the su n h ad s t r e t ch d out all the hills ,
And no w w as dr 0 pp d int o the western bay
At last he rose and t wi t c h d hi s mantle b lue
T o morro w to fresh woods , and pastures n e w
16 5
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1 85
N O T ES
L A L L E GR O
’
He nce
T h e a d v e r b i s e qu iv a l e n t t o
w it h th e e
G ive i n s t a n ce s o f a dv e rbs s i mil a rl y u se d
a v e rb
H a t e d F r o m th e A S la th i a n
C f G e rm a n
Lo a th ed
pa i n wh e n ce th e F re n ch l a id
Le i d
2 Cer ber u s
Th e do g t h a t gu a rd e d th e e n tr a n ce t o H a d e s
T h e ge n e a l o gy i s M ilt o n s o wn a n d h a s n o fo u n da ti o n i n G r e e k
my th o l o gy
n cip a l riv e r i n th e n e t h e r
a
t
h
e
S
t
y
x
pri
S
t
z
a
n
Th
e
w
s
3 xg
wo rl d H e re th e wo rd i s e qu iva l e n t t o h a t e fu l G r e e k o r vy e t v
t o ha t e
n k n o wn
d
a ll y me a n s
The
w
r
lit
r
u
th e n
n
cou th
o
e
U
5
u n u su a l s tra n ge h o rri b l e
Co u th i s s tri ctl y t h e pre t e rit e
o f th e o l
d v e r b cu n n a n
t o kn o w
In Sa mso n Ag o n i stes
“
M ilt o n sp e a ks o f th e pri so n a t G a z a a s th i s u n co u t h pl a ce
Cf Ly cida s l 186
”
Thu s sa n g th e u n co u th swa i n
ou s
6 jea l
Tra n sfe rre d e pit h e t Da rkn e ss i s r e pr e sen ted a s
”
j e a l o u s o f a llwh o mo l e s t h is s o lit a ry r e ign
8 B ho n s h a des
C f Co mi cs 1 133
”
S t a y thy cl o u dy e b o n ch a ir
Ebo n
b l a ck a s e b o n y
Sub s t a n tiv e u s e d a s a dj e ctiv e
o wed
Lo ww
C f La ti n su p e r cili u m clivi
A r a g lit e r a ll y i s a n yt h i n g sh a g gy o r h a iry
Th e
9 R a g g ed
wo rd i s u se d i n t h e B i b l e a n d by Sh a k e sp e a re a s a n e pith e t o f
r o cks I t i s n o t h o we v e r i d e n ti ca l w it h r ugge d wh i ch co me s
fro m t h e O l
d E n g li s h r uh
r o ugh wh il e r a gge d i s co n n e ct e d
w it h t h e Swe d i sh ra gg a sho ck o f h a ir
Th e Ci mmer i i we r e a my t hi ca l p e o pl e
10 Ci mme r i a n deser t
m e n ti o n e d by H o me r wh o dw e lt o n th e we s t e r n mo s t sh o re s o f
a n d n e v e r vi s it e d
e n ve l o p e d i n m i s t s a n d d a rk n e ss
t h e o ce a n
by th e s u n
C
l
al
ed
Th
e y i s a co rru pti o n o f th e p a s t p a rt i
e t
12 Ycl
p
ci pl
e pr e fix g e wh i ch s till su rvives i n G e rma n
III th e 0476 10
1
Awa y
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M ILTON S P O E M S
36
’
.
”
we h a ve y ch a i n ed Th i s fo rm i s common
i n Cha uce r a n d S p e n s e r
E u ph r o sy n e
F e s t iv ity
O n e o f the th r e e G r a ce s
14 A t a bi r th
A t o n e b ir th
an
On e
a
a r e really
th e sa me w o r d
”
“
1 5 Two s i s te r Gr a ces
These were Aglai a , the bright a n d
”
Tha li a
th e b l o o m i n g
”
“
P r o b a b l y lik e t he j u d i ci o us p oet
1 7 A s so me sa g e r s i n g
i n Lo r d M a ca u l a y s B i og r a phy n o n e o t h e r t h a n h i mse lf
Bu t
M ilt o n m a y h a v e h a d i n h i s m i n d th e fo ll o w in g p a ssa ge fr o m
“
At h e r fe e t (M a i a s ) the
B e n J o n so n s ma s qu e Th e Pen a tes :
b l u sh i n g A u r o ra wh o w it h h e r r o sy h a n d ca s t e t h h e r h o n e y de ws
a cco mp a n i e d w it h t h a t ge n tl e w i n d
o n t h o se swe e t e r h e rb s
F a v o n i u s wh o s e s ub til e s pirit i n t h e b re a t h i n g fo r th F l o ra
ma k e s i n t o flo w e r s a n d st i ck s t he m i n th e gr a ss a s if sh e co n
t e n de d t o h a v e th e e mb r o i dery of the e a rt h ri cher than th e co p e
”
o f t h e sk y
ic
j oyfu l G e r fr ohl i ch
18 Fr o l
Ga y
So i n Co mics
th e N a ti vi ty , l
15 5 ,
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1 59
r ip e
o
’
‘
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,
Wh
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,
f r o lic o f h i s full gr own a g e
a dj e c ti v e i s
fr o li cso me
P re gn a n t u s e o f t h e v erb
and
”
-
.
Th e mo de r n fo r m o f th e
It wa ft s
B r ea thes th e spr i n g
’
th e s pri n g w it h i t s b r ea th
’
’
‘
‘ ’
‘
Th e a i s a co r ru p t i o n o f o n , a n d M a y i n g
20 A M a y i n g
Thu s we h a v e i n the B i bl e , I g o a
i s a ve r bal s ub s t a n tiv e
”
”
fi sh i n g
Wh il e th e a r k wa s a p rep a ri ng
’
F o r me rl y
On ce
Cf Pro l o gu e to Per i cles
i th e, a n d debo n a i r
24 So bu xo m, bl
”
So bu x o m, b l y t h e , a n d fu l l o f fa ce
’
’
b o csa m ,
o bed i e n t
Sp en ser use s it i n
B u x o m is t h e A S
th i s s e n s e i n t h e F a er ie Q u een , ii i 2, 23
Lo v e t yr a n n iz e th i n t h e b itt e r s ma r ts
”
O f t h e m t h a t t o h i m ba n o me a r e a n d pr o v e
’
’
‘
I n M ilt o n s ti me t h e wo r d wa s e qu iv a l e n t t o liv e l y, th e o ri gi n a l
’
‘
‘
D e b o n a ir, F r en ch d e
m e a n i n g h a vi n g d r o pp e d o u t o f u s e
’
’
’
’
co u rtl y ,
e l e ga n t
o f go o d a pp e a ra n ce ,
Do n a i r ,
’
‘
Cf
D e riv e d by La t h a m fr o m qu i d pr o q u o
2 7 c i/x
’
’
‘
‘
F r e n ch qu i pr o q u o , a n a b s u r d m i s t a k e o r M a ltzpr o/t i s m
’
‘
ex a n der
I n Lyl
M o r e l ik e l y the C e lti c form o f wh ip
y s Al
’
“
‘
qu ip i s de fi n e d a s a s h o rt sa y i n g o f a sh a rp
a n d Ca mpa spe a
’
”
’
‘
w it , w it h a b itt e r s e n s e i n a s we e t wo rd
Q u i b a n“d qu i bb l e
Sh a k e s p e a r e h a s qu ip s a n d
a r e b y fo r m s o f th e s a m e w o r d
’
‘
qu i dd iti e s
r e t o r t s a n d ca vil s (1 Hen ry I V i 2,
M a sso n
qu o t e s a go o d ill u s tra ti o n fr o m th e M er ry I/Vi ves , i 3
F A LSTA F F My h o n e s t l a ds, I w ill te ll you Wh a t I a m a b o ut
P I ST O L T wo ya rds , a nd mo r e
”
F ALSTA FF N o q u ip s n o w, P istol
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M I LTO N S PO EM S
38
’
.
a n tz n e is properly sy n o n ym o u s with sweet b ri er
Fre n ch
4 5 Eg l
’
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’
‘
‘
é g l a n ti n e , Old F r e n ch a ig la n t, fro m Lo w La tin a cu le n tu s ,
'
-
‘
pricky
.
’
.
i ma g e i n the
mi n d o f the poet see m s to h a ve b e e n t h a t of a vict o r iou s wa rri o r
wh o to th e cl a n g of ma rti a l mu sic p u rs u es a flyi n g e n e m y wh o se
troops b eco me l e ss a n d less de n se like da rkn ess a t the a ppro a ch
” —
of lig ht
KE I G H TL E Y
“
“
st a e
s t ou tly s t ru ts
5 1 5 2 N o”t ice the a llitera tio”n s :
“
“
a a m es before
ba rn doo r
T hou g h we n ee d n o t w it h
Keig htley sa y t h a t b a rn is here a d issyll a b le ye t t he len g th
of syll a b le compen s a tes for the short n e ss of th e prece di n g the
5 3 Th e h u n ts me n of M ilton s da y m e t e a rlier for their sport
th a n n o w
Whi te with hoa r frost
5 5 Hoa r hill
C o n tr a st [ l Pen ser o so l 6 5 where the
5 7 N o t u n s een
th o u g htfu l ma n w a l k s u n seen Th e ch e erfu lma n loves comp a n y ;
the se r io u s ma n solitu d e
m
n u tive of
l
zl
t
oc
k
D
i
i
hill
l
i
k
e
b
u
lock &c
8
H
5
Hi s st a tely ma rch
60 Hi s st a te
6 2 L i ve n es
Livery is properly th a t which is delivere d a t st a te d
ti m es esp e ci a lly clothes or foo d Spe n se r defi n es it a s (I ) Th e
”
a ll o w a n ce o f horse me a t ;
T h e u pper w e e d which a s e r
2)
(
”
v a n t ma n we a reth
He r e it is u se d i n t h e s e n se o f d r e ss
1
D ig /22 D ecke d or a rr a n g e d
Fro m t h e A S v e rb di h ta n ,
to a rr a n ge
Th e ea of the p a st p a r ticipl e is d r oppe d
6 7 Tells ni s t a l
e
C o u n ts the n u mb er o f his sh e e p
So i n
“
”
E xo du s v 8 we ha ve
t h e t a le o f t h e b r icks
S o m e co m
me n ta t o rs t a ke the w o rds i n a d iffere n t se n s e a n d m a k e the
m e a n i n g t o b e th a t every shepherd tells his st o ry ; b u t the
pict u re see ms a more n a tu ra l o n e of the shephe r ds cou n ti n g over
their flocks i n th e e a rly m o rn i n g to see if a n y w ere m issi n g
'
t /t e
5 0 S ca tter s
qf da r kn ess t/nn
r ea r
Th e
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,
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Str a ig h twa y
’ ‘
‘
Th e sh a p e of the la n d,
the a spect of the
70 La’ n ds cape
cou n try Th e word comes to u s from the Du tch p a i n ters Slz zp
i n fr ie n dship , & c , is a n o ther form of the s u ffi x
’
se t
R
u
s
dd
b
e
ish
ro n
R
1
7
’
’
‘
‘
I n Ch a u cer l a u n d, a b ye fo r m of l a n d, properly
l a wn
’
‘
F re n ch l a n d es
Th e a dje c
a n O p e n S p a ce b etwee n w o o d s
’
’
’
‘
‘
‘
‘
p a le y e l l o w or r e d, th e n l a n d
t i v e fa llow m e a n s li t er a ll
y
plou g h e d u p a n d n o t s o w n , which w o u l d b e of th a t c o lou r
72 M o u n ta i n s, o n w/z o s e ba r r en ar ea s t, etc T he r e is n o r e a s o n
for s u pposi n g t h a t t h e po e t a ctu a l l y t o o k a ll t h e fe a tu r e s o f t h e
l a n dsc a pe he d elin e a tes from a n y o n e sp o t
Th e r e a r e n o
m o u n t a i n s t o b e se e n eith e r fr o m F o r e st Hill , n e a r Oxfo r d , o r
’
n
u s e , n ea r
u
r
ort
his
f
the
r
s
co
t
r
y
ho
i n d s o r , b o th
o
n
a
H
f om
,
hich pl a ces h a ve i n tu r n b ee n fi xed u pon a s fu rn is h i n g th e
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W
NO TES—L ALLEG R O
’
s ce n ery
39
.
Th
a n dsca pe is
e r o a n d 11 Pen ser oso
e
l
i n b o th L A ll
g
n o d o u b t a n i de a l o n e
’
a kespe a r e a s
b
P
a
i
n
te
or
v
rie
te
se
d
S
h
d
d
a
a
U
P
i
e
d
y
75
g
’
’
a n epithet of da isies i n the so n g a t the e n d of l oo e s La bo u r s
’
.
.
.
.
h
f
a
n
b
u
e
o
t
e
o
p
r
pet
i
th
e
r
s
r
s
top
t
t
a
m
a
a
B
t
l
e
en
A
a
w
m
77
”
“
’
“
a re
M a sson w r it e s ,
b u il d i n g
T owe r s a n d b a ttle me n ts ,
”
a l mo st e v i de n tly
i n ds o r C a stle 3 b u t i n dsor C a stle is n o t
b oso m e d i n t r ees
’
’
‘
Co n ce a led
So i n Pa r a d ise Lo s t, v 127, we
78 B oso m d
ha ve
Th e fl o w e rs
’
”
Th a t op e n n o w their choi ce st boso m d s me lls
’
‘
I n t h e s e n s e o f dw e l l s
79 Lies
”
h e n the C o u rt la y a t in ds o r
Cf
i n dso r , ii 2
i ves of
M er 7y
T h e co n s te ll a t i o n o f t h e
G r e e k v os o opat
80 Cy n osu r e
Li tt l e B ea r, b y whi ch th e Ph oe n ici a n m a ri n e rs (h e n ce th e
’
‘
Th e sta r u pon
Yj/r i a n C yn osu r e of Co mu s ) u s e d t o steer
’
’
which a lleyes a r e fixed
C f L o dest a r
’
‘
81 Ha r d by
C los e b y
’
N a me s of pe a s a n ts i n V i rg il s
83 Co ry do n a n d T/zy r s i s
‘
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W
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W
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W
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W
W
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-
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85 Her bs
messes
O th e r c o u n tr y di sh e s
M ess p r ope rl y me a n s th a t wh i ch is s e rv e d u p
F r e n ch
mets La t i n miss u s
O n e of V i rg il s mi n or poe ms is c a l l e d
th e M ar et u m or co u n tr y me ss
87 B ower Here u sed i n its orig in a l mea n i n g of a ch a mb er
a n d a tner
co u n t ry
’
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A S bu r
’
89 If t b e ea r lie r sea so n lea d
L e a d i n th e s e n s e o f di r e ct
I t is b etter to pu t a co mma a fte r l e a d, a n d t o ma ke the n e xt
l n e depen d o n s o m e ve rb u n de rsto o d, wh i ch mu st b e s u ppli e d
”
fr om the forme r ph ra s e , He r b o we r sh e l e a v e s
’
zg b t
Sec u re h e r e me a n s fr e e fro m c a re , the
9 ! Secu r e del
cl a ssica l a n d e a rlier u s e of the word So u sed i n j u dg es xviii
”
Pa g e is a s e cu r e fo o l
7, I O , 2 7, a n d Sh a k e spe a r e,
’
‘
Upl a n d p r o b a b l y i n t h e o ld se n s e of
9 2 Upla n d b a n z lets
‘
o
u
n
t
a
o
o
d
c
ry s pp se to t own So h e re c o n t ra s te d wi th tow e r ed
’
ci t i e s , 1 1 1 7 So Ha l e s Th e Pr o mpto r i u m Pa r o u lo r um g i v e s
”
—
Uplo n dy s cb e ma n n v i lla n u s , a n d Pa lsg ra ve
Upla n dy ss /z e
”
—
ma n pa ysa n t , u pla n dy ss/z n ess ru ra li t e
’
‘
‘
’
Ha mlet Li t e r a l ly a little home
T he n a s ma ll vill a g e,
‘
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—
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.
a
.
cl u s t e r of h o u s e s
’
.
Th e re b eck wa s a fi ddl e of three stri n g s
Th e
‘
”
fi ddl e r i n R o meo a n d 7u lie t i s Hu g h R e b eck
ART O N Th e wo rd is o rig in a ll y Pe r sia n
’
M a r k e d wi t h lig hts a n d sh a do ws
96 Tb e c/z equ er ed s /z a de
’
‘
‘
Che qu ered properly me an s for med i n to li ttle s qu a res like a
94 Rebecks
n a me o f t h e
W
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MILTO N S POEM S
’
4o
.
chess bo a rd or che qu er b y li n es of di ffe r en t colou rs Th e Cou rt
o f Exche q u e r wa s o r i g i n a lly so n a me d fro m the ch e u er ed cloth
q
which covere d the t a b le a n d o n which the a cco u n ts were
reck on ed
9 7 Co me is here the p a rticipl e
C f Co mu s l 9 5 9
9 8 On a su n s h i n e h oliday
”
T ill n ext s u n shi n e holi da y
T h a t l a sts a lon g ti me
9 9 L ive lo ng
10 1 Fea t
S o methi n g d on e
a d ee d
F re n ch fa it
Ea rle
(Ph i lo logy of th e E n g lis h To n g u e) s u g g ests th a t ea t b e i n g i n th e
pr e te r ite a n d e qu iva len t to a te mu st h a ve h a d a sou n d u n lik e
o u r prese n t pro n u n ci a tio n o f fe a t
I f so fi a t followi n g th e
d e r iva tion wa s pron o u n c e d f ay t
10 2 F a i ry M a b
Comp a re Sha k espea re s description of Q u een
M a b i n R o meo a n d 7 u liet i 4 a n d B e n J o n son The Sa ty r
Sh e th a t pi n ches co u n try wen ches
I f t h e y r u b n o t cle a n their b en ches ,
An d w ith sh a rper n a il re memb e r s
W hen they r a ke n o t u p their e mb er s
B u t if so th e y ch a n ce to fe a st her
”
I n a sh o e sh e d r o ps a tester
n a lly
u n hets
e
a
m
O
r
i
i
c
r
cheese
So ca lled fro m b ei n g
g
y
serve d o n r u sh es La ti n j u n cu s
Th e wor d a fter wa rd s ca me
to me a n a n y ki n d of s wee t me a t
10 3 He a n d s h e a r e t w o o f t h e co mp a n y a sse mb le d
”
F ri a r Ru sh a li a s W ill o the W isp
10 4 F r i a r s l
a n th o r n
SC O TT
l ed
B etter t a k e n a s a pre dica te a n d the n the s u b ject to
s i n the n ext li n e mu st b e u n d erstoo d
t el
l
Th e con stru ction i n
a n y c a se is a wkwa rd
in
R ob i n G oo dfellow
I n ret u rn for
1 0 5 D r u dg i n g Go bl
the b o wl of crea m du ly pl a ced for h i m h e wou l d thra sh o u t i n
o n e n i g ht m ore w he a t t h a n t e n l a b ou rers cou l d i n the s a m e
ti me
10 8 Hi s s h a do wy f l
a il
F l a il
d F re n ch
Ol
La ti n fl a g ell u m
S h a dowy a s b ei n g u n s u b st a n ti a l a n d mysteriou s
M a n y n e u ter verb s i n O ld En g lish a dd
I I O Li es h i m down
a pe r so n a l p r o n o u n i n reflexi v e se n se d efi n i n g m ore closely t h e
”
He hi n e rest a n wol d e
He we n t h i m
a g en t :
B E DE
” “
”—
h o me
He g o th h i m h o m e
An d so eve n i n
C H A UC ER
”
He wa lke d h i m fo rth a lo n g the s a n d
m o de r n En g lis h
”
ha s t e thee
B YR O N Co r sa i r
Ea ch s a t h i m d own
&c Cf
’
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,
1
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,
2s
L u bber
C o t g ra v e , Fr e n ch -E n g lis h D i ct io n a ry
B a lig a u t—A n u n we l
di e l u b b e r , g r e a t lo b co ck e ,
.
“
.
mi sh a pe n
low t ill fa vou r ed
~
,
l
io n
fle b e rg u l
”
.
,
g ives
hu g e l u sk e
,
N O TES—L ALLEGR O
4t
’
.
’
Litera lly a h a te r
An evil spi r it
’
’
I 1 Th e ch i mn ey s len g t h
Alla l o n g th e fi r e pl a ce
12 B a sh s
He r e t ra n s i t i v e
Pr ob a b ly t h e r efl e xiv e fo r m o f
’
‘
’ ‘
‘
‘
th e , a s b u sk is I cel a n d ic
t o ma k e
b u a sk or b u a s ik ,
’
elf rea dy
[3 Cr op f u l
l i e wi th the b owl of crea m h e h a d e a ten
15 Th u s do n e th e t a l
es
An a b s o l u te con s t ru c t i o n
’
N o t a s s o m e ta ke i t , a ft e r th e
1 7 Th e n
At a n o ther ti me
f
r wi t n e s si n g t o u r n a
l e rs h a v e
e
r
st
Th
t
m
e
o
o
n
o
e
e
t
g
g
e h a ve
lt S a n d ma rr i a e fe a s t s wou l d n o t b e a t n i g h t
g
V
i e n d.
‘
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W
i n th e s a me s e n s e i n l 1 31
’
’
‘
wa e d, is cl o thi n g o f
e e d, A S
20 I n weeds of pea ce
”
“
so rt
wee ds o f p e a ce , i n
e h a v e t h e s a me p h r a s e ,
’
’
‘
wido w s w e e ds
e s t i l l t a lk o f
ilu s a n d Cr essida , iii 3
’
‘
So Ba co n , E ss ay xl v ,
r i u mph s
Sh o ws o r p ro ce ssi o n s
e o n e (si de o f th e p a l a ce ) fo r fe a s t s a n d t r i u mphs , a n d th e
”
ar fo r d we ll i n g
’
’ ‘
‘
ma n y
a di es
Pl e n ty of,
21 Sto r e of l
O rig in a lly a n a stron o mi ca l t e rm u s e d fo r t h e
22 I nflu en ce
C f f o b xxx v iii 31,
o f t h e s ta rs flowi n g t o the e a r th
”
Fro m
a n st t h o u b i n d t h e sw e et i n fl u e n ces o f th e Pl e i a de s P
myst e r iou s powe r over me n t h a t t h e s e r a ys o r a sp e cts w e r e
) o s e d t o exe r t we g e t the mo dern m e a n i n g of t h e w o r d
T h e p r esi di n g l a dy who g a ve the
24
l co mme n d
hom a l
t
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W
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W
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W
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W
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es .
Hy men
of ma rr i a g e
A s a ffr o n co l o u r e d r o b e wa s th e u s u a l
26 I n saflr o n r o be
T h e b ri de a l s o wore a s a ffr o n
5 of Hyme n o n the s t a g e
u r e d v e il
Vi th ta er cl
ea r
A l l u di n g to t h e b r i da l to r ch Hyme n
p
i e d i n his h a n d
27 Po mp
I n its cl a ssi ca l s e n s e o f pr o c e s s io n
28 M a sh
A dra ma t i c pe r fo r ma n ce i n which the a u t h o rs
M a sk a n d ma s qu e a r e i de n t i ca l
ea r ma s k e d
(C f
ta l a n d
Th e word c o mes t h r o u g h t h e F r e n ch
1 t h e A r a b ic
‘
a g e a n t ry
A sh o wy spect a cl e
B e n J o n so n b o r n i n 1 5 74 a n d m a de Po et
32 7 o n so n
re a t e i n 16 19 He wa s ce l e b ra te d fo r h i s cl a ssic a l l e a r n i n g
co me d ies we r e th e mo s t pop u l a r of th e d a y
He d i e d i n 16 37
oc é
O rig in a lly a low heel e d lig h t sh o e w o rn b y a ct o r s of
e éy
i
ld
F
a
n
c
s
c
h
A ll u di n g t o his r o m a n t i c d r a ma s
y
33
34 Hi s n a ti ve wo o d n o tes wi ld ; i e i n co n t r a d i s t i n cti o n to
mo r e fo rma l a n d c l a s s ic a l a r t o f J o n s o n
Th e c o u pl e t
h t fi tly d e s cri b e s u ch co me dies a s M dsu mmer N igh t s
am
o r As
Yo u Lih e I t ; b u t it is fa i n t p r a ise fo r th e
25
Th e g o d
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M I LTO N S PO EM S
’
42
.
e or the Tem
I/Vi n ter s Ta l
es t
Fo r a more a de qu a te tri bu te to
p
’
Sh a kespe a re see M ilton s Epitaph
135 E a ti ng ca r es
C f Hora ce , Ode, i 18, 4 , M o r da ces
l
i ci tu di n es a n d Epi t aph i u m D a mo n i s, 4 6, M or daces cu r as
so l
’
‘
1 36 Lap me
En velope m e
Ly di a n a i r s
T h e Lyd i a n m o d e or mu sic a l style wa s soft a n d
vol u ptu ou s Th e two other modes were the Phry gi a n a n d the
’
.
.
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.
Do r i a n
.
Liter a lly a b e n d
here a mu sic a l p a ss a g e
a n to n he ed a n d g i ddy cu n n i n
An o xymo r o n (co m
g
of words expressi n g opposite qu a lities ) Cf Te n n yson ,
B ou t
1 39
W
14 1
b i n a tion
‘
’
‘
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.
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.
”
Fa u ltily fa u ltless , icily re gu l a r , splen di dly n u ll
14 2 Th e i d e a is th a t the sweet n ess of the mu sic is s u ch a s to
u n twist t h e ch a i n s th a t i mprison the fu l
lp o ers of ha rmo n y
’
‘
L ift u p
14 5 Hea ve
14 7 E l
Elysi u m wa s sa i d to b e the a b o d e of the h a ppy
y s ia n
a fter d e a th
14 9 Th e well - n ow n story of O rphe u s a n d Eu ryd ice is he r e
a ll u de d to
Orpheu s , b y the ch a rm s of his lyre , wo n b a c his
ife from Pl u t o , b u t on ly u p o n the con dition th a t he did n o t
look b a ck o n his wa y o u t of th e i n fern a l r e gion s Hi s a n xiety,
how e ver, overc a me his pru de n ce , a n d j u st a s h e rea ched the
b ou n da ry of Ha des, h e looke d b a c to see if she was followi n g ,
a n d so l o st her
15 1 W i t h the d eli g hts of M irth , a s portra ye d b y M il t on , we
ma y comp a re its u su a l ch a ra cteristics a s g ive n i n the b ook of
“
The n I co mme n d e d m irth , b ec a u se a
E cclesi a s tes, viii 1 5 :
ma n h a th n o b ett e r thi n g u n der the s u n , th a n to e a t, a n d to
”
d rin , a n d to b e merry
.
w
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k
k
.
w
.
k
.
.
k
.
I L PE N S E R OS O
c o mmen ce me n t of the p o e m is si mil a r to tha t of L A lleg r o
V a i n d el u d i n g j o ys a r e b i dde n to d e p a rt a n d the prese n ce of the
d
e ss M e l a n ch o ly with h e r sob er c o mp a n io n s is i n v oke d
o
d
g
th e p u re o ffspri n g of folly
Vi th o u t f a th er br ed ;
2 P
T
o bes tea d a
O
n ly u se d i n th i s pl a ce b y M i lto n
s t ed
e
B
3
pers o n is to help h i m Th e w ord is d erived from the A S
ste de pl a ce o r position
”
T h e help of o n e st a n d s me i n little ste a d
—
SH A K E S PEARE 1 Hen ry V I iv 6 31
”
I n ever sa w a fello w w orse b ested
—2 Hen ry VI ii 3 5 6
’
Th e
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N O T ES—I L PEN SERO SO
43
.
”
nd
m
th
a
t
fixe
d
i
d
i
nd
f
P
r
1
e
m
C
a
a
d
e
L
o
s
t
x
h
e
i
s
T
,
7
9
,
4
fi
Fa er i e Q u een , i v 7, 16
”
N o th n g c o u l d my fixe d mi n d r e mov e
’
‘
A co n t ra cti o n o f pl a y-t o y
Toy
C f G e r ma n spi e l z e u g
’
‘
pl a y thin g
F o r s e n s e cf Sh a k e spe a r e , M a cbet h , ii 3, 99
’
The r e s n o thi n g se r io u s i n m ort a lity
”
Al
lis b u t t o ys
’
‘
Here i n its o r ig i n a l sen se of fo o lish C f Lyci da s ,
6 Fo n d
l 56
”
“
A y me ! I fon dly dre a m
T h e o l d er fo r m of th e w o r d wa s f o u n e, a n d th e d is p a ra sitic
’
‘
I n l a te r ti mes the w o r d a cqu i r e d t h e me a n i n g o f a ffe ct i o n a te ,
“
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with o u t
se n se of fo o lish
a to y
or
a tri ck
F r o m the Ol
Ga u dy
d En g lish g a u d
Ab u n da n t
Properly the word me a n s tig h t
7 Th ich
c l ose p r e ssed
du s t
Pa r ti cles of du st
A S mo t
8 M o tes
T his fo r m o f the s u p e r l a tive is commo n i n M il to n
9 Li hes t
N o t u s e d i n mo dern En g lish
o n e wh o
He r e
a tt e n da n ts
Li t e r a lly
10 Pe ns io n er s
re ce i v e s a fixe d pa ymen t or pe n sion
C f M i d su mmer N i gh t s
D r ea m ii 1
”
T h e cowslips t a ll he r pe n sion ers b e
Th e g o d o f d re a ms
M o rpheu s
m
b
u t
a n ch o l
N
o
n
h
s
n
s
of
d
e
j
e
c
ti
o
n
o
r
l
o
o
t
i
t
e
e
e
12 M el
y
g
ra th er s e r i o u s n e ss th o u g h t fu l n e ss M i l to n u s e s t h e wo rd i n
d i ffe r e n t s e n s e s
F o r i n s ta n ce i n Pa r a di se L o s t xi 4 85 h e
sp e a ks o f mopi ng mela n ch o ly a s o n e o f t h e d i s e a s e s b ro u g h t o n
ma n ki n d b y t h e t ra n sg r e ssi o n of Eve
I n Co mu s 1 5 46 we
fin d th e li n e s
Wra pp e d i n a plea sin g fi t o f me l a n cho ly
T o m e d i ta t e my r u ra l m i n s t re lsy
”
T i ll F a n cy h a d h e r fi l l
To me e t
to t o u ch C f A n to ny a n d Cleopa tr a
14 To h i t
”
ii 2
A s t ra n g e i n v isi b le p e r fu me hi t s th e s e n s e
a ch
16 0 er l
a i a wi th bl
In m o u r n i n g
C f B a c o n E ssay ii
“
We e pin g fri e n ds ”a n d b la cks a n d o b se qu i e s a n d th e l ik e
shew d e a th t e rr ib le
1 7 S u ch a s i n es tee m
Su ch a s i n the es t i ma t i o n o f me n
M e mn o n wa s ki n g o f Eth i o pi a
1 8 Pr i n ce M emn o n s s i s te r
Hi s sis t e r wa s p o s si b ly
a n d ce l e b ra t e d fo r h i s da r k b e a u ty
e qu a ll y b e a u t ifu l t h o u g h we do n o t a ct u a ll y fi n d a n y me n t i o n o f
th e fa ct
C f V i rg i l ( E n i 4 93 : N igr i M emn o n i s a r ma
M i g h t b e se e mly o r b e co mi n g fo r
M igh t beseem
19 Th a t s ta r r ed E t h i op qu ee n
C a s s i o p e i a wife o f C e ph e u s
Th e s t o r y a s g i ve n b y A p o l l o d o r u s wh o m
k i n g o f Eth i o pi a
M i l to n fo ll o ws wa s tha t she b oa sted he rs e lf to b e mo re b e a u tifu l
’
th e
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MILTO N S r o a ms
’
44
.
th a n the Nere ides a n d cha llen g ed th e m to a tri a l In re ve n g e
they pe rs u a de d N eptu n e to sen d a de l u g e i n to Ethiopi a a n d a s e a
mo n s t e r w ho wa s o n ly a ppe a se d b y her g ivi n g u p her da u g ht e r
An d r o me da to it
Perse u s rescu e d An dro m e da a n d C a ssiop e i a
wa s tra n sla te d i n to he a ve n w here she b eca me o n e of the co n
,
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,
,
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,
,
l
a ti o n s .
s te l
22
23
t
fa r
er
Ves ta
Fa r m ore n ob ly
g odd ess of the he a rth , i n
.
.
Th e
.
’
‘
whose hon o u r the
et e r n a l fi re was kep t u p
‘
Lo n g of y o r e
Lo n g a g o
Yo r e is from the A S g e a ra
i n ye a rs p a st
o f ye a rs
i e
24 S a tu r n
T h e R oma n s re ga r de d Sa t u r n a s their m ost a n cie n t
d i v i n ity a n d th e i n tro du cer of a g ricu lt u re a n d civili z a tion i n g e n era l
I n La ti n poetry Sa tu r n ia r eg n a sta n ds for the g ol de n a g e
Fa i n tly li g hte d
2 7 Gl
i mme r i n g
29 I da
A m o u n t a i n r a n g e of M ysi a i n A si a M i n or
Also
the n a m e of a mou n t a in i n C rete where J ove wa s s a i d to h a ve
b ee n b ro u g ht u p This l a tter is prob a b ly the Ida referre d to here
= a s yet
0
Y
t
e
3
’
Properly a n el derly l a dy
In its u s u a l se n se
a
31 N u n
wo ma n de voted to celib a cy a n d secl u si o n
m o dest
Of goo d ma n n ers
F rom the Ol
d
32 D emu r e
I t is a n i n st a n ce of the d eg e n era tion i n mea n
Fre n ch de mu rs
e r espect a bl
e &c
l
C f cr afl si l
i n g of words
y s i mpl
i
n a lly
n el
T
h
n
Ori
g
i
see
d
or
k
er
wor
d
soo
G
r
a
n
a
e
3
3
c a me to b e a pplied t o a n y s ma ll Obj ects resemb lin g see ds a n d
especi a lly to a n in sect of the g en u s Coccu s which fu rn ishes a
va riety of r e d d yes 0f da r hes t g r a i n m ea n s of a violet c o lou r
the da rk est h u e of th e T yri a n dye In Pa r a d is e Lo st xi 24 2
“
for the pu rple of T yre I n
M i lton u ses
g ra i n o f Sa rra
”
”
“
“
gra i n is u sed for vermi lion
Co mu s l 75 0
Properly the
He r e u se d for a sca rf or veil
35 S tole
lon g rob e of the R o ma n ma t r on Spe n ser u ses the wor d i n the
s a m e se n se
Cra pe
I n the first a n d seco n d e d itio n s the
Cypr ess la wn
wor d is spelt C ipres I t is prob a b ly de r i v e d fr o m t h e isl a n d
Cypr u s (Cf ca lico from C a li cu t mu s lin fro m M o u ssu l g a u z e
fro m G a z a ) ; b u t the wo rd wa s a ft e rwa rds a ssi m il a t e d t o t h e
F re n ch c r ep e whi ch c o mes fr o m La ti n c risp u s
S tow tells
a wn e a n d c a mb r ic i n
u s t h a t t h e k n o wle dg e a n d we a ri n g o f l
Cf Sh a ke
En g l a n d d a tes fr o m t h e thi r d ye a r of Eli z a b eth
spe a re Wi n ter s Ta le iv 4 220
La wn a s whit e a s d r ive n s n ow
”
C ypr u s b l a ck a s e er wa s c r ow
m
b
a u tifu l
d
m
D
eser ted
en t
Co
ely
e
Cf
ol
s
ith
c
G
e
D
6
3
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Vi llag e, 1 12
“
Th e dece n t
’
‘
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,
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chu rch that
t o pt th e
n
eig h b ou r i n g h ill
”
.
,
M I LT O N S PO EM S
’
46
.
n th i a
D
na
a lle d Cyn thi a fro m her b i rth l a c e
C
a
i
C
9
y
5
p
i n C yn t h u s
Sh e rep r ese n te d t he moo n
Her dr a go n y ohe Th e repres en ta tion of th e mo o n a s dra w n
b y dra go n s is n o t st rictly cl a ssica l Th e dra g on s of n i g ht a r e ,
’
h o wev e r , often a ll u ded to b y Sha kespea re, [Mi ds u mmer N i gh t s
’
‘
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D r ea m,
iii
.
2
”
’
N i ght s swift dr a g on s cu t the clou ds fu ll fa st
“
Th e dra g o n
So Tr oi lu s a n d Cr es sida , v 9, 1 7,
i n g of
”
n i g ht
Ceres is the o n ly g o ddess to whom the La ti n poets g ive
n b y d ra g on s
a ch a riot dra
6 0 Th e a ccu s to med o a h
M ilton mu st h a ve h a d so me o n e
’
p a r ticu l a r spot i n his m i n d s eye
’
‘
‘
Th e s a m e a s so n g st r ess
6 3 Ch a u n tr ess
To ch a n t is to
’
’
’
‘
‘
si n g
F re n ch ch a n ter, La ti n c a n ta re
’
l
6 4 In L A l
eg r o it wa s the m orn i n g so n g of the l a rk , i n ste a d
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w
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of th e e v e n i n g s o n g of the n ig htin ga le th a t wa s the a ttra ction
6 5 Un seen
C on tra st this with l 5 7 i n L A lleg r o
6 7 Th e wa n der i n g moo n
Cf Shelley To the M oon
Art thou p ale for w e a ri n ess
O f cli mb i n g hea ven a n d
o n the e a rth
W a n de r i n g comp a n ion less
”
Amon g the st a rs th a t b ea r a d i ff ere n t b irth ?
An d for the d escriptio n of the m oon which seems to swee p
t hro u g h the drivi n g ra ck of clo u ds see W o r d s w orth E xcu r sio n
T h e n i ght ly h u n ter lifti n g u p his eyes
T ow a r d s the c r esce n t moo n with g ra te fu l hea rt
C a lle d o n the lovely w a n de r er who b estowed
Th a t ti mely lig ht to sh a re his j oyo u s spo r t
An d he n ce a b e a mi n g g o dd ess w it h her n ymph s
A cross the l a w n a n d t h r o u g h th e da r ksome grove
n efu l n otes
u
cco
m
p
a
n
ie
with
t
u
n
a
d
N
o
t
(
B y echo mu ltiplie d from rock or c a ve )
Swept i n the s t orm of ch a se a s m o on a n d st a rs
G l a n ce r a pi dly a l o n g the clo u de d h e a ve n s
”
W h e n win ds a r e b l o win g stro n g
i e w h en t h e moon is a t he r hi ghest
6 8 Her h igh es t n o o n
fl
a t g ro u n d
C
l
a tfo r m
pl
or
piece
of
ot
f
l
A
P
a
t
p
73
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,
re,
F
n ch
co u vr e fe u
fi
iter
ry
cover
re
I
t
a
L
u
w
e
C
f
74
r
’
wa s the b ell th a t wa s ru n g i n fe u da l ti m es a t eig ht o cl o ck a s a
si g n a l t o pu t o u t a llfires a n d lig hts Th e c u sto m of t ollin g the
’
chu r ch b ell a t ei g ht o clock sti ll s u rvives i n p a rts o f En g l a n d
h
T
e exp r ession see m s o b sc u re ;
S
o me wi de wa ter ed s h o r e
75
‘
b u t t here ca n b e little dou b t th a t the me a n i n g is , a cross som e
’
wi d e piece of w a ter
n ts to the La ti n
i
h
h
ch
poi
a u cer h a s solei n ,
l
l
u
en
C
6
S
7
2 Hen r y I V i
l
en b ell
s ol
us
Sh a kespe a re spe a s of the s u l
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k
w
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N O TES—I L PEN SER O SO
47
.
a ther
Th
we
h
e
a
i
r
e
T
77
’
‘
‘
some qu iet, u n fre
78 R emoved ’ Th e s a me a s remo te ;
u e n te d pl a ce
q
’
ill su it
illflt
As
83 Th e bellma n wa s th e w a tch ma n wh o cr i e d the h o u r s
h e we n t his rou n ds , h e u s e d fr e qu e n t ly t o n v o k e b l e ssi n g s o f
va ri o u s kin ds o n th e hou ses a n d their i n ma t e s C f Herr i ck ,
lma n
The B el
’
Pa st o n e o clo ck , a n d a l most two ,
”
M y ma s t e r s a ll, g o o d n ig h t t o yo u
’
‘
He r e du r i n g the n g h t
Th e w o rd is a lso
84 N ig h tl
y
’
n i g h t b y n i g ht
u se d for
87 Th e co n ste ll a t ion of the B e a r n ever s e ts , so th a t to o u t
a tch it wo u l d e n t a il si t t i n g u p t il l da yb r e a k
’
He rme s Tris meg istu s , th e Eg ypti a n
88 Th r i ce g r ea t Her mes
Theu t, w th wh o m t h e G re e k He r mes wa s i d e n t fi e d
Th e
w o rks a t t r b u te d t o h i m a r e fo rg e r i e s b y t h e N e O -Pl a ton s ts
’
B r in g d o w n fr o m h i s sph e r e
Un sph er e
89 9 6 M ilto n he r e h a s i n h i s mi n d t h e Tz ma u s a n d Ph ce do o f
Ke ig h t l e y r e ma rks, h o w e ve r , th a t th s a s s g n n g th e m
Pl a t o
th e i r a b o d e i n th e fo u r e l e me n t s o v e r w h i ch th ey h a d p o w e r
be l o n g s ra the r to the l a t e r Pl a t o n ists , a n d t o th e w r i t ers o f t h e
mid dl e a g es
’
‘
F ro m u n fol d, l 89,
e mu st s u pp l y
93 Of t h o se demo n s
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W
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i
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w
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i i
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some s u ch n oti o n
94 Th e spi ri t s o f fi r e a r e Sa l a ma n de r s ; of a i r Sylphs (s u ch
a s A r i e l ) ; o f the fl o o d Un di n es ; o f u n derg r o u n d G n o me s o r
Kob o l ds
C on n e ction
9 5 Co n sen t
A mo n g t h e a n cie n ts fi r e a i r e a r th a n d wa ter
9 6 E lemen t
we r e su pp o sed to b e the fo u r e le me n t s o r p r i ma l con s tit u e n ts o f
al
lth i n g s
l
I n a r o ya l rob e
Pa ll is the La ti n
9 7 I n sceptr ed pa l
pa lla th e ma n t l e o f a t r a g ic a ct o r
9 9 Th ebes t h e c a pi t a l o f B oe o t i a the m ost c e leb ra t e d ci t y i n
t h e my t h i ca l a g e s o f G r e ec e
I t wa s th e sce n e o f t h e t ra g ic
fa te o f (E d i pu s a n d o f th e wa r of t h e Se ve n a g a i n s t Th e b e s
Pelo ps lin e
Th e fo r t u n es o f t h e d e sc e n d a n t s o f Pe l o ps
fo r m t h e s u bj e ct o f th e E lectr a o f Sophocl e s a n d of th re e o f
t h e e x ta n t t r a g e d i e s o f [Es ch yl
us
100 Th e ta l
e of Tr oy di v i n e
As i n th e Hecu ba a n d the Tr o a des
0 f Eu r ip i d e s
10 1 Th e r e ca n b e littl e do u b t b u t th a t M il t o n here r e fe r s t o
Sh a kesp e a re
10 2 Th e ba sh i n d sta e
Th e bu sh i n or co th u r n u s was a
g
b o o t wi th hi g h heels wo r n b y tra g ic a ctors
In L A ll
eg r o i t
wa s the sock o f co me dy
‘
te ll
’
,
or
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M I LT O N S PO EM S
48
’
.
M u sa u s
To M u s aeu s a n d Orphe u s w ere a scri b e d ma n y
mystic poe ms of reli g io n a n d phil o s ophy
10 7 I r o n tea r s
Eve n the iron g o d is melted
10 9 Or ca l
l u p h i m, & c
C h a u cer, w ho le ft h a lf tol d th e
’
sto ry o f C a mb u sc a n , i n The S qu i r e s Ta le C a mb u sca n is a
’
co r ru ption of C a mb u s Kh a n , a n d M ilton s a ccen t is pecu li a r
1 1 1 Ca mba l
la n d A l
a
é
r
s
g
i/ were ’the son s of C a mb u sc a n , a n d
C a n a ce wa s his da u g hter C a n a ce s r i n g e n a b le d her to u n der
10 4
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st a n d the l a n g u a g e o f every b ird ; her gl a ss showe d her w ha t
wa s h a ppe n i n g a t a n y pl a ce she wish e d
“
Cf E xodu s ii 1
T ook to wifi: a da u ghter
”
o f Levi
Possessi n g s u pern a t u ra l p owers
1 1 3 Vi r t u o u s
Cf St
“
flIa r h v 30 :
n
es
u
s
k
owi n g i n hi ms elf that virt u e h a d gon e
!
”
o u t of h i m
1 14 Th e won dr ou s h o r se of br a ss
I t co u l d ca rry its ri der
thro u g h the a i r to a n y p a rt of the ea rth i n the sp a ce o f
twe n ty fou r hou rs
“
”
When tha t this Ta rtre k in g this C a mb yu sk an
1 1 5 Cf
C H A U C ER Squ i r e s Ta le
1 16 Gr ea t ba r ds besi de
Spen ser a n d pro ba b ly so m e of the
I t a li a n ro ma n tic poets Ariosto T a sso & c a r e here referre d t o
T o u rn a men ts
M ock fig hts o n ho r seb a ck
1 1 8 Tu r n ey s
r
o
b
b
ly
so
c
a lle d fr o m the r a pi d tu r n i n g s of the horses
a
p
‘
A m e m ori a l of victo ry
A m on u me n t of a n
Tr ophy
e n e my s defe a t or t u r n i ng to flee
“
B o t h Ta sso a n d A riosto pre t en d to a n a lle g oric a l a n d
1 19
m yste rio u s me a n i n g ; a n d Ta sso s E n ch a n ted Fo r est the m ost
”
con spic u ou s fiction of the k i n d ma y ha ve b ee n here i n ten de d
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VV A RT O N
In the sob er dress of
su i ted M o r n
122 Ci vi l
’
’
‘
D e cora te d
Cf Ly ci da s, l 170
1 23 Tr i ch d
.
.
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a
.
citi z e n
Sh a kespea re
’
.
o n ly u ses t he word o n c e
F re n ch fro n cer
C u rle d
to pl a it
Fl
o u n ce
F r o u n ced
is a n o the r form of the s a m e w o rd
C eph a l u s who wa s b elove d b y Eo s the
1 24 Th e A tt ic boy
go ddess o f the m orn i n g
Covere d or veile d
A h er ch i ef wa s a
1 25 Ker ch ef d
pi e ce of cl o th u sed to cover the he a d F re n ch cou vre chef
”
M o rn i n g c a m e i n a cl o u d
C f T e n n ys o n M a u d :
1 25 126 A d op t i n g M r R u ski n s ch a ra cteri z a tio n (see Ly ci da s
I shou l d b e i n cli n e d to a n n ota te
l 13
Ke r ch e f d i n a c o mely cl o u d (Fa n cy vu l
gar)
”
W he n rocki n g win ds a r e pipi n g lou d (I ma g i n a t io n )
An u sher (F re n ch h u issier ) wa s o ri g i n a lly
1 27 Us h er ea
it a fterw a rds c a me to me a n a n a tte n da n t
a d o o r keeper ;
l
A sile n t g e n tle shower
S h o wer s t il
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N O T ES—I L PEN S ER O S O
sh ower
I n the
Dr ops th a t fa ll every mi n u te
130
s a me wa y we spea k o f mi n u te g u n s
fl u tteri n g or
a r in
T h e w o r d s t r ictly me a n s
1 32 F l
g
fli cke ri n g
In th e s e n s e of da r k
Cf Pa r a di se Lost
134 B r o wn
Whe r e h ig hest woods i mpen e t ra b l e
1 10 86
T o st a r o r s u n l i g h t sp r e a d t h e ir u mb r a g e b r o a d
”
An d br o wn a s e ve n i n g
Sy l
A La t i n d ivi n ity of th e fi e l ds a n d forests
va n
Sy lva n u s
C f Lyci d fo r Lyc i da s
”
I mme mo r i a l e l ms
135 M o n u men ta l C o mp a r e T e n n yso n s
”
a n d Ke a t s s
G re e n rob e d se n a t o r s o f m i g hty w o o d s
Sh a k e
sp e a r e spe a ks of t h e mo n u men ta la l a b a ster
t o frig ht e n
Li t e r a ll y t o t a m e
th e n
Co n
1 37 D a u n t
d o mo
F r e n ch d o mpt e r
n e ct e d w i th t h e La ti n
d En g l ish g a r e
To o b rig h t
F r o m th e O l
14 1 Ga r i sh
“
to st a r e
Th e g a ris h s u n
o ccu r s i n Sha ke sp e a r e R o meo
u l
i et iii 2 25
and Y
N o t st r ict l y t ru e t o n a t u r e a s
14 2 Th e bee wi th h o n i ed th igh
th e b e e d oes n o t ca rr y t h e h o n e y b u t t h e p o ll e n o n i t s t h i g h
Dra yt o n ma k e s t h e s a m e m i s t a k e i n h i s Owl
”
Ea c h b e e wit h h o n e y l a de n t o th e th i g h
A g r ee m e n t
h a r mo n y = c o n ce r t
14 5 Co n so r t
C f l 27
of th e Ode a t a So lemn M u si ch
0 ma y we so o n a g a i n r e n e w t h a t son g
on g
A n d k e ep i n t u n e w it h he a v e n t ill G o d e r e l
T o his ce l e sti a l co n so r t u s u n it e
”
T o li v e wi t h h i m a n d si n g i n e n dl e ss m o rn o f lig ht !
14 6 D e wy fea th er d
S l e e p is pic tu r e d a s a n a n g e l wh o
sca t t e r s d e w fro m his win g s C f K e b l e Ch r i sti a n Yea r
Wh e n th e s o ft de ws o f ki n dly sl e ep
”
M y w e a ri e d e y e b a ll s g e n t l y s t e e p
14 7 Kei g htley a pposit e ly qu o t es Spe n se r F a er ie Q u een
i 1
129
E n di n g , & c ,
M i n u te dr ops
r e fe rs
49
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44
,
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,
his (the sp ri te s ) little wi n gs the dr e a me he b ore
”
I n h a s t e u n to his Lord
Th e dr e a m is re p r e s e n t e d a s hove r i n g close to the wi n g of Sleep
a n d the n ce w a ft e d i n o n the s l eep e r
We se e m he re to h a ve th e
Lu cr e ti a n n o t i o n o f fil ms or i ma g e s whi ch a re c o n st a n tly b ei n g
g i v e n o ff b y o bjec t s a n d striki n g o n the se n s e s
1 5 4 Th e u n s een g en i u s of th e wo o d
Se e M ilton s A r ca des
An d
’
on
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1 44 83
‘
’
1 5 5 D u e fi et, & c
let me du ly wa l
’
1 5 6 St u d i o u s cl
o i s te r s
al
e
A clo i ster i s p r ope rly a pl a c e
p
’
en c l o s e d or sh u t i n Pa le o r pa lin g is t h e wo o dw o r k e n c l o s n g
’
a n y sp a ce
I t t h e n ca m e t o b e u s e d fo r t h e sp a c e i t se l f
e
-
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k
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D
i
W
5
M I LT O N S PO EM S
’
0
.
still t a l k of a person b ei n g w ithin the pa le of the chu rch Th e
epithet s tu di o u s is here e qu iva len t t o d evote d to lea rn i n g
o ve
15 7 A n d l
A se n se co n stru ction
I n strict gra mma r
tée t is the s u b ject to l
o ve
E mbo wed
Arched
‘
1 5 8 A n tic
In mo dern En glish a n ti q u e
with the a ccen t
o n th e l a st syll a b le
Th e w o rd a n ti c n o w b e a rs q u it e a di ff e re n t
m e a n i n g b u t i n re a lity it is the s a me a s a n ti qu e
th a t which
h a s b e e n b e fo r e
Ab le to resist the w ei g ht of the roof
M a ssy pr o of
Win dows p a i n te d’ so a s to represen t
1 5 9 Sto r i ed wi n do ws
v a ri o u s histories C f G ra y s Storied Urn
r m e a n i n g see L A l
l
h
t
F
o
eg r o l 6 2
K e i g htley is dou b t
n
less rig ht i n s a yi n g th a t i n strict g ra mma r digh t q u a lifies r oofi
th o u g h M ilton i n t e n de d i t to refer to t h e cloister
A choru s or b a n d of si n g ers
1 6 2 Ch o i r
s
16 3 A n th e m
Ol
d En glish a n te fe n
Gree k du r igbwu o s
ra d ic a lly the s a m e a s a n t iph o n a lter n a te ch a n ti n g or sin gi n g
16 7 He wo u l d e n d his d a ys i n som e pe a cefu l her m it a g e s t u d y
i n g the st a rs of he a ve n a n d the herb s o f the fi el d
l
S pell o u t
e xa mi n e
fin d the me a n i n g of
1 70 Spel
Cf Pa r a dise R eg a i n ed iv 385
!
If I re a d a u g ht i n he a ve n
Or he a ven w rite a u ght of fa te b y wh a t the st a rs
V ol u mi n ou s o r si n g le ch a r a cters
”
I n their con j u n ction me t give me to spell
O b serve th a t n o provision is ma d e for the o ld a g e of Cheer
fu ln ess
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L YCI DA S
I mu st a ga i n pu t o n the poet s ga rl a n d
/
r
u
i
n
o f Co mu s
in
n
n
o
d
c
t
o
ilto
w
ritte
othi
g
si
ce
the
n
n
h
a
d
M
n
p
Th e l a u rel m yrtle a n d ivy a s everg r een s w ere sym
1 6 34
T h e l a u rel or b a y was s a c r e d to A pollo t h e
b o lica lof poetry
“
d o cta ru m h e de r ae
m yrtle to V e n u s a n d Hora ce spe a ks of
”
“
—
ivy
th
a t wre a ths the b rows of b a rd s
r a e mi a fr o n t i u m
p
D ou b tless M ilton chooses th e m yrtle a s s u iti n g the you th of his
Cf B yron
frie n d
Th e myrtle a n d ivy of s w eet two a n d twen ty
”
lyou r l a u rels th o u g h n ever s o ple n ty
Ar e w ort h a l
”
“
Th e
myrtu s p u ll a o f
Da rk colou re d
es br o wn
2 M y r tl
is u s e d i n the s a me sen se i n I lPen ser o so
B row n
Hora ce
l 1
withered
Se a r is a b y form o f th e
up
se a r mon a th is the dr y mon th J u n e
In A S
sa me w or d
1
Yet
on ce
mo r e ; i
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’
e.
’
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,
,
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,
,
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,
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,
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-
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,
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,
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,
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N O T ES—LYC I D A S
5:
.
h
ilto
s
e
i
is
th
t
lth
h
f
e lt th a t h i s fu ll ti m e
m
a
n
n
a
a
o
u
e
M
n
,
g
g
3
fo r wr t i n g p o e t r y h a d n o t co m e , h e wa s c o mpe ll e d b y th e s a d
’
occa si o n of h i s frien d s de a t h to a t te mpt s o me ve rs e s to his
me m o ry
’
i
.
O r ig in a lly b leedi n g
raw ;
th e n a pplie d t o a n y
thi n g u n co ohed or u n r ipe
sh a rp a n d
An o th e r fo rm of sca tter
Cf
5 Sh a tter
‘
sc a r f
sh a le sh e ll a n d sca le
sh i r t a n d ski rt & c
M ellowi n g Pr o p e r ly a pplie d t o fru it
T h e m e ll o wi n g y e a r
me a n s the s e a son t h a t r i pe n s the fru it
6 Sa d o cca s i o n dea r O b s e rve th e p o si t i o n o f the n ou n b e twee n
N u merou s i n s ta n c e s o f this o ccu r i n M i l t o n
t h e two epi th e ts
Th e m e a n i n g i s n o t t h e s a m e a s if t h e t wo epi th e ts we re co n
’
‘
Cr u de
’
‘
,
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‘
’
‘
‘
’
‘
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‘
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,
,
,
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se cu
t i ve
.
i mport a n t fro m its p r i ma ry s e n se of c o s tl y
or i n th e p e cu lia r sen s e (a pp a re n t l y co n t ra dict o ry t o i ts u su a l
o n e ) exp r e ss i n g i n te n si t y o f e i t h e r l o v e o r h a t r e d
C f Sh a ke
spe a re Ha mlet i 2 182
Wou l d I h a d m e t my dea”r est fo e i n hea ve n
Er e I h a d se e n t h a t da y
sa r
6
iii
u l
u
e
1
1
i
s
C
9
y
”
Sh a l l i t n o t g r i eve thee dea r er t h a n thy d e a th P
“
t h e n o t i o n p r op e rly i n v o lv e d i n it o f l o ve
C ra ik s u g g es t s t ha t
ha vi n g fi r s t b ec o me g e n era l i z e d in t o t ha t o f a st ron g a ffe ction o f
a n y ki n d h a d t he n ce p a sse d o n i n t o th a t of s u ch a n e moti o n
”
the v e r y r eve r se o f love
7 Co mpels Th e si n g u l a r is co mmo n e spe ci a lly i n Sh a kespea r e
whe r e t h e t wo s u bjec t s c o mb i n ed fo rm a si n g le n oti o n a s i n
D ea r
Ei ther
.
’
‘
’
,
,
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,
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,
,
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,
,
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,
,
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,
,
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,
.
.
,
,
”
Ple n ty a n d pea ce b ree ds c o wa rds
He wa s o n l y t we n ty -fi ve ye a r s Old
8 E r e h i s pr i me
’
’
‘
Hi s e qu a l
F r o m La t i n pa r
9 Hi s peer
h o wo u l
d n o t si n g f or Ly cida s ? V i rg il , E cl
og u e, x
10 W
3
”
N e g e t qu is ca rm i n a G a ll o
He h n ew h i msel
An i mit a tion o f the La ti n i dio m,
to s i n g
f
”
“
Ca n c r e ca lle b a t
C f Co mu s , l 87
“
”
A swa n
we l l k n ows to sti l l the wil d wi n ds
’
T h e on ly r e li cs ext a n t of Edwa rd Ki n g s p o etry a r e a few La ti n
v e rses o f n o g re a t me rit
d th e lof ty r hy me
C f Hora ce
1 1 B u il
”
Se u co n di s a ma b il e c a r me n
’
‘
ter
el
13
Prope r ly, to ro ll t o a n d fr o
C o n n ecte d i th
’
’
G er ma n w a l z e n , La ti n vol u to
Cf Ten n yson , I n M emo r i a m,
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i
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W
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w
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v1
.
Hi s hea vy shotte d h a mmock shro u d
-
-
14
M eed
.
D ro p s i n
”
his va st a n d w a n de rin g g ra ve
Wa g e s r e wa rd Aki n to G re e k 1110 063
.
’
,
’
‘
.
,
M I LT O N S
P O EM S
’
52
.
So me mel
o di ou s tea r
So me m ou r n fu l stra i n
Spe n ser n a mes
”
his E leg i es , Th e te a rs of t h e M u ses
1 5 Th e s a cr ed wel
l Th e fo u n t a i n Ag a n ippe , o n mou n t Heli co n ,
a cr e d to the mu ses
Th e sea t of J ove is the a lt a r o n the s a m e
il
l
’
‘
’
‘
1 8 Coy
Litera lly qu iet
F rom La ti n
qu ietu s , thro u gh
’
Old F re n ch coi
‘
lg S o
As I perform the s a m e l a st o ffi ce s fo r my de a d
’
fu e n d
’
’
‘
‘
M u se
I n the se n se of poet, a s the he of li n e 2 1 sho s
C f Sh a espe a r e , So n n et xxi
So is it n o t w i th m e a s ith th a t mu se ,
”
Stirre d b y a p a i n te d b e a u ty to his verse
’
‘
20 Lu chy wor d s
W ords of g ood om en , like the R oma n
’
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i
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’
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w
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k
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w
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“
v a le v a le v a le
,
,
”
.
tomb destin ed for me
W e fi n d the
s a me me a n i n g i n Sha k espea re Co r io la n u s v 5
Th e mo st n ob le corse th a t ever he r a l d
”
Did follow t o his u r n
‘
Th e orig i n a l me a n i n g of shro u d i s a
22 Sa bl
e sh r ou d
ga rmen t
M ilton u ses it (Ca mu s l 14 7) for a woody covert
a to mb
b u t it see ms si mpler
a n d it m a y p ossi b ly here m e a n
to t a ke i t i n the u s u a l sen se of gra ve clothes Silvester (qu oted
”
b y Keig htley ) u ses this ve r y phra se s a b le shrou d for mou rn i n g
23 T hey h a d b ee n b ro u ght u p a t t he s a m e colle g e a t C a m
b ri d e
Th e me a n i n g is th a t they h a d the s a me p u rs u its a n d st u dies
2
eg r o l 7 1
Se e L All
25 La wn s
A He b rew e xpression
In 70b iii 9
26 Ey el
i ds of th e mo r n
”
“
the litera l ren deri n g of the da wn in g of the da y is the eye
li ds of the mo rn i n g
‘
Un derst a n d o u r flock s
2 7 D r o ve
So a sleep is o n sleep
Se e L Allg r o
d = o n fiel d
A fi el
[My desti n ed
u rn
Th e
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28
whe
Wh a t
t i me
A con de n sed e xpression fo r
.
‘
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.
l 20
’
’
‘
’
‘
,
‘
th a t ti me
at
te mpore
b u t the p a rticu l a r i n sect here
Pr o a b ly the gn a t
Gr ey fly
i n ten d e d is very dou b tfu l
Th e epithet re a lly d e n otes t h e ti me of da y
t ry
Su l
—
n
2
these
li
es
In
( 5 31) we h a ve a p a storal d escri ption of morn
i n g n oon a n d eve n i n g
Th e w o d
F ee d i n g the s a me root a s better
29 B a tten i n g
r
is g en e r a lly u se d i n a n i n tra n sitive se n se An other form of i t
Wa s ba t tel whe n ce ba ttels the colleg e n a me for r a tio n s
I
n the first ed ition of Ly cida s these li n es st a n d
0
3
O ft till t he eve n st a r b ri g ht
”
To wards he a ven s d escen t h a d slope d his b u rn ishe d wh eel
n.
La ti n
’
-
’
uo
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M I LT O N S
P O EM S
’
54
Th eocr it u s , i 66 , a n d p a r tly
n a me d b y M il t o n
a re a l
l
Shelley , A do n a i s
.
Whe r e w e r t th
.
fro m V i rg il E cl x 8 Th e pl a c e s
n e a r wh e r e
Ki n g wa s los t
Cf
.
,
.
.
.
mi g hty M othe r ,
.
wh e n he la y
W h e n thy s o n la y pi e r ce d b y t h e sh a ft th a t flies
I n da r k n e ss ? W h e r e wa s lorn Ura n i a
”
Wh e n Ado n a is d ie d ?
Pe rh a ps
Pe n ma e n ma wr b etw e e n Co n w a y
5 2 Th e steep
a n d B a n g or
or K e r ig y D ru i dio n men tion e d i n C a mde n s
B r i ta n n i a a s a b u r i a l pl a ce 0 f the Dr u i ds
5 4 S h a g g y tops of M o n a M o n a is the isl a n d of An g les e a I t
a s for me r ly covere d with g roves a n d trees b u t i s n o w n e a rly
ou
,
,
’
.
,
‘
’
-
-
,
’
,
-
.
.
g
.
,
a re
.
II er wi z a r d st r ea m ; so c a lle d
a tt a che d to i t a s t h e b o u n da r y
b etwee n En gl a n d a n d W a les C f Va ca ti o n E xer ci se, 9 8
”
An cie n t h a llowe d D e e
’
‘
n dl
6
F
o
F oolishly
Se e o n I t Pen s er o so , l 6
y
5
‘
An e llipse
e been th er e
Su pply, Ye o u ld h a ve
5 7 Ha d y
’
s a v e d h i m, o r s o me s u ch words
’
C a lliop e
f:
5 8 Th e M u se he r s el
’
‘
so n
H
er
en
c
h
a
t
i
n
h
Orphe
u
s
n
T
e story , a s t o l d b y
9
5
g
Ovi d, M et xi 1—
5 5 , wa s th a t t h e g rief of O r phe u s for th e l o ss
e d h i m to tre a t with co n te mp t th e Th r a ci a n
o f his wife Eu ry dice l
wo me n , who , i n reve n g e , tore h i m to pieces Hi s h e a d wa s
thr o w n i n to the He b ru s (t h e vo lu cr em IIebr u m of V irgil ), d o wn
wh i ch i t wa s c a rried to the se a , a n d b orn e a cross to Les b os
C f Pa r a di se Lost, vii 32
B u t d ri v e fa r o ff the b a rb a rou s d isso n a n ce
Of B a c ch u s a n d his rev e llers , the ra ce
O f t h a t wild rou t tha t tore the Th ra ci a n b a rd
I n R ho do pe , wh e re wood s a n d rocks h a d e ar s
’
T o r a ptu re , till the s a va g e cl a mou r dr o wn d
B oth h a r a n d voice n o r cou l d th e M u se d efen d
5 5 D e va is the river De e
fro m a s u pe r stitiou s r e v e ren ce
‘
’
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w
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He r
so n
p
.
Comp a n y
O ften u se d i n this se n se b y M ilto n
6 1 Rou t
’
W ha t a dv a n t a g e is there P B o o t is fro m
h a t bo o ts i t ?
64
’ ‘
’
‘
b eta n ,
to i mprove
A S
r
fi
l
s
o
t
e
s
6 6 T o p u rs u e the pr o fi tle ss stu dy of poetry
p
b ec a u se it ill n o t a rrest the fa ted hou r
A phra se i mita te d fro m V irg il , E el i 2
M edi ta te th e M u se
”
M u sa m me di ta r i s
’
Th e prese n t ten se of th e ver b
a r e a cc u sto me d
6 7 Use ; i e
i n this se n se is n o w o b solete T h e preterite u sed is still e mploye d
’
A si m ila r i n st a n ce is fou n d i n the o ld ve rb wo n , won t
li s a n d [Vea r a a r e rep r ese n ta tive n a mes of shep
6 8, 6 9 A ma ry l
’
herdes ses Cf th e Co ry do n a n d Th yr sis 0 f L Alleg r o , l 83
’
W
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N O T ES—LYC I DAS
55
.
Fo r the se n ti me n t comp a re Ci c pr o A r ch ia , c 10
Tr a h i mu r o mn e s l
a u di s stu d io , e t opti mu s q u is qu e ma x i me
”
g l o ri a du ci tu r
A ls o Sp e n ser,
a r s of th e M u s es , 4 5 4
”
“
Du e p r a is e t h a t is th e spu r o f do i n g well
’
’ ‘
’ ‘
‘
p u r e, i l lu strio u s
Th e clea r spi r i t
B r i g h t,
”
“
i
x
a
n
r
i
n
m
a
e
u
tu r
i
E
i
a
m
i
e
b
u
pi
d
o
l
o
vissi
u
1
t
s
t
s
c
o
a
e
7
g
p
T A C I T U S , His t iv 6
’
‘
R ewa r d
Th e w o rd is a co r r u pti o n o f the
73 Gu er do n
’
‘
d G e rma n wida r to n
Ol
I t wa s r e a lly o n e of th e Fa t e s , n o t o n e
75 Th e blin d F ury
Th e
o f th e F u r i e s , wh o wa s s a i d t o cu t th e th r e a ds of life
e pi th et
b li n d i mpli e s th a t sh e ma de n o d isti n ct i o n
‘
T his w o r d h a d fo r me rl y the me a n i n g of
t o cu t
76 Slits
70
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o
W
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l e n g thwis e
“
I h a ve
L ife
Th e t h re a d o f l ife
Cf I sa ia h xxxviii 1 2
”
cu t o ff like a we a ve r my life
B u t n o t th e pr a i se
Th e verb mu st b e s u pplie d fro m the
previ o u s se n te n ce
77 C f V irg il E clog u e vi 3
Cyn thi u s a u re m
a
cro ss
’
,
as
w e ll
as
‘
to
cu
’
t
.
’
‘
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.
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,
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,
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,
”
V e llit, e t a dmo n u i t
I t is b ett e r to c o n n e ct t h is wi th lies i n th e fo l l o wi n g
79 N o r
ve rs e , N o r lies i n the g list e rin g foil, which is s e t o ff t o t h e
”
wor l d
’
’
‘
‘
Fo il From foliu m,
a le a f
A thi n sh e e t o f m e t a l pu t
u n der preci o u s sto n es to i n cre a se thei r l u st r e
So o f a n y t i n s e l
’
‘
Th e s e n se is , th a t F a me d o e s n o t
S et of ; i e
displ a y e d
co n sist i n the fa lse l u stre displ a ye d to the w o r l d, o r i n wi de
spre a d r u mo u r
’
‘
81 By
B y me a n s of
Fa me dra ws its very life fr o m t h e
u lti ma t e a ppr o va l o f t h e a l
lr i g ht e ou s J u dg e
M o st e d it o r s
‘
i n th e pr e s e n ce of
b u t t h o u g h t h i s s u i t s w e ll wi t h
u n dersta n d
’
’
‘
‘
In Co mu s , 8, we
eyes , it is less a ppro p ri a te wi th wi tn e s s
ha ve the s a me t hou g h t e xp r essed b y a diffe r e n t i ma g e
.
.
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-
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cro wn tha t V i r tu e g i ve s
A fter this mo r t a l ch a n g e t o he r tr u e s e r va n ts
Amo n g s t th e e n th ro n ed g o ds o n s a i n t e d s e a ts
Th e
”
.
84 M ed
Se e 1 14
A fa mou s fo u n ta i n i n th e isl a n d o f O r tyg i a ,
85 A r et h u se
h e re n a me d i n a ll u sion to Th eoc r it u s , t h e
n e a r Sy r a cu s e
C f A r ca des
Sicili a n p a st o r a l p o e t
D ivi n e Alphe u s , wh o b y s e cret sl u ic e
”
Sto l e u n d e r se a t o me e t his A r e th u s e
86 Il
li n ci u s
A r ive r i n G a ll i a T r a n sp a da n a , fa l l i n g i n t o th e
Po a li t tl e b e l o w M a n t u a ,
here V irg il wa s b o r n He n ce th e
’
hon ou red flood
.
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w
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56
M I LT O N S
P O EMS
’
.
87 M oo d
Sa me a s
m o de ,
ma n n er
He n ce of mu sic ,
’
‘
’
’
‘
‘
‘
a
n
F r o m L a ti n m o d u s
st r i
M o o d d e n o t i n g a s ta te o f
’
m i n d is q u ite a d iffer e n t word , fr o m the G e r ma n mu th
89 L i s te n s
Th e poet is i d e n tifie d with his i n str u me n t , the
’
‘
’
‘
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.
‘
oa
t,
o r p a st o ra l pip e
’
.
89 Th e h er a ld of th e s ea
Tr ito n , the s o n o f N e pt u n e
’
Hi s ple a d n g or d efe n ce wh e n a ccu se d of
90 N ept u n e s plea
ca u si n g the d e a th of Ki n g
’
’
‘
‘
’
‘
on
wi ck ed
fell ,
F ro m the a djective
C ru e l ,
9 1 F el
’
’
c o n n e cted with th e C eltic word fa ll , b a d
’
‘
=
Th e g e n itive of q u a lity
win g e d g u sts
9 3 Gu s t of wi n g s
’
’
T h e epithet ru g g e d
rou g h , a pplies properly to gu st
’
Pr o j e cti n g like a b e a k
9 4 B ea hed
i n g of the
u s, the
9 II ippo ta des T h e s o n of Hi ppo te s ZEo l
wm 1s
[Eol u s wa s s a i d to
eep the i n ds
9 7 F r o m h is du n g eo n
ch a i n e d u p i n a c a ve
O n e o f the N erei d s
99 Pa n ape
i se
10 1 B u il
t i n the ecl
I n a ll u sion to the s u perstitiou s i de a
p
th a t eclipses porte n de d c a l a mities Cf Pa r a dise Lo st, i 5 96
Cf Sh a espe a re , M a cbeth , iv 1, 28
Slips of yew ,
’
”
Slivere d i n the m oon s eclipse
Th e river Ca m, n ote d for its sl u g gish stre a m
10 3 Ca mu s
10 4 R eferri n g to the ru shes a n d se dg e g ro i n g a lo n g the
b a n ks
His ma n tle h a i ry , & c A n a b solu te con stru ction
N o s a tisfa cto r y expla n a tion
10 5 I n wr o u g h t wit h fi g u r es di m
S om e thi n k M ilt o n
h a s b een g iven o f the m e a n i n g of this li n e
a ll u d es t o the n a t u r a l stre a ks i n sedg e lea ves whe n d rie d ; oth ers
h a ve referred it to th e fa b u lou s tra dition s of t h e hig h a n ti qu ity
’
o f C a mb ri dg e
’
Th e hya ci n th , s a id to h a ve
10 6 Th a t s a n g u i n e flo wer
S pru n g fro m the b loo d of Hya ci n thu s , o n the peta ls of which
fa n cy t r a ced t he G reek ch a ra cters A I Prob a b ly the Lili u m
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M a r ta go n
’
‘
“
T h e word
Pa rt of the o ld verb r ea ve, to ro b
10 7 R 9 6
is co mmon er i n its co mpou n d ber ea ve
’
Pig n o r a i n La ti n is n o t u n fre qu e n tly u s e d
C hil d
Pledg e
i n t h e s a m e s e n se, a pled g e of the mu t u a l a ffec t ion o f the
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p a r e n ts
10 9
of the
111
.
.
a he
ea n l
St Peter, to n ho rn th e keys
Th e pi lo t of t h e Ga lil
ki n g d om of he a ve n w e r e give n —St M a tth e w, xvi 19
’
’
‘
F r o m the A S
fir mly
Lit e ra lly i n m i g ht ,
A ma i n
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s t r e n th
g
=
=
sp a ke
Cf b ewa il b e moa n
1 1 2 B espa he
1 1 3 I t h a d b e e n t h e i n te n tio n of Ki n g a s of M ilto n hi m self
ma e g e n ,
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N OT ES—LYC I DA S
57
.
rda i n e d A t th e t i me wh e n Ly ci da s wa s
w r i tt e n La u d h a d b een fi ve y e a rs A r ch b is h o p Hi s v e x a t i o u s
vis i ta tio n s his rig o r ou s e n fo r ce me n t o f u n ifo rmity a n d su p
p r essi o n o f Pu r i ta n is m w e r e a lre a dy b e g in n i n g t o a r o u se t h e
i n d ig n a t i o n of a ll En g lishmen s a v e th e extreme C h u rch a n d
Cou rt p a r ty
1 15 C f Pa r a di se Lost iv 193
”
So si n ce i n t o h i s ch u r ch lew d hirelin g s climb
1 16 R ech on i ng
A cco u n t
Th e wo r thy bi dden g u est
1 18
Th e fa ithfu l m i n ist e r wh o
h a d b e e n du ly ca lle d to t h e o ffi c e
I n his Ch r i st ia n D o ct r i n e
M ilt o n l a ys do w n t h a t th e mi n isters of a ch u r c h s h o u l d b e c h o s e n
b y t h e p e o pl e a n d shou l d s u pp o r t th e ms e l v es o n t h ei r o wn
p r i v a t e r es o u rce s b y th e e xe r cis e o f s o me ca ll i n g b y h o n e st
i n du s try a fte r th e ex a mple o f Ch r ist o r St Pa u l th o u g h h e
a llows t h a t they a r e e n title d to a re mu n e ra tion for their servi ces ;
b u t it sh o u l d b e v o l u n t a ry
1 19 B l
i n d mo u th s
M o u th s
Cf the u s e of
g l u tto n s
ce i n La t i n
B lin d mea n s spi r i tu a l l y b l i n d
gul
1 2 1 Her dma n
C o n n ec t e d wi th the G er ma n
Sh epherd
hi r t e sh e pherd ; h e rde h e rd
h a t r echs i t th e m ?
122 W
Wha t c a re they ? Th ey a r e sped
Th e y a r e provi de d for
h en th a t lis t ; i e
123 W
on l
y wh e n it pl e a s e s the m
Lea n a n d fla shy so ng s
T h e ra d i ca l me a n i n g o f fla s hy i s
s u dde n ; he n ce m o men t a r y s h o wy u n s a t isfyi n g B a co n s p e a k s
of
fl a sh y or wa te ry t a s tes o f fru i ts a n d o f di st i l le d b o o ks
i e a b st ra cts a s fl a shy thi n g s Th e a ll u sion is to their u n s o u n d
prea chin g
124 Gr a te o n th ei r s cr a n n elpipes
Cf V i rg il E cl iii 26
”
St ri d e n ti mi s e r u m st i p u l a d i s pe rd e r e ca n n e n
Scr a n n eli n the La n ca shi r e d ia l e ct mea n s th i n o r me a g re
Here p e s t ilen t ; La t i n r a n ci du s
1 26 R a n h
Th e w o r d
p r ope rly me an s g r o wi n g hig h a n d lu x u r ia n tl y
Cf Gen es is
“
i 5 :
xl
An d b e h old seve n e a rs of corn c a me u p u p o n o n e
”
sta lk r a n h an d g ood
128 Th e g r i m wo l
Th e g ri m w o lf is
f wi th pr i vy pa w
R o m e ; th e pr i vy pa w de n o t es the secrecy with which the
Ro mish pries t s a n d J esu its l a b ou re d t o ma k e co n v e r ts
129 A n d n o thi n g sa i d
An d n o o n e t a k e s a n y hee d
an
a b s o l u te c o n str u ction
An i mp u ta tio n o n the i n di ffere n ce of the
b ishops a n d clerg y
1 30 31 Th e g e n e r a l me a n i n g of these t w o li n es is th a t t h e
d a y of retri b u tion is a t h a n d a n d tha t it will b e s u dde n a n d
d e ci s i v e
Th a t two h a n ded en g i n e
Ei th er the a xe o f the g o sp e l o r the
two edg ed swo r d of the Revel a tio n
Th e w o rd e n g i n e ( in
his you th
in
to b e
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M I LT O N S
58
P O EM S
’
m )
ma chi n e
.
l
ra tely c o n stru cte d M a sson wh o
is fo ll o we d b y G a r di n er sees a n a ll u sion t o the t wo Ho u ses o f
Pa rli a me n t
Thes e li n es were w ritte n two ye a rs b efo r e the
m e eti n g o f th e Lon g Pa rli a m e n t a n d it n ee de d n o prophet to
fo r e see the lin e o f a ction whi ch the Hou se of Co m mon s w ere
lik e ly to a dopt wh e n they shou l d meet
1 32 A l
ph eu s Th e r ive r g o d who wa s the lover o f A reth u s a
i n vok e d i n li n e 85 A fter the lon g dig ression he retu rn s to the
strea m s a n d me a d ows of p a sto ra l poetry
1 33 Th a t s h r u n h thy s tr ea ms ; i e
th a t stoppe d the flo w of
my p a stora l poet r y
M ilto n a ddresses the m a s if the b o dy of
1 34 Hi th er ca s t
Lyci d a s were r e a lly prese n t
1 35 B e a u tifu l a s M ilto n s t a le of flowers is
the ch a rm is
chiefly litera ry where a s Sh a kespea re p a in ts d irectly fr o m n a tu r e
N otwithst a n di n g its l e n g th we c a n n ot forb e a r qu o ti n g th e
fo llowi n g de lic a te criti cis m from M r Ru ski n s M oder n Pa i n te r s
He is d istin gu ishin g F a n cy which pl a ys w ith the o u ter a spe cts
a n d li k e n esses of thi n g s a n d I mag i n a t io n
which pen etra tes to
the v e ry he a rt a n d shows u s the p erfect i ma g e —the for m a n d
pressu re of the t hi n g pres e n ted
Comp a re M ilt o n s flowe r s i n Ly cida s w i th Perdita s I n
M ilton it h a ppe n s I thi n k g e n e r a lly a n d i n the ca se b efore u s
m ost c e rt a i n ly th a t th e i m a g i n a tio n is m ixe d a n d b roke n w i th
fa n cy a n d so the stren gth of the i ma g e r y is p a rt of iron a n d
p a r t o f cl a y
B r i n g th e ra the pri mrose th a t fors a ke n d ies (I mag i n a t io n )
Th e t u ft e d cro w t o e a n d p a le j e ss a m i n e (N u g a t o ry )
Th e white pi n k a n d th e p a n sy fr e a k d with j et (Fa n cy )
T h e g lo w i n g vi o let (I ma g i n a t i o n )
Th e mu s k r o se a n d the well a ttir e d woo db in e (Fa n cy va g i r )
An d every fl o wer th a t s a d e mb roi d ery we a rs
O Pr o serpin a ,
The n he a r Pe r d it a
e t s t fa ll
F o r the flowers n o w th a t fr i g hte d thee l
F ro m D is s w a g g o n ! da ffo d ils
T h a t co me b efo re the sw a ll o w da res a n d t a ke
T h e w i n ds of M a r ch with b ea u ty : violets di m
B u t sweet e r t h a n t h e li ds of J u n o s eyes
Or C yther e a s b re a th ; p a le pri mr oses
T h a t d i e u n m a r rie d e r e th e y ca n b ehol d
B r i g ht Ph oe b u s i n his stre n gt h—a m a l a dy
M os t i n ci d e n t to ma i ds
O b se r ve h o w the i ma gi n a ti o n i n these l a st lin es g oes i n t o th e
v e r y i n m o st s o u l o f eve r y fl o wer a fte r h a vi n g tou che d them a ll
a t first with t h a t he a ve n ly ti m i dn e ss t h e sh a d ow of Pr o serpi n a s
a n d n ever stops o n
a n d g il de d the m wi t h celesti a l g a th e rin g
their spots or their b odily sh a pe whil e M ilto n sticks i n the
n
i
u
e
g
’
is
any
e abo
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N O T ES—LYC I DAS
59
.
st ra i n s u p o n th e m a n d p u ts u s o ff wi th th a t u n h a ppy fr e a k o f
h
with
t
thi
s b i t o f p a p e r s ta i n i n g
i
n th e v e r y fl o w e r
t
a
o
u
t
e
t
j
w o u l d h a v e b e e n th e m o s t p r e c i o u s to u s a ll: Th e re s p a n s i e s
t h a t s fo r th o u g ht — M o der n Pa i n ter s ii 160
fr e q u e n t
1 36 Us e ; i e
C f Sp e n s e r F ae r i e Q u ee n vi 2
”
Wh e r e n e ve r fo o t did u s e
1 37 W
R o v i n g a t w i ll
Pr o b a b l y d e r iv e d fr o m t h e
a n to n
We l sh a dj e cti v e g wa n ta n ro vi n g fi ck l e
1 38 Th e s wa r t s ta r
Swa r t i s
Si ri u s o r th e d o g st a r
swa r thy T h i s s ta r r o se a t th e ti me o f th e
a n o t h e r fo r m o f
sw a r t
de n o tes th e
g re a te s t h e a t a n d t h e e pi th e t
e ffe ct it wa s s u pp o s e d t o h a v e o n v e g e t a t i o n
1 39 Q u a i n t evz a mel
ed
l
fa n cifu l
Q u a i n t h e re m e a n s o dd
T h e p ro p e r me a n i n g o f the w o r d is n e a t
Pr o b a b l y th e s a m e
En a m e l l e d
p a i n t e d a s o n e n a me l
a s t h e La t i n
co mpt u s
M r R u ski n h a s th e fo ll o wi n g co mm e n t o n t h e u s e o f th e w o rd i n
p o e tr y : G ra du a l ly th e t e r m is t a k e n t o i n di ca te a n y ki n d o f
b r ig h t a n d i n te r ch a n g e a b l e co l o u r i n g ; t h e r e b e i n g a l wa ys th i s
m u ch of p r op r i e ty a b o u t i t w h e n u s e d o f g r e e n swa r d t h a t s u ch
swa rd i s i n de e d l ik e e n a me l a co a t o f b ri g h t c o l o u r o n a co m
pa r a t i ve ly da r k g r o u n d a n d is t h u s a s o r t o f n a t u r a l j e w e ll e r y
a n d p a i n t e r s w o rk
d i ffe r e n t fr o m l o o s e a n d l a rg e v e g e ta t i o n
T h e wo rd is O ft e n a wkw a r d l y 0 r fa l s e l y u s e d b y l a t e r p o e ts o f
al
l ki n ds o f g r o w th a n d c o l o u r a s b y M i l t o n o f th e fl o w e rs o f
Pa ra di s e sh o wi n g t h e mselv e s o v e r i ts w a ll b u t it r e t a i n s n e v e r
e ss
th e l
th r o u g h a ll i ts j a de d i n a n i ty s o me h a l f u n co n s ci o u s
”—
v e st i g e of t h e o ld s e n s e ev e n t o th e p r e s e n t da y
1l
/o der n
Pa i n ter s iii 229
14 2 R a th e
Ea r ly
lemor i a m c 10 9
C f Te n n ys o n I n Il
”
Th e m e n o f r a th e a n d rip e r y e a r s
T h e r o o t of the word still a ppe a r s i n
r a th e r
so o n e r
e a rl i e r
Th a t f o r s a hen di es
Th a t fa des u n n otic e d C f Sh a k e sp e a r e
Wi n t Ta le iv 4
”
Pa l e p r i mros e s th a t d ie u n ma r r i e d
14 3 Cr o w to e
Pro b a b ly th e s a m e a s th e cr o w foo t a ki n d
o f r a n u n cu l u s
144 F r ea h ed
Sp o tt e d o r
stre a k e d
is th e
F re ckl e
d i mi n u tive 0 f th e sa m e word
14 7 W
an
Pa l e
T h e w o rd lit e r a lly me a n s v a i n
fa i n t
14 8 E mbr o i de ry
Lite r a lly orn a me n t a l n e e dle wo r k
F ro m
O ld F r e n ch b ro der
14 9 A ma r a n th u s
G reek dp dpa r r o s
u n fa d i n g
im
Cf
mo r te ll e s
1 5 1 La u r ea te h ea r se
La u re a te mea n s de ck e d wi th l a u r e l s
He a rse is e q u iva le n t to to mb a m e a n i n g t h e w o rd h a s n o w
los t B e n J o n s o n spea k s of a ma rb l e h e a rse
I t o r ig i n a l l y
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M I LT O N S PO EM S
’
60
.
tri a n gu l a r fra mewo rk for hol di n g c a n dles pl a ce d i n a
ch u rch over a t o mb
I t wa s a lso u s e d for a co ffin
a s if his b o dy were r e a lly pre se n t
1 5 2 F o r s o = for th u s
Cf a simil a r pl a y of fa n cy i n T en n yson I n M emo r ia m x v
“
An d b u t fo r fa n cies which a ver
Th a t a llthy m otio n s g e n tly p a ss
A cross a pl ai n of m olte n g l a ss
”
I sca rce cou l d b ro o k the st ra i n a n d stir & c
d
u ll
n n ecte d w ith
a nd
rifle
w
ith
Co
T
15 3 Da l
y
l
d w e ll (pro erly to
15 4 Th e s o r es & c
A sort of z e u gma
Th e se a s wa sh a n d
t h e sho r es ma n g le t h e co r pse
F u ll of m o n sters
1 5 8 M o n str o u s
Pra yers a ccomp a n ie d w i th tea rs
15 9 M o is t vows
l
160 By th e f a bl
e of B el
er u s o l
d ; i e n ea r B e l
l
e ru s the s u b j ec t
Bel
l
of fa b le
e ru s
is a fic t itio u s n a me for o n e o f the Cor n ish
l
e r i u m the a n cie n t n a me of
g i a n ts coi n e d b y M ilton fr o m B e l
t h e La n d s En d i n C orn wa ll
16 1 Th e g u a r ded mo u n t is S t M ich a el s M o u n t a n d the g r ea t
vi s io n is St M ich a el hi m self who is reporte d to h a ve a ppe a red
o n the m ou n t which wa s n a me d a fter h i m
16 2 N a ma n co s
I n M erca tor s A tla s of 1636 this pla ce i s
ma rke d rath e r to the eas t of C a pe F i n isterre w ith the ca stle of
B a yon a o n the sou th
T his is b est u n derstoo d a s referri n g to the
1 6 3 A n g el
Arch a n g el St M ich a e l
So m e prefe r m a ki n g i t a pply t o
Lyci da s hi mself ; b u t we c a n n ot co n ceive so c a refu l a poet a s
“
M il t on w riti n g i n o n e li n e of St M ich a el
Lo oks tow a rd s
”
“
N a ma n co s
a n d i n the n e xt
L ook ho me wa r d a n g el n o w
of Lycida s
R u th
Pity
Th e w or d stil
l s u rvives i n its compo u n d
r u thless
164 T h e son g lovin g d olphi n s were s a i d to h a ve ca rrie d the
poet A rio n s a fe t o l a n d whe n he threw hi mself in to the s e a to
esc a pe h i s wo u l d b e mu rde rers
1 6 5 Kei ghtl e y poin ts o u t th a t the li n e is s u gg este d b y Sh a k e
”
s p e a re s
Si gh n o more l a dies ; sigh n o more
a n d th a t the li n e sho u l d b e re a d
”
W eep n 6 more woefu l shepherds weep n o mo r e
i t b ei n g a co mmon cu stom of poets when they repe a t the w ord
t o v a ry the a cce n t
16 6 Yo u r so r r o w
Use d i n a co n crete se n se = th e obj ect of
Cf Shelley A do n a is
you r sorrow
”
Ou r l o ve o u r hope o u r sorrow is n o t de a d
16 7 Fl
oo r
A n y level s u rfa ce like the La ti n a e qu or
mea n t
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16 8
M il to n
Th e day ta r
-s
c a lls it
.
,
“
‘
.
Th e
su n
the d i u rn a l sta r
’
.
”
.
In Pa r a di se Lo st,
x
.
10 69,
HIST O RY O F EN G LA N D
A
B Y T HE
R EV
.
!
.
FR AN C K B RI G HT, D D
.
M a s te r of Un i ve r s i ty Co lleg e , Oxf o r d ;
a nd
la t e M a s te r
S ch o o la t ll
I a r lbo r o u g /e Co ll
eg
w ork
.
f the M o de r n
o
e.
i n t o thr e e Pe rio ds , e a ch s ol d s e pa r a t e ly
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