MI LTON'S

' ll e r o I l e er o s o L a g , p n s ,

o C omn s and. Ly ida s ;

edit ed wit h int r o duct io n and na t e s

F Hu t i t o T . . n ng n

(S t andar d Engl i s h c l a s s i a s )

BO TON S ,

C o G inn. and . ,

1 9 0 0 .

R E F A C E P .

’ IN M ilton s Tr a cla te of E duca tion th ere is a p assage which suggests in gure and w ith fi ne h arm ony th e duty as w ell as th e ’ r n “ I sha s a h delight of ev ery reade of M ilto s p oetry . ll . tr ig t ” conduc ou to a h 1lls1de es M on t o M as e Har tlib t y , writ ilt t r , “ wher e I will p oi nt you out the right p ath of a virtuous and nob e educa on abo ous ndeed at th e s ascen but a so so l ti , l ri i r t t , l sm oo h so een so u of ood os ec and m e od ous sounds t , gr , f ll g ly p r p t l i , m W h h that th e h arp of Orpheus w as not m or e ch ar i ng. it t e , eader of M on in ke m anne th e effo a o ous hou h it r ilt , li r , rt , l b ri t g r E e ne e e o d of b e m us e e ecede the easu e. , t v r p pl r v ry li , v ry w r ’ M on s oe h as its m ean n and e o en d en sea ch ilt p try i g, v ry ft ilig t r m ust b e m ade for it but it is nev erthel ess tr ue that h e who giv es his day s and nights to the sear ch for thi s m eani ng and nds it ’ wi ns for him self a culture scar cely l ess pr ecious th an M ilton s ow n ” “ u s an n n vir t ou d obl e educati o . S nce so m uch has een en abou M on and h a too so i b writt t ilt , t t , , ab it seem ed iser to iv e in the In oduc on to the esen ly , w g tr ti p r t v ol um e th e b est of what h as b een written by som e of the m ore m odern criti cs ab out the p oem s h er e edited r ather than to attem pt a c c sm h ch cou d ha d ho e t o e ua m uch ess to be e riti i w i l r ly p q l , l tt r , h a h a a ad b een so adm a d n F r h m th d er s e b o e. u e o e e w t lr y ir ly t r r , iv gence of v i ew s expr essed by the criti cs her e quoted will giv e the s uden ab undan O o uni for d scuss on and h e e ead to t t t pp rt ty i i , t r by l the form ati on of opinions m or e just than could p ossibly r esult ’ rom the e usa of an n m an n i m f p r l y o e s si gl e cr ti cis . ’ The text of th e p oem s is tak en from M asson s libr ary editi on ’ of M on s oe ca o k s Here as in the case o f th e se ec ons ilt p ti l w r . , l ti n ed in the In oduc on the r e n is as e ac as w as pri t tr ti , pri t x t it ss m ak po ibl e to e it . The No es as m us b e the case h e e se ous s ud is t o b e t , t w r ri t y m ade of p oem s whose li nes hav e b een so m uch fought ov er by

scho a s as h ese of M on ar e n ecessa a h er u . S e e a l r t ilt , rily r t f ll v r l a im p ortant interpretati ons ar e som eti m es given to a singl e p ssage.

Vll viii PR E FA CE .

The necessity the student is thus put to in choosing the m ost — r easonable of th ese and it is th e business of the teacher to see — that he h as good r easons for his pr efer ence ought t o l ead to hink n Th e s ud of ara as s sh clear t i g. t y p ll el p sage ould b e left o dina to th e m a ure o k of the co e e but in th e case of r rily t r w r ll g , M ilton som e w ork of this sor t is absolutely essenti al to an app re

ciation of his enius. S om e im i needs to be set ho e e and g l t , w v r , ’ hence all ar a e assa es in wo ks a er h an M on s m e p ll l p g r l t t ilt ti , w h two or hree e ce ons are i id e c uded h e hose in it t x pti , r g ly x l , w il t works b efore his tim e are giv en only where the r esem bl ance is so cl ose as to m ak e it pr obable that they w er e actually suggestiv e to ’ n M n him . Passa es in the B b e in S haks ere a d in o s o her g i l , p , ilt t oem s ar e m e e ci ed it b ein su osed ha e er s uden h as p r ly t , g pp t t v y t t k n an k h at h and a B ibl e and the w or s of Milto d S ha spere. T ese assa es shou d in e er case b e ook ed u o h for the h p g l v y l p , b t lig t they will throw up on the text and for the fam iliarity this sort of ’ r ih hr of he o d s ea k ues eference will br eed w t t ee t w rl gr t boo s. Q ’ ons and rob em s such as th e edi o s e e ence in each n ti p l , t r xp ri t i g High S chool students h as sho w n him can b e p rotably set for ar s d hr h h N s nde enden s ud e d s e e ou ou t e o e . i p t t y , i p r t g t t n In h The obligations of the editor are m a y . t e Notes use ’ has een m ade of all the m o an ed ons of M on s o k s b i p rt t iti ilt w r , ’ rom N e on s to th e esen m e and h th e e ce ion of the f wt pr t ti , wit x pt m a er ak en rom the ed ons ofW a on and Ke h e to h ch tt t f iti rt ig tl y , w i the ed or un o una e did not h a e access all uo a ons and it f rt t ly v , q t ti i a i ns ar m ad a rs hand In the case of the e ce ons c o e e t . t t t x pti , the ed or h as consu ed such e ab e sou ces usua ind ca ed it lt r li l r , lly i t h n a h as r s d in the No es ha it is o ed no i accu c e u ed. C e t , t t p r y lt r it h as everywh ere b een freely giv en for all m atter which did not To the M acm an C om an the ed or seem com m on p rop erty . ill p y it ’ is indebted for perm i ssion to use M asson s text and three of the se ions in h In roduc n For o her co h ed m a e ia in lect t e t tio . t pyrig t t r l the In oduc ion he is indeb ed to Ha er B o he s to L on tr t t rp r t r , g

n C o . and m an n W a o o D . e o s G ree C o . to e S c t , , lt r tt, Appl t ,

P . E a k to Ke an Paul Trench Trijbner C o. o be . c g , , r f Al rt J of L ake Fo es U ni e s offered a num er of su es ions h ch r t v r ity b gg t , w i h h ave been m ade use ofin t e Notes.

T. F . H.

S AN F O R D U N IV E R S I Y C AL IF O R N IA T T , ,

Oct obe I 6 1 8 r , 99. N T E N T C O S .

PAG E

INT R OD UC T IO N

C R IT IC AL C O M M ENT S

B IB L IO G RA PH IC AL N OTE

’ L ALLEG RO

IL PENSERo so

C O M US

L Y C ID A S

N OTES

D TI N INTR O UC O .

I C R ITIC L C O M M ENTS . . A

’ 1 WORD S WOR TH S S ONNET TO M IL TON.

’ M IL T ON thou should st be livi ng at thi s hour " Engl and hath need of thee : she is a fen

Of s a nan w a e s : a ar s or d and en t g t t r lt , w , p ,

Fireside the heroic w ea h ofh a l and o e , lt l b w r , Hav e for feited their ancient English dow er

h n W ar s sh m en Of inw ard appi ess. e e el ;

Oh " r aise us u re u n to us a a n p , t r g i ;

And v e us m anne s ir ue eedom o er . gi r , v t , fr , p w

Th sou was k e a S ar and d e a ar : y l li t , w lt p t Thou h adst a v oice whose sound w as lik e the sea

Pu e as the nak ed hea ens m a es c ee r v , j ti , fr , ’ S o d ds hou a e on e s com m on w a i t t tr v l lif y, In ch eerful godliness and yet thy heart h n T e lo wliest duti es o herself did lay.

B o ok e E n lis/i L iter a tu r e . 1 6 1 [ r , g , pp

ohn M i on w as t he as of the i a e h ans and J lt l t El z b t , , e Sh a es ar e far h r h ll rn ce t e t e ea es of em a . o x p k p , g t t t B

1 ’ ’ Th s M o n s o wn On t/ze L ate M a ssacr e in Piedm ont and ea s s i , ilt , K t ’ On Fir st L ooking in to C /zap m a n s Hom er are am ong th e best sonnet s in o ur language. Fo r so m e co m m ents o n the first line of the present ’ sonne see the n oduc o essa in E n es M ers s S elected Pr ose Wr it t, i tr t ry y r t y in s o o n il g fj li M ton . 2 ’ For som e strictures on Brook e s criticism as it was or igin ally pub li h d ’ s e see M a he A no d e sa n ed A G uide to En lis/z L iter a tu r e. , tt w r l s s y e titl g

x i ii [N T 0 J x R 0 UC T ON .

in 1 60 8 in read S r ee c ose the M er m aid a ern , B t t ( l by T v ) , he m a h a e seen Sh a es eare for he rem ained i h e w as y v k p , t ll

n in L n n His i rar if m a aid sixtee o do . l t e y l e y be s t o begin

i h h is en ran ce in o C am r id e in 1 6 2 the ear of the w t t t b g , 5, y ’ i n am d th L a o hr i accession ofC h arles I. N ck e e dy fC st s fr om his eau de ica e as e an d m or a ife he soon b ty , l t t t , l l , a ained a r e u a ion his L a in oem s an d discour ses tt p t t by t p , and by his Engl ish p oem s w hich revealed as cl ear an d or i ina a en ius as h a of h aucer an d S enser Of g l g t t C p .

M i on e en m o re h an of the t wo o her s it m a b e said lt v t t , y “ n Th h at he w as w h o e in him se f an d ow ed to n o e. e t l l ,

Ode to die N ativ it 1 6 2 the hird oem h e com osed whie y, 9, t p p , l it wen ac t o the i a e h an a e in eau in inst in c t b k El z b t g b ty,

i e fi r e w en forw ar d in o a new w or d of ar t t he w or d t v , t t l , l w here th e ar ch itect ure of th e ly ric is fin ished w ith m aj esty n i h n a d m us c. T e ext year hear d t he noble soun ding st r ains of At a S olem n M usic an d t he son ne On Atta inin tne , t , g

A e o Ttwent - tam e re ea s in di ni ed eau h a in ense g f y , v l g fi b ty t t t

ersona i w hich i es i e a for ce hr ou h e er in e he p l ty l v , l k , t g v y l w r H f h ni r i 1 6 2 n i a o e. e e t e u e s in and w e t o e t t l t v ty 3 , t l v

or on near Windsor w here h e s en fi ve ears s eadi H t , , p t y , t ly readin t he ree an d L a in w r i ers and am usin h im se f g G k t t , g l

w i h m a h m P r w a n o ne ec ed. t t e at ics an d m usic. oet y s t gl t The Allegr o and Penser oso w ere w r itt en in 1 633 an d p rob a t he Ar ca des C o m w as ac ed in 1 6 an d L cidas bly ; m t 34 , y com o in 1 6 he r o e h a hou h M i on w as p sed 3 7 . T y p v t t t g lt Pur it an in hear t his Pur it anism w as of th at ear lier type

Bu he w hich disdain ed neith er the ar t s nor l etters. t t y

h r h repr esen t a gr owing r ev ol t from th e C our t an d the C u c . The Penser oso prefer s the con t em p l ative l ife t o the m ir th ful an d C onner hou h a m as ue r ose in o a ce es ia oem , , t g q , t l t l p t o t he or of em er ance and under it s a e or a ac ed gl y t p , ll g y tt k i x ui t he C our . h ree ear s a er L cidas in erru s t s e t T y l t , y t pt q [N ’ D (J T/ TAO C ON . xiii

S ite st ream of p oet r y w ith a fier ce and resol ute onset on h i n h the greedy shepherds of t e C hur ch . M lt o ad t aken his n Pr esbyt erian b e t .

1 6 8 he w en t o I a the second h om e o f so m an In 3 t t ly , y of th e n ish oe s isi ed orence w here he saw a ieo E gl p t , v t Fl G l l ,

A a h an d then p assed o n t o R om e. t N pl es he ear d t he sad n ws of ci i w ar w hich de er m ined h im t o re urn in as e v l , t t m uch as I th ough t it b ase t o be t r avel ing at m y ease for

m u em en wh ie m fe ow - coun r m en at hom e w ere a s t , l y ll t y ” A h m in of h L n figh ting for liber ty . t t e eet g t e o g Par lia

m en w fi n d h im in a h ouse in A der s a e wh er e h e i ed t e l g t , l v

H h ad ro e ed w hie a road a rea till 1 64 5. e p j ct l b g t epic

oem on th e su ec of Ar hur but in L on don his m ind p bj t t ,

ch an ed and am on a num er of su ec s en ded at as g , g b bj t , t l t t o Pa r a dise L ost w hich he m ean t o h r ow in o th e for m of , t t t

r i n h r a G reek T r agedy w ith ly cs a d c o uses.

Sudden his w h o e ife ch an ed an d for w en ears ly l l g , t ty y

1 6 0 —6 o — he w as car r ied out of ar t in o o i ics out 4 t p l t ,

M o h onnets how r n of oe r in o r ose. os f t e S e e e o p t y t p t , v , b l g

t o his im e. S a e ru ed or r acefu as h e eased t o t t t t ly, gg , g l , pl

m a e hem som e w i h the so em n r andeur of e rew k t , t l g H b

sa m s o her s h a in the c assic ease of orace som e of p l , t v g l H ,

his ow n r a e ender ness he ar e rue un i e hose of g v t , t y t , l k t

Sha es ear e an d S enser t o the correc form of his dif k p p , t t

fi l in But he wer e all h u d now d cu t k d of p oet ry . t y e co l o

of h is rue wor . efore the C i i War e an in 1 6 2 he t k B v l b g 4 , h n ad w ritt e fi v e vigorous p am phl ets against Episcop acy .

Si m r m h n x o e p a p l ets appear ed in th e next tw o years. O e

of hese w as the Ar eo a itica or S eecn or t/ze [ ioer t o t p g ; , p f y f

Unlicensed Pr intin 1 6 a o d an d e o uen a ac on g, 44 , b l l q t tt k

h n An her t e censor shi of the ress the Pres eria s. o p p by byt t ,

rem ar a e i e t he Ar eo a itica for it s ner rose w as a k bl , l k p g , fi p ,

t r act On E i n The f ur am h e s in which he adv o ducat o . o p p l t x iv [N TA’ D O UC T] ON . cated con dition al divor ce m ade h im still m ore the h orror h Pr of t e es er ians. In 1 6 6 he u ished his oem s and byt 4 p bl p , in th at year t he sonnet On tne For cer s of C onscience sh ow s

ha he h ad who ceased t o be Pr es r i n His o i i t t lly byt e a . p l t cal p am phl et s b egin when his Tenur e of Kings and M agis tr a tes defended in 1 6 the e ecu ion of h in h 49 x t t e k g. T e E iéonoclastes answ ered the Eiéon B asiline (a p or t r aitur e of t he suffer ings of th e king) ; an d his fam ous L atin D efence ’ or tae Peo le o E n la nd 1 6 I re ied t o S alm asius s D e nce f p f g , 5 , pl fe

o C na r les f. an d in fic ed so i iess a ash in o n the rea f , l t p t l l g g t ’ L eyden sch ol ar th a t M ilt on s fam e w en t over th e w h o le of

ur o e. In th e n e ear h wh o o hi i h B E p xt y e lly l st s s g t . ut he con tin ued his w ork (b eing L atin secret ar y sin ce 1 64 9) when C rom w e w as m ade Pr o ec or an d w r o e ano her ll t t , t t

D e ence or tne E n O lisn Peo le 1 6 an d a fur her D e ence f f <5 p , 54 , t f

s n r h i h of [ s elf agai st scu r il ous ch arges. T s cl osed t e ’ on r o r s in 1 6 In the as ear of t he Pr o ec or s c t ve y 55. l t y t t

ife he e an the Par a dise L ost but t he dea h of C r om w e l b g , t ll

h rew him ac in o o i ics and h ree m ore am h e s on t b k t p l t , t p p l t the quest ion s of a F r ee C hur ch an d a free C om m onw ealth

n I w as a wonder w ere usel ess t o pr even t the R est or at io . t h e w as not ut t o dea h in 1 66 0 and he w as in h idin an d p t , g

At as h e se ed in a h ouse al so in cust o dy for a tim e. l t ttl

I a h er h a Par adise L ost w as n ear Bu nh ill Fields. t w s e t t

n ished efore th e en d of 1 66 an d h en u ished in fi , b 5, t p bl

1 6 67 . We m ay regret th at M ilt on w as shut aw ay from his art Bu i m a b e h a dur ing tw en ty year s of con t r over sy . t t y t t the p oem s he w r o te when the great cau se h e fough t for h ad c osed in seem in defea b ut r ea ic or ained fr om it s l g t l v t y, g sol em n issues an d from th e m or al gr andeur with w hich h e w r ou h fo r i s end heir m a es ic m o em en heir r an d g t t s t j t v t , t g h h ad s e an d heir r a e eau . D ur in t he s ru e e tyl , t g v b ty g t ggl IN TR OD UC TI ON xv

“ r for o en his art . I m a on e da ho e he said neve g tt y y p , , “ a in of his ou hfu s udies t o h a e e a ain in a spe k g y t l t , v y g ,

im e w h en here sh a b e no chidin . Not in hese still t , t ll g t ” ises and the sa in s r i es t h e n o e of ca m su im i N o , y g t k t l bl ty

n ise ost which is kept i Par a d L .

r a th e rea e ic w e fee h a th e i h ness o f AS w e e d g t p , l t t l g t

r o he Alle r o h a e en the uie c assic hi oso h hea t ft g , t t v q t l p l p y

The eau of the oem i i f h C om us are one. s e o t e , g b ty p l k

a e em e which as in con ce ion is th at of a st t ly t pl , , v t pt ,

i The s e is the rea es in the wh o e inv olved in det a l . tyl g t t l ’ r M i on s in e ec ua for ce su r ange of English p oet y . lt t ll t l p

or s an d con den ses h is im a in a i e for ce an d s art is p t g t v , hi Su im i is it e n ia al m ost t o o conscious of it self. bl ty s sse t l

n Th e su ect is one h ase ofthe rea an d un i differe ce. bj p g t

r a su ec of h i h oe ic hou h and assion h a ve s l bj t g p t t g t p , t t s ru e of L i ht w i h D ar n ess of i w i h oo d w hich t ggl g t k , Ev l t G , , ar isin in a hun dred m h s ee s it s un d in a r ac ion g yt , k p y g tt t

B i r diffi in t o th e presen t day. ut t s g eat culty his case w as h a he w as o i ed t o in eres u s fo r a r ea ar of t t bl g t t , g t p t th e oem in t wo erson s w h o ein in nocen w ere w ith p , p , , b g t , out an y such p l ay of hum an passion and t r oubl e as w e fi n d i ZEn as am or A In h in (Ed us e e ces e. t e no e ar t p , , H l t , l t bl

i w hi h h i i done M i o n i r m The in r w th c t s s lt s sup e e. te est ofth e s o r co ec s at r st r oun d t he ch ar ac er of Sa an t y ll t fi t t , but h e r ow s m ean er as th e oem de e o s an d h is secon d g p v l p , degr adat ion aft er he h as dest r o yed inn ocence is o ne o fth e

n s an d m os onsi n m i n h m hi a fi e t t c st e t ot ves i t e p oe . T s t on ce disp oses o f t he view th at M ilt on m ean t S at an t o b e

h h r h i Hi h r e n r t e e o of t e e c. Th dee e de p s e o is M an . p t ness of M i on his o e of eau th e assiona e ness of lt , l v b ty, p t fit h is w ords t o h is or his re i ious de h the scenes w k, l g p t , fill in which he ain s Par adise our ar en s an d heir fa and p t , p t t ll , at as all hou h an d em o io n cen er roun d Adam an d Ev e l t t g t t t , I N TR OD UC TI ON un til t he cl osing lines leave us w ith their l on ely im age on

our m inds. In e er ar of t he oem in e er ch ar ac er v y p t p , v y t

’ in it as in deed in all his oem s M i on s in ense indi idu , p , lt t v

i r I r a a ea s. t is a easu e t o fi n i Th o i m l ty pp pl d t . e eg t s of

uch a m an aid C o erid e is a r e e a i n s s o of iri . , l g , v l t sp t g Pa r adise L ost w as foll ow ed by Par a dise R ega ined and

s i es u i h d o h r 6 1 S am on A on st s e e e in 1 . Par dise g , p bl t g t 7 a R ega ined opens w ith the j ourney of C h r ist in t o the w ilder n ess af er his a ism and it s four oo s descri e h t b p t , b k b t e

em a ion of C h r is Sa an and the an sw er s and v ic t pt t t by t ,

or h R m r Th ee he in r h t y of t e edee e . e sp c s it ove whel m t e ac ion an d heir ear ned ar um en is on r e ie ed a few t , t l g t ly l v by descr i ions b ut hese as in hat of A hens are done pt ; t , t t , ’ i h i n i h m ie w M o s h es ow er . It s so e n eau of u ude t lt g t p l b ty q t , and a m ore se er e s e h an h a of Par adise L ost m a e v tyl t t t , k u f in h a M i n r n r s eel it t t lt o h as g ow olde .

In S a m son A onistes t he s e is s i se erer e en t o g tyl t ll v , v the verge of a h ar sh ness which the subl im ity al one ten ds

t o m odif . It is a ch ora dr am a af er t he ree m ode . y l , t G k l

Sam son in his in dness is descr i ed is ca ed on t o m a e bl b , ll k

s or for t he Phiis ines an d o er hr ow s hem in the end. p t l t , v t t ’ S am son r e resen s the fa en Pur i an cause and S am son s p t ll t ,

’ vict or ious death M ilt on s h o pes for t he fi n al t rium ph o f

Th o m h as all the r andeur of th e as th at cause. e p e g l t

“ w ords of a great m an in wh om th er e w as now calm of ” i so he as w or d of th m ind all assion s en . It s a t e , p p t l l t m usic ofth e Eliz ab eth an dr am a l ong after it s n o tes seem ed hushed and it s soun d is s r an e in the m ids of , t g t

rw r d the sh a ow n o of the R es or a ion . Soon af e a s ll t t t ,

o em er 1 6 ind an d old and fa en on e i da s N v b , 7 4 , bl ll v l y ,

M i on died but nei her indn ess old a e n or e i da s lt ; t bl , g , v l y cou d lessen the inw ard i h nor im air t he im a ina i e l l g t , p g t v

er wi h w hich h e san it seem ed w i h t h e an e s the p t g, t g l ,

xviii

' resen Pur i an n an d an d t he w h o e s ir i o f Puri a n is t t E gl , l p t t m

fr om it s cr ad e t o i r l t s g ave.

Pattiso M ilton — . 1 2 2 [ m , pp 9, 4 9 ]

The fam e of the au th o r of Pa r adise L ost h as over- sh ad ’ owed h a of t he au hor of L Alle r o Il Penser oso an d t t t g , ,

L cidas. Yet h ad Pa r a dise L ost n e er een w r i en h y v b tt , t ese

h ree oem s w i h C om us w ould h a ve suffi ced t o a t p , t , p l ce their

au hor in a c ass a ar an d a o e all h ose w h h t l p t , b v t o ad used

e n ish an ua e for oe ica ur oses ef r h th E gl l g g p t l p p b o e im . EI

>3€ at

a n atur al ist is at o nce aw are th at M ilt on h ad neith er

t h e e e n or t h e ear of a n a ura is . At n o im e e en efore y t l t t , v b

h is loss of si h w as h e an e ac O ser er of n a ur a g t , x t b v t l

I m a b e ha he n ew a S ar fr m Obj ect s. t y t t k kyl k o a r ed

reas and did n ot confoun d the do - r ose wi h t he h o ne b t , g t y

But I m sur h a he h ad n r a uired h suckle. a e t t eve cq t at

’ in terest in n at ure s th ings an d w ay s wh ich l eads t o close

h m He had n ot h a sense of an d l o ving w at ching of t e . t t

out - door n a ure em ir ica an d no t scien i c w hich en dow s t , p l t fi , t h e Angler of h is cot em por ar y Walt on w ith his endur ing

ch arm and wh ich is t o b e ac uired o n i in in the , q ly by l v g

Mi on is n ot a m an of th e o pen coun t r y in childhoo d. lt

Hi i is in h is s ud an d w hen e ds but of oo s. s fe fi l , b k l t y, he steps ab ro ad in t o the air h e carr ies h is study thought s

r but he sees h er h r ou h w i h him . He doe oo at n a u e t s l k t , t g

a ura im ression s are r ecei ed fr om w i hou b ooks. N t l p v t t , but alw ay s in th ose form s of b eau tiful speech in w hich t he

o of all a es h a e c o hed hem . His e i he s are n ot p ets g v l t t p t t ,

i h f the sch oo of D r den an d Po e cu ed l ke the epit et s o l y p , ll from the G r a dus ad Par nassum ; th ey ar e expr essive of ’ m e r ea i but it is of a r ea em o ion in t he s ec a or s so l ty, l t p t t IN TR OD UC TI ON xix

u not of an ua i de ec ed een insi h in the so l , y q l ty t t by k g t ’ h is em o io n M i on s ar t s am obj ects them selves. T t lt t ps w ith an epithet which sh all con vey the added ch ar m of

“ Wh n . . h s ea of a rem iniscence. e e e s th cl assic l , g , p k e

’ ” w and r in m oon the or i in a si n i can ce of the e i he g , g l g fi p t t com es h om e t o t he schol arly r eader w ith the enh an ced “ ” effect of its association w ith t he err ant em lun am of

r or e ause it is ado ed fr o m or ace h h H o ace. N b c pt H as t e

h n d-h an ffe I M i n epithet here t e seco d e ct of a copy . f lt o

sees n a ure h r ou h oo s he s i sees it . t t g b k , t ll

’ “ To beho d the w and rin m oon l g ,

R d n near her hi h es noon i i g g t ,

L ke one h a had een led as ra i t t b t y , ’ Throu h the h ea en s ide a h ess w a g v w p t l y, ’ n f a if h r h a sh A d o t, s e e d e bow d, ” S tooping through a fl eecy cloud.

’ No allegation th at “ w an d r ing m oon is b orrowed from

or ace can hide from us h a M i on h ou h he rem em H t t lt , t g

ered or ace h ad w a ch ed the henom enon w i h a fee in b H , t p t l g ’ so int ense th at he p r oj ect ed h is ow n soul s th r ob in t o the o ect efore him an d n am ed it wi h wh a h om son ca s bj b , t t T ll ” recoll ected l ove. ’ M ilt on s attitude tow ar d n ature is not th at of a scien tific

n h f a os o r r na ura is n or e e a o c e se e . It is h of t l t , v t t l b v t at a poet w ho feel s it s t ot al influen ce t oo pow erfully t o dissect

it . If as I h a e said M i on r eads oo s rs and n a ure , v , lt b k fi t t afterw ar ds it is not t o es n a ure his oo s but t o , t t t by b k ,

ear n r m h H i bu from f o o . e s earn in n ot oo s t l b t l g, b k ,

oo s. All he reads sees hears is t o h im but n u r im en b k , , , t t for h H h t e sou . e is m in h im f M an i to him t e l ak g sel . s hi hes O ec n a ure is su or din a e to m an not on in g t bj t ; t b t , ly it s m ore r ion u a uses but as an e ci an of fi ne em o . v lg , x t t t X X IN TR OD UC TI ON

He is not con cer ned t o register the fact s and phenom en a

of n a ure but t o con e t he im ression he m a e on a t , v y p t y k

The e ern a for m s of hin s are t o be re sensitive soul . xt l t g p sen t ed t o us as t r an sfor m ed th rough t he h ear t an d m in d of

Th m oon is en dow ed w i h ife and w i s oo th oe . e e p t t l ll , t p ” ” ” in ridin “ ow in her head not as a g, g, b g ,

fri id ersoni ca ion an d ecause the an cien oe s so er g p fi t , b t p t p

son ifi ed h er b ut com m un ica ion t o her of the in en se , by t t ’ agit a t ion which the n octur n al spect acle rouses in the poet s

own rea b st .

’ I M i n n r is n ot ut forw ar d a the o h m n to a u e s e s e e. l , t p p t t

His hem e is m an in the t wo con r as ed m o ods of o ous t , t t j y h hi in em otion or grave r eflection . T e s ft g scenery m inist ers h om on in h e s ns t o the ar in m ood. s t e S a o se s v y g T , t

him e f o r en d r n a ur a h en o m ena a h ru r s l t e t l p s t ey t ly a e. He h as l eft us a vivid p resen t a t ion in gorgeous l anguage

h i i ndar h h M il n Oft e n a ur a s c ca e of t e c an in ear . o t l t l g g y t ,

in h id h a r rd n - r h ese t wo s s eco ed a da of w e fou ours. t yll , y t ty But h e h as n ot r egister ed the phen om en a ; he pl aces us at

he an d o in of the m an f r wh m h An t st p t b e o e o t ey depl oy . d

the m an o ous or m elan ch o is not a are s ec a or of , j y ly, b p t t

hem h e is t he s uden com oun ded of sen si ii and t ; t t, p b l ty

in e i en ce of w hom w e are n ot o d h a he saw so n t ll g , t l t t a d

so or h a h e fe so but w i h wh om w e are m ade o ar , t t lt , t c p t

r h n . ne s of his thoug t s a d feeling. D escr iption m elts in to em o ion an d con em a ion o dies i se f in im r All a e . t , t pl t b t l g y

t he ch arm of r ur a ife is here but it is n ot n r l l t , te de ed t o us

in the fo rm ~ of a l an dscape ; the scener y is sub ordin at ed

o h hu m n ur in h n r t t e a fig e t e ce te . Th ese t wo sh or t idyll s are m arked by a gl adsom e spon t an it w hi h n r m o M i n in Th e y c eve ca e t lt o aga . e del ica te ’ fan cy an d feeling which pl ay ab ou t L Allegr o an d Il IN TR OD U C TI ON xx i

ser oso ne er rea ear and for m a s ron con ras v pp , t g t t t o

th aus r im a inin of hi a r i a ri e t e e g gs s l te p oet c l pe od. These

t wo oem s h a e t he freedom and fr o ic the n a ur a rac p v l , t l g e

of m o em en t t he im r o isa ion of the est i a e han v , p v t , b El z b t

e am es w h ie o h h ou h s and w or ds are un der a x pl , l b t t g t st r ict eco nom y un know n t o the diffuse exuberan ce of the

n r n \Sp e se ia s. In Lycidas (1 63 7 ) w e h ave r eached the high-w at er m ark ’ n n i n r i ofE glish p oesy a d ofM ilt on s ow n p roduct o . A pe od of a cen tur y an d a h alfw as t o el apse b efore poet ry in Eng ’ an d seem ed in Wo r dsw or h s Ode on Im m or tali l , t ty t o be r ising again t ow ard the l evel of in spir ation w hich it

h n in in d s n d in he d o m n ad o ce a tt a ed Lyci a . A t evel p e t of the M ilt on ic gen ius this w onderful dirge m arks the cul

m in at in n As th e w in id of 1 6 2 h ow a rea g poi t . t yll s 3 S g t advan ce up on t he Ode on tne N a tivity the grow th of th e p oetic m in d dur ing the fi v e year s w hich fo ll ow 1 63 2

’ i L ik he L lle r o an d I en s r egist ered in Lycidas. e t A g l P Lycidas is l aid out o n t he lines of the accept ed p ast or al fi ction ; l ike them it o ffer s exqu isite t ou ches of

i r r i d n r in dealised u al l fe. But Lyci as Ope s u p a deepe ve

of fee in a a r io assion so ehem en an d dan er ous l g, p t t p v t g

ha i e h a w hich s irred the e r ew r o he it is t t , l k t t t H b p p t ,

com e ed t o ei i se f fr om ow er or from s m a h in p ll v l t l p , y p t y,

r n m ad ur n m i The assa e w hich utte a ce e p p osely e ig at cal . p g ” b egins L ast cam e an d l ast did go r aises in us a th rill of aw e- st ruck expect at ion w hich I can only com p are w ith th at ’ For excit ed by the C assandr a of E schylus s Agam em non .

t he reader t o fee his h e m us h a e resent in m em or the l t , t v p y

H m u ace h im cir cum st an ces of E ngl an d in 1 63 7 . e st pl

self as far as p ossible in t he sit ua tion of a cotem po rar y . ’ The study of M ilton s p oetr y co m p el s th e study of his ’ t im e ; an d Professor M asson s six volum es are not t oo xxii [N TR 0 1) UC TI ON m uch t o en abl e u s t o un der st and th a t there w ere real causes fo r t he in t ense p assion w hich gl ow s un derneath ’ — t he p oet s w or ds a p assion w hich unexpl ained w ould be n th ought t o b e i t rusive. The hist or ical exp osition m ust b e gathered from the

n ish his o r of the er iod w hich m a b e r ead in Pr E gl t y p , y o ’ n e en um m ar All I d fessor M asso s xcell t s y . esire t o p oin t ’ out here is h a in L cidas M i on s or i in a i ur , t t y lt g l p ct esque vein is fo r t h e fi rst tim e crossed w ith o ne of quite an other so r s er n de er m in ed o scure in dica i e of su r essed t , t , t , b ly t v pp

assion and the r esolu ion t o do o r die. The fan a ici m p , t t s of the co ven ant er and the sad gr ace of Pet r ar ch seem t o

’ m eet in M i on s m o no d . Yet hese o osi es ins ead of lt y t pp t , t neu r a isin each o her are en ded in o one h ar m on ious t l g t , bl t

h r idin but in isi n i f h w h o e t e es e e us o t e oe . l by p g, v bl , g p t — The con flict b etw een t he old cavalier w or ld t he y ear s of

aie an d fes i i of a s en did an d easure- o in cour g ty t v ty pl pl l v g t , an d t he new Pur it an w orld in t o w h ich l o ve and p leasu re — were n ot t o en ter this conflict which w as com m encing ’ in he socia ife of n an d is a so e u n in M i on s ow n t l l E gl , l b g lt

reas and is r e ec ed in L cidas. b t , fl t y

’ n h - am h Forw e w er e nurs d upo t e self s e ill .

er e is th e sw ee m our nfu ness o fth e S en ser ian im e u on H t l p t , p

n in r r Pa o r w h ose j oy s D eath is the o ly t ude . ss nwa d a

i e and ou are in r esence of the r em en dous l ttl , y p t

Two- h anded en ne at th e doo gi r ,

th e t err or of w hich is en h an ced by it s ob scur ity . We are

r r h a t he a en er is h ere h ou h we now not ve y su e t t v g t , t g k

i In he e hir ines w e h a e the re udin wh o he s. t s t ty l v p l g m utter ings of the stor m w hich w as t o sweep aw ay m ask an d re e and son t o inhi i the dram a an d su r ess v l g, b t , pp IN TR OD UCTI ON xxiii

In h i ’ poet ry . t e earl er poem s M ilt on s m use h as sung in t he t ones of the age th at is p assing aw ay ; ex cept in his ’ r h i aus e e c as a ca a ier . h ou h e en in L lle r o t t ty , v l T g v A g D r . ” ohn son ru de ec s “ o m m an h in hi J t ly t t s e el c oly s m ir th . In

L cidas for a m o m en t he ones of o h a es t he as an d y , t , t b t g , p t

the com in are com ined and h en M i on ea es eh ind g, b , t lt l v b him fore er t he o den a e an d one h a f of his oe ic v g l g , l p t

H n e r fu t h ro m i w i h w hi h genius. e ve lfill ed e p se t c Lycidas ” n T - m r r r h n d a n co c udes o o ow t o f es e ds a s ures ew . l , fi l p t

— G a ne L e o M ilton . [ r tt, if f , pp 49 54 ]

Th e “ Pen ser oso and the “ A e ro no wi h s andin ll g , t t t g

h a each iece is t he an i hesis of t h e o her ar e com e t t p t t t , pl

m en ar r a her h an con r ar an d m a be in a sen se t y t t t y, y , ,

re ar ded as one oem w h ose hem e is t he r a ise of the g p , t p

It r s m on of h o e ic ur in reason able life. e e bl es e t s p t es which t he effect is gained by con t r ast ed m asses of ligh t

and sh ade but each is m or e nice m e ow ed an d in er , ly ll t fused w ith the qu al ities of t he other th an it lies w ithin t he

M ir h h a an u nder r esour ces of p ict or ial skill t o effect . t s i one of r a i an d m e anch o o f cheerfu ness. here s t g v ty , l ly l T n o an t agon ism b etw een t he st at es of m ind depicted ; an d

n o r a ion a o er w h e her of con em a ion or of recr ea t l l v , t t pl t Th ion w ou d fi nd an dif cu in com in in the tw o . e t , l y fi lty b g lim pidity of t he dict ion is even m ore st r iking th an it s

r r i a of uch di n i em odied in beau ty . N eve w e e de s s g ty b

erse so eas an d fam i iar an d wi h such a aren a sen ce v y l , t pp t b o ff r Th ands a e- a in in is h a of the se en f e o t . e l c p p t g t t v

t eenth cen ur a so u e rue in r oad effec s som e im es t y, b l t ly t b t , t

- Som e of illdefined an d even in accurat e in m inu te det ail s.

n in en h - cen u r e es these blem ish es are terr ibl e in et e t t y y , accust om ed t o t he ph o togr aphy of ou r B row n ings an d xxiv IN TR OD UC TI ON

n u r Patm or es. M ilt o w o ld p ob ably h ave m ade ligh t of

hem and er h a s w e ow e h im som e h an s for hus rao t , p p t k t p tically r efut ing the heresy th at inspir ation im pl ies infalli

Yet the oe r ofhis indn a ound bility. p t y bl ess b s w ith p roof th a t h e had m ade ex cellen t use of h is eyes w hil e he h ad

h em and n o ar of his oe r w an s ins an ces of su t , p t p t y t t btl e and delicate ob ser v ation w or t hy of the m ost scrutiniz ing

m odern

Thee chan ress oft the oods am on , t , w g,

I w oo to hea th e enson , r y v g ;

And m ss n hee I a k unseen , i i g t , w l

h r h- h n On t e d sm oo S a e een . y, t v gr

” The son of t he ni h in a e rem ar s Peacoc ceases g g t g l , k k, ” h r i m Th h r m about t he im e t e ass s own . e c a h ow e er J t g , v ,

is ess in su ch de ach ed eau ies h ow e er e uisi e h an l t b t , v xq t , t — “ in the con densed o pul en ce ever y epithet a text for a

can o sa s M acau a an d in the enera im ression of t , y l y g l p

“ ain i in an d hi h hin in ursued in t he m ids of pl l v g g t k g, p t

e er ch arm of n a ure and e er r e nem en of cu ure com v y t v y fi t lt , h bining the ideal of H or ton w ith t e ideal of C am b r idge.

“ L cidas is far m or e o d con en ion a n o t m erel y b l ly v t l , y

in t he rea m en of an dsca e but in th e en er a con ce t t t l p , g l p

n n in i i ff r h m in t ion and m a chi er y . A t al e o t of t e i ag atio n is r equired t o feel w ith th e p oet ; it is not w onderful th a t

n r n n M i n n o su ch w i g b o e u p the sol id J oh so . T alk of lto

“ and his fell ow - coll egian as Shepher ds " We kn ow th at

he ne er dr o e a e d and h a he h ad n o oc s t o t y v v fi l , t t t y fl k ” h r i in a or din t o ohn son nei h r at en . e e s f c acc e b t T , t, g J , t

n a ure no r ru h n or ar t n or a h os in the oem for all t t t p t p , these th ings are in consist en t w ith the in t ro duction of a

h h r h h r of h Shepherd of soul s in t e c a ra ct e of a s ep e d s eep .

A n in e een h - cen ur reader it m a b e ho ed nds no t t t y , y p , fi m ore diffi culty in ideal iz ing Edw ar d King as a shepherd xxvi IN TR OD UC TI ON .

su ec s of r ief h a o uch ed hem m r n r h bj t g t t t t o e ea ly . S ell ey ’ e s us fr an h a “ in an o her s w oe h e w e hi n t ll kly t t t pt s ow . We cann o t doubt of w h o m M ilt on w as thinking wh en h e w r o e L cidas 0 t [y , 7 “ ” ’ C o m us th e r ich es fr ui of M i on s ear enius is , t t lt ly g , t h e e i o m e of t h e m an at th e a e at which h w r p t g e o t e it .

It es ea s t h e scho ar an d idea is w h ose sa cr ed en thusi b p k l l t , asm is in som e danger of con t r acting a t ain t of pedan t r y for w an of ac uain an ce w i h m n an ff ir Th t q t t e d a a s. e Elder

ro her is a r i and his dia o ues w i h h is un ior r B t p g, l g t j eveal t he sam e sol em n insensib ility t o the hum or ous w hich ch ar a ct er iz es the in dred en ius of Wordsw or h an d w ou d k g t , l h a e r o o ed the in d m i of h r I i . v p v k k ly s l e S akespea e. t s ” singul ar t o fi n d the Inevit able fl aw of “ Par adise L ost

r efi ured here and th e w ic ed en ch an er m ade th r p g , k t e eal

h er o of the iece. hese defe s are in er es in ecause p T ct t t g, b t he re r esen t he n a ur e of M i on as it w as h en n o e y p t t lt t , bl and disin er es ed t o the h ei h o f im a in a ion but se f t t g t g t , l a r i unm n sse e e ow ed a u ar . he disa ear en ir e t v , ll , g l T y pp t ly when he e a ia es in th e re io ns of e a ed fan c as in xp t t g x lt y, the in r odu c or discourse of th e S ir i an d th e in o ca t t y p t , v i n t on t o S ab r i a. They recur wh en he m or al iz es ; an d his m or al ity is t o o in t erw o ven w ith t he t ext ure of his piece t o be o her h an o ru i H f i ir s e. e a ues w i h ue as L ucan t t bt v t g t v t , fatigues w ith lib er ty ; in b oth in st an ces th e scar cely avoid a r r r f a n r m r ble e o O you g p eacher . Wh at gl o rious o a lity it is no one need b e t o ld ; n or is there any p oem in the

an ua e wh ere eau ies of h ou h dic ion an d descr i l g g b t t g t , t , p

ion s r in u m ore hic h an in m t p g p t kly t C o us. No dr am a out of Sh akespear e h as furn ished such a num ber of t he

fam ii r i n no es a uo a ons. It is i deed rue h a m an bl t l q t t , , t t t y of th ese j ew el s ar e fet ched fr om t he m ines of o ther p oets ’ rea as M i on s o i a ions t o a ur e w er e his o i a ions g t lt bl g t N t , bl g t IN TR OD UC TI ON xxv u

r Bu h e h a m ade all h is ow n to b ooks w er e g ea ter . t s

the a ch em o f h is en ius an d orr ow s i e but t o by l y g , b l ttl

im ro p ve.

— — B o o k e M ilton . 18 1 2 2 2 2 6 [ r , , pp 9, 4 ,

The Alle r o and Penser oso th e r esem an ces t o which In g , bl

re ious w r i ers as in ur o n an d eaum on an d e ch er p v t , B t , B t Fl t ,

on ro e h a M i on h ad r ead n ish i er a ure an d ly p v t t lt E gl l t t , — could b etter w h at he b orrow ed if h e b or row ed it r ep t e

sen a ur e an d M an and Ar t as h e a ear t o a m an t N t , , t y p p

im in i adn filled w ith an im agin ative joy and an ag at ve s ess.

The Alle r o w hich e ins w i h t he ear m or nin an d ends g , b g t ly g

at n i h is ar a e ed h ou h hou h scene scene g t , p ll l t g t by t g t , by ,

wi h the Penser oso w hich e ins w i h th e a e e enin and t , b g t l t v g ' B t he Penser s ends t ow ards t he n oon of the next day. u t o o

Ic oses w i h the w ish - which not ar a e ed in the Alle r o l t , p ll l g , ‘ m akes u s know th at M ilt on prefer red the pensive t o the

m ir hfu em er — h a h e m a i e on in o old a e the t l t p T t y l v t g ,

con em a i e ife t pl t v l ,

“ T old e e ience do a a n ill xp r tt i ,

T s m h n k h n o o et i g li e pr op eti c str ai .

Both p oem s ar e usher ed in w ith a st ately in t r oduction

and ch an e t o a uic er and i h er m easure of which the g q k l g t ,

schem e a ear s t o be roch aic h ou h iam ics ar e of en pp t , t g b t

in rodu ced and es ecia in h ens r s The rea es t p lly t e P e o o. g t t

ain s is es ow ed u n rh h h r is n o hin p b t po the yt m . T e e t g

h a ar ded no hin car e ess et the oem s m o e it seem s z , t g l , y p v , ,

w i h r h ar n m r in he m e r ica t ca el ess gr ace. T ey e a l a d a k t t l

art of oe r and he ar e con scious of heir art hrou h p t y, t y t t g

out .

w or ds are arranged an d ch osen t o im it ate or suggest descr ib ed : alliter at ion is u sed t o heighten t he xxviii IN TR OD UCTI ON

ffec but m uch m ore s ar in han the ear ier m en e t , p gly t by l ,

“ ” 1 hi ori in a S enser . h rou hou the Alle r such as s g l , p T g t g o the verse frequen tly rush es as if b orn e al ong by very joy ; i n and sm o o h n it s ch ar acter is sw ft ess t ess. Few if any h n p auses occur in t he m idst of t e li es. Th rough ou t t he ser oso the verse fr equen tly p auses in the m idst of the

i a en si e m an wh w a in ine . It res s e o s o s t o l s t , l k p v , lk g, t p

i o w hin and it s m ovem en t s s e en s a e . t k, l , v t t ly

m r e fu of n a ur a descr i ion B B o th p oe s a ll t l p t . ut it is ’ neither the descr iption wh ich im p oses o ne s ow n feeling on

n a ure nor the m or a isin descr i ion of r a n or does t , l g pt G y, it even resem bl e th at description wh ich in Shelley an d Wordswor th w as bu ilt o n t h e though t th at N atur e w as alive ’ I h an d m an s com p an ion . t is t e pure descr ip tion of things / ’ seen seen n ot necessari hrou h t he oe s ow n m ood , ly t g p t , but alw ay s in dir ect rel ation t o M an an d t o the special ’ m ood ofm an s m in dw hich M ilt on h as chosen as the gr ou nd ‘ w ork for each poem . The allusiveness oft he poem s and extrem e allusiveness

is a ch ar ac er is ic m ar k an d of en a fau of the oe r of t t , t lt , p t y

M i n — a th e c aim i m a o n ud The lt o ple ses by l t kes st y .

e rem e sim ici of the t w o m o i es an d M i o n h ow xt pl ty t v lt ,

e er h is oem s a re in o ed h as a w a s a sim e m o i e v p v lv , l y pl t v

m a es hese oem s sim e and his is one reason wh k t p pl , t y children as w ell as o ther s u n derst an d an d h ave pleasure in

h m i r n o h en e t he ar e . The c u es ue ess f t e sc s c e cu t p t q , l t — an d vivid outline of the things descr ib ed an d this al so is

a cons an e ce en ce of M i on h ou h h e som e im es w il t t x ll lt , t g t

ful s oi s it di ression 15 a so a sour ce ofde i h t o ly p l by g , l l g t y oung an d old : w h il e the w ork of th e higher im aginatio n

is fe t as a sh a in ower in the oem s as the Or hean l p g p p , p

1 “ “ M on has ack no ed ed t o m e sa s D den ha S ense ilt wl g , y ry , t t p r ”

B k . was his origi nal . roo e [N T/60 0 UC TI O/v. xxix m usic wh ich h as harm oniz ed and built them in to that unity which is the highest and l ast dem an d of Ar t .

=X< >X<

’ It [C om us] settled M ilt on s r ank as a poet am ong ’ n Sir en r Wott on s oice all m en cap abl e of j udgi g. H y v “ w as w e m a b e sure t he oice of all m en of cu ure A , y , v lt

i of en er ainm en w herein I shou d m uch com dainty p ece t t t , l m end t he t r agical p ar t if th e lyr ical did n ot r avish m e

r in D or ic de icac in our son s and odes w ith a ce t a l y y g , w hereun to I m ust pl ainly confess t o h ave seen yet no th ing ” The h rase D or ic de icac is par all el in our l anguage. p l y

not ill-said but it is n ot in the rics which are e ce ed ; ly , x ll

m an of t he i a e h an r ics but in the fu - w ei h ed by y El z b t ly , ll g t dign ity of t he bl ank verse th a t the p oem w as then un

M oreo er it w as m ar d a r a er r an p arall el ed. v ke by g e t g

deur of s e and h ou h a ra er eau an d a tyl t g t , by g v b ty , by m o re exer cised an d self- con scious ar t th an an y p oem of n n I it s ch ar acter w hich En gl an d h ad as yet k ow . t be

on ed t o th e i a e h an s ir i but it w en e on d it l g El z b t p t , t b y

an d m a n w Th w a de a e dep ar ture for English p oet r y . e y it show ed could not be w alked in by t he m en of the

R r i n n I m est o at o a d the Revolution . t w as b efore it s ti e ; but th a t is at on ce t he good an d t he evil for t une of a great n ge ius. ’ J ohn son s sturdy cr iticism on it h as m uch for ce and is

adm ir a w ri en but in condem n in it as a dr am a he is bly tt ; g , car ried beyon d good sen se t o l ose sigh t of it s b eauty as a

oem . M or eo er his arr w om us p v o s do not hit the t arget . C

is n ot a re u ar dr am a b ut a m as ue an d a m as ue o e s g l , q , q b y

aw s dis inc fr om ho h Th m a ue l t t t se oft e regul ar dra m a. e sq

de en ds for success n ot on on the oe r which here is p ly p t y ,

s en did but a so an d ch ie on its occasion an d aw a pl , l fly , y [ D xxx N TR O UC T1 ON .

m h n dram i n anno fro t e occasio its at c fit ess c t be j udged.

It de ends a so on t he decor a ion and m usic and hese are p l t , t so ni t o the o ccasion h a e en when he are re roduced k t t t , v t y p , they h ave not the sam e value as at t he tim e they w ere

m No one can ud h f us n radi fi rst ade. j ge ow ar C om co t ct s ’ J ohnso n s j udgm en t of it s w ant of in t er est as a dr am atic r e resen a ion un ess h e can r ecr ea e in his m ind not on p t t , l t ly ” the scene an d the “ occasion an d all it s in eres s b ut , , t t , a so all th e fee in s of t he s ec a or s an d the hou h of l l g p t t , t g t the st o ry in their m in ds to which the m asque spoke ; and

hi w a w r whi h h n n t s s o k of c J o so at least seem s incapable.

C om us w as w r i en fo r su ch an o ccasion and o n in the tt , ly at m osphere of the m om en t can it s dram at ic m erit s b e j udged. Still th at C om us soars beyo nd the occasion is pl ain

h It dis aced i se f as a m as ue t o rise in m enoug . pl t l q t o a p oe

r n i r r An d i ir u i n t o the gl o y a d v cto y of vi tue. t s v t e l es i

r f h r i h w i o er en n the m aste y o t e g teous ll v s se a d appetite.

It is a son t o em eran ce as the round of fr eedom t o g T p g ,

em er ance as the uar d of all th e ir ues t o eau as t p g v t , b ty

cured em er an ce and it s cen r a oin and c im a is se by t p , t l p t l x in t he pl eading of these m ot ives by the L ady against their

h L r opp osites in the m ou th of t e o d of sensual R ev el . It is m oreover r aised ab ove an ethical p oem by it s im aginat ive for m an d pow er ; and it s l iter ary w or th en ables us t o co nsider it if w e ch oose a ar from it s dr am a ic , , p t t

for m . It s im a in a ion h ow e er sink s at im es an d one g t , v , t , can scar cely expl ain th is o therw ise th an by saying th at the Eliz ab eth an h abit of fan t ast ic m et aphor clung t o M ilt on

at hi im Wh n h do fa h fa is m ade m ore s e. e e es t e t t ll, ll rem arkabl e by t he soar ing st rength ofhis loftier fl igh t and

o hin an b e w orse in by th e m aj esty of th e ver se. N t g c con ception th an the com p arison of n ight t o a thief wh o IN TR OD UC TI ON xxxi

shu s u for the sa e of his fe on t he s ars wh ose am t p, k l y , t l ps

ur n ever as in oil in his dar an er n . The e er i b l t g , k l t b tt t is

h n r he erse t he w orse i arr ied out and t e e t t is. c fi v , And yet it is inst antly foll owed by the great passage ab out t he fears of ni h t he fan asies and air on ues h a g t , t y t g t t syll able

’ m en s n am es an d t he or ious a ea t o con scien ce , by gl pp l , fai h an d G od fo owed in it s ur n th e fan as ic con i t , , ll t by t t ce t

h oud h a urn s out it s si er in in on the n of t e cl t t t lv l g ight . his is i a e h an w ea ness and s r en h t he m i ur e T El z b t k t gt , xt of o d and c a t he w an Of h a art - sensi i en ess w hich g l l y, t t t t v f e s t he a sur d : an d M i on e en in Pa r a dise l ost w hen e l b lt , v , h e h ad ot fur her from h is or i in a s fa s in o it n ot g t g l , ll t

I i a fau w hich r uns hrou h a ood dea unfrequen tly . t s lt t g g l ofhis ear ier w or it is m ore seen in C am us h an e sewhere l k, t l

h i a but it w as the fault of t at p oet c ge.

36

It L cidas is as or a and in the form of o her [ y ] p t l , t

as or a s w i h it s in ro duc io n and it s e i o ue an d p t l ; t t t p l g , b etween them th e m o n o dy of the sh epherd w ho h as l ost

ri n n der t he ui his f e d. U g se of one sh epher d m our n ing ’ ano h er all M i on s r e a ions w i h dw ar d Kin r t , lt l t t E g a e

e ressed a n d all his h ou h s a ou hi xp , t g t b t s ch ar acter and

enius and th e oem t o b e us ud ed m us b r ad g ; p , j tly j g , t e e w ith the con ditions of the p ast o r al as a form ofver se p res ’ n h n h a e t t o t e m i d. T t is en ough t o dispose of J oh nson s

unfa our a e cr i icism w hich u ar r s wi h the oem for v bl t , q el t p

it s w an of assion an d w an of na ure an d for its im r ob t p t t , p

a ii . It is not a oem of assiona e sor row but of adm i b l ty p p t , r at ion and regret expr essed with careful art an d in a special ar tistic for m ; an d t he cl assical all usions an d sh epher d im ages an d th e rest are t he necessar y dr aper y of the

as ora the ar t of w hich an d th e due ee in t o for m in p t l , , k p g xxx u [N T] ? OD U T] O C N .

which are as im or an t o M i on and erh a s m ore so , p t t lt , p p ,

r m r th an h is regr et . We a e ade aw a e of this when w e fi nd Milton twice checking h im self in the conduct of th e p oem for h a in on e ond h im i s o h v g g e b y t e l t ft e p ast or al .

The m e rica s ruc ure . wh ich is ar or r ow ed from t l t t , p tly b

I a ian m ode s is as car efu w r ou h as the r es an d t l l , lly g t t, ’ h arm on i h h “ M i on z ed t o t h e t oug t s. lt s ear w as a good ” second t o his im agin at ion . Lycidas appeal s n ot on ly t o

h im in a i n t e a o b ut t o the educa ed im a in a ion . here g t , t g t T is no ebb and fl ow of p oet ical p ow er as in C om us ; it is an ad an ce o n all his re ious w or and it fitl c o ses the v p v k, y l

i hi h d a n a i oe c a our of s ou . It is n ee ess t o se t p t l b y t l ly , an d all ri i i m i w a Y w e c t c s s e ker th an the p oem it self. et m ay say th a t one of it s st r ange ch ar m s is it s sol em n under t one r ising like a r eligiou s ch aun t thr ough th e dSibk ; t he sen se of a st er n n ation al cr isis in the m idst fi-- ’ Ofit s p ast o r al m our ning ; the sen se of M ilt on s gr ave for ce of ch ar act er am ong the fl ower s and fan cies of the p oem ; the sense of the C h ristian r eligion per v ading t he cl assical ' im a er n r ill- fi o g y . We m ight say th at these th i gs a e t ted t

h o h r r fi ne an d eac e . So he w ou d be w ere not the a t so t t y l , the poet ry so over -m ast er ing ; w ere they not fused t ogether by genius in t o a w hol e so th at the un fit ness itself b ecom es 1 a ina f sc tion .

i o n i a u e 1 S a n s u E l z a etna L ter t r . [ i t b ry, , pp 3 9

his od of w o r h en is m ar ed ‘ t w o ua i ies ° T b y k, t , k by q l t an e r aordin ar de ree of oe ic m er i an d a s i m ore xt y g p t t , t ll

hou h M i on ext raordin ar y or igin ality ofp oet ic kin d. Alt g lt is a w a s M i o n it w ou d be diflicult t o fi n d in ano her l y lt , l t

1 — h S ee a so . 2 2 h e e B oo k e es his o b se a o n s o n t e l pp 7 9, w r r giv rv ti ’ po litical and social aspects of Milto n s early p oetry .

I ] xxxiv N TR OD UC T ON .

— n alit of hem e or of an hin else e r a- oe ica m u ch y t , yt g xt p t l , m ore th ose (the greater num b er ) w h o sim ply v ar y t rans m itt ed ideas — m a b e scan da i ed at his asser ion but , y l z t t , n in h ind n th at w ill h ardly m a tt er m u ch . A d deed t e ebted ess of C om us in po in t of subj ect (it is p r ob ably l im it ed t o the ’ Od sse which is u ic ro er and t o eor e Peele s y y, p bl p p ty, G g ’ Old Wives Ta le which a e i e but a few hin s of s or , g v l ttl t t y) is scar cely greater th an th at of Pa r adise L ost ; while the

m f t he dram a a in d n ear as ener a e and m a es ic for o , k ly v bl j t

h a of t he e ic is co m e e ed. And in C om us as t t p , pl t ly fill

h r is n one of t he s iffn ess n one of the lon ueur s n one t e e t , g ,

h a m o s udicr ous w an of hum our wh ich m ar t he Of t e l t l t ,

um our in deed w as w h a M i on l arger p oem . H t lt alw ays

d h ad he h ad it Sh ak es ere him se f m i h h ard l acke ; , p l g t ly

The an is n ot r a m ore r i h ave b een great er . pl e lly a t ficial th an t ha t ofthe epic ; th ough in the l att er case it is m asked t o us th e sca e the r an deur of the er sona es an d by l , by g p g , by t he fam il iar ity of t h e im ages t o all m en w h o h ave b een

Th r ifi i n r ou h u on th e i e. e v e s cat o as e en oh nson b g t p B bl , v J saw is the v er sifi cat io n of Par a dise L ost and t o m fanc , , y y at an r a e it h as a s r in a ar ie a sw ee an d r ush y t p g, v ty, p A of en ius w hich are but r ar e resent a er . s for it s g , ly p l t

eau in ar s uis oitu er a uit ? It is im ossi e t o b ty p t , g p p bl sin e out assa es for t he wh o e is o den The en er gl p g , l g l t in addr ess of C om us th e son “ Swee ch o the descr i g , g t E , p

i e s eech ofthe S ir i and the m a n i cen eu o of t he t v p p t , g fi t l gy

“ ” sun - c ad o w er of ch as i w ou d be th e m os eau ifu l p t ty , l t b t l

hin s w here allis eau ifu ifthe un a r oach a e S a r in a t g b t l , pp bl b

” ' fair did n ot com e a er an d w ere not sus ained efor e an d l t , t b

af er fo r near tw o hun dred ines of ur e n ec ar . If t , ly l p t

oe r cou d b e au ht the readin of it hen in deed p t y l t g by g , t ’ the cr it ic s advice t o a p oet m igh t b e lim ited t o this ” “ r in of us Give y our days and n ight s t o the ead g C om . IN TR OD UC TI ON xxxv

n is s A end 2 1 l W am Haz L ectu r es on tne E l li Poet . 0 et se [ illi litt , g , pp ix , p a ]

’ f all M i on s sm a er oem s L cidas is the rea es O lt ll p , y g t t

I anno a ree t o the ch ar e which favour ite with m e. c t g g

r oh nson h as rou h a a in s it of edan r and w an D . J b g t g t p t y t

I is the fine em ana ion of c assica sen im en of feeling. t t l l t t ’ — ‘ m i m n ho in a ou hfu sch o ar m os us ca m os e a c . y t l l t l, t l ly

A cer t ain ender oom o ers reads it a w a w ard ab st rac t gl v p , y

ion a for e fu ness o fh is su ect in t he ser ious r e ec ions t , g t l bj fl t

The u of assion m an i th at ar ise out of it . g sts p co e d go l ke

r n n h the sounds of m usic b o e o n the w i d. T e l oss of the friend w h ose dea h h e am en s seem s t o h a e reca ed w i h t l t v ll , t dou e for ce the rea it of hose s ecu a ions which he bl , l y t p l t t y h ad indu ed o e her w e are r an s or ed t o c assic round lg t g t t p t l g , an d a m s er ious s rain s ea s res onsi e on the ear whie y t t t l p v , l we is en t o the oe l t p t ,

’ W h a r h h ar in his D r la it e ge t oug t w bl g o ic y.

I sh all proceed t o give a few passages at l ength in supp or t n h of m y Opinio . T e fi rst I sh all quot e is as rem ar kable for the t ruth an d sw eetn ess of the natural descr iptions as

r h h ara r i i n h i L in fo t e c cte st c el ega ce of t e allus ons. [ es — 2 5 49 quoted ] After th e fi ne ap ost rophe on F am e w hich Phoebus is in

o ed t o u er t he oe r oceeds : L ines 8 — uo ed v lv tt , p t p [ 5 99 q t ] If his is ar t it is erfec ar t nor do w e w ish for t , p t ; Th h an hin e er . e m easure of t e erse the er yt g b tt v , v y sound of the nam es w ou d a m os roduce th e effec here , l l t p t des r i k m of such c bed. To as the poet not t o ake use allusions as these is t o ask the p ain t er not t o dip in t he co f h n h om ours o t e r ai ow ifh e cou d. In fac it is t e c l b , l t , m on cant of crit icism t o consider every allusion t o the cl as

1 New Yo k 1 Pu nam . 8 . W e and r , 45 il y t xxxvi IN TR OD UC TI ON

’ sics and ar icu ar in a m ind i e M i on s as edan r , p t l ly l k lt , p t y

n i i a e on d na ure and in his a d affec a ion . a s s c t t H b t t ; , t sense the edan r if it is t o be so ca ed of the scho as ic , p t y ( ll ) l t en husias wh o is con s an r eferr in t o im a es of which t t, t tly g g i his m ind is fu is as r acefu as it is n a ura . It s not ll , g l t l affect ation in him t o r ecur t o ideas an d m odes of expres sion w i h w hich he h as the stron es associa ions an d in t g t t , which he a es th r h M i on w a as con er t k e g eatest del ig t . lt s v san t w ith t he w orld ofgen ius b efor e him as w ith the w o rld of n ature ab out h im the fabl es of t he an cien t m ythol ogy w er f m n i e as a iliar t o him as his dream s. To be a peda t s t o se n i n r n r M i on aw e e ther the b eauties of atu e or of a t . lt s b oth an d he m ade use of the one on ly t o ador n and give in r H w as a assion a e adm ir r of t e est t o th e o th er . e p t e n a ure and in a sin e cou e of h is descri in the t ; , gl pl t , b g m oon , Lik e one th at h ad b een led astr ay ’ ’ Th ou h the hea en s de a h ess w a r g v wi p t l y,

here is m ore in ense o ser a ion an d in ense fee in of t t b v t , t l g nature (as if h e h ad gaz ed him self blin d in l ooking at

her h an in w en o um es of descr i i e oe r . But , ) t t ty v l pt v p t y he added in his ow n ob ser v ation of n ature the spl endid

c ions of an cien en ius ensh rined her in the m s er ies fi t t g , y t of an cien re i ion and ce e ra ed h er w i h the om of t l g , l b t t p p i m 1 anc ent na es.

— D o den Tr a n scr z ots a n d S tudies . 60 6 [ w , j , pp 4 4 5, 47

M i on as an ar is w or s in the m an ner of an lt , t t , k

- Hi ar in in in ari an a s r ac ion . idealist . s st t g p o t is or d ly b t t Whereas w ith Buny an ab str act vir tues an d vices are p er

1 ’ Haz litt continu es with a rather fanciful defense of Milton s com n bination ofh eathen and C hri stian el em e ts . [N TR OD 0 0 T1 0 1V. xxxv u

etuall endin t o ecom e rea ersons w i h M i n p y t g b l p , t lt o each real person t ends t o b ecom e the represen t at ive of an idea

m r or m f i or a rou o e ess co e o deas. g p, l pl x,

C am us is the w or of a ou hfu S ir i enam r k y t l p t , ou ed of it s idea s of eau an d of ir ue ea ous to e hi i l b ty v t , z l x b t the iden i of m or a o e iness w i h m ora se er i Th t ty l l v l t l v ty . e real in ciden t from w hich the m ask is said t o h ave origin ated disen a es i se f in the Im a in a io n of M i on from h g g t l , g t lt , t e w or d of ac ua o ccur rences an d ecom es an occasion f r l t l , b o the dram a ic dis a of h is ow n oe ica a ra t pl y p t l b st ctions. The young E nglish gen tl em en cast off their iden tity and indi idua i and a ear in t he e em en ar sh a es of v l ty, pp l t y p ” ” “ n h Th L a First B r oth er an d Seco d B rot er . e dy Al ice r ises into an ideal im personat ion of virgin st rength and

ir Th ne is ear h a wid w ood but ear h a in t ue. e sce s v t , l ; t , all the oem s of Mi on w i h the hea ens ar ch in o er it p lt , t v g v a dim s o in w hich m en “ stri e t o ee u a frai an d p t, v k p p l ” ’ feverish being set b el ow t he “ starr y threshold of J ove s ” C our t,

Wher e those im m ortal shapes ’ Of bright aerial spirits liv e inspher d

In re ons m d of a m and s n air gi il c l ere e .

F rom it s fi rst scen e t o t he l ast the dram a is a represen t ation oft he ria s dif cu ies an d dan ers t o which m or a t l , fi lt , g l

ur i is e osed in his w or d an d of the ic or of th e p ty xp t l , v t y

e er r inci e in the sou ained s renuous hum an b tt p pl l , g by t

hi iri ua en deavour aided by the gr ace of G od. In t s sp t l w arfare the pow ers of good an d evil are ar rayed against one ano her u on his side the L ad her r o hers es t ; p t y, b t (typ ofhum an h e fu ness wea in i se f an d ia e t o o as ra lp l k t l , l bl g t y) , an d the supern atur al power s auxiliar t o vir tue in heaven an d in ear th the Attendan t Spir it and the ny m ph Sab r ina. I xxxviii [N m oa OC T ON .

h n h an er C om us is son of acchus and C ir ce and T e e c t B ,

If M i n h ad i ur h if inher it or of tw ofold vice. lt o p ct ed t e l e ’ f nn n m ir h in L Alle r a here w as a ic ure t o set o i oce t t g , p t

eside th e o her a ision of the en ius of sen sua indul b t , v g l

Yet C o m us is inw ard not ou w ard fou no r im en . g ce ly, t ly l ; g m on st er like th at which the m edieval im agination conj ured h h m up t o terrify t he spir it and disgust t e senses. T e att e pt of sin upon the soul as conceived by M ilt on is not t he o en an d io en o session of a ru e ow er but in o es a p v l t b b t p , v lv

chea an im os ure. The sou is ut u on it s ria h rou h t , p t l p p t l t g the seduct ion of the senses and the low er p ar t s of our

a r in ies en ice th e ear s of Eve C hris i n ature. Fl tt e g l t ; t s

ried fa se ision s of ower an d or and beneficent t by l v p gl y , rul e ; S am son is defrauded of his st rength by deceitful

An in i e m an n r C om us m us n d bl andishm en t . d l k e t ee s

ossess a eau of his own such eau as ensnares t he p b ty , b ty

n d in h se ere hoo o m or a r i eye un t r ai e t e v sc l f l pe fect on .

C orr e io sou h him as a fa our i e m ode but not M ich ae gg g t v t l , l

He is sensi i e t o r ich for m s and w e oun An e o . s e s ds g l t v t ,

racefu in or a or ossessed i e Sa an of hi h in e ec g l t y, p , l k t , g t ll t , but intell ect in the ser vice of the sen ses ; he surrounds him self w ith a w orl d of ar t which lull s th e soul in t o forget ful ness of it s higher in stin ct s and of duty ; his p al ace is ” a e and “ set out w i h all m anner of de i iou n s c s e . t t ly , t l ss Over against this po t en t en ch an t er st ands the or igin al

ur e of the L ad w h o is s r on er h an he. Youn m en fig y, t g t g ,

hem se es conscious of hi h owers and w h o are m or t lv g p , e

ru ac u ain ed w i h adm ir a ion h an w i h o e fin d th t ly q t t t t t l v , e

resen ce of s ren h in w om an in in ci a r a i p t gt v bly tt ct ve.

Sha s ere in his ear ier dr am a ic er iod de i h ed k p , l t p , l g t t o r e resen such ch arac er s as R osa ind an d ea r ice and p t t l , B t , Por tia ; ch ar acter s at o nce st r onger and w eaker th an his

Im o ens and D esdem onas —s r on er ecause m ore in e g , t g b t l [ ’ D ] N TAO UC T ON . xxxix

ec ua wea er ecause ess h arm on ious fem inine. She e l t l, k b l ly ll y,

w ho w as ne er o her h an oun e hi i ed differen es v t t y g, x b t t typ

of heroic w om an n a ur e as concei ed him in C th n a ly t , v by , y

of m e R evolt o Isla m and in ea r ice C en ci. S om e hin f , B t t g ’ ofwea ness e on s t o the L ad of M i on s oem ecause k b l g y lt p , b

she isa w om an accus om ed t o the ro ec ion of o her s , t p t t t ,

ender nur ured w i h a fair an d en e od but when t ly t , t g tl b y ; the hour of tr ial com es she sh ow s h erself st rong in p ow er s

of ud m en and of reasonin s r on in her s ir i ua j g t g, t g p t l

na ur e in h er enaci of m o r a ru h in her in di n a ion t , t ty l t t , g t

in in A h u h on and en com assed e i n a a s s . o a e a d g t lt g l , p by v l

dan er she is fear ess and so c ear - si h ed h a the u in g , l , l g t t t j ggl g

r a i o h r n n i i h in effec ua a ains h r p ct ce f e a t ago st s w olly t l g t e . Th ere is m u ch in t h e L ady which r esem bles t he y outhful

M i on him se f he t he L ad of his co e e an d w e m a lt l , y ll g y w ell b elieve th at the gr eat deb at e co ncer n ing t em per ance w as n ot a o e her dr am a ic where in deed is M i o n ru lt g t t ( , , lt t ly dr am atic but w as in par t a r ecord of p assages in the ’ oe w n ir i ua hi r h L a p t s o sp t l sto y . M ilt on adm ir ed t e ady s he adm ired t he ideal w hich he p r oj ected b efore him of

him se f. She is in deed t oo adm ir a e o be an o ec of l , , bl t bj t

h n We m ff r in s c erishi g l ove. could al ost p r ol ong h er su e g t o dr aw a m ore com pl ete en thusiasm fr om the sight of her h eroic attitude.

The L ad is unsu dued an d in deed un su dua e ecause y b , b bl , b her w i rem a ins her ow n a ci ade w i hou a r each but ll , t l t t b ;

“ ” her cor orea r ind is m an ac ed sh e is set in th e p l l , en h n M eanwhi e c a ted ch air an d cannot leave it . l

h n h he are a i e t e b r others w ander i t e w ood. T y l k in being aim l ess and h elpless ; if they are distinguished ” from each o her it is on as “ irs ro her and “ Second t , ly F t B t ” ro her an d one of t he sim e de ices com m on t o idea B t , by pl v l — ar tist s first b r other is a phil osopher and full of hope xl IN TR OD UC TI ON

and fai h second ro her is m ore a rehensi e and ess t ; b t pp v , l

r u h r oun ded in e hics an d m e a h i T tho o g ly g t t p ys cs. h e deliver an ce of th eir sist er w ould b e im p ossibl e but for su ern a ur a in er osi ion the aid afforded the A en p t l t p t , by tt dant

’ S ir i from o e s cou r . In o her w or ds D i ine P p t J v t t , v rovi

‘ N w i h ou hi h r h n dence is asser t ed. ot t t g e t a hum an aid is th e L ad r escued and h rou h the w ea ness of he m y , t g k t or tal inst rum en t s of divine gr ace but h alf th e in t en ded w ork is

accom lished. C om us esca es ear in his m a ic w and t o p p b g g , decei e o her s r a er s in the w ood t o w or new n h n v t t y , k e c a t m en s an d sw e h is r ou of u -headed fo ow ers t , ll t gly ll .

3? >X< >X<

A ine wi reca i u a e the su s an ce of hi l ll p t l t b t t s essay .

M i on w or s fr om the s ar in - oin of an idea and lt k t t g p t , two su ch ideas b r ought in to b eing w h at he accom plished as

n n Hi r a m an a d as a ar is . s ose w or s th t t p k , e ou t com e of his ife of u ic ac ion h a e for heir i l l p bl t , v t dea cen tre a p

con ce ion ofhum an i er . His oe ica w or s t he out pt l b ty p t l k , com e of his in ner ife his ife of ar is ic con em a ion l , l t t t pl t , — are v arious r ender ings of on e dom in an t idea th at the struggle for m aster y b etw een good and evil is t he prim e fact ofl ife ; an d th at a fin al vict ory of the r ighteous cause is assured by t he exist ence of a divine or der of the ” h n m Pr i n un i erse w hich M i on new t e a e of o de ce. v , lt k by v

i u . I SO C . hair n Poetic I nter r eta t on o N at r e . S O [J p , p f , pp

When w e p ass from the im ages of N ature th at ab ound in C h aucer an d in Sh akespear e t o t hose w h ich M ilt on

1 For a b b o a h of L iter atu r e on tae N a tu r e-S en se see C am o i li gr p y , ill ’ Vo n Klenz e s a t c e in th e ou r n a l o G er m a nic Pnilolo v ol. . r i l j f gy , ii — i i l. . n se 1 1 . . 2 2 6 a so Tne C r t c v o ew es . 8 On pp 39 5; l , , xxviii ( ri ) pp 47 , ’ ’

m f n u e s e M r S u es s a c e in the M ad. n . M on s ea en o a e . L a ilt tr t t t r , q ir rti l g xlii IN TR OD UC TI ON

it u r n i n ll h h a som hin in s s e u du a o . A o e a e s e de p b l t b v , t g scrib abl ser ene an d ic or ious an u nfaiin e e of s e y v t , l g l v l tyl , ’

ower in m i h i m ir a d cr i ion of M . p do t able. T s ad ble es pt ’ S ch erer a ies m ain t o M i on s s e as it w as fu ppl ly lt tyl , lly

a r i r An d he h ou h h as om e el b o ated n h is g eat ep ic. t t g t s

im es occurred whe her his m a ni cen e a or a ed s e t , t t g fi tly l b t tyl can be a eh ic e for render in ru the sim ici t he fit v l g t ly pl ty, ’ r efreshin ness of a ure — whe her th e oe s art fr om it s g N t , t p t ,

er o u en ce m us n ot co or t oo m uch the c earness and v y p l , t l l

n r hi m ra s a enc oft he e er n a w or d. ow e er s a b e t p y xt l l H v t y , it is cer ain h a it is n ot t o is m a u rer oem s w i h heir t t t h t p , t t

r an deur of s e h a w e oo for his m os i id render g tyl , t t l k t v v in s ofscener but t o hose ear oem s w hich h ad m or e g y, t ly p , n a i r of i ion nd r i i a or a ion t ve g ace d ct a l ess of a t st c el b t . N owh ere h as M ilt on shown such an eye for scen er y as in ’ ’ those rs oem s ‘ Il Pen ser oso ‘ L cidas fi t p , , y , ’ n d ‘ C om us com osed efore he w as hir us af er a , p b t ty , j t t ’ ea in C am r id e whi e he w as i in un der his fa her s l v g b g , l l v g t in h r oof at or on in uc in h am shire. D ur t e fiv e f H t , B k g g ears of coun r ife the m os enia of all his ears am id y t y l , t g l y , his in cessan s ud ofthe r ee an d L a in oe s an d o her t t y G k t p t , t se f- im ro em en h is hear t w as erh a s m ore O en h an l p v t , p p p t at any other tim e t o the m or al b eauty w h ich lay around ’ ’ ‘ ‘ n in n n r h im . C om us and L y cidas b o th co t a fi e atu al im a er et som ew h a de ec ed the ar is ic fr am ewor g y , y t fl t by t t k in hi In h r o m in whi h M i n w ch it is set . t e a e e c o l tt p , lt , ado in the id ic for m of V ir i s it wi h a m i h ier pt g yll g l , fill t g t

ower c assica a usion an d m h o o are s r an e et p , l l ll yt l gy t g ly , y not unh arm onious ended w i h ic ures a en fr om ly, bl t p t t k

n i n r n r m m r s he s en did E gl sh l a dscape. Eve y o e e e b e t pl

f his grouping of fl ow ers wh ich he th ere b roiders in . O t ca a o ue it h as een O ser ed h a eau ifu as it is it t l g b b v t t , b t l ,

io a es the ru h of n a ure as it aces side side ow er s v l t t t t , pl by fl IN TR OD UC TI ON xliii

ofdifferen seasons which are ne er seen owerin o e h r t v fl g t g t e .

‘ It is in his t w o descr iptive L y r ics th at w e fi nd the clear est p roofs of an eye th at h ad ob served N ature at fi rst h and

m de ri i m ir h and for i se f. In the oe sc e of it h as t l p pt v t ,

een o ser ed h a the m ir h is of a er seda e ind n ot b b v t t t v y t k , ’ n ‘ rim and a h r n Th reaching b ey o d a t st tely c ee ful ess. e m yth ol ogical pedigrees att ached b oth t o m ir th and t o m el an chol s r i e u s now as som ewh a s r an e ifnot fr i id but y t k t t g , g , ’ w i h his a ow an ce M i on s r ich sensuous im a in a ion t t ll , lt ly g t

odies for h the cheerfu ness as he w ished t o or r a it b t l , p t y ,

im n r I h in a succession of ages u su p assed for b eauty . n t e

ines descri i e of h ese im a es Art an d a ure a ear l pt v t g , N t pp ’ perh ap s m ore th an in any o ther ofM ilt on s p oem s in perfect

i The im a es se ec ed are the a es hi f equip o se. g l t pt t ve cles o t he sen tim en t ; the l anguage in w hich th ey are expressed is of t he m ost gr aceful and m usical ; w hile t he n atural o ec s hem se es are seen at r st h an d set down w i h bj t t lv fi , t

heir ed es s i sh ar and unco ored an in e of t g t ll p, l by y t g

A f n i h n r n r oo ish a usion . s ec s o s sce e o e af e b k ll p t E gl y , t an o her occur which he w as th e firs oe t o no e an d t , , t p t t , w hich n one sin ce cou d dare t o ouch so en ire h as h e l t , t ly

Th e m ower w he in hi h m ade hem his own . s sc e t tt g yt , who ever hears th at soun d com ing from th e l aw n in t he m orn ing w ith out thinking of M ilt on ? ‘ The tanned h ay ’ cock in the m ead ; the cottage chim ney sm oking b et wixt tw o aged oaks ; the m oon

As if her head she o ed b w , S toopi ng through a fl eecy cloud the shower p attering

‘ On the rufflin ea es g l v , With m inute drop s from off th e eav es ; xliv IN TR OD UC TI ON the great curfew - b ell h ear d swinging ‘ over som e w ide w atered shore these are all im ages t aken st r aigh t from English l an dscap e which M ilt on h as forever enshrined in

w o m a h m h is t t c l ess p oe s.

Of hese t w o oem s descr i in the r i h an d h t p , b g b g t t e 1 h ou h fu as ec s of a ure m fr ien Pa r d M r . a e t g t l p t N t , y lg v , in h is e uisi e co ec ion o f n ish L r ics Th e o den xq t ll t E gl y , G l ’ reasur h as o ser ed h a hese are t he ear ies ur e T y , b v t t t l t p descr i i e rics in our an ua e addin h a it is a s ri pt v ly l g g , g t t t k ’ ing pr oof of M ilt on s ast on ishing p ower th at th ese are still t he es in a s e w hich so m an rea oe s h a e sin ce b t , tyl y g t p t v his im e a m t tte pted.

— Wa e Ba eho L iter a r S tudies v ol. II. . 20 1 20 [ lt r g t, y , pp 4]

If fr om the m an w e ur n t o h is w or s w e a re s ru c t k , t k

n w i h w o i ar n Th r h m i at o ce t t s ngul co t r ast s. e fi st of t e s

The di in c ion w n n n n m r n this. st t b et ee a cie t a d ode art is som e im es said an d erh a s r u t o consis in the sim e t , p p t ly, t pl b areness of the im agin ative con ception s wh ich we fi n d in ancien art an d the com ar a i e co m e c o hin in w hich t , p t v pl x l t g

r i n r m i If w ado his dis all m odern c eat o s a e e b od ed. e p t t t in c ion M i on seem s in som e so r an cien and in som e t , lt t t ,

’ 1 Pa a e s m o e en c c sm of h e e oem is t o be o und M r . lgr v st r c t riti i t s p s f ’ - He h h in his L a ndsca e in Poetr . I 8 1 . e e sa s a L Alle r o p y , pp 5 59 t r y t t g and Il Pen ser oso the ea es ea cs o f the andsca e in o ur lan , rli t gr t lyri l p

ua e des e all a e co m e on s em a n su em e for an e g g , pit l t r p titi till r i pr r g , h a e uc d and m e o d o us cha m h n h e s e. And s v ri ty, l i ity , l i r wit i t ir tyl t i s e is essen a h a of the G eek and the ea e En sh oe s bu t tyl ti lly t t r rli r gli p t , enlarged t o t he co nception of whol e scenes from Nat ure occasio n ally e e n E e n a m a es a re set s m a n d m e sona v n p a o ram i c. xt r l i g i ply i p r lly b e o e us a ho u h se ec ed and un ed in sen m en acco dan h f r , lt g l t it ti t r tly wit ” t o the gay o r t h e m editative m o od Of th e supp o sed S pectato r . As ” h o m s m a be ca ed u e descr i tive cs see G um m ere whether t e p e y ll p r p lyri , ,

o 8 . a n dbook o P etics . H f , p 4 IN TR OD UC TI ON xlv

o hin is so sim e as h - sor t m oder n . N t g pl t e subj ect m att er of

Th w o rea es ofhis crea io ns t he h ar hi w o r s. e t c a s k g t t t , cter of S a an an d the ch arac er of Eve ar e tw o of t he sim es t t , pl t — the l att er p r ob ably the ver y sim pl est in th e wh ole ’ i r r n h i i M n ar i s s de i o s t s c assi . field of l te at u e. O t lt l cal

On the o her h and in no w r i er is the im a er m ore ro t , t g y p fuse t he i us r a ions m ore ar ious th e dress a o e her , ll t t v , lt g t

An d in his r e e th s e of his ar m ore spl en did. t sp ct e tyl t

seem s r o m an ic an d m oder n . In r ea ru h h owe er it is t l t t , v ,

Th r on ly ancient art in a m oder n disguise. e d ess is a

m ere dress an d can b e s r i ed Off when we w i . We all , t pp ll

rh in m m ur No of us do pe aps e or y st r ip it off o selves. t withst an ding the l avish adorn m en t s with which her im age is resen ed the ch arac er of Ev e is s i the sim es sor t p t , t t ll pl t — of fem in ine essen ce t he pure em b odim ent of th at inner

na ure w hich we e ie e and h o e h at w om en h a e. t , b l v p t v

The ch arac er of S a an h ou h it is not so easi de t t , t g ly

h n Th m o ure scr i ed as ear as few e em en s in it . e s b , ly l t t p ly m oder n con ceptions w ill not b ear t o b e un cl othed in this m h ir r m n i n n in ar o att er . T e o a t c gar m e t cl i gs sep ably t

h m am an L ar r h h t e . H l et d e a e not t o be t oug t of ex cept as com e ch ar ac ers w i h er in o ed an d com ica ed pl x t , t v y v lv pl t

m im h r r e b od en t s. T ey a e as diffi cult t o draw out in w o ds as t he com m on ch ar ac er s of ife are h a of am e t l ; t t H l t ,

erh a s is m r If w e m a i a rh a w hou d o e so . e t s e s e s p p , k , p p l , the ch ar acter istic of m odern and r om an tic ar t th at it p re sen ts us w ith creation s which w e can n ot think of or deline at e e ce as er ar ied an d so to sa cir cum s an ia w e x pt v y v , , y, t t l , m us n ot r an t k M ilt on am ong the m aster s of rom an tic art . And without involving t he subj ect in the t roubl ed sea of an old con ro ers w e m a sa h a the m os s ri in of t v y , y y t t t t k g th e poetical pecul iar it ies of M ilt on is the b are sim plicity

f hi i a o s de s and the rich a undan of hi i u ra ions. , b ce s ll st t xlvi IN TR 0 1) UC TI ON

n h r of h is e u iar i ies is e a r n A o t e p c l t qu lly st iki g. Th er e

u ch a hin as s ond-h and o r seem s t o b e s t g ec p et y . Som e

oe s m usin o n the oe r of o her m en h a e un con p t , g p t y t , v sciously sh aped it in to som ething of their ow n : the new con ce ion is i e the o r i in a it w ou d ne er r o a pt l k g l , l v p b bly h ave existed h ad n ot the or iginal exist ed previously still it is suffi ciently differ en t from the original t o b e a new

hin not a C o or a a iarism it is a crea ion t g, py pl g ; t ,

h ou h so t o sa a su es ed crea ion . r a is as ood t g , y, gg t t G y g an exam pl e as can be found of a p oet whose w or ks ab o und

m i- ri in a n i n in this species of se o g l co cept ons. I dust ri ous cr i ics r ac his es ines ac and fi n d o hers i t t k b t l b k, t l ke t hem w hich doubtless linger ed near h is fan cy whil e h e w as

Th sam e cr i ics h a e en w riting them . e t v b e equally busy

f i n and ua u w i h the w or s o M o e s ccessfu . he t k lt , q lly l T y

fi nd r aces of his readin in h a f his w or s n ot w hich t g l k ; , a n reader cou d do in o er t sim ies and dis inct i ustra y l , v l t ll t ion s but a so in the er e u re of t he h ou ht and he , l v y t xt t g t

n n do h e r ession . I m a cases u ess e disco er m o re xp y , btl , t y v

th an h e him se f new . A m ind i e his which h as n l k l k , a im m en se s ore of im a ina i e reco ec ions can n r t g t v ll t , eve k now w hich of h is ow n im agina tion s is exactly suggested

n i h h ir b y w h ich recollection . M e aw ake w t t e best ideas ; it is seldom w or th w hile t o investigate very cur iously

when ce he cam e. Our r o er usiness is t o ada and t y p p b pt ,

m ou d and act u on hem . Of oe s erha s his is rue l , p t p t p p t t even m ore rem arkably th an of o ther m en ; their ideas are su es ed in m odes and accor din t o aw s which are e en gg t , g l , v m ore im possible t o S pecify th an the ideas ofthe r est of the

- w or d. Secon d h an d oe r so t o sa ofen seem s ui e l p t y, y, t q t or iginal t o t he poet him self h e frequently does not know that he derived it fr om an old m em or y ; years afterw ar ds it

m a st r i e him as it does o hers. St i in ener a su h y k t ll , g l , c IN TR OD U TI C ON . xlvii inferior species of creation is n ot so l ikely t o be found in m inds of singul ar or igin ality as in th ose of l ess. A b r ood in acid cu i a ed m ind i e ha of ra is the ace g, pl , lt v t , l k t t G y, p l

r a r i i where we sh ould expect t o m eet w ith it . G e t o g nal ity

i r s the ada i e rocess r em o es t he m ind of the d stu b pt v p , v

from the hou h s of o her m en and occu ies it poet t g t t , p

Po r w ith it s ow n heated an d fl ashing th ough ts. et y of the second degree is like th e secon dar y r ocks of m odern geol o — a s i en e a u ia for m a ion the i neous ow gy t ll, g tl , ll v l t ; g gl Of prim ar y gen ius b r ings for th ideas like t he p r im ev al ’ M i on i rani e sim e ast oundin and a one. s case s g t , pl , g, l lt

n Hi m in h as m ar r i an exceptio t o this rule. s d ked o gi nalit ro a as m uch of it as an in i eratur e but it y, p b bly y l t ; h as as m uch of m oulded recollection as any m ind t oo .

His oe r in conse uence is i e an ar i cia ar reen p t y q l k t fi l p k, g , an d sof and eau ifu et w i h ou ines o d dis inc and t , b t l , y t tl b l , t t ,

fir m and the e erna roc e er u tin out or e er s i , t l k v j t g , b tt t ll , it is i e our ow n L a e scener where a ure h as herse f l k k y, N t l the sam e com b ination wh er e w e h ave R ydal Water side i n by side w ith the everlasting upheaved m ount ain . M lt o h as th e sam e unio n of soft en ed b eauty w ith unim p aired gran deur ; and it is his peculiar ity . These are t he t w o con t r ast s which puzzl e us at fi rst in

M i on and w hich dis in uish him fr om o her oe s of lt , t g t p t

We h a e a su er cia com our r em em b r an ce afterw ar ds. v p fi l

lexit in i us ra ion and im a er and m e a h or and p y ll t t , g y, t p ; a a en sim ici of idea in con t r ast with it w e ob ser ve l t t pl ty , Th under in an al m ost rude strength of conception . e ly g

h ou h s are few hou h t he owers on the surface are so t g t , t g fl m n W h a e i ewise t he er e ua con ras of the sof a y . e v l k p p t l t t t

oe r of the m em or and the fi rm as it w ere fused and p t y y, , ,

Hi w or ds w e m a f he im a in a ion. s gl owing poetr y o t g t , y h ha f fa cifu sa are i e his charac er . here is t e l n lly y, l k t T xlviii IN TR OD UC TI ON

am aus er i in the rea essen ce the sam e e uisi eness s e t ty l , xq t

‘ nse the sam e de icac of for m w hich w e now ha of se , l y k t t he h ad the sam e m usic w hich w e im a in e here w as in h is , g t

In o h his ch ar ac er an his oe r here was an voice. b t t d p t y t

n a h a h a ascetic nature i s e t of b e uty .

— 1 A no d E ssa s in C r iticism S econd Se es . 6 66 [ r l , y , ri , pp 3 ]

h a M i on of all our n ish r ace is his dic ion T t lt , E gl , by t and rhythm t he on e ar tist of the highest r ank in the great

wh om w e h a e his I a e as re uir in no discussion styl e v t t k q g , n this I t ake as cer t ai . The m ighty p ower of poet r y and ar t is gener ally ad

But w her e t he sou of his ow er of his ow er m itted. l t p , t p

a i s est chie resides er m an of us fai t o see. It t t b , fly , v y y l resides chiefly in t h e r efin ing and el eva tion w rought in us

h i n r ar e ce en c of h r W by t e h gh a d e x ll e t e g eat style. e m ay feel th e effect w ithout b eing able t o give ourselves

oun f i a h w no c ear acc o t s c use but t e h in is so. No l t , t g , r ace n eeds th e in uen ces m en ioned the in uences of re fl t , fl

n in and e e a ion m ore h an our s and in oe r and fi g l v t , t ; p t y

r ur r an d our for h m i n a t O g s ce t e is M lto . To wh at does h e owe th is supr em e distinction ? To na ure r s an d fo rem os t o th a en of n a ure for in t fi t t , t b t t equality which t o th e w or shipper s of t h e average m an is

n a o i ‘ Th d r so u acce e t a f a di in e fa our. e o e p t bl ; g t , v v l ’ on e r ow s sa s oe he ‘ t he m ore one r i es na ur a if s g , y G t , p z t l g t , b ecause by no possibility can they be pr ocured an d stuck ’ n a r f r m i n h o . u e o ed M o o a r a o But w a N t lt t be g e t p et . t other p oet h as show n so sincere a sen se of the gr an deur of his oca ion and a m or a effor so cons an an d su im e v t , l t t t bl

1 Arnold writes in a sim ilar strai n in the l atter p art of his essay — en ed A F r en c/i C r itic on M ilton in M ix ed Essa s . 2 2 . titl , y , pp 37 7 3

1 IN TR OD UC TI ON

w h o h as the i e ow er an d ch arm ecause h e h as t h l k p , b e like

r g eat style.

TENNYS ON’ S S ONNET TO M IL TON .

’ O m h - m o uth d n en o of h a m on es ig ty i v t r r i , ’ O skilld to s n of T m e or E e n i g i t r ity ,

G od- ed or an- oice of En and gift g v gl ,

M on a nam e to esound for a es ilt , r g ;

Whose Ti an an e s G ab e d e t g l , ri l , Ab i l , ’ ’ S tar r d om eho ah s o eous a m our es fr J v g rg r i ,

To e as the dee - dom ed em rean w r , p py R i ngs to th e r oar of an angel onset

M e a her all h a bo e one ness r t t t w ry l li ,

The b ook s of Eden m az i m u m ur n r ly r i g, And bl oom p rofuse and cedar arches

C ha m as a andere o ut in ocean r , w r , Wher e som e r efulgent sunset of India ’ S eam s o er a ch am os a ocean is e tr ri br i l l , And cri m son- h ued the stately p alm - w oods

Wh s er in od us h i h s n i p oro e g t of eve .

Il B IB L I R PHI L N TE . O G A C A O .

So m uch h as b een w r itt en ab out M ilt on th at only the

t /z b est can be m en tioned here. Tae Poe ical War ns of j o n

M ilton M acm i an in hree o um es edi ed Professor ( ll ) , t v l , t by ’ i M n i h n i o tr D a d asso s t e s a dar d edi on of M i on s e . v , t t lt p y

The o e edi ion M acm i an a so edi ed Professor Gl b t ( ll ) , l t by M asson con ains the oe ica w or s in one o um e an d , t p t l k v l ,

f r ecen sh ould b e in th e h ands of every studen t . O t an no a ed edi ions h ose of V eri an d rowne - m a be t t t , t ty B y IN TR OD UC TI ON 11

Th cia m en ioned. e o her im or an edi ions fr spe lly t t p t t t , om ’ n down are refer red t o or uo ed in the n N ewto s , q t otes to

’ A a a the p resen t v olum e. t le st s m uch of M ilton s p r ose ’ should be read as is con tained in M orl ey s E nglisn Pr ose

r itin s o onn Ali/tan R out ed e if the W g f j ( l g ) , studen t h as not the t im e or the inclination t o read through the fiv e

h ohn i r volum es in t e B l b ary . ’ Pr ofessor M asson s L e o loan M ilton M acm i an in six if f ( ll ) , ’ o um es is the authori a i e io r a h a h ou h roo e v l , t t v b g p y , lt g B k s ’ ’ M ilton A e on Pa ison s M ilton ar er or G arnett s ( ppl t ) , tt (H p ) ,

ann M ilton Wa er S co t he a er of wh ich h as a ood j ( lt tt) , l tt g

i io r a h w i e er an sw er t he needs of the or din ar b bl g p y, ll b tt y

n h h r uo ed in the In roduc ion stude t . Besides t e aut o s q t t t t o

the resen o um e wh ose cr i icism s shou d b e read in heir p t v l , t l t

com e e for m Addison ohnson C o er id e M acau a pl t , , J , l g , l y ,

L andor m erson L ow e an d o hers of ess n o e h a e , E , ll , t l t v m ade con t r ibutions of m ore or l ess v alue t o M ilt onic cr iti ’ ci m Th n or d nce to tne s . e studen t will fi n d B r adsh aw s C o c a Poetical Wor ks (M acm ill an) al so of v alue ; for the histor y ’ ’ of M i on s im e h e m a consu t reen s Snor t IIistor o lt t , y l G y f ’ tbe E n lisn Peo le ar er and ardiner s Pur ita R eva g p (H p ) , G n luti n n m a (L o g ans) .

’ PEN E MUS L ALLEG RO, IL S ROSO, C O ,

AND LYC I AS. OD

L L L EG ’A RO . ’ r I l t, t; ENC E oa hdM la chol H , l t e e n y, Of C erberus and blackest Midnight bor A n In ia ca for or S_t_yg n ve l n { ’ i/ F Mo s horrid sha s and shri s and si h s u ho i ng t pe , ek , g t n ly

i d out som u cou h c ll F n e n t e ,

h r broodi ar ss s r ads his a ous w i s 1 W e e ng D kne p e e l ng , jT" md the night - raven sings

“ h r u d r o shad s and low - brow d roc s T e e, n e eb n e e k ,

As ra d as th oc s gge y l k , In dar k C im m erian deser t ever dw ellf x ' _. B ut com hou odd ss fair and fr e, t G e ee,

In h a c Eu hros e ven y lept p yne, And by m en hear t - easing Mir th

hom o us at a bir h W l vely Ven , t ,

ih tw o sis r rac s m or W t te G e e, To ivy- crow ned Bacchus bore Or whether (as som e sager sing) The frolic w ind that br eathes the Sp ring,

Z h r w ih urora a i ep y , t A pl y ng,

AS he m et her o c a- Ma i n e y ng, ’ L AL L E G R O.

h r on b ds of io s u T e e, e v let bl e,

And fr sh- ow ros s w ash d in dew e bl n e e ,

i d her w ih h a dau h r fair F lle t t ee, g te ,

m ih nd d o air 50 u o a . b x , bl t e, eb n

h m h and ri w ih h e t ee, Ny p , b ng t t ee

and ou hfu o i y t l J ll ty ,

ui s and cran s and w a o w i s Q p k nt n le , N ods and becks and w r eathed sm iles

’ S uch as ha on s ch ng Hebe eek, And l ove t o live in dim ple sleek 30

S or ha w ri d ar d rid /. p t t t nkle C e e e i And L aughter holding b oth his s des.

om and ri it as ou o C e, t p , y g On the light fant astic t oe 7 “ And in thy right hand lead w ith thee

The m ou ai - m h sw L i r nt n ny p , eet be ty ; f And if I i h ho our due 7, , g ve t ee n ,

Mir h adm i m e of th cr w t , t y e ,

To i w ih her and li w ih cc l ve t , ve t , 1 u teizrp r d l( 211 1119 5 free g t é m p 2 To hear t he lark begin hi

And si i s ar the du i h , ng ng, t tle ll n g t ,

rom his w a ch - ow r in the s i s F t t e k e ,

’ Till the dappled daw n doth rise ; J

h t o com in s i of sorrow T en e, p te ,

And at m w i dow bid ood- m orrow y n g ,

hrou h the sw - riar or the i T g eet b v ne, Or the tw isted eglantine

hi the coc wih li l din W le k, t ve y ,

S ca rs the r ar ofdar ss hi tte e kne t n,

And t o the s ac or the ar - door t k, b n , ’

L AL L E G R O.

Stoutly st r ut s his dam es befor e Oft listening how the hounds and horn

h r rous the s um rin m or C ee ly e l be g n , rom the sid of som hoar hil F e e , l , Through the high w ood e choing shrill l

S om im w a i not u s et e lk ng, n een ,

h d row m s on hi oc s r By e ge el , ll k g een , Right again st the eastern gate

h r the rea S un be ins his s a W e e g t , g t te,

o d in am s and am r li h R be fl e be g t , The clouds in thousand liveries dight hi t he lou hm a ar at ha d W le p g n , ne n ,

’ his s o er the furrow d a d W tle e l n ,

And the m i m aid si h ih lk nget bl t e,

And the m ow r w h s his sc h e et yt e, And every shepherd tell s his t ale Under the haw thorn in the deielz

m i ha h cau h n ew asur s t ne eye t g t ple e ,

hi h n i round it m asur s W l st t e la dsk p . e e

uss aw s an d fa ow s r / R et l n , ll g ey , Wher e the nibbling fl ocks do st ray Mount ains on whose b arr en b r east The labouring clouds do often r est

M adow s rim w ih daisi s i d e t , t e p e

Sha ow roo s and ri rs w id ll b k , ve e Tow ers and battlem ent s it sees

osom d hi h in uf d r s B e g t te t ee ,

h r rha s som eaut i s W e e pe p e b y l e , The cyn osur e ofneighb ouring

ard b a co a chim sm o s H y , tt ge ney ke

rom b w i tw o a d oa s F et xt ge k , ’

L AL L E G R O.

Wher e C orydon and Thyrsis m et Are at their savoury dinner set

Ofh r s and o h r cou r m ss s e b t e nt y e e , Which the neat - handed Phyllis dresses And then in haste her b ow er she leaves, With Thestylis t o bind the sheaves

Or ifthe ar i r s aso l ad , e l e e n e , To the t anned hay cock in the m ead

S om im s w ih s cur d li h et e , t e e e g t ,

The u la d ham l s w i i i p n et ll nv te,

h the m rr s r i round W en e y bell ng , And the j ocund r ebe cks sound To m any a y outh and m any a m aid

a ci in the ch u r d shad D n ng eq e e e, And y oung and old com e forth t o play

a su shi ho ida On n ne l y , Till the livel ong daylight fail;

h t o t he s ic nut - row ale T en p y b n ,

ih s ori s o d of m a a f a W t t e t l ny e t ,

How h at Faery Mab t e j unket s e .

She w as i ch d and u d she said p n e p lle ,

’ And he riar s a r led , by F l nte n , Tell s how the drudging goblin sw eat

To ar his cr am - ow dul set e n e b l y ,

h in on e i h ere im s ofm orn W en n g t , gl p e , His shadow y fl ail hath threshed the corn

That ten day- lab ourers could not end

h i s him dow the lu r d T en l e n , bbe fien ,

’ And s r ch d out all the chim s l h , t et e ney engt ,

as s at the fir e his hair s r h B k y t engt ,

An d cro -fu out of doors he flin s p ll g ,

’

L AL L E GR O.

’ That O rpheus self m ay heave his head From golden sl um ber on a bed

fh a d E sia ow rs and h ar O e pe ly n fl e , e S uch st rain s as w ould have w on the ear Of Pl ut o t o have q uite set fr ee

His h f- r i E r i al ega ned u yd ce .

h s d i h s if hou ca s i T e e el g t t n t g ve, i h w ih h I m t i M r a o . t , t t ee e n l ve IL E S E P N RO S O .

ENC E ain d udi o s H , v el ng J y , The b rood of Folly t father b r ed "

How i ou s d l ttle y be te ,

‘ Or fill the fixed m ind w ith all y our t oy s

D w in som id rai ell e le b n ,

And fa ci s fo d w ih aud sha s oss ss n e n t g y pe p e ,

' As thick and num ber less

As t he a m o s ha o the sun - am s g y te t t pe ple be ,

Or i s ho rin dr am s l ke t ve g e ,

’ The c n sio rs of M or h r i fi kle pe ne p eus t a n . hail " thou Goddess sage an d holy "

ai di i s M a cho "l' H l , v ne t el n ly \ ' Whose saintly visage is t oo b right

To hit the s n s of hum a si h e e n g t , And ther efor e t o our w eaker view

’ O erlaid w ih ac s aid Wi om s hue t bl k, t gd ’ ; w

ac but such as in s m Bl k, e tee

’ r c M em n on s sis r m i h s m P in e te g t be ee , Or that starred Ethiop q ueen that st rove ’ To set her beauty s praise ab ove L —’ Th - h e S ea m s and h ir ow rs off d d. Ny p , t e p e en e Yet thou art higher far descended

Thee b right - hair edM g long ofyor e i To so i ar S a ur or l t y t n . . b e ;

’ His daughter she ; in S at urn s r eign

‘ uch m i w h s ai S xt ur e as not eld a t n . IL PE N S ER OS O.

Oft in glim m ering bow ers and gl ades

m et her and in s cr shad s H e , e et e

’ Ofw ood Ida s i m os ro y n t g ve,

hils et h r w as no f ar of o W t y t e e e J ve . ’ si e Nun d ou and ur pen v , ev t p e,

S o r s adfas and d m ur be , te t , e e,

in a ro of dar s rai All be ke t g n ,

ow i w ih m a s ic rai Fl ng t j e t t n , And sable st ole of cypr ess law n

r th c n shou d rs draw Ove y de e t l e n . ’ om but th w o d s a C e keep y nte t te,

ih s and m usi ai W t even tep, ng g t ,

And oo s com m r ci w ih the S i s l k e ng t k e , Thy rapt soul sitting in thin

h r h d in ho as T e e, el ly p

or h s f t o m arble tiii~ F get t y el ,§ With a sad leaden dow nw ard cast

hou h m n h r h s f T fix t e o t e ea t a ast .

And oi w ih h ca m ac and ui j n t t ee l Pe e Q et ,

‘ S ar as ha oft w ih ods do h di p e F t , t t t g t et , Andhears t he Muses in a ring Aye roun d ab out ITS " alt ar sing And add t o h s r ir d 1 5 6 t e e et e 4 912 1 , That in t rim gar den s t akes his pleasur e ;

But rs and chi f s w ih h ri ; , fi t e e t , t t ee b ng

Him ha on soars on o d wi t t y g l en ng,

uidi the fi er - wh d hro G ng y eele t ne, The C her ub C ontem plation And

’ L ess Phil om el w ill deign a song; ‘ u ‘ w Nf m ‘ u ’ In her sw s sadd s li h eete t e t p g t , I L PEN S ER OS O.

Sm oo hi the r u d row of i h t ng gge b N g t , While C ynt—hia che cks her dragon y oke ( T he accus om d oak Gently YE T t e .

” ’ m et ird ha shunn St t he ois of f b , t t n e olly ,

Mos m usica m os m a cho ] t l , t el n ly

h chau r ss oft the w oods am o T ee, nt e , ng

I w oo t o h ar th - so , e yeven ng

And m issi h I w a u s , ng t ee, lk n een

the dr sm oo h - sha r On y t ven g een ,

To ho d the w a d ri m oo be l n e ng n ,

idi ar her hi h s oo R ng ne g e t n n , L ike on e that had been led ast ray

’ hrou h t he h a s w id a h ss w a T g e ven e p t le y,

And oft as ifher h ad she bow d , e e ,

S oo i hrou h fl u t p ng t g a eecy cl o d.

Oft on a a of risi rou d , pl t ng g n ,

I h ar the far- off curf w sou d e e n ,

r som w id - w a r d shor Ove e e te e e, Swinging sl ow w ith sullen roar

Or if the air w i not rm i , ll pe t ,

S om s ill r m o d ac w i e t e ve pl e ll fit , Wher e glow ing em ber s through the room

ach i h t o cou rf i a oom Te l g t nte e t gl ,

Far from all r sor ofm ir h e t t ,

S a the cric on the h ar h ve ket e t ,

’ Or the bellm an s drow sy charm 44 T m i h harm o bless the door s fro n g tly .

Or m lam at m id i h hour let y p , n g t ,

s in som hi h o ow r Be een e g l nely t e ,

h r I m a oft ou w a ch the ar W e e y t t Be , C i . “ ih hric r a rm s or u s h r W t t e g e t He e , n p e e 10 IL PE N S E R OS O.

The s iri of a o t o u fo d p t Pl t , n l What w or lds or w hat vast r egion s hold The im m or tal m ind that hath forsook Her m ansion in this fl eshly nook And of those dem ons that are found

In fi re air ood or u d r rou d , , fl , n e g n , Whose pow er hath a t r ue con sent

ih l or w ih m W t p anet t ele ent . S om etim e let W dy In sc r d a com sw i ept e p ll e eep ng by ,

r s i s or li P e ent ng T ebe , m ne,

Or the a of Tr div ine I OO ‘ t le gyf , Or what (though rar e) of later age

l h h u i s Enn ob ed ath t e b sk ned tage .

But sad ir i ha th ow r , O V g n t t y p e Might raise Musaeus from his bow er Or bid the soul of Orpheus sing S uch o sas w ar d t o the s ri n te , ble t ng,

’ r w iro ar s dow lu o s ch D e n te n P t eek, And m ade iHell gran t whar ve did seek Or call up him that left half- t old

The s or of m uscan old t y Ca b b , “ M W , Of C ar l and of ar sif nbal, Alg e, m And w ho had C t o w if M e, ,

h ow d the ir uous ri and ass T at ne v t ng gl , And of the w ondrous horse of b rass On which the Tartar king did r ide ; And if aught el se gr eat bards beside

In sa and so m n u s ha su ge le t ne ve ng,

Of ur s and of ro hi s hu t ney , t p e ng,

ffor s s and cha m s dr ar O e t , en nt ent e , IL PEN S E R OS O. ll

h m Wher e m or e is m eant t an eet s the ear .

hus i h oft see m e in th a car r T , N g t , y p le ee ,

il ci i - sui d Mor a ar T l v l te n ppe , ‘ Not ric d and froun ced as she w as w o t ke , nt

ih the ic bo t o hu W t Att y nt , But r chi f in a com cloud ke e t ely ,

hi roc i w i ds ar e i i oud W le k ng n p p ng l ,

Or ush r d wih a show r s i e e t e t ll ,

h the us ha h own his W en g t t bl fill ,

E di on the r us l a s n ng tling e ve ,

ih m i u - r from off t h a s W t n te d op s e e ve .

An d w h the sun i s t o i , en beg n fl ng

His ari am s m e odd ss ri fl ng be , , G e , b ng

To ar ch d w a s of w ii h ro s e lk t l g t g ve ,

An d shadow s r ow ha S a lov es b n , t t ylv n , Of i or m o um a oak p ne, n ent l , Where the r ude axe w ith heaved st roke

Was r h ard the m hs -t o dau neve e ny p nt ,

r fri h h m from h ir ha ow h u O g t t e t e ll ed a nt .

h r in c os co r b som broo T e e, l e ve t , y e k ,

h r n o rofa r m a loo W e e p ne eye y k,

’ id m e from da s arish e e H e y g y ,

hi th w ih ho d hi h W le e bee t neye t g ,

ha at her ow r w or do h si T t fl e y k t ng,

And the w a rs m urm uri , te ng,

ih such co sor as h e W t n t t ey ke p,

E ic t h w - r d nt e e de y feathe e Sleep . And let som e St range m ysterious dream

a at his w i s in air s r am W ve ng , y t e

Ofli l or rai ur dis la d ve y p t t e p ye , Softly on m y eyelids laid; 12 I L PEN S E R OS O.

And as I w a sw m usic r a h , ke, eet b e t e

o a ou or un d r a h Ab ve, b t , e ne t ,

S som S iri t o m or a s ood ent by e p t t l g ,

‘ r the u s G eniLIs of the w ood O n een . But let m y due feet never fail

’ To w a the s udious c ois r s a lk t l te p le,

And o the hi h m ow d roof l ve g e b e ,

ih a i u i ars m ass roof W t nt q e p ll y p ,

And s ori d w i dow s rich di h t e n ly g t ,

i im r i iou i h Cast ng a d el g s l g t .

h r the a i or a ow T e e let pe l ng g n bl ,

To the fu - oic d uir ow ll v e q e bel ,

In s r ic hi h and a h m s c ar e v e g nt e le ,

As m a w ih sw n ss hrou h m i y t eet e , t g ne

isso m e in o cs asi s D lve t e t e , And bring all H eaven befor e m ine And m ay at l ast m y w ear y age

i d out the ac fu h rm i a F n pe e l e t ge,

The hair ow and m oss c y g n y ell , Wher e I m ay sit and rightly spell

Of r s ar ha h a n do h sh w eve y t t t e ve t e ,

And r h r ha si s the dew eve y e b t t p , Till old experien ce do att ain

h i r i To som ething like prop et c st a n .

h s l asur s M la cho i T e e p e e , e n ly , g ve ;

w i hoos t o i And I with thee ll c e l ve .

M CO U S .

cene di c e s a Tnafir st S s ov r w ild w ood.

ne A E N R I n T TT NDA T S PI T desce ds or enter s .

’ B EF OR E the starr y thr eshold of J ove s court

M m a sio is w h r hos im m or a sha s y n n , e e t e t l pe Of b right aerial spirit s live inspher ed

In r io s m id of ca m and s r air eg n l l e ene , Above the sm oke and stir of this dim spot

hich m en ca Ear h and w ih low - hou h d car W ll t , , t t g te e,

on d and s r d In his i fo d h r C fine pe te e t p n l e e,

S ri t o u a frai and f rish i t ve keep p l eve be ng,

m i dfu of t he crow ha ir u i s Un n l n t t V t e g ve ,

f r his m or a chan t o her ru s r a s A te t t l ge, t e e v nt Am ongst the enthron ed gods on sainted seat s Yet som e ther e be that by due steps aspir e To lay their j ust han ds on that golden key

ha O s th c of r i T t pe e pala e ete n ty .

To such m r ran d is an d but for such y e , , I w ould n ot soil these pur e am b rosial w eeds

- With the rank vapour s of this sin w orn m ould.

But t o m as u sid s the sw a y t k . Nept ne, be e y

Of r sal o and ach i s r am eve y t fl o d e ebb ng t e ,

’ oo in lot w i hi h and h r o T k by , t xt g net e J ve ,

Im perial rule of all the sea- girt isles

ha i t o rich and arious m s i a T t , l ke v ge , nl y The unadorned bosom of the deep 14 COM US .

Which he t o rac his ri u ar ods , g e t b t y g ,

cours com m i s t o s ra o r m n By e t eve l g ve n e t , And gives them leave t o w ear their sapphir e crow n s

i ri And w i d h ir d s . But his Is el t e l ttle t ent t le,

The a s and the s ofall the m am gre te t be t ,

H e quarter s t o his bl ue- hair ed deities And all this t ract that front s the falling sun A noble Peer of m ickle t rust and p ow er

Has in his C har w ih m r d aw e t o uid ge , t te pe e g e

old and hau h a ion r oud in arm s : An g ty n t , p

h r his fair offs ri urs d in ri c lor W e e p ng, n e p n ely e,

’ Ar e com i t o a d h ir fa h r s s a ng tten t e t e t te, And n ew - in t rusted scept r e But their w ay

L i s hrou h the r d a hs of his dr ar w ood e t g pe plexe p t t e , The n odding horror ofw hose shady b row s Thr eat s the forlorn and w andering passenger ;

And h r h ir n d r a e m i h suff r ri e e t e te e g g t e pe l ,

But ha uic c m m a d from so ra o ” t t , by q k o n v n J ve, I w as despat ched for their defen ce and guard And listen why ; for I w ill tell you now

ha r et w as h ard in a or so W t neve y e t le ng,

rom old or m od r ard in ha or ow r : F e n b , ll b e

h r r acc us ha rs from out the u a . B , t t fi t p ple g pe

rush d the sw oiso of m isus d w i C e eet p n e ne,

f r t he usca m ari r s ra sform d A te T n ne t n e ,

oas i the rrh shor as the w i ds is d C t ng Ty ene e, n l te ,

’ irc s i f Who ow s not ir c s a d . On C e l n ell ( kn C e , The dau h r ofthe S un w hos C harm d cu g te , e e p

ho r as d los hiS ' u ri ht S ha W eve t te t p g pe, An d downward fell int o a grovelling sw m e

his m h ha a d u o his c us eri oc s T Ny p , t t g ze p n l t ng l k , I6 C OM US .

ih iv rri s w r a h d and his ih ou h W t y be e e t e , bl t e y t ,

Had b him ere he ar d h c a son y , p te t en e,

M uch i his fa h r but his m o h r m or l ke t e , t e e,

hom h r for she rou h u an d om us am d W t e e e b g t p , C n e

Who ri and fro ic of his fu - row n a e , pe l ll g g ,

o in the ic and I r ia lds R v g Celt be n fie ,

as a s him t o his om i ous w ood At l t bet ke t n ,

And in hic sh r of ac shad s im ow r d , t k elte bl k e b e e , Excel s his m other at her m ighty art Offering t o every w eary t raveller

His ori i uor in a cr s a ass ent l q y t l gl , To quen ch t he drouth of Phoeb us which as they t aste

For m os do as hrou h fo d i m ra hirs ( t t te t g n nte pe te t t) , ’ S oo as the o io w or s h ir hum an count nance n p t n k , t e ,

The r ss r s m an c of the ods is chan d exp e e e bl e g , ge

I o som r u ish form ofw o f or ar nt e b t l be ,

Or ou c or i r ho or ar d d oa n e t ge , g, be e g t , h All ot er part s r em aining as they w er e .

And h so rf c is h ir m is r t ey , pe e t t e e y ,

Not o c r c i h ir fou dis ur m n e pe e ve t e l fig e ent ,

But oas h m s s m or com han for b t t e elve e ely t be e,

And all h ir fri ds and n a i hom for t e en t ve e get ,

r ll w ih asur in s n sua t To o t ple e a e l s y.

h r for w h n an fa our d ofhi h o T e e e, e y v e g J ve

ha c s t o ass hrou h his ad urous ad C n e p t g t vent gl e , Sw ift as the spar kle of a gl an cing star 8 0

I shoo from h a t o i him saf con o A t e ven , g ve e v y ,

As n ow I do But rs I m us ut off . fi t t p

’ h s m sk - ro s s u out of Iris w oof T e e y y be , p n , And take the w eeds an d likeness of a sw ain

ha t o the serv 1ce f his hous on s T t o t e bel g , C OM US . 17

1 ho wih his sof i and Sm oo h - di i d so W , t t p pe t tt e ng, O ows t o st ill t he w id w i ds w h h roar Well kn l n en t ey , And hush the w aving w oods nor of less faith And in this offi ce ofhis m ountain w at ch

L i i s and ar s t o t he r s n aid kel e t , ne e t p e e t

f hi o i But I h ar the r ad O t s ccas on . e t e

now Ofhateful steps I m ust be view less .

C OM U S enter s w it/i a c/za r m in - r od in one lia nd leis lass in , g , g

tke atker : w it/i kim a r out o m onster s kea ded like sundr f , y

sor ts o w ild aeasts out atk er w ise like m en a nd w om en f , ,

e l li T e in in r i ous tk ir app a r e g ster ing . k y com e m a k g a ot

n l is a d unr u no e w itk tar ckes in t/ieir k a n ds . y ,

C am us Th s r h i r . e t a t at b ds t he shephe d N ow t he t op ofheaven doth hold And the gilded car ofday His gl ow ing axle doth allay In the steep Atl antic st r eam And t he sl ope sun his upw ar d beam

Shoo s a ain s the dus ol t g t ky p e, Pacing t ow ard the other goal

Ofhis C ham r in the as be e t .

M a w hi w com o and f as _ e n le, el e j y e t,

Mid i h shou an d r r n g t t evel y ,

i s dan c and o i T p y e j ll ty .

raid our oc s w ih ros w i B y l k t y t ne ,

r i in w i o odour s dr o . D pp ng , pp g ne Rigour now is gone t o bed

And d ic w ih scru u ous h ad A v e t p l e ,

S ric A e and sour S ri t t g , eve ty , ih m li h ir ra saw s in S u r e. W t t e g ve , l be 18 C OM US .

ha ar e of ur r fire We, t t p e ,

Im i a the s arr uir t te t y q e,

Who in h ir i h w a chfu s h r s , t e n g tly t l p e e ,

L ad in swif round the m o hs and ars e t nt ye .

The sou ds and s as w ih all h ir finn dro n e , t t e y ve, N ow t o the m oon in wavering m orrice m ove And on the t awny sands and S M

ri the r fairi n t h r T p pe t es a d e dappe elves.

dim d roo an d fou ai - r im By ple b k nt n b ,

The w ood- m hs d c d w ith daisi s rim ny p , e ke e t , Their m err y w akes an d pastim es keep What hath night t o do w ith S leep ? NIght hath better sw eet s t o prove

us n ow w a s and w a n s L o . Ven ke , ke ve

om let us our ri h s in C e, g t beg ’ T is on da i h ha m a s sin ly yl g t t t ke ,

’ hi h h n w il r r or W c t ese du Shades l ne e ep t .

ai odd ss of oc urn a s or H l , g e n t l p t ,

ar - i d t o t o w hom the s cr am D k ve le t y t , e et fl e Of m id i h or ch s ur s m s rious dam n g t t e b n y te e ,

’ That n e er art called but w hen t he dragon w om b

Of S ia dar ss s s her hic s oom tyg n kne pet t ke t gl , And m akes on e bl ot of all the air "

S a th C oud o chair t y y l y eb n , ’ h r in hou r idest w ih Hecat an d fri d W e e t t , be en

Us th ow d ri s s i u m os en d y v e p e t , t ll t t

Of all th du s do an d on f out y e be ne, n e le t ,

Ere the a i as r scou bl bb ng e te n t ,

The ic Mor on the Indian s n e n teep ,

rom her ca in d oo - ho F b e l p le peep ,

And t o the tell - tale S un descry C OM US .

Our co c a d so m i n e le le n ty .

om ni hands an d a the roun d C e, k t , be t g

In a i h fa s ic rou l g t nta t nd.

Tkc M ea s ur e.

r a off r a off I f the diff r ac B e k , b e k eel e ent p e

f som chas foo in r a u hi rou O e te t g nea b o t t s g nd. Run t o y our S hr ouds w ithin these b rakes and t r ees

Our um r m a affri h S om ir i sur n be y g t . e v g n e (For so I can distinguish by m ine art)

n i h d in h s w oods Now t o m charm s Be g te t e e y , And t o m y w ily t rain s : I S hall ere l ong Be w ell st ocked w ith as fair a herd as grazed

ou m m o h r ir c hus I hur l Ab t y t e C e . T

M da in S s in o the s o air y zzl g pell t p ngy ,

Of ow r t o ch a the w ih ar i usion p e e t eye t ble ll ,

And i it fa s r s m s s t he ac g ve l e p e ent ent , le t pl e

An d m uain ha i s r d as o ishm n y q t b t b ee t n e t , And put t he dam sel t o suspicious flight

’ hi h m us n ot for h in m ur c a s a a s co s . W t be , t t g t y e

I und r fair r n c offri nd n ds , e p ete e e ly e ,

And w - ac d w ords of o in cour s ell pl e gl z g te y ,

ai d w i r asons n ot un ausi B te th e pl ble,

i d m e i o t he as - h ar d m an W n nt e y e te ,

An d hu him i o sn ar s h n on c her g nt e . W e e eye

a h m et the ir u of his m a ic dus H t v t e t g t , I S hall appear som e harm less vill ager

hom hrif u hi ou r r W t t keeps up abo t s c nt y gea .

But h r she com s I fair s asid e e e ly tep e,

And h ar if I m a her usi ss hear e ken , y b ne . 20 COM US .

Tke D e LA Y n ter s .

L ad his w a the n oi w as ifm i ear ru y . T y se , ne be t e ,

uid now M hou h it w as the sou d My best g e . et g t n

Of rio an d ill- m ana d m r rim t ge e ent , S uch as the j ocund fl ute or gam esom e pipe

S irs u am o t he oos u r d hinds t p ng l e nlette e ,

h for h ir m i oc s an d ran s fu W en , t e tee ng fl k g ge ll ,

In w an o dan c h rais the ou ous Pan t n e t ey p e b nte ,

And h th ods am iss I should o h t ank e g . be l t To m eet the r udeness and sw illed insolen ce

Of such a w assai r Oh " w h r s l te le s yet , e e el e Shall I inform m y unacq uain ted feet In the blind m azes of this tangled w ood ?

M r o h rs w h h saw m e w ari d out y b t e , en t ey e e

ih his o w a r so i h r t o od W t t l ng y, e lv ng e e l ge

d r the s r adi fa our of h s in s Un e p e ng v t e e p e ,

S d as h said t o t he hic - sid teppe , t ey , next t ket e

To ri m e rri s or such coo i frui b ng be e , l ng t

A h in h i w r i s t e k d osp t able oods p ov de .

f m e h w h the r - hood d E w le t t en en g ey e ven , ’ L i a sad o aris in a m r s w d ke v t t p l e ee ,

’ o f m h i m wh l of h u w in R se ro t e h nd ost ee s P oeb s a .

But wh r h are and w h h cam not ac e e t ey , y t ey e b k,

" “ IS now h l f m hou h s I is i i s t e ab our o y t g t . l kel e t They had engaged their w andering steps t oo far

And ious dar ss ere h cou d r ur env kne , t ey l et n ,

Had s h m fr m m E s hi ish i h o o e. t le t e l e, O t ev N g t ,

Wh shou ds hou but for som f onious end y l t t , e el , In thy dark l antern thus C l ose up

ha a ur hu in h a n and T t N t e ng e ve ,

’ Sw Echo sw s m h ha liv st u s eet , eete t ny p , t t n een Within thy air y shell ’ s ow M a d r s m ar r n By l e n e gent g ee ,

And in th e violet - em b roider ed vale

Wher e t he l ove - l orn nightingale Nightly t o thee her sad song m ourneth w ell C an st thou not tell m e of a gen tle That likest thy N ar cissus are

0 if hou ha , t ve

Hid h m in som ow r ca t e e fl e y ve,

m e but w h r Tell e e,

Sw u of ar au h r of the S h r " eet Q een P ley , D g te p e e

’ S o m a s hou ran s a d t o the s i s y t t be t l te k e ,

’ And give r esounding grace t o all H eaven s harm onies

’ am us C an an m or a m i ur of ar h m ou d C . y t l xt e e t l Br eathe such divin e en chan ting ravishm ent ?

S ur som hi ho lod s in ha r as e et ng ly ge t t b e t , An d w ith these rapt ur es m oves t he vocal air

To if hi hi n r sid n c test y s dde e e e . How sw eetly did they fl oat upon the w ings

Of si c hrou h t he m - au d i h len e, t g e pty v lte n g t , ever f ll sm oot hin the ra dow a fi At yfl g ven n ‘ Ofdarkness till it sm iled have oft heard

M m o h r ir c w ih the Sir ns hr y t e C e t e t ee,) m ids the flow er - ir d aiad s A t y k tle N e ,

u i h ir o h r s and a fu dru s C ll ng t e p tent e b b le l g ,

Who as h su w ou d a the riso d soul , t ey ng, l t ke p ne ,

An d la it in E sium S c a w p ly yll ept , C OM US . 23

And chid her ar i w a s i o a n ion b k ng ve nt tte t ,

And f l har dis m urm ur of a aus e l C yb ed s t ppl e .

h in asi s um r lu d the s n s Yet t ey ple ng l be lle e e, And in sw eet m adness robbed it ofit self

But such a sap ed and hom - f d i h e elt el g t , r in “ , w SW C ert int of w a i iss g y k ng bl , ’ I r hear till n ow I 11 s a t o her . neve dh pe k ,

And sh sha m u il f r i w o d r " e . a o ll be y q een , e gn n e Hr hom c r ai h s rou h shad s did r r d W e t n t e e g e neve b ee , Unless the goddess that in rural shrine

’ D w ellst h r w ih Pan or S a bl s so e e t ylv n , by e t ng Forbidding ever y bleak unkindly fog

' w h h w 2 To t ouch the p rosperous gro t of t is t all ood. 7 0

L ad Na sh h rd ill is os ha rais y . y, gentle ep e , l t t t p e

h i r di ars T at s add essed to unatten ng e .

Not an oas of s i but r m Shif y b t k ll , ext e e t

How t o r ai m s r d com a eg n y eve e p ny , C om pelled m e t o aw ake the courteous Echo

i m a w r f r m ou h To g ve e n s e rom he ossy c c .

am s h h d L ad ha h r f ou C u . a c a c oo W t n e, g y , t be e t y thus ?

L d D im r hi l f ri h da ss n s a a . a y . kne a d t e y l by nt

a us ou d ha di id ou from r - u h ri C m . C l t t v e y nea s e ng guides ? L h f m w ad . r on a r s urf y T ey le t e ea y g a sy t .

am us f h r i w h ? C . a s ood o d scour s or By l e , te y , y ’ L ad To i h f i ri . m y S eek t e valley so e cool r endly sp ng.

am us And f our fair sid al n u r d L ad ? C . u a de le t y e b g , y

L a d h w r but w ai and' ur os d uic y . T ey e e t n , p p e q k

r ur et n .

m us rha s for s a i i ht r d h m . C a . Pe p e t ll ng n g p evente t e 24 C OM US .

L ad How as m m isfor u Is t o hit " y . e y y t ne

s Im or s h ir oss sid th r ? am u . e s d C p t t e l , be e p e ent nee

d NO ss ha if I S hou d m ro h r L a . s o y le t n l y b t e l se .

s r h ofm a rim r hf m ? C am u . o ou u oo We e t ey nly p e, y t l bl ’ ’ As sm oo h as H b h ir li L a d . e e S u ra or d y t t e n z e ps. 290

Tw o such I saw w ha im h C am us . t e a our d ox , t t e l b e

In his oos rac s from the furrow cam l e t e e,

h w i d h d r t hi And t e s nke e ge a s supper sat .

I saw h m u d r a r m a i i t e n e g een ntl ng v ne ,

ha craw s a o t e sid of on sm a hi T t l l ng h e y ll ll , Pl ucking r ipe cl usters from the tender Shoot s

h ir or w as m or ha hum a as h s oo T e p t e t n n , t ey t d. I t ook it for a faer y vision

Of som a cr a ur s ofthe m e g y e t e ele ent ,

ha in the co ours fthe rai ow li T t l o nb ve ,

’ An i h C ou s I w w - d a i the d d . as a e s roo pl y pl g te l t k, hi If h And as I ass d I w ors d. os ou s , p e , pe t e y eek, It w er e a j ourney like t he path t o Heaven

n h m To help you fi d t e .

L a d i a r y . Gentle v ll ge , ? What r eadiest w ay w ould b r ing m e t o that pl ace

i s from his shr u oi s D ue w s it r s . Cam u . e t e t bby p nt

L a d To find out ha ood Sh h rd I su os y . t t , g ep e , pp e,

In such an a ow an c of s ar - i h a sc t ll e t l g t ,

’ ou d o r as th s and- ilo s art W l ve t k e be t l p t ,

- i f Without the sur e guess ofw ell pract sed eet .

m s I n w h l n r r C a u . o ac a a d a k e ne, eve y lley g een ,

i or ush d l of his w ild w ood D ngle , b y el , t ,

And r os our from sid t o Sid eve y b ky b n e e, My daily w alks and an cient n eighb ourhood

And if our s ra a n da c od d , y t y tte n e be yet l ge , COM US . 25

Or shroud wihi h s im i s I Sha now t n t e e l t , ll k

Er e m orrow w a or the low - r oos d ar ke, te l k

rom h r ha ch d a r ous If h w i e e. o r s F t t e p llet t e e,

I can co duc ou L ad t o a low n t y , y ,

But o al co a w h r ou m a saf l y tt ge, e e y y be e

i fur h r u T ll t e q est .

L ad h h rd I a t h w r . S o d y ep e , t ke y ,

And rus t h ho s - off r d cour s t t y ne t e e te y ,

hich oft is soo r fou d in ow l sh ds W ne n l y e ,

ih sm o raf rs ha in a s r hal s W t ky te , t n t pe t y l

And cour s of ri c s w h r it rs w as n am d t p n e , e e fi t e ,

And et is m os r In a c y t p etended. pl a e

L ss w arra d ha his or ss s cur e nte t n t , le e e ,

I ca o ha I shou d f r t o ch i a a t . nn t be, t t l e nge

E e m e l s Pro id c and s uar m ria y , b e t v en e, q e y t l

To m ro or io d s r n h " Sh h rd ad on y p p t ne t e gt ep e , le .

Tae TwoB R HE OT R S .

ld B ro nm uffl f i E . . U e a s ars and hou fair m oo , ye nt t ; t , n ,

’ ’ ha w ont st t o o the ra r s iso T t l ve t velle ben n , St oop t hy pale visage through an am ber C l oud

And disi h ri C haos ha r i s h r n e t , t t e gn e e In double night of dar kness and of shades

Or if our i u c ui dam m d u , y nfl en e be q te e p

ih lac usur i m is s som a r W t b k p ng t , e gentle t pe ,

Though a r ush - candle from the w icker hole

Of som C a ha i a io isi e l y b t t n , v t

ih th o l d rul of s r am i li h W t y l ng evelle e t e ng g t ,

And hou shal be our s ar of r cad t t t A y ,

’ r T ri n osur O y a C yn e . 26 C OM US .

B Or if our s S ec. ro . , eye

rr ed that ha i ss m i h w e bu t h ar B t pp ne , g t e ‘ Th d d oc s d in h ir w a d co s l e fl k , penne t e ttle te ,

f as ora r d w ih oa s o s p t l ee t ten t p , ‘ r whistlefrom the od or ila coc O t l e, v l ge k \ g ou the i h w a ch s t o his f a h r dam s C nt n g t t e e t e y e ,

’ T w ou d be som so ac som i ch ri . , , l \ e l e yet e l ttle ee ng nn m r hs In thisfclose dungeon ofi u e ous boug .

But oh ‘ ha ha ss ir i our os sis r " , ,t t ple v g n, l t te

h r . m a ) she w a d r now w hih r a her W e e y n e , t e bet ke

-f rom fh e Chill dew am o s rud urs and his l s . F , ng t e b t t e

rha s som co d a 15 her o s r n ow Pe p e l b nk b l te ,

’ Or gain st the rugged b ark of som e b road elm

L a s h r : u i w e o d h ad frau h wih sad f ars. e n np ll e e , g t t e

ha ifin w id am a m an d affri h W t l ze ent g t ,

Or w hie-w e s a w i hi the dir fu ras , l pe k , t n e l g p heat

over - exquisite

‘ v h To cast\f e fashion of For rantNthe so w hi h r s un ow , g y be , le t ey e t kn n , l ha n eed a m an for s a his da of ri f W t e t ll te g e , And r un "t o m eet what he w ould m ost avoid ? I

Or ifi but fa s alarm s off ar , . be l e e , such selfdel usion "

I ‘d0 \ ot hi m sis r so t o s n t nk y te eek, \ ’ Or o un rin ci led In ir u 5 oo S p p v t e b k ,

And the sw ac ha ood ss osom s r eet pe e t t g ne b eve , , As single w ant of light and n oise

in da r as I r us she is not nge , t t )

‘ ‘ C ould stirz the co s a t m ood ofher ca m hou h s x n t n l t g t ,

And iut m i o m -isbecom in i h fi the nt g pl g t . ) V " COM US .

could see t o do what Virt ue w ould

ow n radia i h hou h sun and m oo nt l g t , t g n

‘ ’ in h flat s a su And isdom s s f Were t e e . . nk) W el

ft fseeks t o sw r ir d so i ude O eet et e l t ,

4 h r w ih her s urs C p l io x y W e e> t be t n e, p jgmp at n,

She um s her f a h rs and s row her w m s pl e e t e , let g g ,

That ain the ar ious us of r sor :, v b tle e t ,

' W r l ll o- r uffi n m im im air d e e a t ed a d so s . , et e p e

‘ d r TIe -that has light w ithin his own clear br east

’

Ma . sit i the c r an d n o ri h da y ent e, e j y b g t y But he that hides a dar k soul and foul thought s

i h d wa s u d r the m id- da sun

Ben g te , lk n e y

im s f is his own du o H el nge n . I C% ~ ’ B r Tis m os ru S ec. a , t t e

That . m usm g m edit ation m ost affect s

Th si s cr c of d s rt c e pen ve e e y e e ell ,

om the ch rfu hau ofm en and h rds F ee l nt e ,

it s as safe as in a senate - house ;

ho w ou d rob a h rm i ofhis w ds l e t ee ,

oo s or his ads or m a dish b k , be , ple , hairs any violen ce ? e the fair H esperian t ree

o d had d the uard g l , nee g

OfIdragon - w at ch w ith unen chanted eye l To sav e her ossom s and d f d her frui bl , e en t ,

Fror h i c h t e rash hand of b old In cont nen e . as w ell spr ead out the un sunned heaps

’ t r easur e by an outlaw s den

C it is saf as bid m e ho e, pe

1 wi on or u i nk Opp t n ty , ‘ And let a single helpless m aiden pass Z8 C OM US .

i ur d in his w id surroundi w a Un nj e t l ng ste . Ofnight or l oneliness it r e ck s m e n ot

I f ar the dr ad s ha do h m o h e e event t t g t e b t , L est som e ill-gr eeting t ouch attem pt the person

f our u ow d sis r O n ne te .

I do not ro h r , b t e ,

’ Infer as if I thought m y S ister s state Secur e w ithout all doubt or cont roversy

w h r an ua ois of ho and f r Yet , e e eq l p e pe ea

o s ar i ra the m a ur is D e b t te event , y n t e

ha I i c i t o ho ra h r ha f ar T t n l ne pe t e t n e ,

n anish s uin sus icio A d gl adly b q t p n . My sister is not so defen celess left

AS ou im a in she has a hidd n s r h y g e ; e t engt ,

hi h u r m m r not W c yo e e be .

B ro ha hidd s r h S ec. . W t en t engt ,

ss the r h of a if ou m a ha ? Unle st engt H e ven , y e n t t

Eld B r o I m a ha t oo but et a hidd s r h . . e n t t , y en t engt ,

hi h if a av it m a m wn c r d her o . W , He ven g e , y be te e ’ T is chas i m ro h r chas i ° t ty , y b t e , t ty

She ha has ha is c ad in com l s l t t t t l p ete tee ,

And i a ui r d m h w ih arrow s , l ke q ve e ny p t keen ,

Ma rac hu for s s and u har our d h a hs y t e ge e t , n b e e t ,

I fam ous hi s and sa d rious w ids n ll , n y pe l l

h r hrou h the sacr d ra s of chas i W e e, t g e y t ty ,

o sa a r c a di or m ou ai r N v ge fie e , b n te, nt nee , i W ll dar e t o soil her virgin purity .

Y ea Th r w h r r d so a io dw ls , e e e e ve y e l t n e l ,

ro s and ca r sha d w ih horrid shad s By g t ve n s gge t e ,

She m a ass on w ih u ch d m a s y p t nblen e j e ty ,

i r um ion t not do in rid or in s . Be ne p e, p e pt

30 COM US .

i all m ad im m or a w h lus T ll be e t l en t ,

u chas oo s oos s ur s and fou a By n te l k , l e ge t e , l t lk,

But m os l w d and a ish act of sin t by e l v ,

L s in defilem ent t o the i ward ar s et n p t ,

The sou row s c o d co a io l g l tte by nt g n,

Im odi s and im ru s i She ui oos b e , b te , t ll q te l e

The di in ro r of h er rs in v e p pe ty fi t be g. S uch are those thick an d gl oom y shadow s dam p

Oft s in char - au s and s u chr s een nel v lt ep l e ,

L i ri and S i in a n ew - m ad ra nge ng tt g by e g ve,

AS o h t o a the od ha it lp v ed l t le ve b y t t , And linked it self by carnal sen sualty

To a d ra an d d rad d st at e / egene te eg e g c

e B ro H w h r m in i di i hio o h " S c. o c a s s . g v ne P l p y

Not harsh and cra d as du foo s su os bbe , ll l pp e,

’ But m usica as is o o s u l Ap ll l te,

And a r ua f as of c ar d sw s pe pet l e t ne t e eet ,

h r n o cru surf i r i W e e de e t e gns.

L ist " list " I hear 48 0

om far - offh r t h i ir S e all o b eak e S lent a .

ec B r a M hou h so t oo wha Shou d it ? S . . et g t t l be

For c r ai e t n ,

Ei h r som one i us i h - fou d r d h r t e e , l ke , n g t n e e e e,

Or s som i h our w oodm a or at w or s el e e ne g b n , , t , m i i w S o e roving robber call ng t o h s fell o s.

e B n m i r ai i S c. r o a S s " a a . H e ve keep y te Ag n , g n , and n ear

s r w n d u o our uard d a a d s a . Be t , t n p n g ’ ll h I all o .

Ifhe fri d he com s w ell: ifn ot be en ly , e ,

f c is a ood caus and a for us " De en e g e, He ven be COM US . 31

' Tlie EN N S PI I k a aitea lik e a ske k e r d. ATT DA T R T , p

l I h u ow h ? ha ha o s o d . a are ou s a T t l l kn W t y pe k . 490

om not t oo ar ou fa on ir on s a s C e ne ; y ll t ke el se .

ir ha oic is ha ? m ou L or ? Sp . W t v e t t y y ng d speak i aga n .

’ ’ r ro h r t is m f h r S ec B o . a s h h r . d sur S . O b t e , y t e ep e , e

l B o Th rsis whos r f r . a u s r i h f E d. y e t l t a ns ave o t delayed

The hudd i roo t o h ar his m adri al l ng b k e g ,

And sw d r m us - ros of the da eetene eve y k e le .

How cam s hou h r ood sw ai a h an ram e t t e e, g n H t y

S i d fr om the fo d or oun kid os his dam l ppe l , y g l t , Or st raggling w ether the pent fl ock forsook ? ? How couldst thou fin d this dar k seque ster ed n ook 50 0

’ ir m o d m as r s h ir n hi o S . a d s p O y l ve te e , next j y, I cam e not her e on such a t rivial t oy

As a s ra d ew e or t o ur su the s a h t ye , p e te lt Ofpilfering w olf not allthe fl eecy w ealth That doth enrich these dow n s is w orth a thought

To hi m rr a d and the car it rou h s . t y e n , e b g t

But oh " m ir i L ad w h r is S he ? , y v g n y , e e ? How chan ce she is not in y our com pany

Eld B ro To h sad Sh h rd w ihou am . . tell t ee ly , ep e , t t bl e

Or our c w e os her as w e cam . 10 negle t , l t e 5

f r ru ir A m u ha h m ars a e . Sp . y e n ppy t en y e t e ? Eld Era ha f ars ood Th rsis rih ri . . W t e , g y P t ee b efly

sh w e .

’ ’ S ir I ll T is not ai or fa u ous p . tell ye . v n b l (Though so esteem ed by shall ow ign oran ce)

ha the sa o s au h the h a Mus W t ge p et , t g t by e venly e, C OM US .

Storied of old in high im m ort al verse

Ofdir him ras and n chan d is s e C e e te le , And rifted rocks whose ent ran ce leads t o Hell ;

h n i i i For suc h r but u f s d. t e e be, bel e bl n

ihi the a of his hid ous w ood W t n n vel t e ,

Im m ur d in c r ss S had s a sor c r r dw s e yp e e , e e ell ,

Of acchus and of ir c or r a om us B C e b n , g e t C ,

’ s i d in all his m o h r s w i ch ri s Deep k lle t e t e e , And her e t o every thirsty w an der er

sl ic m i s his a fu cu By y ent e ent g ve b ne l p,

ih m a m urm ur s m i d w hos asi oison W t ny xe , e ple ng p

The v isa ui ran sform s of him ha dri s ge q te t t t nk , An d the ingl orious liken ess of a beast

’ i s ins ad u m ou di r ason s m in a F xe te , n l ng e t ge

h r r d in t h f c his ha I ar C a acte e e a e . T ve le nt

’ Tending m y fl ocks hard by i the hilly croft s

h row his o om lad w h n c i h i h T at b t b tt g e e e n g t by n g t 7 He and his m onst rous rout are heard t o how l

L i s a d w ol s or i r s at h ir r ke t ble ve , t ge t e p ey , D oing abhorr ed rites t o H ecate

r h u of inm os w r In their ob scu ed a nt s t bo e s.

' Yet have they m an y bait s and guileful spell s

' To inveigle and invite the unw ar y sense

Of h m ha ass unw in the w a t e t t p eet g by y; , / his n i a h the ch ew in flocks T eve ng l te , by t en g

’ Had t a en their supper on the sav our y her b

Of n o - rass dew - s r n and w r in fo d k t g be p e t , e e l , I sat m e dow n t o w at ch upon a ban k

ih iv ca o i d and i rw o W t y n p e , nte ve

ih flauntin ho suc and an W t g ney kle, beg ,

ra in a easin ofm an cho W pt pl g fit el ly , M CO US . 33

To m di a m r ura m in s r s e t te y l t el y ,

r But ere a c os Till fan cy had he fill . l e

Th w o d roar w as u am ids the w oods e nte p t ,

And d t he air w ih ar arous disso a c fille t b b , n n e

w hich I c as d and is d h m awhi At e e , l tene t e le , Till an un usual st op of sudden silen ce

“ Gave r espite t o t he drow sy - flight ed steeds

- n That draw t he litter of cl ose cur t ai ed Sleep .

At last a soft and solem n - br eathing sound

os i a s am of r ich dis i d rfum s R e l ke te t lle pe e ,

And s o u o the air ha Si c t le p n , t t even len e

Was oo er e she w as w ar and w ish d she m i h t k e, e g t

her a ur an d be r m or Deny n t e, neve e,

il t o so dis ac w as all ear S d. t l be pl e I , — ' - And t ook in st rains that m ight cr eaféHSoul

r th ri f a h But oh " re o d e s o . e Un e b De t , l ng Too w ell I did per ceive it w as the voice

fm m h ur d L ad our d ar sis r O os o o . y t n e y , y e te

m a d I s ood har r ow d w ih ri f and f ar A ze t , e t g e e ; ” And oor ha ss i h i a hou h I O p ple n g t ng le, t g t ,

’ How sw hou sin s how n ar the d ad s ar " eet t g t , e e ly n e

h dow the aw s I ran w ih h ad o has T en n l n t e l ng te, ' hrou h a hs and ur in s of rod da T g p t t n g ten t by y,

i uid d m i ear I fou d the ac T ll , g e by ne , n pl e

h r ha dam d w i ard hid in sl dis uis W e e t t ne z , y g e

For so c r ai si s I w had m et ( by e t n gn kne ) ,

r ad ere m s s d cou d r Al e y , y be t pee l p event ,

The aid ss i oc lad his w ish d r le nn ent y , e p ey ; , Who as d ifhe had s such tw o gently ke een ,

S u osin him som i h our ila pp g e ne g b v l ger .

L o r I durs not s a but soo I u ss d nge t t y , n g e e 34 C OM US .

Ye w er e the tw o she m ean t w ith that I sprung

I o swif i h i I had fou d ou h r nt t fl g t , t ll n y e e ; n But further know I ot .

ni h and shad s O g t e , How are ye j oined w ith hell in t riple knot

ai s t he un arm d w a ss of on e ir i Ag n t e e kne v g n , Al one and helpless Is this the confiden ce

Y ou a m e ro h r ? g ve , b t e

r o Y es and it s i Eld B . . , keep t ll L ean on it safely n ot a period

ai th hr Shall be un said for m e. Ag n st e t eat s

f m a ic or of sor c r or ha ow r O l e e y , t t p e

hich rri m en ca ha c his I ho d firm W e ng ll C n e, t l

ir u m a assai d but r hur V t e y be le , neve t ,

ur ris d un us for c but n ot hra d S p e by j t e, ent lle ;

Y ea ha w hich Mischi f m a m os harm , even t t e e nt t

h ria ro m r Shall in the appy t l p ve ost gl o y .

But i on i s f sha ac r coil ev l t el ll b k e ,

And m ix no m or w ih ood ss w h at as e t g ne , en l t ,

a h r d i scum an d s d t o i s f G t e e l ke , ettle t el , It shall be in eternal r estless change

f- f n d s f- con sum d If his fai Sel ed a el e . t l

Th i ar d fi rm am ent is ro ss e p ll e ttenne ,

’ ’ But com An d ar h s as uit on s u . e t b e b l t bble e, let Against the opposing w ill and arm ofheaven May never this j ust sw ord be lifted up

B ut for ha dam d m a icia him ir , t t ne g n , let be g t With all t he griesly legion s that t roop

d r th soo fla of ch ro Un e e ty g A e n ,

ar i s and dras or all the m o s rous form s H p e Hy , n t

’ ’ w i frica and Ind I ll find him out T xt A , , C OM US . 35

An d for c him t o r ur his ur chas ac e et n p e b k ,

Or dra him the cur s t o a fou d a h g by l l e t , if C ursed as his l e .

i as ood ur h S r . ous ou p Al g vent y t ,

I lov e th coura and old m ris y ge yet , b e p e

h r th sw ord can do h i d But e e y t ee l ttle stea . Far other arm s and other w eapon s m ust h h Be those t at quell the m ight ofhellish c arm s .

w ih his ar w a d can u hr ad th oi s He t b e n nt e y j nt ,

An r um ll h i w d c ble a t y s ne s .

Wh rih Sh h rd y, p t ee , ep e , How durst thou then thy self approach so near As t o m ake this rel ation ?

ir ar and u m os shif s Sp . C e t t t How t o se cur e the L ady from surpr isal

rou h t o m m ind a c r ai sh h rd lad B g t y e t n ep e ,

Of sm a r ard t o see t o w s i d ll eg , yet ell k lle In ever y virt uous plant and healing herb

i r That spr eads her verdant leaf t o the m or n ng ay.

o d m e w and oft w ould be m e si H e l ve ell , g ng ;

hich wh I did he on the d r rass W en , ten e g

ou d sit and h ar t o cs as W l , e ken even e t y ,

And in r ui a o e his a h r scri eq t l p le t e n p ,

And S how m e sim s of thoiisand am s ple a n e , i i Tell ng their st range and vigor ous facult es .

m o s the r s a sm a u si h roo A ng t e t ll n g tly t ,

But ofdi i ff c he cu d m e out . v ne e e t , lle

The afw as dar ish and had ric s on it le k , p kle ,

But in a o h r cou r as he said n t e nt y , ,

or a ri h old ow r but n ot in his soi B e b g t g en fl e , t l

ow and i s m d and the du sw ain Unkn n , l ke e tee e , ll OM US 36 C .

Tr eads on It daily w ith his clouted shoon

’ And yet m or e m ed cinal is it than that M oly

h rm s o c t o w is ss s a T at He e n e e Uly e g ve .

cal d it a m o and a it m e H e le H e ny , g ve , And b ade m e keep it as of sovr an use

’ ain s all n cha m s m id w as or dam G t e nt ent , l e bl t , p ,

’ ri ari io Or ghastly F u es app t n .

I urs d it u but i r c o i m ad p e p, l ttle e k n ng e,

i n w h his r m i com d T ll o t at t ext e ty pelle . But now I find it t r ue ; for by this m eans

I w the fou cha r hou h dis uis d kne l en nte , t g g e ,

E r d the r im - wi s ofhis s s nte e ve y l e t g pell ,

m ff If ou h his ou And yet ca e o . y ave t ab t you

AS I w i i ou w h w e o ou m a ( ll g ve y en g ) , y y ’ ’ Boldly assault the n ecrom an cer s hall

h r ifhe w ih daun ss har dihood W e e be, t tle

And bra dish d ad r ush on him r a his ass n e bl e b e k gl , An d shed the l uscious liq uor on t he ground

i hi w hou h h an his cur r w But se ze s and. T g e d st c e

i r c S i of a m a and m ac hi h F e e gn b ttle ke, en e g ,

Or i the so s of u ca om i sm o , l ke n V l n , v t ke,

ifh hrin w i h soo r ir e but s . Yet ll t ey n et e, k

’ El Era Th r i d on a ac I ll fo ow h d. . s s a y , le p e ll t ee ' And som e ood an el bear a shield befor e us 17 g g

Tke S cen e c/ia n es to a sta te a la ce set out w it]: a ll m a n ner o g lyp , f

e : o u l s s a d i /i a ll da in ies deliciousn ss s t m sic ta b e r e w t t . f , p

C O M U S a ear s w ita lt is r a bble a nd tke L Y set in a n pp , AD encha nted ek a ir ; to w k am lie afi er s kis g la ss ; w kick ske' d uts b a n oes a bou t to r ise. p y , g

a us N L a sit If w m . a I but hi w n C d . a s a d y, y , ve t ,

our r s are all chai d u in ala as r Y ne ve ne p b te , 660

38 C OM US .

’

L ad . T w i n ot fa s rai or " 6 0 y ll , l e t t 9

’ T w ill n ot r est or e t he t r uth and honesty

h hou has anish d from th on u w ih i s T at t t b e y t g e t l e . Was this t he cottage and t he safe ab ode

’ hou t old st m e of? ha rim as c s ar e h s T W t g pe t t e e, ? These oughly - headed m on sters Mer cy guard m e "

c w ih t h r w d chan m n s fou d c i r H en e t y b e e en t e t , l e e ve H ast thou bet rayed m y cr edulous innocen ce With vizor ed fal sehood and base forger y ?

’ An d w ould st thou seek again t o t rap m e here

ih i uorish ai s t o s ar a r u ? W t l q b t , fit en n e b te

r it a drau h for u o w h she uet s We e g t J n en b ,

I w ou d not as th r aso ous off r one l t te y t e n e . But such as ar e good m en can give good things And that which is n ot good is not d elicious To a well - governed and wise appeti am us foolish ss of m en d h ir ars C . O ne len t e e

To hos bud doc ors of the S oic fur t e ge t t ,

And f ch h ir r c s from the ic t ub et t e p e ept Cyn , Praising the lean and sall ow Ab stinen ce " Wher efor e did Nat ur e pour her b ounties forth

ih such a fu and unw ihdraw i ha d W t ll t ng n ,

o ri the ar h w ih odours frui s and oc s C ve ng e t t , t , fl k ,

hro i the w ih w in um ra T ng ng seas t spa n n e ble, ? But all t o please and gate the curious t aste An d set t o w f i i w orm s ork m illion s o sp nn ng ,

ha in h ir r w the sm oo h - hair d sil T t t e g een shops eave t e k,

To d c her so s and ha no cor r m i h e k n , t t ne g t

aca ofher in her own oi s Be v nt plenty , l n

She hu ch d the all-w orshi d ore and r cious m s t e ppe p e ge ,

To s or h r hi If ll th w or 2 t e e c ldr en w ith . a e ld 7 0 C OM US . 39

hou d in a of m ran c f d on u s S l , pet te pe e, ee p l e,

ri the c ar s r am and o hi w ar but fri D nk le t e , n t ng e eze,

The - i r w ou d u ha d w ou d u rais d All g ve l be nt nke , l be np e ,

Not ha fhis rich s own and et d s is d l e kn , y e p e

And w e shou d s r him as a rud i m as r l e ve g g ng te ,

As a ious i ard ofhis w a h peng n gg e lt , ’ And i i a ur s as ards n ot her so s l ve l ke N t e b t , n ,

Who w ou d ui sur char d w i h her own w i h l be q te ge t e g t , And st rangled w ith her w aste fer tility

The ar h cum r d and the w i d air dar d w ih e t be e , nge ke t

um s pl e ,

The herds w ould over - m ultit ude their l ords

’ The sea o erfrau ht w ou d sw and the u sou h g l ell , n g t diam onds

ou d so m a the for h ad ofthe d W l e bl ze e e eep,

And so s ud w ih s ars ha h be ow be t t t , t t t ey l

ou d row i ur d t o i h and com at as W l g n e l g t , e l t

To a u o the sun w ih sham ss row s g ze p n t ele b .

L is L ad not co and be not co d t , y ; be y, zene ih h m i i i a sa au d am r . W t t t e v nte n e, V g n ty

’ au is a ur s coi m us n ot hoard d Be ty N t e n t be e , But m ust be curr ent and the good ther eof

C o is in m nd ar a iss ns t s ut ual a p t ken bl ,

f i s f Un savour y in the enj oym ent o t el .

If ou let sli im i a c d ros y p t e, l ke negle te e ui h h d It w ithers on the st alk w ith l ang s ed ea .

’ au is a ur s ra an d m us show Be ty N t e b g, t be n

In cour s at f as s and hi h so m i i s t , e t , g le n t e , hi Wher e m ost m ay w onder at the w orkm an s p . It is for hom ely featur es t o keep hom e They had their nam e then ce coarse com plexion s 40 COM US .

And cheeks of sorr y grain w ill ser ve t o ply

’ Th m r n t o as the husw if s w oo e sa a d . ple , te e e l

ha d a rm i- in c ur d li for ha W t nee ve e l t t e p t t ,

L o - dar i s or r ss s i the m om ve t ng eye , t e e l ke Ther e w as another m eaning in these gift s

hi wha and ad is d ou ar e but ou et T nk t , be v e y y ng y .

L ad I had n ot hou h t o ha un oc d m i s y. t g t ve l ke y l p

In his u ha ow d air but ha his u r t n ll e , t t t j ggle

ou d hi t o charm m ud n as m i s W l t nk y j gme t , ne eye , ’ rudi fa s ru ran in r ar Obt ng l e les p ked eason s g b . I hate w hen vice can b olt her argum ent s

And ir u h n u h h r i v t e as o t ong e t o c eck er p de .

Im os or " do not char m os i oc a ur p t ge t nn ent N t e, As if she w ould her children should be riot ous

ih h r nd h r s e a u a c . S e ood ca s W t b n e , g te e ,

M a s her ro ision on t o the ood e n p v ly g ,

ha i accordin t o her so r aw s T t l ve g be l ,

And ho dic a of s r m ra c ly t te pa e Te pe n e . If ever y j ust m an that n ow pines w ith w ant Had but a m oderate an d beseem ing share

Ofthat w hich lew dly - pam per ed L uxur y

Now h a s u o som few w ih as c ss e p p n e t v t ex e ,

’ Nat ur e s full blessings w ould be w ell dispen sed

In unsu erfl uous ro or io p even p p t n , And she no w hit en cum ber ed w ith her stor e

And h the i r w ou d r ha d t en G ve l be bette t nke , His praise due paid : for swinish gl utt ony

’ r oo s t o a am ids his or ous f as Ne e l k He ven t g ge e t , But w ith besotted b ase ingratit ude

l h m s his d r ha I o on ? ram s and as . S C , b p e e Fee e ll g Or have I said en ow ? To him that dar es C OM US . 41

Arm his profane t ongue w ith contem pt uous w ords

Again st the sun - clad pow er of chastity Fain w ould I som ething say yet t o w hat end

hou has nor ear nor soul t o a r h d T t , , pp e en The sublim e n otion and high m y ster y That m ust be utt er ed t o unfold the sage And serious doct rine of Virginity And thou art w orthy that thou shouldst not know

M or n lo e happiness than this thy prese t t .

E o our d ar w it and a rh oric nj y y e , g y et , That hat h so w ell been t aught her dazzling fen ce ;

ho i T u art n ot fit t o hear thy self conv n ced.

shou d I t r the u co ro d w or h Yet , l y, n nt lle t Ofthis pure cause w ould kindle m y rapt spirit s To such a fl am e of sacr ed vehem en ce

ha dum b hin s w ou d m o d t o s m a his T t t g l be ve y p t e ,

And the ru Ear h w ou d d her r s and sha b te t l len ne ve , ke ,

i all th m a ic s ruc ur s r ar d so hi h T ll y g t t e , e e g ,

’ r sha r d i o h a s o r th fa s h ad We e tte e nt e p e y l e e .

C am us She fa n f h f r . I I do a bles ot . eel t at e Her w ords set off by som e superior pOw er ;

And hou h not m or a et a co d shudd rin dew , t g t l , y l e g ’ i s m e all o er as wh the w ra h of o D p , en t J ve Speaks thunder and the chain s of Er eb us

’ To som of w I m i m S a ur s cr . us d ss e t n e t e ble ,

And t r h r m r r m no m or " e o s o . C o y yet e t ngly e , e

his is m r m ora a and dir c T e e l b bble, e t

ai s the c o l w f ur f u i n Ag n t an n a s o o o ndat o .

’ I m ust not suffer this yet t is but the lees

And s i s of a m a cho o ettl ng el n ly bl od. But thisw ill cur e all st raight on e sip of this 42 COM US .

Will bathe the drooping spirit s in delight

i f r m w i o d the ss o d a s. s and as Bey n bl e Be e, t te .

Tk e B R O HE S r ush in w it/i s w or ds dr a w n w r est kis la ss out T R , g

o his kand a nd br ea k it a a inst the r ound : leis r out f , g g

m a ke si n o r esista n ce but a r e a lldr iv en in . Tlie EN g f , ATT D

I c s i ANT S PIR T om e n .

ir ha ha ou t he fa s cha r sca Sp . W t ve y let l e en nte pe O ye m ist ook ye should have snat ched his w and

u him fas ihou his r d r rs d And o d . o b n t W t t eve e ,

And ac w ard m utt ers f diss ri o r b k o eve ng p we , We cann ot fr ee t he L ady that sit s her e

In f rs d and m o ion s st ony ette fixe t le s.

s a : not dis ur d now I hi m e Yet t y be t be ; bet nk ,

S om o h r m a s I ha w hich m a us d e t e e n ve y be e ,

hich o c of M eliboeus old I l ar W n e e nt ,

’ h h sh h rd ha e r i on i T e soot est ep e t t e p ped pla n s.

h r is a n m h n ot far from h c T e e ge tle Ny p en e , That w ith m oist cur b sw ay s the sm ooth S evern st r eam S abrina is her nam e a virgin p ure

hiom she w as the dau h r of L ocri W l g te ne,

h ha th sc r from his fa h r ru T at d e ept e t e B te .

She ui ss dam s i the m ad ursui , g ltle el , fly ng p t

Ofher ra d s dam u do en ge tep e, G en len, C om m ended her fair inn ocen ce t o the fl ood

ha s a d her i h w ih his cross- flow in co r T t t ye fl g t t g u se .

The w a r - n m hs ha in the o om a d te y p , t t b tt pl ye ,

d u h ir ar d w ris s and oo her in Hel p t e pe le t , t k ,

’ Bearing her st raight t o aged Ner eus hall ;

Who it eohs ofher w o s r ar d her la h ad , p e , e e nk e , And gave her t o his daughters t o im b athe OM {0 W W C US . 43

In c ar d la rs s r w d w ih as hodil ne t e ve t e e t p , And through the p or ch and inlet of each sense

ro in am rosia ois i she r i d D pt b l l , t ll ev ve ,

And u d rw a uic im m or a cha n e ent q k t l nge,

Mad odd ss of the ri r i she r ai s e G e ve . St ll et n

Her m aid ss and oft at en gentlene , eve

isi s the h rds a o the wii h m adow s V t e l ng t l g t e ,

i all ur chi as s and ill- uc si s Help ng n bl t , l k gn

ha the shr w d m dd i elf d li h s t o m a T t e e l ng e g t ke , Which she w ith p r e cious vialed liquors heal s

For w hich the sh h rds at h ir f s i a s ep e , t e e t v l ,

aro her ood ss loud in r us ic la s C l g ne t y , And throw sw eet gar l and w r eaths into her st ream f i i ff i O a s s s an d aud da od s . p n e , p nk , g y l

And as the old sw ain said she can u oc , , nl k

' The c as i charm and thaw the um i s l p ng , n b ng pell , If she be right invoked in w ar bled song ;

For m aid hood she lo s and w i sw if en ve , ll be t

To aid a ir i such as w as h rs f v g n , e el ,

In h r - i d hi w i I t r a d b s . s e ett ng nee T ll y,

f m r i r And add the pow er o so e adj u ng ve se .

S abri a fair n , L isten w her e thou art sitting

d r the lass coo ra s c w a Un e g y , l , t n luent ve, In tw isted b raids of lilies knitting “ 1 WKP The loose t rain ofthy am ber - dropping hair ’ L is for d ar ho our s sa ten e n ke,

odd ss ofthe si r a G e lve l ke , L isten and save " COM US .

L is and a ar t o us ten , ppe ,

m of r a c a us In na e g e t O e n .

’ the ar h - sha i u s m ac By e t k ng Nept ne e,

’ And Tethy s grave m aj estic pace

’ hoar cr us w rin d oo By y N e kle l k,

’ And the C arpathian w izard s hook ;

’ sca ri o s w i din sh By ly T t n n g ell ,

’ And old soothsaying Gl aucus spell

’ L uco h a s o ha ds By e t e l vely n , And her son that r ules the st rands

’ he is i s - s i r d f By T t t n el l ppe e eet , And the songs of Sirens sw eet

’ d ad Parthen o e s d ar om By e p e t b ,

’ And fair L i ea s o d com g g l en b , Wher ewith sh e S it s on diam ond r ocks Sleeking her soft all uring l ocks By all the Nym phs that nightly dan ce Upon thy st r eam s w ith wily glan ce

is ris and h a th ros h ad R e, e , e ve y y e

rom th cora - a bed F y l p ven ,

And r id in th h ad o w a b le y e l ng ve,

i hou our um m w r ha T ll t s on s an s e ed ve . L isten and save

- S B IN r ises a ttended b Wa ter n m k s a nd sin s . A R A , y y p , g

t he rush - frin d an By y ge b k ,

Wh r row s t he w i ow and the Osi r da e e g ll e nk ,

M s idi C hario s a s y l ng t t y ,

hic set w ih a a and the a ur sh T k t g te , z n een

Of ur is u and m ra d r n t k bl e, e e l g ee , That in the channel st rays

46 COM US .

May t hy b rim m ed w aves for this Their full t rib ute neve r m iss

rom a housa d ri s F t n petty ll , That t um ble dow n t he sn ow y hill s S um m er drouth or singed air

r scor ch th r ss s fair Neve y t e e ,

’ Nor w et O ct ober s t orr ent fl ood Thy m olten cryst al fill w ith m ud May t hy b ill ow s roll ashor e The beryl and the golden or e May thy l ofty head be crowned i h m an a ow r and rrac rou d W t y t e te e n , And her e an d ther e t hy banks upon

ih ro s ofm rrh n i m W t g ve y a d c nna on .

om L ad w hi a l ds us rac C e , y le H e ven en g e ,

L et us his curs d ac fly t e pl e, L est the sorcer e r us entice

ih som o h r n ew d ic W t e t e ev e . Not a w aste or needless sound

i w com t o ho i r rou d T ll e e l e g n . I shall be y our faithful guide Through this gl oom y covert w ide ; And not m an y furl ongs then ce

’ Is our a h r s r sid c y F t e e en e , Wher e this n ight are m et in state Many a friend t o grat ulate

His w ish d r s c and sid e p e en e, be e All the sw ain s that ther e abide

With j igs and r ural dan ce r esort .

sha ca ch h m at h ir s or We ll t t e t e p t , And our sudden com ing ther e COM US . 47

l ll h ir m ir h and ch r Wil double a t e t ee .

om us has t he s ars row hi h C e, let te ; t g g , m h i h i k But Night sit s onar c yet n t e m d s y.

’ lie S cene ckan es r esentin L udlow Tow n a nd tke Pr esident s T g , p g , C astle tken com e in C oun try D a ncer s ; after t/iem t/ie

S PI I w ita tke tw o B HE d ke Y EN N S a n t L . ATT DA T R T , ROT R AD

ir c sh h rds b S . a ac " E ou h our a p B k , ep e , k n g y pl y

i sun - shi ho ida T ll next ne l y .

r w ihou duc or nod H e e be, t t k , Other t rippings t o be t rod

Of i h r o s and such cour uis l g te t e , t g e As Mer cur y did fi rst devise With the m in cing D r yades h w n On t e la n s a d on the leas .

Tke second S ang p r esen ts tkem to tkeir F a t/ier a nd M otker

ob L ord and L ad bri h N le y g t , h w i h I ave brought ye ne del g t . H er e behold so goodly grown

hr f ir f ur wn T ee a b ran ches o y o o .

a ha h im l ri d h ir ou h He ven t t e y t e t e y t ,

h ir faih h ir a i c an d h ir ru h T e t , t e p t en e, t e t t , And sent them her e through hard assay s

ih a crow ofd a hl ss rais W t n e t e p e, To t rium ph in vict orious dan ce

’ r u fo i m r c O e sen s al lly and nte pe an e . C OM US .

d Tbe da nces en ed tke S PI I e ilo uiz es . , R T p g

i T t h oc n w I S r . o e a o p e n fly , And those happy clim es that lie

h r da r shu s his e e W e e y neve t y ,

in th road ds ofthe sk Up e b fiel y.

h r I suc the i uid air T e e k l q , All am idst the garden s fair

Of s r us and his dau h rs hr H e pe , g te t ee

ha si out h o d r T t ng ab t e g l en t ee . Al ong the crisped shades an d bow ers Revel s the spruce and j ocund Sp ring ;

The Graces and the r osy - b osom ed H ours

hih r all h ir ou i s ri T t e t e b nt e b ng. Ther e etern al Sum m er dw ell s And w est w inds w ith m usky w ing About the cedarn alleys fling ’ ard and cassia s balm sm N y ells . Iris ther e with hum id bow

a rs the odorous a s ha ow W te b nk , t t bl Flow ers ofm or e m ingled hue

ha her urfl ed scarf can sh w T n p e , And dr en ches with Elysian dew

L is - b ru ( t , e_ t e) / Beds of acinth and ros s y e ,

h r ou do is oft r os s W e e y ng A n ep e ,

a i w ofhis d w ou d 10 0 0 W x ng ell eep n ,

In slum r sof and on the rou d be t , g n

S adl S i h ss ria u y t s t e A y n q een .

But far a o in s a l d sh b ve, p ng e een ,

C l s ia u id her fam ed son ad a c d e e t l C p , , v n e

L I YC DAS .

In th s M onod the Autho be a s a ea ned end un o tunate d o ned i y r w il l r Fri , f r ly r w

in his assa e f om C heste on t he I ish Seas 1 6 and b occas on p g r r r , 37 ; , y i , o ete s the u n of our co u ted C e then in the h ht f r ll r i rr p l rgy, ir eig . I

YET o c m or aur s and on c m or n e e, O ye l el , e e,

m r s row w ih Iv n r s f Ye y tle b n , t y eve e e,

I com t o uc our rri s harsh and cr ud e pl k y be e e , , And w ith for ced fingem u

Sha r our a s for the m o i ar tte y le ve be e ell wng ye . Bitter con st rain t an d sad occasion dear Com pel s m e t o dist ur b y our season due ;

For L cidas is d ad d ad ere his rim y e , e p e,

h f hi r ou L cidas and a h n ot l s . Y ng y , t e t pee ? Who w ould not sing for L y cidas he knew

f rh m im s f t o sin and uid t he o . H el g, b l l ty y e He m ust not fl oat upon his w ater y bier

w and w r t o th e ar chi wi d Un ept , elte p ng n ,

i ar Without th e m eed of som e m el od ous te .

i h is rs of t he sacr d w l Beg n , t en , S te e e l That from beneath the seat of J ove doth spring ; i in and som wha u sw the s r . Beg , e t l o dly eep t ng Hen ce w ith denial vain and coy ex cuse : S o m ay som e gentle Muse ih i d urn W t l ucky w ords favour m y dest ne ,

And as he ass s ur p e t n , And bid fair peace be t o m y sable shroud SO L YC ID AS . 51

For w e w r ur s d u o t he s f- sam hi e e n e p n el e ll ,

Fed the sam oc fou ain shad and r i ‘ e fl k , by nt , e, ll

o h r o h ere the hi h aw s a ar d T get e b t , g l n ppe e

d r the o n in ids of t he M orn Un e pe g eyel ,

dr a- field and o h o h r h ard We ove , b t t get e e

” ha im the r - fl w in ds her su r hor W t t e g ey y lt y n ,

a i our oc s w ih t he fr sh d w s of i h B tten ng fl k t e e n g t ,

Oft till the star that rose at evening b right 30

’ oward h a s d sc had s o d his w s ri wh T e ven e ent l pe e te ng eel . Meanwhile the r ural ditties w er e n ot m ute ;

m r d t o the oa u Te pe e ten fl te ,

ou h S a r s da c d and au s w ih c o h R g ty n e , F n t l ven eel From the gl ad sound w ould n ot be ab sent l ong "

And old am o as lo d t o h ar our so D et ve e ng.

But oh " the h a cha n ow hou art o , e vy nge, t g ne , Now thou art gone and never m ust r et urn

h Sh h rd h the w oods and d s r cav s T ee, ep e , t ee e e t e ,

’ i h wid h m an d the addi i o er row n W t l t y e g ng v ne g ,

An ll h ir h m r d a c o s ou . t e e e , n

The w i ow s and the ha C o s s r ll , zel p e g een , Shall now no m or e be seen

a i h ir o ous a s t o th sof a s F nn ng t e j y le ve y t l y .

As i i as the can r t o the r os k ll ng ke e,

Or ai - w orm t o the w a i h rds ha ra t nt e nl ng e t t g ze,

Or fr os t o ow rs ha h ir a w ardro w ar t fl e , t t t e g y be e ,

When fi rst the white - thorn bl ow s

’ S uch L cidas th lo h h r ss t o s rd s ea . , y , y ep e

h r w r m hs w h the r m ors l ss d 0 W e e e e ye, Ny p , en e e e eep 5 ’ Cl osed o er the head of y our l oved L y cidas ? For neither w er e ye playing on the steep

h r our old ards t he fam ous ruids lie W e e y b , D , , 2 L A 5 YC ID S .

Nor on the sha t o of Mo a hi h ggy p n g ,

Nor et w h r a s r ads her w i ard s r am y e e Dev p e z t e . Ay m e " I fondly dr eam ” Had e h r for w ha cou d h h ? y been t e e, t l t at ave done

ha cou d the M us h r s f ha r h us or W t l e e el t t O p e b e,

The Mus h rs f for her cha i son e e el , en nt ng ,

hom u i rsa a ur did am W n ve l n t e l ent ,

h the rou ha m ad the hid ous r ar W en , by t t t e e q , His or isa dow n the s r am w as s g y v ge t e ent , Dow n t he sw ift Hebrus t o the L esbian shor e ? Al as " what b oot s it w ith un cessant car e

’ To d th e hom s i h d sh h rd s rad ten ely , l g te , ep e t e, And strictly m editate t he thankless Muse ?

r it not r don as o h rs use We e bette e, t e ,

To s or w ih m ar is in the shad p t t A yll e , ’ ? Or w ith the t angles of Neaera s hair Fam e is the spur that the C lear spirit doth raise (That last infi rm ity of n oble m ind) To scorn delight s and live lab orious days

But the fair u r don w h n w e ho t o find , g e e pe ,

And hin r out i o sudd a t k t o b u st nt en bl ze,

om s th in ur w ih the a hor r d sh ars C e e bl d F y t b e e ,

And s i s h - lif But n ot the rais l t t e thin spun e . p e ,

ho us r li d and ouch d m r m blin ars P eb ep e , t e y t e g e

am is n o l h rows on m or al soil F e p ant t at g t , Nor in the glist ering foil

S et off t o the w or d n or in road r um our i s l , b l e , But lives and spr eads aloft by those pur e eyes

‘ “ And perfect w itn ess of all- j udging J ove

As he ro ou c s las on ach d d p n n e tly e ee ,

Of so m uch fam in h a c th m d e e ven expe t y ee .

54 L YC ID AS .

Of other car e they little r eckoning m ake

’ ha how t o scram at the sh ar rs f as T n ble e e e t ,

sho awa t he wor h idd u s And ve y t y b en g e t . Blind m ouths that scar ce them selves know how t o hold

sh - hoo or ha l ar a u h s t he as 1 20 A eep k , ve e nt g t el e le t

’ That t o the faithful herdm an s art bel ongs " What r ecks it them What need they They are sped

And w h h is heir an an d ash so s , en t ey l t , t le fl y ng Grate on their scrannel pipes ofw r et ched st raw ;

hu r sh oo u and ar e n ot fed ng y eep l k p , ,

’ But sw o w ih w in d and the ra m is h draw , ln t nk t t ey ,

R ot i w ard and fou co a io s r ad n ly , l nt g n p e Besides w hat the grim w olfwith p rivy paw

i hin i a d ours a ac and o sa d. D ly ev p e, n t g

. But that tw o -handed engin e at the door

m i n n m i n o m or S a ds r ad t o s o c a d s . t n e y te e, te e

ur h us the dr ad oic is as Ret n , Alp e e v e p t

ha shr un t h s r am s r ur Siciia Mus T t k y t e et n l n e,

And cal t he a s and bid h m hih r cas l v le , t e t e t

h ir s and flow r t f hous hu s T e bell e e s o a t and e .

a s low w h r the m id w his rs use Ye v lley , e e l pe

Of shad s and w a o w i ds an d ushi r oo s e , nt n n , g ng b k ,

whos fr sh la the sw ar s ar s ar oo s On e e p t t p ely l k ,

hrow hih r all our uai am d s T t e y q nt en elle eye ,

ha on the r urf suc t he hon d show rs T t g een t k eye e ,

And ur all th rou w ih rn a ow rs p ple e g nd t ve l fl e .

rin t he ra h rim ros ha forsa di s B g t e p e t t ken e ,

The uf d crow - t oe an d a ssam i t te , p le j e ne,

The whi i and the a s fr a d w ih te p nk, p n y e ke t j et ,

The owin v io gl g let ,

The m us - r os an d the w - a ir d w ood in k e, ell tt e b e, L YC ID AS . 55

ih c w s i s w an ha ha the si h ad W t o l p t t ng pen ve e , And ever y fl ow er that sad em b roider y w ears

m ra hus all his au sh d Bid a a nt be ty e ,

ff di i s h ir cu s w i h ars And da a ll e fill t e p t te ,

id i s To st r ew t he l aur eate hearse wher e L yc l e .

For so t o i r os a i as , nte p e l ttle e e,

r fr i hou h s da w ih fals surm is L et ou a l t g t lly t e e, Ay m e " w hil st thee t he shor es and sounding seas ’ ash far aw a w h r r th o s are hurl d W y , e e e y b ne e ;

h h r o d the s orm rid s W et e bey n t y H eb e , Wher e thou perhap s under t he w helm ing tide

’ Visit st the bott om ofthe m onst rous w orld

Or w h h r hou t o our m ois ow s d i d et e t , t v en e ,

’ Slee st b t he fa of Beller us old p y ble , Wher e the gr eat Vision of t he guarded m oun t

’ n h L ooks t ow ard Nam an cos and Bayo a s old.

L oo hom w ard n ow and m w ih ru h k e , Angel , , elt t t h And e do hi s w af the ha l ss ou . , O y lp n , t p e y t

' n o m or w o fu sh h rds w no m or Weep e, e l ep e , eep e,

For L cidas our sor row is n ot d ad y , y , e ,

u h r oor S nk t ough he be beneath the w ate y fl .

S o si s the da - s ar in the oc a bed nk y t e n ,

And et a o r irs his droo in h ad y n n epa p g e ,

And ric s his b am s and w ih new - s a d ore t k e , t p ngle Fl am es in the for ehead ofthe m orning sky cl S o L cidas su low but m ou d hi h y nk , nte g ,

hrou h t h m i h f Him ha w a d the w a s T g e clear g t o t t lke ve ,

h r o h r ro s and o h r s r am s a o W e e, t e g ve t e t e l ng,

ih c ar ur hi loc s he la s W t ne t p e s oozy k ve ,

And h ars the u r ssi u ia o e nexp e ve n pt l s ng,

In t he blest kingdom s m eek ofjoy an d l ove . 56 L YC ID AS .

h r r ai him all the Sai s a o T e e ente t n nt b ve,

n o m roo s and sw soci i s I s le n t p , eet et e ,

ha si and si i in h ir or m o T t ng, ng ng t e gl y ve,

An w i the ars for r fr m his s d pe te eve o eye .

Now L cidas t he sh h rds w no m or , y , ep e eep e

c for h hou art the ius of the shor Hen e t t Gen e,

In th ar r com s and sha ood y l ge e pen e, lt be g

To all ha w a d r in ha ri u ood t t n e t t pe l o s fl .

Thus sang the un couth sw ain t o the oaks and While the still m orn w ent out w ith sandal s gr ey

ouch d the d r s o s of arious ui s He t e ten e t p v q ll , With eager thought w arbling his D oric lay

And now the sun had r ch d out all the hi s st et e ll ,

And now w as dro i o th w s r ba pt nt e e te n y. . las he r os and w i ch d his m a u ° At t e, t t e ntle bl e

To- m orrow t o fr h w r n w s oods and as u s e . e , p t e

I N A B B R EV IA T O N S U S ED I THE N OTES .

’

Abb o Abbo s S ka kes ea r ia n G r a m m a r C . C am us C ent . tt, tt p , ;

- D ict . Tk e ent u r D ictiona r C lass . D ict . an o o d C ass ca D ic , C y y , y g l i l ’ tionar se e b ut e ha s G a le s C lassic M t/z s bes su the y will rv , p r p y y y will t it

’ ‘ en . S ense s Faer ie ueen e I" . [1 n eeds of seconda s ud s P. P ry t t ; Q , p r Q , , ’ ’ n s s Al L Alle r o L c. L cidas N at . On t/z e M or nin o Pe er o o L . , g ; y , y , g f ’ i n is i i . t T/z e N ew E l k D c on a . C k r ist s N a tiv it N ew E n D ct. r P y ; g , g y ’

. P r dise R e ain ed R . o L . h k e L . Pa r a dise L ost P. R a a S a s e s , ; , g ; f , p r ’

. A st s chm d ch k s R a e L ucr ece S . A S am son on i e S S m d s S k a e p of , g i t, i t

- ea r e L ex icon S ta n d. D ict . Tbe S ta n da r d D ictiona r V. an d p , y ’ A Sha kspere s Ven u s a n d Adon is. Th e fo llo wing abbrevi atio ns ofth e ’

f Sh ak e e s a u n . or . n am es o s s b e eas de s o o d : A Y. L . C p r pl y will ily r t , ,

V. H I . n . V . . b. . n . V r e He L H n . II ea L L C m Ham H 2 en . e V L L y , , , , 3 , , ,

. b. M . o uc . n d . a M k Ada M ta . a L M c N D M V. W O R , , , f , , , , j ,

ick . I i . III . A . . . R I . R c/i T. Tem . T. . a S W. T. T G V. N T , , , p , of , , f , ’ The references to Shaksp ere s wo rk s are all t o the G l obe edition ; ’ ’ hose t o M on s o k s are o M a n d o n t ilt w r t sso s L ibrary E iti . N O T E S

’

L AL L EG R O .

’ L Alle ro and Il Penseroso o n t o he c ose e a on in o m g , wi g t ir l r l ti f r

d m a e sho u d be ead o e he A ho u h h no an . e e e t n ed tt r , l r t g t r lt g t y w r pri t un 1 6 he seem t o h a e been en m uch ea e obab abou til 45, t y v writt rli r, p r ly t

16 2 or 1 6 at Ho on he e M on had e ed om C am b d e a e 3 33, rt , w r ilt r tir fr ri g ft r

n i . . The e ar m th I an ak h s M A de ee. s e o e a and m t i g gr titl fr t li , i ply “ n “ u th e cheerful m a and the tho ghtful m an . M uch discussio n has a sen am on ed o s and c cs as to the m o of hese o em s h ch ri g it r riti i p rt t p , w i h an of S ac e en s u om o n d n ha all t e e s c s e . Pe s a e w t p pr v t fr i ri g r p , ft r , it

be bes fo r the s uden t o o k o ut his o wn heo of the m a e will t t t w r t ry tt r, and th en co rrect and supplem ent it by co nsulting th e Introductio n t o

h s and the s anda d ed ons. M o n in t he co m os o n o f hese t i t r iti ilt , p iti t o em s seem s t o ha e been ndeb ed for a few S h h n s and su es p , v i t lig t i t gg

ons in add on t o hose o n ed o ut in the n o es t o som e e ses ti , iti t p i t t , v r ’ ’ en ed Tbe Autk or s Abstr a ct o M ela n c/z al e ed t o B u on s titl f y , p r fix rt

Anatom o M ela nc/z ol and t o a son b e nn n Hence all o u a n y f y , g gi i g , y v i ” ’ de h s in F e che s a of Tbe N ice Valou r lig t , l t r pl y

1 2. u Who w as C e be us ? In c ass ca m ho o E ebus C erber s . r r l i l yt l gy r was th e S ou se of N h but M on in o de t o ha e M e anch o ns e p ig t, ilt , r r v l ly i pir

h o o and e u s on n en ed the esen enea o . rr r r p l i , i v t p r t g l gy

Th d n of as n h ank 1 . e e C e be us w o t e u he b 3 S tygian cave. r r f rt r of the S the ch e e of the n e he o d and in on of e e tyx , i f riv r t r w rl , fr t it w r n landed all the shades ferri ed o v er by C h aron . Browne tak es S tygia ”

e . t P. L . . a so he e in the sense of de s ed For S x c . r t t y , f ii 57 7 ; l

S t ian da r kn ess C . 1 2 . yg , 3

h h ndefi niteness i[ZP. . 2 . W en w e no e t e i 1 4 . S ha es . C 6 0 p f , C 7 t ofthe m a es in h s ne we eca ha m a e o us desc on of D ea h i g t i li , r ll t t rv l ripti t ’ — N otes in P. L . . 666 6 and C o e d e s em a k in his L ectu r es a nd ii 7 3, l ri g r r

“ The and s efo of oe ar e on S k aks er e Bohn ed . 1 r e s p ( ) , p 9 g t f rt p try 59 60 N O TES .

he e t he m a na o n is ca ed o h no t t o oduce a d s nc o m w r i gi ti ll f rt , p r i ti t f r , but a s on o k n of the m nd s o e n hat is s e e ed tr g w r i g i , till ff ri g w till r p ll , and again creating w hat is agai n r ej ected th e result being what the

o e shes t o m ess nam e th e subs u o n of a sub m e ee n p t wi i pr , ly , tit ti li f li g ” ofthe u n m a nab e for a m e e m a e In th e s n i gi l r i g . pre e t line the allitera tion is al so su ggestive.

1 5. Uncou h . Rad ca m ean s no t kno n n o t am a s an e t i lly it w , f ili r , tr g , and h ence e e n n the so u h d sm a a eh n p rpl xi g, filli g l wit i l ppr e sions h S c m d e se h e e L e. 1 8 6 P. L . . 8 . 6 2 M o n seem s to ( i t) ; l w r ( y , v 9 , vi 3 ) ilt h ave h ad in m ind b oth th e radical an d the deriv ed m eanings of the

o d. For the a e see C ent . D iet . w r l tt r,

1 6 . r If ak en e a h an a us on n B ood n . i ealous w in s i g t lit r lly, wit ll i j g “ ” t o the a ch h ch o s k ee hen he ar e s n Wa bu o n w t w i f wl p w t y itti g ( r rt ) , w e shou d e ec lier ns ead of k is b ut br oodin a he m ea ns o e l xp t i t , g r t r v r ” shado n and kis is hen acco un edfo r b su os n ha M on had wi g, t t y pp i g t t ilt in m nd the as a E u Ha s Of ha is D a k ne s a ou s i cl sic l reb s ( le ) . w t r s j e l

- - 1 . P bab th e o m ened a en is m ean l 7 N h raven . o a ig t r ly ill r v t,

h . h M ck Ad . . o u n u o . 8 t gh it is no t a ig t bird Cf. ii 3 4 ’

1 . u n . Tho u h u d n M n 9 Ra ed. R ed u ne e se b ut o ce in o s gg gg , v g ilt

oe the o d is e se he e n ot n e uen ound as an e he fo r p try , w r l w r i fr q tly f pit t

o k s . . . 1 2 1 V. 2 etc. c s c . I a ia /z . 2 1 T. G o r ; f ii , f i ,

IO. m m She the sh cam e t o the m s of the C i er ian desert . [ ip] li it

o d h - in an Th i the and n d the f t o t e dee fl ow O ce us. e e s a c o w rl , p g r l ity the C m m e ans sh ouded in m s and c oud and ne e do es the sh n n i ri , r i t l , v r i i g sun oo k do n o n hem h his a s n e he h en he c m bs u the l w t wit r y , it r w li p s a hea ens no r hen a a n he u ns ea h a d om the fir m am ent t rry v , w g i t r rt w r fr , ” - b ut deadly night is o utspread o ver m iserable m o rtals. Odyssey xi .

I —1 Bu ch and L an Th e e e k no n a e a ds as a histo r 3 9 ( t er g) . y w r w ft rw r ca eo e u n o und and n ea th e B ack S ea h ence the nam e i l p pl , fig ri g r r l (w

em ha . h an h Cr im ea ) (M asson) . D a r k is added for p sis W at m e s as ' Milto n em pl o yedin the first ten lines to give us such a rep ugnant pict ure of M elan choly ?

A m os a set h ase am o n o e s t o deno e 1 11. fr Fair and ee. l t p r g p t t

beau and ace in om en . In h s case ho e e r ee m a m ean ty gr w t i , w v r , f y

“ . . Wh do e h a e a dif ee om ca e c 1 a so Ota. 0 . w fr fr r f 3, l iii 3 34 y v

‘ fer ent m eter here ?

His . o E n . L a n . d s e L ounsbu t . 1 12. e . C a e e Ycl pt ll ; ry, f g g , pp — 38 7 390 he n am n at D i . fo r t es a d tri 1 S ee C lass. et 1 r r s . 5. TW O sist e G ace

The a en a e he e —16 en is ou nd butes of the three G r aces . p r t g r ) giv f

62 N O TES .

ha e n sense of u nconfi nem ent t t b lo g t o m ou ntains (Hal es) . Or does h e as W a on h ou h m e e m ean t o ca L be a n O ead a n m h , rt t g t, r ly ll i rty r , y p of m o un a ns and o os If the as the o e is a a n m o d n t i gr tt l t , p t g i ifyi g anc en m h o o t o su his easu e for as Ha es em nds us N o i t yt l gy it pl r , , l r i , such nym ph is fo und am o ngst th e ack n o wl edged Oreads and Oro ” h in tk i /i a dem niads of the G reeks. W y y r g t b nd ?

M i on u h o d en - o n e m es in his m 2 38 . rew . ses s o e s C lt t i w r tw ty ti p ,

h e e o u e n h ne a n a and h t ce n of its s i s a s i a b d sense. , wit x pti t i li , lw y

. 8 0 P. L . . 1 8 8 1 etc. C . 6 6 f C 53, 5, i 5 , 47 7 , , 7 5 ,

. n c . n A o 2 40 Unre rov ed. U e o ab e . C a d see bb p r p r v l ; f 395, 7 93, tt ,

Th e a an em en of th ad ec s in h s n i m a d om 37 5. rr g t e j tive t i li e s i it te fr

t h e G eek and is a co m m on de ce in M o n . M ak e a s of the r , vi ilt li t e am es ound in the oem s in h s o um e a nd t o asce a n x pl f p t i v l , try rt i the fo rce of the fi nal adj ectiv e in each case . ” — — Th a T n d be b a e 2 3 41 68 . s ass e sa s e esc s s es i p g , y r t, ri y ri o f exquisite though u n el abo r ated p ictu res th e pl easures of a cheerful n u n n m an abro ad early o a delightf l m o r i g. It is plai n that Milton is desc b n an dea da a he han o ne be o n n t o a a cu a ri i g i l y, r t r t l gi g p rti l r

M nu c ha su ceed d in sh o n s m f h seaso n . i te criti s v e c e wi g that o e o t e

c u es are not en e u e t o na u e bu t he as e he m e pi t r tir ly tr t r ; t y w t t ir ti , ’ for M on has su e m b bed na u e s s and his o em es as all ilt r ly i i t r pirit, p liv , ” u oe h a h ha n th e But i e does b t e s e b e e . s tr p try , y pirit r t r t y l tt r it ’ best t o cl oak these faults ? Is it no t b etter t o say that Milto n s wo rk has ed in s e of a he h an because o f hem ? The h h es ar t liv pit , r t r t , t ig t ’ assu ed e c udes hem and in M on s n es assa es he e are no r ly x l t , ilt fi t p g t r bl em ishes of any so rt . — — — 2 3 41 44 57 7 6 . W h hese n es V an D k e com a es the as , it t li y p r l t ’ se en een nes of the o u h S anz a of Tenn son s Ode to M em or v t li f rt t y y ,

“ an d obse es : He e are th e sam e b ead h of s on de cac of rv r r t vi i , li y o uch a m os h e c efec the sam e sens t eness t o the s m es t , t p ri f t ; i iv i pl t variatio ns of ligh t an d sou nd ; th e sam e p ower t o shed o ver t he q uiet f a e scen ery of th e English cou ntry th e light o n id al beauty . It is an ar t far be ond ha of the andsca e a n e and all t he m o e e ec y t t l p p i t r , r p rf t — b ecause so e concea ed. Poet r o Ten n son sec. ed . 6 2 . w ll l y f y ( ) , p

iv . 1 . I I . . . V. O n e ed 2 2. n h C Hen o n o es 4 The du . ll ig t f _ it r t that I] Pensero so cou ld n ot h av e u sed th e epith et dull so app rop riately ’ n as L Allegro . Why o t ?

“ - Th 4 . e la k sees t he da n soone 2 3 From his w atch tow er . r w r h an th e du n h h ch o e s On th e ea h because h e is h h u in t ll ig t w i gr v l rt , ig p

Is - o r o n o t w o s ab h e his watchtower (El to n) . t w e e r yll les er N O TES . 63

— . M u k do . C c A . . 2 2 . P o n 2 44 The dappl ed daw n . f v 3 5 7 r ounce

Th m etc. a sa is 2 45. Then to co e s s e obscu e. I It m a , i p g r ( ) y ’ ’ m ean that th e lark is to co m e t o L Allegro s windo w and bid him

- In h s cas m s ak o n good m o rrow . t i e w e u t m e t com e a d bid dep end on to k ea r and supp o se that the u n usual to befo re com e is m ade nec h essary by th e distance between it and t e go v erning v erb . Bu t such T a co ns uc on is a k a d. he n e e a on m o eo e o ces us t o tr ti w w r i t rpr t ti , r v r , f r m ak e the p hrase in sp ite of sor r ow al m ost m eaningless by applying it t o ’ the a k m ak es d f cu t o accoun for L Alle r o see n the er l r it it i fi lt, t g i g p fo rm ance of the cock desc bed b e o w 1 — 2 and na ob es u s ri l (5 5 ) , fi lly , lig ’ t o su ose M on no an of the a k s hab s S nce t h e b d ne e pp ilt ig r t l r it , i ir v r a ro aches hu m an hab a o ns — an no an ce w e are no t us ed in pp it ti , ig r j tifi

u n th a sa can e ned m e 2 ass m i g if e p s ge b explai in so e oth r way. ( ) An other interpretation m ak es to com e a nd bid depend o n a dm it

‘ “ A ak ened b t he a k t he o e a e s en n t o ha ea so n w y l r , p t, ft r li t i g t t rly g,

h - h h arises t o giv e a blit e good m o rro w at is windo w . Ot er m atin ” Th so unds ar e h ea d and h e oes o h etc. B o n e . ose who r , g f rt , ( r w )

“ ” “ adopt this vi ew explain that he bids goo d- m o rr ow t o th e rising

” “ ” ” m o n t he new da or th e o d in en e a . M asson ho w r , y, w rl g r l (3) ,

’ “ e e h nk s ha L Alle ro is al ead o ut of doo s. M o n o r who v r, t i t t g r y r ilt , e e th e m a na s eak e is ask s M h t o adm him t o her co m an v r i gi ry p r , irt it p y and ha of the n m h L be and t o let him en o th e easu es nat t t y p i rty , j y pl r ural t o such com p anionship (38 He then go es on t o sp ecify such h — f easu es o r t o e e am es of hem . T e st 1 is ha o the pl r , giv x pl t fir (4 44) t t sensa ons of ea m o n n hen a k n ou nd a co u n co a e ti rly r i g, w , w l i g r try tt g , o ne hears the so ng of the m o unting S kyl ark wel co m ing the signs of

The s o nd is h a of co m n t o t he co a e ndo o ok n sun se. ec ri t t i g tt g wi w, l i g in and b dd n a ch ee u oo d- m o o h o u h the s ee ~ b a ne , i i g rf l g rr w , t r g w t ri r, vi , ” o r e an n e t o h o se of th e am wh o are a so as . Th s as gl ti , t f ily l tir i l t — interpretation is perhaps m o re in k eeping with th e go o d h earted socia ’ ’

il . 2 . bilit of L Alle ro s cha ac e . B ut see Pa so n M ton y g r t r tti , , p 3

u t f s o a ds so o I n s ite 2 f O o e . In e rr . 45. sp it o so ow p it t w r rr w p ” t of usually m ean s n otwith standi ng ; see S ch m idt . M asson hints a “ a subtlereference to so m e recent grief that had been in the sp ecial ” co a e in e tt g vi w . “ — - As hese are n ow h 2 4 48 . w ee br ar e an ne. 7 S t i gl ti t , wit s c b o an s s n am es fo the sam e an R osa r u bz en osa W a on tri t t i t , r pl t ( g ) , rt upp o ses that by th e twisted egl anti ne Milton m eant th e h on eysu ckl e

- h m o e u a e su es s the do ose R osa ca n in a . M r . e e acc K ig tl y , r r t ly, gg t g r ( ) 64 N O TE S .

Po u a se e a of th e sm a e -flowered k nds of d- ose p l rly, v r l ll r i wil r ,

- a are ca ed n “ bes des the s ee b s e an e M asson . A i w t ri r , till ll gl ti ( ) cl o se observer o f things aro und u s wo uld not sp eak of the eglantine as twisted (Patti so n) .

h et c. Nam e and e a n th u 2 50. S ca ers t e rear e e . Wha tt , xpl i fig r t does t/z in lim it ?

W ha t do et . M o n 3 52. S ou st ru s c es t o e ec b the t tly t , ilt try ff t y

h n C o n as h ha f . rhyth m of t is li e ? tr t wit t t o l 51 . h ’ . T oun f t h 3 53 . Oft s en n et c e b ds o e o e s easu es now li t i g, p t pl r

P n nce listen in slu m b n be n t o en a e. o o u er i gi l rg r g, g

C an ou h nk of m h . o e an one m an n 3 55 S om e hoar h ill . y t i r t e i g fo r the epithet k oa r — 3 6 . h h h E a n . L l. 6 m a m ea n e he h a 5 T e ig w ood. xpl i 55 5 y it r t t th e m usi c of ho u nd and h o rn ech oes shrill through th e high wo od on the h s de o r ha the h un sm en and do s be n on the h s de and ill i , t t t g gi ill i ’ th en go ech oing through the high wo o d. The l atter interp re t ation seem s the m o e oe ca as th e e em en s of m e and m o on are r p ti l , l t ti ti

‘ i ntrodu ced it also thro ws an ictu s o n high th at i m pro ves the v erse ” m etrically (Trent) .

Ha m 3 57 . Wa k n not unseen . en lo v e nesses of th e l i g, ppy wit ir d d o the s ene c o e so u e Hu uo ed b To dd . C o n a j y pl ti l v lit ( r , q t y ) tr st

d u ha om of Il P 6 . B o ne em n s s S e a cu a s th e o o w n . 5 r w r i t t p rti l r f ll i g ’ ’ descrip tion of m o rning are tak en fro m Bro wne s Britan nia s Pasto ral s

B ook IV . ( , v

I . II . N D . 2 . 1 . z kt 3 59. The eas ern a e. C : R a ain st t g t f iii 39 g g , ’ d s alkin and m es th a L All ro h hi ou etc. m o e w e as s c se d ec ed , ifi g, i pli t g r ir t o a d he n su n E ton co m m en s o n “ t he m a n cen oun t w r t risi g . l t g ifi t s d ” — “ M o n o n e or ce in he t w o o em of 11. 6 2 . c se s he sa s 59 ilt twi t p , y , “ seem s t o quit th e tone of graci o us fantasy which he has laid down ’ f r h m and t o som e h a ou d s ee the s n B ut the an f o e . c u t , w t l ly w p tri g f i l ” wo rd liv erIes brings him back again .

“ Hi s a e o s h f 3 0. i s e s e e e n o 6 H s s a e. e t t t t ly pr gr (K ig tl y) , r f rri g co h o e n h e urse to t e g rg o us ess of t e sp ctacl e.

“ 3 62. h h L iv er ies seem s t o be a n In t ousand liv er ies dig t . pl i ly u sed of th e cl o uds b ecause they are rega rded as servant s o r attendants of h h t e sun no t because of th e a o us ues d s a ed T ent . L o ok , v ri i pl y ( r )

. k u th h f d o V. . I . 2 h M t a a ed. e s o o t e o d an c C . p i t ry w r , f. f ii n , rr y f

I s k u a n d. l P. 1 59. Explai n the figure in t o — h 3 et c. Wha do ou n o ce abo u t e 65 68 . And t he m k m a d il i , t y ti t m o vem ent of th ese lines ? How is this effect secured ?

66 N O TES

- ied see the fine n es in L . L . L . . 2 . 0 0 . N o e th e os t on of p , li v 9 4 9 7 t p i i

th e ad ec es in 11. 1 6 1 2 6 etc. j tiv 7 , 7 5, 7 , ,

Th o . M ass n are a m o 3 7 7 Tow ers and ba em en s . ese sa s s ttl t , y , l t evidently Windso r C astle. d d 3 L o es e o . r . . 8 2 . 79. L es . s C o . i g , w ll ; f i 9

An ob e o h h all e e ar u n d a m e a 3 8 0 . n su e c t c s e e Cy o r . j t w i y t r ; t “ d ’ ” ho rical m ean n . The o d h ch e a m eans o s a p i g w r (w i lit r lly g t il , w as ohpa ) w as an ciently applied t o that p ar t of the L esser Bear which co n a n s the o e-st a because was hen h o u h ha cons e a o n t i p l r , it t t g t t t t ll ti

It w a b h s co ns e a on h a t he Ph oen c an resem bl ed a dog. s y t i t ll ti t t i i m a ne s s ee ed he co u se h e th e G eek m a ne s s ee ed b the ri r t r t ir r , w il r ri r t r y — . . 1 G reater Bear . Cf C 34 34 — — 4 . Th s l Nam es 83 8 8 C orydon and Thyrsis Ph illis e ty is. of e uen o ccu ences in as o a oet he e a ed so m e ha incon fr q t rr p t r l p ry , r ppli , w t

ruo usl e ha s t o En sh us cs. N o e th e m e o f da n d ca ed g y p r p , gli r ti t ti y i i t in these li nes.

4 L ead is obab u sed int ran si 8 . f 9 I the earlier season l ead. p r ly

be u nde s o o d t h . 0 . t iv el . S /ze oes m a y

4 Wh ta n n ed ? 0. T nn h k 9 a ed aycoc . y

“ “ 4 1. e ure No t sa e bu t ee o m ca e L a n seca r a s . 9 c . S f , fr fr r ( ti )

B o n e uo es Ben onson E ode : Men m a secu e sin bu t sa e r w q t J , p y r ly , f ly ” n e e . He e as in 1. 6 the scene is sh ed and a new a a a h v r r , 9, ift p r gr p b egu n .

4 L e am n the e 92. and h am e s . a es o s o s a a Up l l t ittl vill g g l p , w y ” - o n a fr o m th e riv er m eado ws and the haym aki ng (M asson) . C tr st

t ow er d cities I 1 . e , 7

“ A o ud and h h - ha d m e e m a 4 4 . R a s ute s e d a us c 9 ebeck . l r l p i v l i l

ns um en the ea es o m of th e o n h o ne tw o o r h ee i tr t , rli t f r vi li , wit , , t r

s n s an d a ed h a b o w S ta n d. D iet . For so m e n e es n tri g , pl y wit ( ) i t r ti g

ac s ab ou the ns um en see Ve . It m a be o h no n ha f t t i tr t, rity y w rt ti g t t

h k . a . H . 1 u h S a spere calls one of the m u sm ans in P nd j (iv . 5 35) g

R ebeck . What is reallyj ocu n d

4 . . 96 he uered sh E a n o T. A . 11. 1 . C q ade. xpl i ; f. 3 5

4 Wh a f th ? 97 . m a o e e b C o e. t p rt v r

4 . 98 unsh ne ho da C . C . . S i li y . f 959

- 4 100. nu r Ha es h n k s h W a on ha th s is S p icy t b ow n ale. l t i wit rt t t i h ’ d t o s o f h . . n m a b o ak s e e o M IV. D 1 a d k e e s s S . g ip wl p r (f. ii ri ” f l n a u o a e u m e su oas and oas ed c abs or a es . p , t g, g r, t t , r t r ppl — 4 102. S ee th e desc o n of h er in R . a n d . . . M ab . ripti ] i 4 53 95 ’ a so the one in Ben onson s Tlie S at r unkets s ee m ea s da n es. l J y . j , w t t , i ti N O TES . 67

“ Or na the o d o m I a . u in ea ta m ean a c eam cheese so igi lly w r (fr t l g ) t r , “ ca ed becau se was se ed on ushes I a . u in eo a u sh . Of ll it rv r ( t l g , r ) co urse Q ueen M ab eat th e j unk ets t o pu ni sh th e inm ates o f the h o use fo r untidi n ess (Verity) .

4 103 . h One of the e so n s e n s o es. S h e e a es an S e. p r t lli g t ri r l t

’ e e ence she has had h th e a es wh o z n ened a n d ulled her xp ri wit f iri , p p ,

it m a be for u n d o k . y , ti y w r

4 . t c. And he i . the n h h d o n been led 104 And he e . e o e w o a ce b , , , y ’

ho t . e d the Friar s an e n e s w e c A s con n e e a on con nec s . l t r , t ll , i t rpr t ti t l

u h n h d and u ed nd 10 h . 1 0 S e sa d s e was c e a ne sa d h e 4 wit l 3 i pi p ll , i ’ w as led b F a s an e n . L . 10 o u d h en be n a new s o the y ri r l t r 5 w l t gi t ry,

fo t nd n “ v erb tells having r i s subj ect ne u ersto od. Bro w e suggests a co o n at led and o u d ead Tales fo r Tells in ne 1 0 hu s ca n l w l r li 5, t rryi g on t he sense from stor ies (li ne 1 0 1 ) t o ta les (lin e If the r eading ’ in th e seco n d ed o n An d o t/ze F r ia r s la nter n led e e ado ed iti , y , w r pt ,

h ou h ou d be t h m t e. h ak t o u e sa e . /z in . 1 h t e s e e s e 0 . T e p r r g t w l , , l 3

a e is de ended b Ve t o m e h o e e the s n e e a on l tt r f y rity ; , w v r, fir t i t rpr t ti seem s the m ost natural . ’ 4 104. F ar s an ern . e h e o o ed b se e a ed o s ri l t K ig tl y , f ll w y v r l it r , cha es M on h ha n con used t wo d e en s s F a R ush rg ilt wit vi g f iff r t pirit ri r , ’ ’ the ho use-s and W - o - the- W s o r ack - o -t he- L an ho n the fi eld pirit, ill i p J t r , “ Bu e sa : I is o s e ho t spirit . t V rity ys t p sibl wev er hat Milto n is no t

e e n t o e h e s bu t ha r ia r of . 10 is den ca h the r f rri g it r pirit, t t f l 4 i ti l wit

1 . goolin Robi n G o odfell o w) of l . 0 5 Fo r t wo reasons : (i) fr ia r was a title of R obin G oodfell o w . (ii) The trick of m isl eading ’ ” - - - with a false light w as not co nfined t o J ack o the L antho rn .

4 . R o n od o th Pu k f ha 10 u n G o e e c o S k s e e. 5 D d ob n . b r gi g g li i f ll w , p r ’ ’ A com parison of Milton s lin es with Sh ak sp ere s descriptio n of Puck — h M . D . . 1 . 2 h o o ha h h in IV. e e s t e tw o oe s ad ii 4 57 , w v r, will w t t p t

F o r an e f quite different con ceptions of the sp rite . ext nded accou nt o

th e ank s of R ob n G o od e o co nsu e h t e Fa ir M t/z olo pr i f ll w, lt K ig l y , y y gy ,

o r B and Po u la r An ti uities o G r ea t B r ita in . r , p q f 4 111. h F e ace. C im ney. ir pl

4 - u h . 11 W h h 1 . s 3 . C r0 u . s o m ac see 0 6 Flin das es p f ll it f ll t ; g , 5 1 . . . P L . . 14 C . Matin . f v 7

5 115. T be he Wh cr ee o d t y creep . y p

5 117 . Tow e ed c es ease us hen The es ofthe oem om r iti p l t . r t p , fr

h s o n on a d m a be ak en as desc b n th e e en n e e es t i p i t w r , y t ri i g v i g r v ri , ead n s and o he ec ea ons of the m a na ou h in his cou n r i g , t r r r ti , i gi ry y t try ’ co a e a e his m o n n s a k an d a e noon am on the us cs. tt g , ft r r i g w l ft r g r ti 68 N O TE S .

The o d Men in h s ne as e se he e in the oem does m o an w r t i li , l w r p , i p rt t

B ut Ha a “ h he h duty (M asson) . l es s ys t en (not w n t e t ales are o ver e e n e t H o and th e s i b d b u at som e o he m e. e is n t describ t ll r , ) t r ti in o n e on da b ut the easu e h ch o ne da o r ano he m h g l g y, p l r w i y t r ig t ’ ’ en e a n L Alle ro . Ve o o s Ha es and su oses tha L Alle ro t rt i g rity f ll w l , pp t g “ ” actually tak es p art in these gay m eetings and festivities (1 1 7 ’ Fo r a o od de ense of M asson s n e e a on h T n o e e see e . g f i t rpr t ti , w v r , r t

o t he new u n n the h o u h in 1 N te t r s give t g t 31 and 1 35.

5 20 . m n th o na 1 G a e s e m an n . eds. e ofthe o d . We r t ; rigi l i g w r Cf. C

' “ 1 6 18 0 . Tr z unz /zs a ub c es o r e h b on of an k nd , 9, 39 p , p li f tivity x i iti y i , ” ’ a cu a a o u nam en In B acon s Essa M as u s p rti l rly t r t (S chm idt) . y Of q e a n d Tr ium lz s he e is the o o n ea m en oft r iu m hs : For us s p , t r f ll wi g tr t t p j t , and o u ne s and ba e s the o es of h em are ch e in th e cha o s t r y , rri r , gl ri t i fly ri t ,

he e n the cha en e s m ak e h e en es ec a h e be d a n w r i ll g r t ir try, p i lly if t y r w

h s an e beas s as o ns b ea s cam e s and the k e or in the wit tr g t , li , r , l , li ; , de ces of he en ance or in b a e of he e es o r in the ood vi t ir tr , r v ry t ir liv ri , g ly ” u f h h n furnit re o t eir o rses a d arm ou r .

5 . f P en o m an . 121 ore of. S t l ty , y

5 122. Ra n nflu nce I lu en ce he e e e s t o the as o o ca i i e . nf r r f r tr l gi l belief th at the stars h av e an o ccult p o wer o ver the affairs of m en ; in

t h s case of cou se the e es of the ad es are co m a ed t o s a s. C i , r , y l i p r t r f

- a . E a n th o n uc o n 1 2 1 2 . N t 7 1 . xpl i e c str ti in 2 3 ’ 5 . H W a on e e s t o Ben on on M as ue H m ena i 125 m en . s s y rt r f r J q , y

On the o h e h and en e ed H m en the od of m a a e in a sa on t r , t r y ( g rri g ) ffr ’ colou r d obe his unde es u es h e his sock s e o a e o y eil r , r v t r w it , y ll w, y ll w of s k on his e arm his head c o n ed h oses and m a o am in il l ft , r w wit r rj r , ” - h h nd a o h f ne . e n ofA . L . his rig t a t rc o pi tree S e last sce e Y. “ ” 5 12 . A es a ocess o n S chm d . R evelr Min 7 Pom p . f tiv l p r i ( i t) y ; sheu de nes e e s as s o s ofdauncin m ask n co m ed es t a ed es fi r v l p rt g, i g, i , r g i , ’ and such k e used in the k n s ho use the ho uses of co u o r of o he li , i g , rt , t r u great p ersonages (q o ted by Todd) .

5 128 . h m ask n an ue an r E a n . Wit a d tiq page t y. xpl i

5 B th -n m h Ve e a e s . 130. Haunted. y w t r y p ( rity)

— - ho da M on 5 1 1 Th h et c. In se s 3 134 . en to t e w e rod s a e ll t t g , t y ilt had no m o re of th e Puritanic a version t o t he theatre than t o t he — o m s and so em n es of ca hed a ua . G a ne M ilton . . p p l iti t r l rit l r tt , , p 45 — C [l . 1 1 6 . f. P 55 6 ’ he s é L a n soe s he lo -hee ed 5 1 2. T oe eu t w 3 onson s earned sock . J l ( ti , l sho e o r slipp er wo rn by co m ic actors in the ancient G reek and Rom an ” d am a is he e used fo r co m ed us as the buskined sta e the busk n r ) r y, j t g ( i

0 N O TE 7 S .

M us c n ow ak 5 136 . L d an a rs . es the ace of ead n and is y i i i t pl r i g, it ’ quite natural th at L Allegr o sh o uld p refer th e soft Lydia n a i r s to the

D o an o h Ph an . or e F . M D or ia n . . r t e m ood see P L . 0 ri rygi , i 55 559

5 13 . m m th n n f At a M ar ed o r a v r C . e o en es o 7 ri t i o t l e se. f p i g li

1 . Th S olem n M usic ; also C . 5 6 e p r esent p assage is o ne am o ng m any ’ ” in M on s oem h e u i m ilt p s w er m sic s arried t o im m o rtal v erse. B ’ 5 . d u n so m e m e n d f a en o . 139 B ou . e s use o se s c s t , t r ; ti rp t il

How is th e o d n o w used O n t h s and th e o o n ne see C o e w r i f ll wi g li , l

d e L ect u r es a n d N otes on S /t aés er e Bo hn . G a ne ri g , p ( p 49, r tt ,

M ilt on . 1 6 et se . , p 5 q

5 141. W h w an on h eed et c. The ad ec es desc be the it t , j tiv ri ” a ea ance the nou ns the ea B o n e . The u e is an ox pp r , r lity ( r w ) fig r y m o r on ; consult a dicti on ary and expl ain . 5 2 h the h 14 . M W e e ? elting Voi ce. y pit t — 5 144. The h dden sou etc. In e e so u ndeed in all i l , v ry l i c ea o n th e e is ha m on b ut for the m os a es m soned an d r ti r r y, t p rt it li i pri

d o ha anno be h ea d The ee ness ofthe m us c desc bed bou n s c . s , t t it t r w t i ri in the e is t o be su ch ha sha set ee th s sone and m ak e its t xt t t it ll fr i pri r , v oice audibl e (Hal es) . h us For t he beau fu e en d ofO heus and Eu d ce 6 145. r e . O p ti l l g rp ry i , — — — 8 P. . . . s i . 0 s P 1 1 8 L . 6 L see la . D ct . C . [l 0 c C f 5 , y 5 3, vii 34 37

6 W h is th e e th e so e ec e ? um b r . 146 . Golden sl e y pi t ff tiv

. W he e C . P. L . . did an 1 . c en 6 47 Elysian flow ers . f iii 359 r i t m yth ology l ocate the Elysian fields ? Which of these pl aces best suits the p resent p assage ?

1 Wh uite In ou r o de En sh 6 4 . T ha u se re 9 o v e q ite t f e. y q l r gli

e s as in ou r m o de n co o u a lan ua e the e ec n n e is writ r , r ll q i l g g , . p rf t i fi itiv ” used t o express a result o r a p urpose which h as n o t been attain ed

(Hal es) . — ’ . h a wo n of 6 151 152. These de ht s etc. C t e s t es Ma o e s lig , f l t li rl w e u s e c Tlie Passionate S ne /t er d to His L ov e xq i it lyri , p

Ifthese de ht s th m nd m a m o e lig y i y v , ” Th n e th m e and b m o e e e . liv wi , y l v

’ ’ Read M a o e s oem o e he h Sir W a e R a e h s ans e to rl w p , t g t r wit lt r l ig w r ’ the sam e ca ed Tbe jV/m /z s R e l . , ll j p p y N 0 TES . 1

IL PEN S ER O S O .

M on m a h a e em em b ed t he o n 7 1. Hence etc. e o n es , ilt y v r r f ll wi g li

om S es e Tr a edie o Hen r t/z e G r eat : fr ylv t r, g f y

ence hence a se P easu es m om ent a o es H , , f l l r , ry J y ” k us no m o e th ou ud n To M oc r wi y r ill i g yes.

‘ ’ h “ And h e e o e all m o he as w sa o 2 h u fa er . e r 7 . W o it t t t r f r t r , y, ’

e C . the a en a e v en M e anch o in L Al. pu r e folly (R olf ) . f p r t g gi l ly ’

a . Shak s e e s use of stead . d. B es ead h e a c R 7 3 . B es e t t , lp , v il f p r ,

d 11. . . a n ] . 3 54

F . . . . 1 : n o h n . C . P. L . . 6 Y et 7 4 Fixed m ind. f i 97 ; Q iv 7 t i g

cou d m ed m nd em o e. To s t rifl es. l y fix i r v y ,

d t o x ed m in d a o . Idle i h u . o se b e s e e ed 7 5 Id e bra n . O s l i pp fi , v r

. de h u h in its o riginal sen se of em pty (A S . i l) cf t e se of t e word in

ha fi ne Old En sh oem T/z e Wa n der er 8 : “ eald n a eweorc t t gli p , , 7 e t g idl u st 0d0 n .

Foo h he m an n m os com m on in h ak s e n . s t e S e. 7 6 . Fo d li ; i g t p r

. . A . 1 2 et . S ee Schm d c . 6 L c. 6 S 8 c i t f C 7 , y 5 , ,

\ hau n ter u “ et . Tales D . 8 : A 7 7 . As h ck c. C C ce C a b r 8 6 s t i , f r, y , ” thikk a n n - m e s m otes in the so e bee . E n h i . a t e o ce ofl kest . 2 . 7 9. L ik est . xpl i f r ; cf C 37

1 R nue h s m e a h o a u 7 0. n r e c se was i en cur Pensio e s. ti ; t i t p ri l g v ’ r enc w as no t as W a on su es s o n a ed b ueen E z abe h s y, if it , rt gg t , rigi t y Q li t 7 e Pen one . . . 1 . s ab shm en of a s e ua d ca ed . M A D t li t el ct g r ll si rs. Cf ii

1 0 M W . 2 . . Fo r M or /z eus see C lass. D ict . , ii 7 9 p ,

He e h o d fo “ en e 12. t e s ands r s e con m 7 M elancholy . r w r t p iv t platio n .

1 . To m ee t o a ee h . 7 4 To hit . t , gr wit

d s — . E x o u . 2 . 7 15. ur C O w eak er v iew . f xxxiv 9 35

’ M o n m a H m e a m n 7 18 . Pr nce M em non s s s er . e e t o e e i i t ilt y r f r r ,

. As tio ned b D c s C e ens s D e B ello Tr o a n o lib . . c I O . y i ty r t i , j , vi

Od sseus desc bes Eu us as the com e es m an he e e saw y ri rypyl li t v r , ' ne t o o od M em non Keir/av t hw' r ov er d M e mova 620 11 xt g ly ( n p , ’ h o a h s s e Od s. . t e oe b b su oses a M em non s y xi p t pr ly pp t t i t r,

a ho u h w e are no he e so o d w as no ess beau u . lt g w r t l , l tif l d 7 19. S arred E h o ueen . C ass o e e of C e heus an t t i p q i p , wif p , ' m h In cons uence ofh r oast another s o has ot er ofAndrom eda . eq e b ( t ry

ha she c a m ed h er dau h e was a e han t he N ereids the n m hs it t t l i g t r f ir r t ) , y p 2 N O TE 7 S .

sen a sea-m o ns e to a a e t he coas o f E h o a and And om eda was t t r r v g t t i pi , r n abo ut to be sacrificed t o this m o ster when she was rescued by Perseus.

As C ass o e w as a e a ds aced am o n th e s a s M on uses th e i p ft rw r pl g t r , ilt ’

d ss D i t e d C ha n s s An dr om da . h sta r r e S ee C la . e . a es e e epit et . r rl Ki g l y ‘ h - h e s M o n a a n n en a enealo t o . a s 7 23 Bri g t ir d Ve ta . ilt g i i v t g gy H h e suit his ow n p urp oses . e per aps r gards S aturn as th e typ e of

S o ude and Ves a as the e of C has hus m ak n M e anch o lit , t typ tity, t i g l ly

h nd W a on h o e th e dau e of C h as a S o ude . e den es g t r tity lit rt , w v r , i tifi

Ves a h G en us and B o ne s u oses ha Ves a o r Hes a the t wit i , r w pp t t t , ti ,

o ddess of th e h ea h is he e th e s m b o of R e em en h e Sa u n g rt , r y l tir t , w il t r ,

f . t he om o e o c z a o n e esen s C u u e For S atu r n see C la ss. pr t r ivili ti , r pr t lt r , ’

D ict . and b all m eans ead at eas the o en n nes of ea s s H e , y r l t p i g li K t yp

“ r ion — a oem h ch S he e P e ace t o Adon ais cons de ed as , p w i ll y ( r f ) i r second t o n othing that was ever produced by a writer of the sam e years. a th un a n f ha nam e h 8 2 . P ob b e m o o in t e 9 Woody Ida . r ly t i t t

P. . . 1 m an . : island of C rete is e t C] L i 5 5.

f u e led in the de h o n em en of hi 8 . s 30 No fear o Jove. J pit r t r t

h lass D ict. a o on . 2 . Wha i h of . s 0 s t e o ce et in fat er S ee C . ; l C t f r y this line What other m ean i ngs has it f h t n 8 2. m ur S ee the r st o t e w o m ean s in S ta nd. D ict . 3 D e e. fi i g ’

2 . C ontrast this line with L Al. 4 All h n d 8 in r et c. m a b e e e a a ec e or an ad 33 . a obe All , y it r j tiv

e b . G r ain d e co o not e u e e h a s the co o n ended is da k v r . y , l r, t xt r p r p l r i t r

a en h d scuss o n of r a in see M a sh L e tu r s on t u e. Fo r c e he p rpl l gt y i i g , r , ’

M on n o . E n lisli L a n ua e F s S e es and ass s e t o P. L . 28 g g g ( ir t ri ) , t v 5 n

C . C . 0 P. L . . 2 2 . f 7 5 , xi 4

y t l S o e e o r ho od a in . . 1 . f n . s F . 8 35. S to e o c ress law l yp , v il _ -( Q i

no t o n obe of the R 0 m an ad r ess 4) w w ggg, fl wi g r _ _ _ l y: Cyp 1

u h r u ua d s n u h d a i T. . la w n c a e b t t e o ds a e s s e s n 1V . , r p ; w r lly i ti g i , iv — 2 2 1 .

“ ” P obab th e o d h e e m eans com e “ han 8 36 . D ecen . d t r ly w r r ly , ” som e ho u h W a on uo ed b Todd e a ns as N ot e osed , t g rt (q t y ) xpl i it xp , ” he e o e decent m o e es ec a as so co e ed. In the D eser ted t r f r r p i lly , v r

Villa e 1 2 G o dsm h has : “ Th e decen ch u ch h a t o t the n e h g , , l it t r t t p ig

rin h bou g ill .

. W a on 8 . Th S tate d n of de o m en 37 w on ed s a e. y t t t , ig ity p rt t rt ’

uo es Ben onson C n t/z ia s R evels . q t J , y , v 3

S eated 1n th s er cha y ilv ir, ” in m nn k S t ate wonted a er eep .

74 N O TES .

not nice Art

In beds and cu ous k not s but Natu e boon ri , r Poured o th ofuse on h and da e and a n f r pr ill, l , pl i , B oth where the m orning sun first warm ly sm ote The o en e d and he e the un e ced shade p fi l , w r pi r ” m ned t h noont ide bo s I brow e wer .

8 52. o den W n . C . . 2 1 D ea tn o a Fa ir I n a n t . Ve G l i g f C 4, f f 57 rity rem inds us that S ylv ester h ad p reviou sly applied th e epith et to Sleep

G r o sart . ( , i i k el . a o h u n m n S ee E z e s and . . 8 . h P L 54 T e C er b C o te platio . x ( l — Ve em k t . A a s It i e o em em be v i. s s t wo h n 7 49 7 59 rity r r , w ll r r t i gs

(i) C /z er uo m eans a single m em ber of the ch eru bim . (ii) VVhen Milto n appli es t o t he C herub th e title Contem pla tion h e IS referri ng t o the m ediaev al co ncepti on of the Hierarchi es. Acco rding t o it each ofthe Orders o r C h oirsinto which the heavenly beings were divided had a s ec a o e and t he acu ecu a to the C he ub m was ha p i l p w r, f lty p li r r i t t of ‘ Knowl edge and Contem plation of divine things Milton took ” h the m ediaeval belief and grafted it on t o t he narrative o f Ez ek iel . T e ’ m eter requires fi v e syll ables for Contem p la tion see Br o wn e s N otes on ’ si i n m h n 18 an S na ns er e s Ver cat on G n C o an d ed o . p fi ( i p y) , t ir iti , p , excellent littl e pam phlet t o use as an introduction t o the study ofversi — M ode n a n ua e otes l. I . for m fi ion . r X V cat S ee L N Vo . 8 a su g g , pp 7 7 9, ’ “ ” m ary ofProfesso r Tolm an s pap er on The Poetic V alu e ofL ong Words .

Tha i id the m u e n c 8 . h m u s b e e 55 T e e S ence h s a on . S t il i t l g t , t il

co m e a on b h s e n nist. Hist o na an onom a o oe c n e l g y w i p ri g , rigi lly t p i i t r ectio n used t o en o ce s ence is he e ob ab an m e a e a ho u h j f r il , r pr ly i p r tiv , lt g

k i . n Sk ea a es as a as a c e . e b a on h hee the m u e t t it p t p rti ipl , , ri g l g wit t t , ” n h h u h ushed S il e ce. M asson p arap rases M o ve t ro gh the m ute Sil ence h ush n o r sa n Hush e n the S ence t o co n nue — un ess i gly, yi g t lli g il ti l ” th n h h h e ig tingale s all c oo se t o break it by o ne of her songs . As S ilen ce

is e so n ed h e e is n o au o o in add n the e he m ute. Read p r ifi , t r t t l gy i g p it t ’ T n n — e n ic . I so s R et en ce Al r ed L or d Tenn son V ol I . . 8 8 8 . y , f y , pp 7 8 ’ 56 . Less Ph om e etc. Un ess the n h n a e an a son . il l , l ig ti g l will gr t g F r h ll th o t o of Ph . f a e s o m e a see C la ss D ict . and for the nes o e t ry il l , , fi t ’ bu es in the En sh an ua e t o the n h n a e ead ea s s Ode to tri t gli l g g ig ti g l , r K t

8 57 . P h D e ne . lig t . fi

9 58 . S m oo h n etc. C . . 2 1 . t i g, f C 5 C es 9 . m ho o w as e 5 e l ss . in anc en 9 S e C a . D ict C ynthia . ; i t yt l gy it r

h os ch a o wa d a n b d a on s w e ri t s r w y r g . N O TES . 7 5

E a n . 9 60. The accus om ed oak . - t xpl i ’

et . S ee M on s o nne t o the n h n L I. w ee b rd c s a e C . S t i , ilt t ig ti g l ,

2 66 P. L . . 8 . 60 2 1 . . C o e d e in his To Me 34, 5 , iii 3 , iv , 7 7 , vii 435 l ri g ,

e /itin ale uo ed . 62 . N g g , q t l — ’ — . Al. 9 63 2. Th ee chaun ress etc e uo n L 6 8 0 and [1P 7 . , t , Aft r q ti g 9

6 — 2 Pa a e obse es : Wha we a n om M o n as hese s ec 3 7 , lgr v rv t g i fr ilt , t p i m ens in his e u es e n his essence of andsca e — us a e is v ry p r t v i l p ill tr t , t he m m ense en a em en the ne o o ons the ea e sco e ofhis i l rg t, fi r pr p rti , gr t r p ,

scenes om Na u e. And h h s w e ha e h a e u s e s e a a s fr t r wit t i v t t xq i it tyl , lw y nob e a a s m u s c se M oz a h ou n o es — ih h ch M on is l , lw y i it lf rt wit t t w i ilt o ne ofthe few v ery greatest m asters in all literatu r e : in com p any at leas eases m e to anc — h Hom e and S o h oc es h Ve t it pl f y wit r p l , wit rgil , i — h D h Tenn on . ee L a nds a e n Poet r . 1 an e w s S c 8 1 . wit t , it y p y , pp 5 59 ’ - l 1 1 . . on a A 9 C s L . 64 Even song. tr t 4 ’

Al. . F om the ac h a s n . C on as L u n ee is n e 9 65 Unseen. tr t 57 r f t t t g ’ h Al m u o ed a [Z P. m a h a e e ativ ed in L . so e ha e s s b en en , v pp t t y v writt

s . The obab is h o e e h a the tw o oem s e e conce ed at fir t p r ility , w v r , t t p w r iv the sam e t im e and written in their pr esen t o rder . After quo ti ng 11. 65

B a sa s : “ He e he e are no unm ean n ene a e ess ons 94, l ir y r t r i g g r l xpr i ; all is a cu a all is c u es ue n o h n o ced or e a e a ed bu t p rti l r , p i t r q ; t i g f r x gg r t ; a s m e s e and a co ec on of s on e ess e m a es h ch are i pl tyl , ll ti tr g xpr iv i g , w i all of one c ass and eca a num be ofs m a deas of t he m e anch o l , r ll r i il r i l ly ’ k nd W e m a o bse e t oo the conc seness of t h e o e s m anne . i y rv , , i p t r

He does not es o n o n one c cum s ance o r em o a ea m an r t l g ir t , pl y gr t y words t o describe it ; whi ch always m ak es the im pressi on faint a nd an u d but ac n in one s on o n of e u and c ea be o e l g i ; pl i g it tr g p i t vi w, f ll l r f r ” H h the eade h e hen ea es it . u B a L ectu r es on P/z etor ie a n d r r, t l v g l ir ,

B elles L ettr es L ec u e x1. , t r

h . 9 . e e e Ho a a . . 2 1 67 The w ander n m oon . c s ce S t 8 i g K ig tl y it r , i

v a a luna and V ( E n . . 2 er r a n tem lu na m . If S hak s e e e e g , irgil , i 7 4 p r w r

n at h s h ou he m h fi nd easo n t o con a u a e h m se o n th e livi g t i r , ig t r gr t l t i lf

ac ha b e did n o t kn o m uch L a n . At an a e n o o ne h nk s of f t t t w ti y r t , t i

hi f o o n hi a n der in m oon c . . D . 1 1 2 a u . . 0 cc sing m o b rr wi g s w g (f M IV. iv — . m V r Ho ce. ha ed n a s abo u also ii 1 . 6 7 ) fro irgil o ra S ee w t St m a s y t

m a n a e d c o n N atu r e a n d Elem ents o Poetr . 2 0 et se . i gi tiv i ti , f y , p 4 q

9 E la n . 68 . Her h ighest noon. xp i ? 9 72. S oo n etc. Wha o ca us on is e e ed t o t pi g, t pti l ill i r f rr h 9 4 . urf A e u a on in o ce in m ed ae a Eu o e b h c 7 C ew . r g l ti f r i v l r p yw i at a ed hou in the e en n nd ca ed b the n n of a b e es fix r v i g, i i t y ri gi g ll , fir

e t o be co e d o e o r e n u shed Hen ce th e ac ce of wer v re v r xti g i ; , pr ti 7 6 N O TE S .

’ n n a be at a ed hou in the e en n usu a e h o r n ne o c ock ri gi g ll fix r v i g, lly ig t i l , con nued a e the o n a u ose was obso e e and o ten used as a ti ft r rigi l p rp l t , f signal in co nn ection with v arious m unicipal or co m m un al r egulations; the p ractice of ringing the ev ening bell still su rvives in m any towns

f o d. . . o k u e m o o o e o n L D iet L o S e e 1 . (N ew E ng . ) p ty l gy w r y 54

- E a . W e h a h . n e e e o n 9 7 5 S om e w ide w atered shore. xpl i v r e of ’ M o n s nes doub e e h e s t he cons uc o n and use of h ch is ilt fi t l pit t , tr ti w i h h com m o n in his ea o em s. In C om u s c has a few m o e han rly p , w i r t ’ a ho usand nes h e e are fift - ou doub e e he s in L Alle r o he e t li , t r y f r l pit t ; g t r are sixteen to a hundred and fifty li nes in [Z Pen ser oso there ar e elex/en ” d en n s Van D k e Poetr o T n n so t o o ne hu nd ed an se e . e n sec r v ty li y , y f y (

d who w as of t he O n on ha h ond ed o n . 6 . C o e e e e is a iti ) , p 4 l ri g , pi i t t t r sup erfluity of do ubl e epithets in the early p oetry ofb oth Sh ak sp ere and

M o n a e th e o o n u e for he adm ss o n : “ e h e h a he ilt , g v f ll wi g r l t ir i i it r t t t y sh ou d be a ead den z ens of o ur an u a e such as olood-stained ter r or l lr y i l g g , , str icken sel -a la udin or h en a new e he o r o ne o und in bo oks , f pp g ; w pit t, f o n is haz a ded h a at eas b e on e o d n o t tw o o ds m ade o n e ly, r , t t it, l t , w r , w r ’ b m e e ue o f the n e s h hen . Ifa e e e m e a co m y r virt p ri t r yp writ r, v ry ti

o unded o d su es s se t o him o u d seek fo r som e o h e m ode of p w r gg t it lf , w l t r e ess n the sam e sense th e chances are a a s ea in a ou of xp r i g , lw y gr tly f v r ” his nd n a be e o d. B io r a lz ia L iter a r ia Boh n . 2 no e. fi i g tt r w r g p ( p , t

9 et . Wha o e 7 6 . S w n n s ow c e c ec do o u n o ce in i gi g l , t p ti ff t y ti this line ’ 9 7 7 . Or ifthe air etc. In L Al. the e en n ndo o s did no t be n , , v i g i r gi

u n 1. 1 til 1 7 .

9 . m Ha m . . 1 . 8 o e c . 6 m R e . 7 Re ov ed. t ; f i 4

9 80 . Teach h etc. A oo m h ch on R em b and cou d lig t , gl w i ly r t l

a n . C : t h e am o us assa e in P. L . . 6 2 6 an d the ha d ess p i t f f p g i 4, r ly l

am ou one in F . . 1 . 1 f s O i . 4

But forth unt o the darksom ho e he ent l w , And looked in : his glistring arm or m ade A tt e m n ht m uch k a sh d oo e a e. li l gl i g lig , li

9 2 A n m ade am o u D k . 8 . The cr ck e n he hear h e s b c ens i t o t t . li f y i It is now no uncom m on thing fo r an a utho r t o fi nd a titl e for his b ook

in so m e o dd h ase of th e old oe s M r . Ho e s for ns an ce ound p r p t ; w ll , i t , f

1 . one in Ly e. 8 8 9 8 ’ Th 3 . The be m n s h rm e be m an w as a n h ll a s drow y c a . ll ig t

a chm an w h o w en his o un d n n a b e and c n th e t m e the w t t r ri gi g ll ryi g i ,

78 N O TES . t o th em ofth eir abo des in th e fo ur elem ents o ver which they had p o wer h a on and t o h of th e m dd e a e bel ongs t o t e later Pl t ists t e writers i l g s. “ he a M as on . 1 . S m c co nne on s 0 95 C onsent . y p t ti xi ( )

E h “ o “ . e o a be o r h sce e an d 10 98 S ceptred p all . it r r y l r wit ptr with pall (Hal es) . — 10 Presen n Th ebes etc. M on h e e m en o ns the ch e 10 99 0. ti g , ilt r ti i f th em es of A c a ed h a n in m nd a cu a the d am as of tti tr g y , vi g i p rti l rly r

i b d Eu d For Tbe s et . e las . A sch lus S o h o c es an es. e c se C s D ict . y , p l , ripi , , ,

n u d h o of e and for ZES C h luS et c. co s som e o o s G ek e a u e y , , lt g i t ry r lit r t r — ’ Mah aff s at ha nd. Pr esen tin e esen n so e uen in y , if g , r pr ti g ; fr q tly

S hak spere. — ’ 10 101 102. Or w ha etc. In e o f M o n s a e s on t o th e t , vi w ilt v r i

m e rom antic dram a (see p reface t o S . it ay b that he has in m ind he e the t a ed es of Ben o nso n a h ou h is to be ho ed as m os r r g i J , lt g it p , t ha h n d h o f h ed o s h nk e c u es se o S ak s e e. Fo r bu skin ed see it r t i , t t i l t p r , ’

1 2 . o n L Al. 3

A m h a o f Th d acco d n o 10 104 . M usaeus. c e o ace an t yt i l p t r , r i g

n h e on of O heu S ee la ss . D iet It is a h m ds t s s. a s t o t e so e l ege rp C . lw y

o e s of a m e a e th e ba r ds h a M o n com a es h m se p t p ri itiv g , , t t [ ilt ] p r i lf

t o Hom e T es as and th e Heb e o he s. O heus a nd M usaeus r , ir i , r w pr p t rp

e h e o u d es k t o e be o e him i hi n e are th e p o ts w l b t li e s e f r n s p e siv ho urs. N ow in those p ri m itive tim es th e po et w as al m ost an qfficer of t he s a e he w as e a ded w h e e ence and c assed h the es o r t t ; r g r it r v r , l wit pri t

H an in th ha of an d h d ne . e s e s G ec nces and s e u t e ivi r g ll r i pri , tirr p n warri ors t o em ul ate the great deeds of th eir fathers. In Pal esti e h e assum ed a s ea e e e at on and m n the a ses of ue h till gr t r l v i , , ixi g pr i virt wit e a ed conce ons of G od and of t he n a o na oca on b ecam e h a x lt pti ti l v ti , w t ” e a o he Th s w as the dea of o e h ch u ed M on . w call pr p t . i i l p try w i s it ilt — ’ Vo . I . e P o e o S ee e a cm illa n s Illa az in e l X X 1 . e ss M . 0 S r f r l y, g , p 4

- Pa son [Vi/ton . 1 8 18 . tti , , pp 3 4

A a es . 1 . r 0 106 . C c d 8 Warbl ed to the string. f 7 E a n 10 10 . . 7 Iron tears . xpl i ’ - C hauce h i s 10 1 . w o e t Tb c S u r e 09 Him h a e ha o d. t t l ft lf t l r , l f q

Th ha ac e s a nd n den m en o n ed in th e o ow Tale u nfini sh ed. e c r t r i ci ts ti f ll ’ ing lines sho uld be tra ced in the-story itself and in Sp enser s co ntinu

. 2 atio n of it (F Q . iv .

M on e o n acc n a o n o h 10 110 . m bus n s a e u t s C a ca . ilt giv wr g t ti t i

o w rd.

“ P f a o h u 10 113 . u o e u e c c us b n e en a es ous . Virt w rf l , fi i y i r t q liti

d C . . 1 6 2 1 o he o e e f th e r in se Tb e S chm C 6 . F r t s o e ( i t) f 5, pr p rti g, N OTE S . 79

’ ’ S uir e s Tale Sk ea S tudent s C /zau eer 1 6—1 fo r the lass 1 2 q ( t , ) 4 55 ; g , 3

1 1 for th e lz or se o br ass 1 1 —1 1 and fo r the sw or d h ch M on 4 f , 5 3 , w i ilt — does n o t m en on 1 6 1 6 . ti , 5 7 h ” “ 10 116 . f h W a e e e se a L a n sm B u e . I a g t el se. t v r l ; ti i ( ll)

G r eat ba r ds S ense s of all and h en e ha s Bo a do A os o p r , fir t , t , p r p , i r , ri t ,

and Ta sso .

11 120. Where m ore is m eant et c. Tha is he e he e is an a e , t , w r t r ll ’

. M on m e a e o orical m ean n as in the F . In s was s g i g, Q ilt ti ll g ry till h h z ed but no w a hou h is occas ona ac sed as for ig ly pri , , lt g it i lly pr ti , , ’ in Tenn o n s Id lls o t/z e Ifin is not o m uch ho u h f ns ance s s o . i t , y y f g, it t g t

The m ode n o n of V e is e e essed b L o e h en he sa s r p i t i w w ll xp r y w ll , w y that allegory r everses th e true offi ce of p oetry by m aking the real un

It is m a n at on endea o n o o m m end e o h u n real . i gi i v ri g t rec its lf t t e der ” — f . Wo s u and n m an o cu s le Ho h on V l III . . 2 . s b e s r o . 6 t i g y t ( g t ) , p 3

“ The ue e of the a e o is the Od sse wh ch w e ead h o u tr typ ll g ry y y , i r wit t sus c on as u e o em and hen fi nd a n ew easu e in d n n its pi i p r p , t pl r ivi i g doub e m ean n as w e som eho o t a be e ba a n of ou r au h o l i g, if w g tt r rg i t r ” — — . T n u Ibi . . . h e is an h an he m ea to e s d Vol IV . 2 1 2 2 . e t t giv , pp 3 3 r ’ a e o b th e w a in M on s ow n C om us . ll g ry, y y, ilt

11 121. Thus N h etc. L ando ho u h h s e se of ten s a , ig t , r t g t t i v r yll ” “ H o h in bl es sh ould be reduced t o th e rank s. e also n ted t e rhym es

1 — 1 9 1 2 2 .

- 11 . a d n . I . d 2 . 122 n n c an ess e P. a . C iv il suited. pl i ivili r ; f j iii

— One of th e h e h ch de na e d e e and d o a on 1 0 1 1 . e pit ts w i sig t r ss s ec r ti o f wh ch e he s m u s b e ack n o ed ed bo h M on an d S ha k es i pit t , it t wl g , t ilt ’ ea ar e un easo n ab o nd L ando C o n as L Al. 62 . p re r ly f ( r) . tr t 597

11 . Ado ned c L 1 F ou n eed with h u d 123 . e. 0 . r a c e Trick ed. r ; f y 7 , ir rl and plaited.

A o a the 11 12 . Th C e h a us who w as o ed b u 4 e c bo . Atti y p l , l v y r r ,

f . goddess o dawn S ee C la ss . D iet .

11 125. f L o o k u the o na m ean n of the o d and Kerch e . i t p rigi l i g w r , note h ow this was lo st tho ught of when b an dber e/z ief was fo rm ed. “ k th 11 12 . An ac e e b : th e sh nds oc e 6 Rock ing. tiv v r rill wi r house (Elton) .

11 12 . G en e. 7 S till . tl

h At th e m e 11 128 . i Its h e e is no e son ca on e e. H s. ; t r p r ifi ti r ti

M on o e h s o em its w as not et e es ab sh ed. Shak s e e ilt wr t t i p , y w ll t li p r used the o d but t en m es and M on o n h ee m es in his oe w r ti , ilt ly t r ti p try

- and a e in his ose. In Old En sh o r An o S a o n the e sona r r ly pr gli , gl x , p r l ono uns e e h h n ec ed the o o n o m s be n used in the pr w r ig ly i fl t , f ll wi g f r i g 8 0 N O TE S . declensi on o f the singul ar num ber of the nom inative and genitive cases of the third p erson

M A S C . NE T F U . EM .

h h Nom . e e héo hie hi ( ) , ,

G en . his h e e h e h e i r , ir , yr

Fo r a long tim e bis was used for the genitive ofboth the m asculine and neuter genders ; its was afterwards form ed fro m the n om inative neuter b d o n th e I: and add n s and se ed t o e e e lz is of h s dou b e y r ppi g i g , rv r li v t i l ’ se ce. Th o u ho u M o n s oem s he e o e th e s uden sh o u d rvi r g t ilt p , t r f r , t t l gu ard agai nst finding p erso nifi catio ns where non e w as intended by the p oet

- E a n . 11 . 130 Minute drops . xpl i

11 134. Brow n . D usk da k see o n L e. 2 . S lv a n S a nus a y, r ; y y , ylv ,

L a n d n of the e ds and o es s ho m a e e s den ed ti ivi ity fi l f r t , w l t r writ r i tifi with Pan and other deities.

N b ecause t h m onum n 11 1 . M n m n k ot e e s in chu h 35 o u e tal oa . t rc es

e e o en o m ed of ca ed o ak e h e but because th e oak is w r ft f r rv (K ig tl y) , “ ” m onum en tal in the sen se of m em o a old el n of b one ea s ri l , , t li g yg y r ’ B ne com a es Ten n son s Ta lbin Oa b . C hauce d Masso n . o an ( ) r w p r y g r, k h “ d k k “ nse a e him s ea s of t e bu e o a . Pa son as s an Sp e r ft r , p il r tti if y ‘ ’ singl e wo rd can be fo und eq ual t o m on um ental in its p o wer of sug

estin t o the m a na on the h s o c o ak of a k or ch ase u t o the g g i gi ti i t ri p r , p k nees in e n h ch has o u as ed ten en e a ons of m en has been f r , w i tl t g r ti ; the m u e ness of the scen es of o e eache or o ence enac ed t wit l v , tr ry, vi l t in the b aro ni al h all which it shadows and p rotects ; and h as b een so associated with m an that it is n o w rath er a col um n and m em o rial obelisk ? ” — han a ee of the o es l ton . 2 . t tr f r t , p 4

. h N o e th e c m us. 11 136 . Where th e rude axe etc as , t i

ha o r at all o a ne o an- s/z 1 . f n S o m e i 1 140 Pr a er . o w t, p r f ; p r f , if there were such a wo rd (Hales) . ’ Th un ook u e m o o and 11 1. h e s 14 D ay s garis eye. ; l p ty l gy “ F . . . . : the ea e of m ean n of a r isb . C . C . 8 L e. 2 6 e i g g f 97 , y , Q i 3 4 gr t y ” hea en and P. a n d . . 2 . 2 . v , ] iii 5

ha doe the b ee ac ua ca o n it s 11 2. h W s 14 Honeyed t igh . t t lly rry

e. 1 0 . thigh ? B ut cf. Ly 4

C om an on h or e h a s co nce . 11 145. onso . s C rt p i ip , , p r p , rt

- ? Wh the e he C P. . . 11 1 . f e e . L 46 D ewy eath red S l ep . y pit t f iv 1 6 4 .

TE 8 2 N O S .

12 W ndo s of s a n ed ass o n h ch are n . 159. S tori ed w i dow s i w t i gl w i

' ’ . . at e on Al. 2 . pictured scenes fro m th e Bibl e ; cf C 51 6 . n ; s e L 6 “ I h h M on e a 12 160. ast n a dim et c. ues o n e e e s w C i g , q ti w t r ilt v r an but the d n c u es in the dus ndo s of En sh ca hed a s y i gy pi t r ty wi w gli t r l ,

H e ha im p erfectly sh ow n by the gray English daylight . e wo uld els v e ’ illu m inated that word ‘ dim with so m e epith et that should no t chase a a the d m ness et shou d m ak e o ke a m o n of ub es w y i , y l it gl w li illi r i , ” - sa h es em e a ds and o az es . Ha ho ne Wor bs Ho u h on pp ir , r l , t p wt r , ( g t ) ,

Vol. . . . e I. ib d. 2 At th m e [Z P. s o V . 1 . . i 8 wa V l. C p 35 f , X p 7 ti ’ en M o n h ad n o t s ed I a . S ee Ve s a os e uo a on writt , ilt vi it t ly rity pp it q t ti

om M o e Uto ia . fr r , p

12 The a o e n um en of M 16 1. The ea n or an. s on p li g g f v rit i tr t ilt , and on h ch his a he a no ed m us c an in his t m e au h him t o w i f t r , t i i i , t g t — — 6 a t . 1 In h a a c . P. L . . 0 8 0 . 8 N 0 . t e e a of pl y ; f i 7 7 9, xi 55 5 3, 3 l tt r p rt his Tr aet on E du ca tion h e re co m m ends that th e tim e ofstu dents a e e e c se and b e o e and e en a e m ea be ak en u “ in recr e ft r x r i , f r v ft r t, t p ating and com p o sing their travail ed spirits with the so l em n and divi ne ha m on es of m us c hea d or ea ned e the h s th e sk u o an s r i i r l r , i r w il t ilf l rg i t

es his a e and anc ed descan t in o u ues o r the ho e s m pli gr v f i l fty f g , w l y pho ny with artful and uni m agi n abl e to uch es ado rn and grace the w ell st udied ch o rds of so m e ch oice com po ser ; som etim es the l ute o r soft o an- s o a n o n e e an o ces e he to e ou s m a a o r rg t p , w iti g l g t v i it r r ligi , rti l , c d t es h ch se m en and o he s be n o t e em e o ut ha e ivil i ti , w i , if wi p r p t xtr ly , v a great p ow er o v er disp ositio ns ahd m anners t o sm oo th a nd m ak e them ” - en e o m us c h a shn ess and d s em e ed ass o ns. M o e g tl fr r ti r i t p r p i rl y,

E n lisb Pr ose Wr itin s o M ilton . 0 6. g g f , p 3

/z a m . F 12 . u h . N at . 8 o r t hou h 164 As m a . S e s a c e see y y ; f 9 t g t, — Vaca tion Ex er cise 33 35.

12 1 N o e th e m ean n . 0. 7 S pell . t i g — 1 . o n un a on . . 2 1 1 Fo r c c . 7 S hew . pr i ti , f C 994 997 — ’ — A . 1 . 12 17 5 17 6 . These easures et c. C o n as L l 1 1 2 pl , tr t 5 5 N T O ES . 8 3

C OM U S .

In o de to a ec a e C dm us is necessa to kno so m h n r r ppr i t , it ry w et i g of

h cu m an u nde h ch the m as ue w t e cir st ces r w i q as produced. In the sum m e of 1 6 1 the Ea o f B d e a e w as m ade P es den of h r 3 , rl ri g w t r r i t t e C o uncil of Wales and L o rd L i eutenant of N o rth and S o uth W al es and of the co un es o n the We sh bo de a ho u h he did not o t o Wa es ti l r r , lt g g l ,

o u d seem u n the S n of 1 6 . In the a of 1 6 h it w l , til pri g 33 f ll 34 e w as

nau ura ed h s end d ce em on es and w as fo r h s nau u i g t wit p l i r i , it t i i g ratio n that Com u s w as written . Th e m asque w as p erfo rm ed at L udlow C astle

on M chae m as n h S e . 2 1 6 be o e the Ea of B d e a e i l ig t, pt 9, 34, f r rl ri g w t r ’ and hi n u Th ee o h a s e e ak en b h s i vited g ests. r f t e p rt w r t y t e Earl s ch d en L ad A ce Ed e on ak n t he a of The L ad and il r , y li g rt t i g p rt y ,

V he a of Th e F s sco un B ack e and M r . Th o m as Ed e o n t s i t r l y g rt , p rt ir t

and S eco nd B o he s. The A endan t S a e a d Th rsis w as r t r tt pirit , ft rw r y ,

W h o ok a ed b L a es who o e the m us c for t he o ccas o n . o pl y y w , wr t i i t the a s of C om u s and S ab na w e do no t k n o a ho u h a ood p rt ri , w , lt g g a - ctor was n eeded fo r the fo rm er a nd a goo d sm ger fo r the l atter .

It is su osed tha M on o e C om us ea in 1 6 so as t o h a e pp t ilt wr t rly 34 , v

h on of it ready for the p erf orm ance in the fall of that year . T ree editi s

’ the h of he e w as m asque app eared in the p oet s lifetim e. T e first t s ’ ssued in 1 6 b L a es and w as u b sh ed h ou M o n s nam e i 37 y w , p li wit t ilt ,

- altho ugh th e m o tto o n th e titl e p age

Eb eu u i v olui iser o m i/z i ’ or ibus A u str u m q d m . fl

h M to n s ows that his co nsent t o the p ublication had been o btain ed. il h m h he e se ub shed the o em in 1 6 and 1 6 . In add o n t o s i lf p li p 45 7 3 iti t i , t r

d h e o he are tw o M d the B r i e a ter M S . an t S . co es o n e ca e d w pi , ll g , t r, ’ in M o n s o wn hand ca ed the a m br id e IVS . ilt , ll C g

In t he an o n m o us ed on of 1 6 h e e a ea ed th e o o n y iti 37 , t r pp r f ll wi g ded ca o n h ch was e n ed in the ed on of 1 6 b ut o m ed in i ti , w i r pri t iti 45, itt that of 1 67 3 :

To t/ze R i /it Hon ou r a ble o/ n L or d B r a ckle son a n d lieir -a a r ent to tlze g f i , y, pp ” Ea r l o B r id ew a ter et c f g , . M Y L O R D ,

Th s Poem wh ch rece ed its st occasion of bi th f om ou se f i , i iv fir r r y r l and others of ou nob e am i and m uch honou f om ou ow n er son in the y r l f ly, r r y r p

e for m ance now etu rns a a n t o m ake a na ded cat on of t self t o ou . p r , r g i fi l i i i y

1 l — Vir i E el. 11 8 . g , . 5 59 84 N O TES .

A thou h not o en ackno ed ed b t he Autho et it is a e t m ate off l g p ly wl g y r, y l gi i s n so o e and so m uch des ed t hat the o ten co n of it h th t ed m pri g, l v ly ir f pyi g a ir y en t o e m se e a ends sat s act on and b ou ht m e t o a necess t of ro p giv y v r l fri i f i , r g i y p ducin it t o the ub c e and now t o o fe it u in all ht u de ot on t o g p li vi w, f r p, rig f l v i , those a ho es and a e endo m ent s of ou m uch- om s n outh h ch e f ir p r r w y r pr i i g y , w i giv u ll h f a assu ance t o a t at kno ou o a utu e e ce ence. L e s eet L o d f ll r w y f r x ll iv , w r , t o be the honour of your nam e ; and receive this as your ow n from the hands of him who h ath b m an fa ou s been on ob i ed t o ou m ost honou ed Parents y y v r l g l g y r r , and as in th s e esent at on ou attendant Tlz r sis so now in all ea ex , i r pr i y r y , r l pression You a th u and m ost hum b e Se ant r f i f l l rv , “ L ” AWES . H .

In th e ed o n of 1 6 b ut om ed om ha of 1 6 a ea ed “ T/z e iti 45, itt fr t t 7 3, pp r Copy of a L etter w r itten by S ir Hen ry Wotton to t/z e Aut/t or up on t/ze ” ollow in Poem t he s tw o a a a hs of h ch are as o o s : f g , fir t p r gr p w i f ll w

“ om the C o e e t his 1 ofA 1 6 8 Fr ll g , 3 pril, 3 .

7 It was a special favour when you lately best owed upon m e here the first t aste of ou ac ua nt ance thou h no on e t han t o m ake m e k no that I anted y r q i , g l g r w w m o e t m e t o a ue it and t o en o it ht and in t rut h I cou d then ha e r i v l j y rig ly ; , , if l v m a ned ou a the st a in these a ts wh ch I unde st ood a te a ds b M r i gi y r f r r y p r , i r f rw r y .

’ H I ou d ha e been bo d in our ul a hrase t o m end m d ht f r . au o ou , w l v l , v g r p , y r g ( y , e t m e t h an e t rem e t h st and t o ha e be ed ou con e sat on a a n l f wi x ir ) , v gg y r v r i g i , o nt th ou sa d ea ned end o e a oo m ea or t wo that we m ht j i ly wi y r i l r fri , v r p r l , ig have banded t ogether som e good Authors of t he ancient tim e ; am ong which I ha b en m observed you t o ve e fa iliar. S nce ou o n ou ha e cha ed m e th new ob at ons both for a e i y r g i g, y v rg wi lig i , v ry k nd ette om ou dat ed the 6th ofth s m onth and for a da nt ece of ente i l r fr y i , i y pi r h m h th Whe e n I shou d m uch com m end the t t ainm ent whic ca e t erewi . r i l ragical

a t the ca did not a sh m e w th a cert a n D o c de cac in ou S on s p r , if lyri l r vi i i ri li y y r g and Odes whe eunt o I m ust ain con ess t o ha e seen et noth n a a e in , r pl ly f v y i g p r ll l o iti s But I m ust not om t t o t e ou that I now on our language : Ip sa m ll e . i ll y ly w m od st so e t he rtificer owe you t hank s for i ntim at ing unt o m e (ho e ly ev r) t rue a . F or the work it self I had viewed som e good while before with singular delight ; M r R in the er c ose of t he ate ha n ece ed it om our com m on end . . vi g r iv fr fri , v y l l ’ R s Poem s nted at O o d he eunt o it was added as I now su ose that . , pri xf r ; w r ( pp ) the accesso m ht he out the nc a acco d n t o the art ofStat one s and ry ig lp pri ip l, r i g i r , ” o ol e t o leave the reader con la b eca d e .

Fo r the o o f C om us M on seem s t o ha e d a n u on se e a pl t , ilt v r w p v r l

sou ces bes des hose m en o ned in th e n o es. The e is a ad on r , i t ti t r tr iti th at Alice Edgerton and h er tw o you ng brothers actually got l ost at

86 N O TES .

14 1 6 . H a n m n . m bros al w eeds. e e a e t s c 8 For w eeds A i v ly g r ; f 3 , ’ see on L Al. 1 20 a so . 18 0 . ; l C 9, 39

14 1 . E ver ever o r a e/z ca eli are m o e 9 Ev er each . e y y y , r

usu a but c . C . 1 1 L e. l ; f 3 , y 93. “ 14 20 . Took in b l ix h Th e a us on ot tw h h and ne er ov e. y , t ig t J ll i ’ is t o the d s on of u e am on S a u n s h ee son s P u o N e une ivi i r l g t r t r , l t , pt ,

In th Il ad . u a F and u e . i 1 N e ne s to I s : or e 0 et se . s J pit r , xv 9 q , pt y ri h ee b e h en are w e and sons of o n os h om Rhea ba e Zeus and t r r t r , Kr , w r , ,

H - m se and ades is the h d t he u e ofth e o k in the unde o d. y lf, t ir , r l r f l r w rl

And in h ee o s are all h n s d ded an d each d e a dom a n of his t r l t t i g ivi , r w i ow n an d to m e e th e h oa sea to b e m h ab a on for e e hen w e , f ll ry , y it ti v r , w sho ok the o s and Hades d e the m u k da k ness and Z eus the de l t r w r y r , wi hea en in c ea air and c o uds bu t the ea h and h h O m us are et v , l r l , rt ig ly p y

d e b ov h com m on t o all L an L ea and M e s . 1? a n n t er e t e ( g, f, y r ) n j ( d n a o n i n o n h n u esig ti s ot rigi al wit Milto ) are of co urse J piter and Pl uto .

O n the unc ua on of t he ne see M asson . p t ti li ,

“ 14 22. L k e r ch and r us em A no ceab e ac abou i to i v a io g s. ti l f t t ’ the si m iles [in Milto n s p oetry] inv olving natu re is th e frequency with which the natur e elem en t app ears o n the wro ng side of the com parison ; ha is ns ead of us n a na u a o b ec to ex lam o r us a e so m e t t , i t i g t r l j t p ill tr t

h n a c a or h um an hese e em en s are n e ed. The ac ha t i g rtifi i l , t l t i v rt f t t t the a c a ob ec is hu s em o ed doub ess nd ca es ha in the rtifi i l j t t pl y tl i i t t t, ’ e s o n on w as m o e am a o r m o e beau u han the nat writ r pi i , it r f ili r r tif l t ” u a ob ec h ch is su osed t o e a n o r he h en . V . P. S u es r l j t w i it pp xpl i ig t q ir ,

t . . . n . N o es Vol IX . 2 M od. L a g , p 34

14 2 . How can a b osom be u n ador n ed h ch a ead 3 Unadorned. w i lr y ” i h m L n is inla d wit ge s ? ( a do r) .

15 2 E a n His r u . 4 . t ib t ary gods . xpl i

15 2 . S e a a e . 5 S ev eral . p r t a ’ 15 2 . G ea B a n b all m eans ead Shak s e e s 7 Thi s Isle. r t rit i ; y r p r “ ’ n of h s s t r d in R ieli. II . . 1 0 et se . descriptio t i cep e isl e ii . 4 q

des n o o u a he e e h n ou 15 2 . D s e e 9 Quarters . ivi i t f r p rt ; t r w r t f r se a a e o e nm en s in G ea B a n h ch e e oca ed at L o ndon p r t g v r t r t rit i , w i w r l t and Ed nbu h and in W a es an d th e n o h e n coun es of En and i rg , l rt r ti gl

Th n e a on seem s t o e su o ed b tlz is tr act (Keightl ey) . is i terpr t ti b pp rt y

B lue- ba ir ed deities the En sh eo e becau se as M asson su ; gli p pl , , g ’ es s he e is “ a eco ec o n of ‘ b u e as the B sh co o u inher g t , t r r ll ti l riti l r, it ed from th e old tim es of the blue-stain ed Britons who fo ught with ” C aesa . On the o he hand ua r ter s to m a be ak en in th e ene a r t r , q y t g r l

“ ” sense of d des am on and blue-Iza ir ed deities m a be no h n but a ivi g, y t i g N O TES . 8 7

a a on of tr ibuta r ods 2 o r o ss b a s ec a sec on of hem v ri ti y g ( 4) p i ly p i l ti t . The epithet blue-liair ed m ight then be j ustifi ed because Ovid ex

ess ca s the sea-de es caer ulei dii and Ne une caer uleus deus pr ly ll iti , pt ,

hus assoc a n b ue h the sea Be and because “ o m the s a e t i ti g l wit ( ll) , fr t g directions in o ther Masques it m ay be i nferred that conv entio n associ ” a ed ha of h s hue h the de es of the sea Ve A a n t ir t i wit iti ( rity) . g i st

“ h s n e e a on h o e e m a be u ed ha een - ha ed i th t i i t rpr t ti , w v r, it y rg t t gr ir s e

usu a oe c e he for N e u ne and his subo d na es M asson and l p ti pit t pt r i t ( ) , that blue-b air ed deities m u st be distinct from the trib utary gods who wield their littl e tridents (line o therw1se the thought wo uld ill accord — with the com plim entary n ature oflines 30 36 (Bell) .

5 . W a es . 1 30 Th is t ract . l

. Th E B 15 31. nob e eer . e a of d e a e V ce o of Wa es A l p rl ri g w t r, i r y l ,

t he e o m ance Th s is bu t o ne of t he who w as present a t p rf r . i m an y com m en s h ch the oe con es t o a h o u ho u the o em pli t w i p t triv p y t r g t p , which the stu dent m ay search ou t fo r

15 33 . An old and haughty nation bute j ustifi ed by th e history of th e W elsh p eople.

- The Ea h h e 15 36 . New nt rusted. o e e ad ec ed his a o n i rl , w v r, r iv pp i t m ent as early as the sum m er of 1 631 .

En an d e n . 15 3 . r e s e o 7 Pe plexed. t gl ; 4

Th nk o u 15 h n ddin h rr r et c. t and e a n the u 38 . T e o o o e. g , i xpl i fig r

E n . 15 41. m m n a Quick co a d. xpl i

Th e bow er w a “ n nn a 15 . s A e a m n 45 In ha land bow er . e es . l i r p rt t, p ’ as d s n u shed o m the ha o r a e ub c o o m in anc en m an i ti g i fr ll , l rg p li r , i t h h h . e si o ns (N ew E ng . D iet ) S cott us s t e p rase as t e equivalent of

“ am o n m en o r o m en s nce th e b all of the o d was o en d s n g w , i l r ft i ti guish ed fro m the bow er of th e lady .

‘ ’

. ss T en e t 15 46 hu S ee la . D ict. e s o Wa e Pa e s Bacc s. C ; r t r f r lt r t r

G r eenS tudies.

5 A th e Tu can 1 48 . f e h Tus an m a ners rans m e s A t r t e c ri t for ed. ft r

n n m d. The o n u o a m ariners h ad bee t ra sfo r e c str cti n is L atin one ; ef.

i . . t . C e o Pli l ia m a ondita u be en P. L . . . 2 8 e c c e r e i 57 3, v 4 , , i r , iii 9 , v ” h z fro m the founding of the city . T e sto ry of the m ariners who sei ed

Bacchu s and e e b him chan ed n o do h ns is o d in t he Hom e c , w r y g i t lp i , t l ri ’

i t . o s s n d d et . 660 et se . but see C la ss . D e Hy m n t D iony o a Ovi s M iii . q ;

ob n . 8 . 15 . C 49 As t he w inds listed. f j iii ’ he o Eaea offthe co as ofL a um . For t s 15 0. n I 5 r e s is a . C i c l d , t ti t ry

’ ‘ of U sses s s t o C ce see Od sse . On ell c . the L a n ly vi it ir , y y x f ; f ti

h ase in cider e in . N o e th e anad os s in h s n e . p r , t ipl i t i li TES 8 8 N O .

B o ne in h I n M a ue 15 51. D au h er ft he S un . is ner Tem le s g t o r w , p q , ” h u n /z a r m ed u us a e ha had called C irce daughter to t e S . C c p ill tr t s w t figure h enea o a e as the dea of b n n 16 . T s s 58 m u . C o s i g l gy, w ll i ri gi g ’ ’ Bacch us to C ce s s and is M o n s ow n n en io n . C om us G eek ir i l , ilt i v t ( r ’ “ ” ” ” f xtb os m eans a e e ca ou sa m e m ak n . I the s ene u ) r v l , r l , rry i g fir t g ’ — a o i en t o M h in L Al. 1 2 b e acce ed C om us is the ha l gy g v irt 4 4 pt , lf b o h e of M h she e esen n P easu e on the nn ocen s de and r t r irt , r pr ti g l r i t i ,

h en a he on t e s su l side. ’

A 1 . u f 16 59. Fro c. S ee on L l. 8 O b eca se o . li f,

1 n F ance and S a n . Wh o n Iber a e ds . a 6 60. C elti c a d i l r p i y ppr priate for C om us ? — A d s ab e h e 20 20 . 16 61. m n s e c . O i ous. i yll l r ; f 5 9 — h . . . . T en h o . . P L 6 e e h nk 16 65 r en . B e s O i t rig t ; f i 545 54 r t, w v r, t i

“ Milton m ay hav e intended a p artial reference t o t h e easter n dr ugs and ” p oisons fam ili ar in literatu re.

f D ou h o f Ph bu s i. e. h caused 16 66 . D r u h o Phoebus . oe s o t r g t , , t ir t by t he h eat of the su n .

h e n P. 6. 16 6 . n Fo o s s e o Il 7 Fo d. li ; — 16 6 . x r ss r s m b nce f h C . G enesis . 2 6 2 . 9 The e p e e e la o t e gods. f i 7

16 72. o her ar s etc. Th s is a de a o n o m the accou n All t p t , i vi ti fr t

— N he en b Hom e . C the Od sse . 2 2 0 o w n she had en giv y r f. y y x 37 4 w giv hem th e u and h e had d unk off esen she sm o e hem h a t c p t y r it , p r tly t t wit

and and in t he s es of the s n e sh e enned hem . S o he h ad th e w , ty wi p t t y head and o ce the b s es and the sha e of s ne but he m nd abo de v i , ri tl p wi , t ir i e en a of old B u h nd L an Wh did M on m ak e th chan e v s ( tc er a g) . y ilt e g

1 . . An o h d a n Wh 6 74 Not once erce v e et c e e o see o n 2 . p i , t r vi ti ; 7 y ’ ’ h s chan e ? Whose dea es t h e ea e a hos M on s o r Ho m e s ? t i g i giv gr t r p t , ilt r “ 1— : T Cf: Odyssey ix . 9 97 hen str aightway they went and m ixed with the m en of the o us- ea e s and so w as ha th e o us- a d s d l t t r , it t t l t e ters evi e n o t dea h fo r o u r e o s b ut a e h em of the o us t N t f ll w , g v t l t o taste. ow

hoso e e of h em did eat the h one - s ee u of t he o us had no w v r t y w t fr it l t , m o e sh to b n d n s no r t o co m e back bu t he e h e cho e t o r wi ri g ti i g , t r s ab de h the o us-ea n m en e e eed n on th e o us and o e u i wit l t ti g , v r f i g l t , f rg tf l ” ’ of his h om e a d w a B u ch e and L an M a w r y ( t r g) . sson cites Pl ato s e h a a a o n of the o in h t ic l pplic ti st ry t e R ep ublic viii . and Browne com

. 8 6 and no e i a n a s F . . 1 2 . n C e don P e d ss e o n . p rp Q ii , t , l r r iti 1 E a n . 6 9. n ur us 7 Adv e t o gl ade. xpl i

16 8 0. S w as the s a k e etc. N o e how soun d and sense are ift p r l , t

V. a n A . b ended P. . . . L . 6 d 8 1 . l ; cf i 7 45, iv 55 , 5

90 N O TES .

1 8 1 D n . 1 5. un s u sh S o ds and seas . i ti g i

18 A o s d n 116 . M o r i a ce a d t o a Mor ce. /z s h e been b o u h ri , i v r g t

o m a n n o En and i h e n of Ed a d I fr Sp i i t gl n t e r ig w r II . What is the fo rce ofto

18 1 . . . 1 e e a in M IV. D 1 1 8 L a s . D a Pert . . r iv ly, l rt ; i 3 ppe ,

u da n na n “ e Is he e n s ce o m ea b a . a ea dis pr , i ty ; rigi lly it t r v t r y r l tinction b etween fa ir ies and elv es

h e u h 18 119. D m No e t e s e c o ce of e he s in i pled brook . t xq i it i p it t

im T e 1 2 n . d pled and t r im (l . 0 ) ( r t)

“ - h 1 2 N h a ch es. T e ak e was k l 8 1 1. s e b an a l Wake . ig t w t w p t y

- night watch in t he chu rch . Tents were erected in th e chu rch yard to su e eshm en s t o the c o d o n the o o n da wh ch w as pply r fr t r w f ll wi g y, i k e as ho da Th ou h th e a e a endance o m ne n pt a li y . r g l rg tt fr ighbori g

a shes at ak es de o on a nd e e ence adua d m n shed un p ri w , v ti r v r gr lly i i i , til he u m a e b ecam e m e e a s o r m a k e s ch a ac e z ed b m e t y lti t ly r f ir r t , r t ri y rry ”

d ndu ence and n . m aking and often disgrace by i lg rio t (Ce t D iet ) . S ee

B and, Po ula r Anti uities . r p q g ’ /its in o h M on s ed o ns ho h 18 12 . R i b u r ites 5 R es. in it g t ilt iti , t g

M asson . l . 535 ( ) “ h Th 18 129. ol to. oddess o s ed b the ac ans a nd C yt A g w r ip y r i , h h an C e Her o app arently identi cal with t e P rygi yb le. w rship w as n o duced at A h ens and C o n h he e it w as ce eb a ed in a e i tr t ri t , w r l r t , priv t , ” ’ Ha i h ea ndecenc and cen o usness. e s D et . o lass wit gr t i y li ti rp r f C .

L it a n d An t . .

’

Al. . S ets 8 2. S ee o n L s s. 1 13 S tygian darkness. 3 p ; pit

’ H “ a m s o us d n om 18 135. Heca . eca e e s e m es identi t t , y t ri ivi ity ti As D ana e fi ed with D iana and som etim es with Proserpina . i r p resents the m oo n h s endo of n h so Heca e e esen s its da kn ess and lig t pl r ig t, t r p r t r

‘ haun - oad and a e a ds w as t he odd e o s. Sh e ed c oss s ess of t rr r t r r gr v y r , g so ce and ch c a and ande ed b n h seen o n b the do s r ry wit r ft, w r y ig t , ly y g , i a l wh ose bark i ng told ofher appro ach (G y ey) .

— “ Th ese nes are a e m o 18 138 140. Ere t he et c. sa c of , li littl i ” In o duc on . . et se o ed u hes Ve . S ee . b rrow to c ( rity) tr ti , p xlii q

18 i C o ud sh as o en in Shak s e e. 139. e N c . y, pr i ft p r

18 1 1 R e ea . 4 . D escr y. v l ’

L Al. . R ou nd dance C . Tb e 19 h fan as c round. . 144 . Lig t t ti f 34 ;

d sc bed in the a m br id e M S . of om us as in a d ude M easu r e is e ri C g C wil , r n an on An c uo ed b V e a h o u h w as usua a a e a d w t ti (q t y rity) , lt g it lly gr v 8 0 e M ueb Ado . 1 . . and solem n dance. S e ii h th han e 19 1 5. eak ff etc. Obse e ow e e c in m e e 4 Br o , rv w ll g t r N O TES . 1

co rresponds with t he cha nge that co m es o ver the spirit of C o m u s and his a k t l .

19 h o e he e b s u 14 . hr u s S e e s c s t i sed in 1 7 S o d . 6 . lt r , v rt ; v r 3

The a m br id e M S . add the d ec on Tlze a ll sca tter V C g s ir ti y ( erity) .

1 u en s a i M a b. . 1 9 1 A em s n c . 1 8 . 15 . Tr ins a . ll r t ; iv 3 — h 19 153 154. Thus I hur et c. C o n celve a at h s m om en of l , t t t i t

the e o m ance the a c o who e sona es C o m us flin s n o th e air p rf r t r p r t g i t ,

or m ak es a es u e as n n n o the air so m e o de h ch b g t r if fli gi g i t , p w r, w i , y

a s a e-de ce is k nd ed so as t o oduce a ash of b ue h t g vi , i l , pr fl l lig t

i h s s . The a m br d e M S . de ed ell c . 1 1 . n a son . C as ow r 6 S o (M s ) g p p f 5 p gy ,

h ir m o abso b t h e S e because t e a see s t r p lls.

R e esen a on u a in Ha . 19 156 . Presen m en s. s c es s m . t t p r t ti , pi t r ; iii

m ina . . False because a 4 . 54 , i g ry “ d e k e th d b i s 19 15 . ua n . B z a e an e ess a b t of a 7 Q i t i rr pr tty, li r ( ) ” “ co n u o E on in Shak s e e th e o d m eans fi n e nea e j r r ( lt ) ; p r w r , t, p r tty, hm d pleasant (S c i t) .

F a n dec n . 19 16 1. oz in . e e Gl g l tt ri g, ivi g

19 163 . W nd m e in o. Ins nua e m se n o the con dence of i t i t y lf i t fi , 6 2 1 0 . as in L ear i . .

Po ef cac see on [1 P. 1 1 . l is m a 19 165. u e ic i e. V rt w r, fi y ; 3 g —1 dust ; see on 1 53 54 .

- f 19 166 169. I sha l a ear et c. O n th e e o hese nes see l pp , t xt t li ,

M as son .

19 16 . r B us n ess. 7 Gea . i “ S o in M u e/z Ado . . 2 S o and 19 168 . Fair a ly. ftly ; v 4 7 , ft f ir “ n together signify ge tly . ’ h i h s em d n 2 1 . S e s t e ee bo m e of M on s 0 69 The Lady. w t i t ilt “ o u h u dea of ue sa s Van D k e c o h ed h the a ness y t f l i l virt , y y , l t wit f ir

n nh o a m h th n- ad f h of O en om a od ed e su c o e o c as . p i g w , r wit l p w r tity D ark ness and danger canno t

h n fh m S tir t e consta t m ood o er cal thought s.

E h n s h a e no o e u on h er bu t sh n k abashed om h er vil t i g v p w r p , ri fr ” ’ A e om n h h r T nn so n Isa nd od a esence. c a e e s be a G p r ft r p ri g wit y l iv ,

he adds These are s s e s e ec in u as in beau an d o h i t r , p rf t p rity ty, w rt y

t o be ensh ned o e e in th o o u h The are dea s h ch ri f r v r e l v e f yo t . y i l w i

‘ d a th e hea no t do n a d but u a d b the o e o das r w rt, w w r , pw r y p w r f

ew — V an D k e Poet r o Ten n son secon d ed on ig y , y f y ( iti ) , 6 — 0 spp 9 7 .

- . An o a o n he e 20 1 1 M h u h It seem ed to m e. In S 7 et o g t . gl x t r 92 N O TE S .

t o e bs frencan to t/z in k and d’ ncan to seem F o m h e e w . t e w r v r , , , y , r a e cam e m et/z in ks th e e b be n n ans e and the onoun l tt r , v r i g i tr itiv pr dat iv e. ’

0 1 . L Al. C . . u 2 7 3 Joc nd. f 94

0 1 . G ana es the o n m n 2 7 5 ran es . a ea n of the o d G g r ri rigi l i g w r .

h k o f o k 0 1 6 . T e G ee d o c s and sh h . e s e e ds S e las . 2 7 Pan . r g fl p r C

D iet .

20 178 . S w ed. D unk en swilled om sw ill t o d nk eed ill r ; , fr , ri gr ily ,

h e did h is an epithet transferred fro m wassail ers. W er t e young lady e e h ea or ea n such e es o n as s ed nso ence L an v r r l r xpr si s will i l ( do r) . — . . . 0 1 0 2 . Cf P. L i 5 5

Re e o k e m o o of 20 1 . a r e s o u o d. 79 Wass ile s. v l r ; l p ty l gy w r

0 E a n . 2 184 . n f f S preadi g av our o these pines. xpl i ’

- 20 188 . h Is h s as o od an exam le of e son G rey ooded Ev en . t i g p p r i — h o n in . . fi cation as th e one in R . and . . . 1 0 or t e e Ham 1 . j iii 5 9 , i

— ? h u C an ou ue s wh 1 66 1 67 L ando r fo und fau lt with t e fig re . y g s y ?

. a e o us o en i E z abe han En 20 189 a G e s as n h . S d. s r v , ri ft li t gli

Vo is o n w a na ta r t a o e who has ak en a v ow . A a m e s o ; v t ry, t p l r rigi lly “ o ne wh o m ade a pilgrim age t o the Holy L and and br o ught h om e a ” lm - an ch a a k n — k e r s a k . b s o e . a Wo o lz au r Vol V . S C ee . p r t t, f , p 3,

h h ee for th a n n w ic s e essenti l differe ce b etween p alm ers a d pilgrim s. — ? C an you realiz e th e picture in 1 8 8 1 90 D o yo u k no w h ow a palm er w as dressed

0 1 0 . W a o n . 2 9 Wain . g

. . P. 1 ee Abbo 20 195 S o e. C Il s § . t l f 9 tt, 343 — 20 195 200 . E se 0 th ev sh N h et c. D o ou e a d h s l , i i ig t , y r g r t i figur e as v ery p oetic

M e e u nm ed c 6 . 21 20 . n 4 e. S i gl r , ix ; f 3 9 — “ 21 205 209. housand fan as es etc. These nes are su A t t i , li p p osed by W arton and To dd t o b e based up o n passages in M arco ’ ’ Po o T a e s an in H ood H e a ch of An e s In a uo a s d e s . l r v l , yw i r r y g l q t

o n o m the a e o k ben h ed a e le s are e a ed t o ha e seen ti fr l tt r w r , ig t tr v l r r l t v

h ee s an e hu m an sha es h a ca ed and b eck o ned t o hem . But the t r tr g p , t t ll t ” T m e B o e p est m ay well hav e suggested th e whol e i m ag ry ( r wne) .

Ve h o e e u es ha “ M l o n was d a n u on a o u a rity, w v r, rg t t i t r wi g p p p l r sup erstition ; N O doubt m any of his au dience believed in these ‘ calling shapes and ‘ airy tongues of which m edi aev al rom ance is ” — ' u . 2 H n Re d L ectu r s on /ze B r i t s/t Poets On 11. 2 0 2 see e e e t t f ll 5 5, ry , , — i. 2 1 3 2 1 4 . f

21 20 . he e is one h n m o e s k n 8 Ai ry tongues. if t r t i g r tri i g

94 N O TES .

n e ted B o the ca the Sk i v r wl y ll y, ’ ” h un e raw n d w n d W ere d r c li g coop e live a d ie.

— Bu h o d ha at . 1 0 2 1 . t n Cf. N 0 3 t e w r s bee tak en as referring t o (1) a sea-sh e 2 a m us ca she con ek a o r the b od o r o m of Ech o ll , ( ) i l ll ( ) , (3) y f r .

Thom as who de ends th e as nt e e a o n sa s M on e uen , f l t i rpr t ti , y ilt fr q tly

‘ ’ ‘ ’ ‘ ’ uses a in the sen se of unsubs an a or s . S ee abo e iry t ti l pirit ( v ,

1. 2 0 8 a so Il P. and we em em be th e m ho o ca s o ; l if r r yt l gi l t ry , h ow Echo ned a a and her m a e a bo d d sa ea ed ea n pi w y, t ri l y i pp r , l vi g h ’ n o h n but her o ce a s e m h e be a ed to h er o m . t i g v i , iry ll ig t w ll ppli f r “ Of h ch of h ese h ee w as L ando h nk n hen he sa d : The w i t , p rit , r t i i g, w i h abitation is better adapted t o an oyster th an t o Ech o

2 in As a M no om h ch w ha 2 2. e e e 2 3 M eander . A riv r i i r fr w i v

- — Ha lia it e a r ia . 2 1 d d a m uch u ed o d. S ee es Fo L t r 2 e e s 8 . riv w r l , , pp 3 3 “ Professo r Hal es think s the M ean der is m en tio ned because it was a

am o us haun of s ans and th e s an was a a o u e b d h the f t w , w f v rit ir wit — G reek and L atin writers o n e t o wh ose sweet singing they p erp etu ally

h e s n a u a e en to the n o u o u of all ude. t er i o p rtic l r ref r ce si u s c rse ” th e e e ce so far as the e h e s o e e s t o . The s ec a riv r , x pt pit t l w r f r it p i l haun Of the n h n a e h ch M on h ad in m nd acco d n t o Ha es t ig ti g l w i ilt i , r i g l , was the o od ands c ose b hen s t o the no h- es h ou h h ch w l l y At rt w t, t r g w i the C e hissus o ed and he e s o od th e b h ace of S o hoc es p fl w , w r t irt pl p l ,

S n e ofs eet C o onus and it s ch d i g r w l il .

M a r ent m a n . g , rgi

- fhe m . . 1 . . 2 2 . D e ed o r o e e Te 68 2 34 Love lorn . priv l v ; f. p iv

h a o a en ss of h 22 2 1 eech . D o o u no e t e e s 4 . r S Pa ley. p y t pp r pri t t i

. a M on des na on ? D au kter o tbe S /z er e i e. dau h e of h ig ti g f p , , g t r w t ilt ca s th e air siz e” ha h ase be ak en in th e sen se s su es ed ll y , if t t p r t fir t gg t d . s. v . /z er e. W a bu on u o e b in the note on 2 31 see C en t D iet. sp r rt (q t y “ Todd h o e e h nk s ha M on su oses Echo to owe her s ) , w v r, t i t t ilt pp fir t ” f h f h e existence t o the reverberation of th e m usic o t e sph eres. I t is b

ue s lzer e is u sed in the sense com m on t o the Old as onom e s who tr , p tr r , m a ned h a the s a s sun m o o n and ane s e e set in ans a en i gi t t t r , , , pl t w r tr p r t

‘ s he es h ch e o ed abo u th e ear th as the cen e and oduced p r , w i r v lv t ir t r pr

“ ‘ ” h u h h er e . t a olem n usic 2 t e m c of t e s s C A S M . si p f.

. f f e u n n ie. ha m o 22 243 . Resound n race. G ace o so d c i g g r r i g, , r

h o Wha i th e e ec of the A e and n e ? ec . t s ff t l x ri

he i a a -dir M S . V e sa s e s s e ec 22 244 . In th e C am br id e g , rity y , t r t g

“ Thi . innin ha the n of tio n : C om us looks in a n d sp eaks . s beg g s ri g ’ Ma o e s e se its m e u s a nd ass on E on . rl w v r , i p t p i ( lt ) N O TES . 95

E a n . 22 2 . i 47 Vocal a r . xpl i

2 . Its 2 248 i . H s .

- 22 250 . Em vau ed n h E a n . pty lt ig t . xpl i

. . . S m oot/z in et 22 C 7 1 IV. . 1 . Il . . 2 1 c. c P 5 Fa . . 8 ll f i 4 g, ; f 5 Wh ? — N o e h u e u f 1. 2 22 2 2. a t e e s b ea o 1 2 2 5 It . t t xq i it ty 49 5 .

in a t h n . n M o n s oc a n e s e s h c 22 253 S re s . s C e m od i ilt , i ti g ir wit ir , i

fi es the m h to su his o w n u ose us as B o ne in his In n er yt it p rp , j t r w

le IlIa s ue had o u don Ho m e m o eo Tem e s e. e m en on s p q p r vi ly r , r v r, ti

. a s D i t . sse . x11. A e only tw o Sirens S ee Cl s. c ; Ody y x l so s e o n 8 67

8 8 9.

- 22 2 4 . W ea n k t es co e ed h o e r 5 F ow er k r ed. s o l y i tl ri g ir l v r wit fl w r , ,

e ha s k es m ade of o e s. p r p , irtl fl w r

Tak e the o u so n e 22 256 . Tak e h r soned s u s t e p i o l . l pri r ; ‘ so ned b e n used o e ca Be F or e am es of ro p ri i g p r l pti lly ( ll) . x pl p

le sis in Shak s e e see S chm d . 1 20 . p p r , i t, p 4 ’

2 . . L Al. 1 . . 2 2 C 6 S c lla see lass . D iet 57 L ap . f 3 y C

. . l i i 23 2 V n i i . : u r 58 Bark n w av es . C z E e d V i 8 8 m t s c cum i g f irgil , 5

la tr a ntibus u n dis .

23 25 . S ee lass . D iet . 9 C harybdi s . C

23 260. Yet he et c. B o ne uo es F . . . In oduc on t y, r w q t Q iii tr ti 4

ns u d ar i M y se es l ll e e n slom ber of delight . — 23 . . . . 2 1 2 . D r h n 265 Ha fore n w onder " C Tem 2 . o il , ig f p i 4 4 7 J son tho ught th e disp ute b etw een th e L ady an d C o m us “ th e m ost ani ” m ated and affecting scene of th e dram a.

To b n o ut th m ean n u tk on be a e 23 26 . e s 7 n ess . U l ri g i g, pply ft r

Un less a h ou h th e cha m of the ne es in th e su essed n e ence. , lt g r li li pp r i f r

e on 1 S lv a n see o n Il P. 1 . 23 268 . P n S e 6 . a . 7 y ; 34

— - . A r cades . 23 269 27 0 . Forb dd n et c. C i i g, f 44 53 — i ht e l r d tu r e . 23 2 1. A L a n d o m m a e 7 Ill is s . e lo t ti i i , p (K ig l y)

23 2 L as eso 6 1 . Fo r accen see o n . 73 . Ex rem e sh f . c . t i t t r rt ; f 7 t, 4 — — H i n m a o n of h ose 23 24 27 7 290 . Wha chance et c. e e s a t , r i it ti t scenes in the G reek tragedies wh ere th e di al ogue proceeds by questi on ” and an s e a s n e e se b e n a o ed t o each Hu d u o ed b w r, i gl v r i g ll tt ( r , q t y — — — . 6 6 M a o n I 2 1 1 2 18 6 1 M o V. . 1 C i II . . ss . R k . . ) f c iv 4 , 343 3 , f iv 5 9,

B o n B ala s io e n u t n tc. r w i g, ,

- 23 2 E a n . 7 9. Near ush er ing guides. xpl i

2 n a n 3 28 A c . 5. Forestalling. ti ip ti g

24 2 ee on [1 P. 1 . 86 . Hit . G uess ; s 4

’ 4 2 Un r az or ed W a o n h ou h 2 2 on L A . 0. S ee l. 9 Hebe. 9 ; rt t g t

h s an “ un easan e h e b ut he n o ed ha Sh ak s e e h as r az or a ble t i pl t pit t, t t t p r , 96 N O TE S .

Te . 1 . 2 0 D oe M o n k e th . s m a e b o he a k in ha e h mp ii 5 . ilt r t rs t l c ract r wit his description of them ?

24 2 1. h m hen a b W . L ou r ed o h th 9 W at t i e. x ; w y e epithet ? f m “ The notation o ti e here is qu ite p asto ral . The return of oxen and h o rses from the plo ugh is certainly no t a n atural circum stan ce of an

En sh e en n e ce b e a n e en n in n e hen the o u hm an gli v i g, x pt it v i g wi t r, w pl g

“ m ust work as long as he can see (To dd) . L ando r also says th at in the ” d h u m m e n e he t he ox nor the he sum m e a n s w as s d e are at o k . r , t i r , it r g r w r

d ed o k u e 24 2 3 . L abo e o m o o . He er a 9 w nk ed. S i r , tir ; l p ty l gy dg , . m ak er o r m ender of h edges ; p ossibly the wo rd is here used generally ” “ a o fo r l b rer . “ 24 294. Man n . C o e n ke a m an e n o t s ead n as tli g v ri g li tl ; pr i g, — l. 2 ar a n h L 2 6 e m o t e b es in the . so m e edito rs i nterp ret . 94 9 g t po em

t/i s ood n . 2 . Bea n . A s e t eo asm 24 97 Port . ri g y ; pl

The air o r sk so in Sh ak s e 24 2 . m n e e uen 99 Ele e t . y ; p r fr q tly .

F o d d Fo r a e-str o k 4 e . w o see M asso n on 01. h . P L . 2 3 P ed . lig t l ,

u 1 6 . . 5 Po n o u th 4 n t e s m a . 2 303. L ik e the path to Heav e . i t i il rity

u h . 4 2 D n de . D s n s 2 31 . i gle ll i ti g i

W o o d B ou r ne b ook o r bo un da i d f u 24 313. B sk . . s c o y y , r ry, it i fi lt

h h S ee N ew E n . D iet . t o say w i c . g

d a endan fo 24 1 ra a endance. S a e s r e am es in 3 5. S t y tt tr y tt t ; x pl h — f t h n e e see c m d . 1 h ak e e of th e abs ac o r e co c S 2 1 1 . S sp r tr t r t , i t, pp 4 423

S ee o n 1 . 25 316 . S hroud. 47

“ - The a k in h r low e n - e 5 . rk e s ac 2 317 Low roosted l a . l r r ti g pl “ M asson r oost e en od a is used u a e for an em o a ( ) ; , v t y, fig r tiv ly y t p r ry

- — . P. . . 2 2 0 . n . D iet R 8 resti ng pl ace (S ta d ) . Cf ii 7 9

Tbate/z ed as M asso n su es s m h e 5 1 . ha ch ed a e . a e 2 3 8 T t p ll t , gg t , y r

e e o the e u e of the nes se an d no t t o t he co e n . e h r f r t t xt r t it lf, v ri g K ig t le h o e e sa s : The deas he e b e o n a h e t o a h en-ho use han y, w v r, y i r l g r t r t t h e n - ace of th e a k h ch h as no tbate/z o e it and in o t e r sti g pl l r , w i v r , ” h ch as is on th e ound he does not r oost . w i , it gr .

M on su es s the co ec de a o n of t h e 25 322. C ourtesy. ilt gg t rr t riv ti

o d e F . . . 1 . 1 w r ; f. Q vi

OfC ou t it seem es m en C ourt esie doe ca r , , ll, For that it there m ost useth t o abound And well beseem eth that in princes hall

That e t ue sh ou d be ent u found v r l pl if lly , Wh ch ofall ood m anner s is the ound i g ly gr , And roote ofcivill conversation

N 98 O TES .

e . Wh a o e 26 . m tc b i a u 363 Run to ee s ded t o ? C . t , t pr v r ll f — /z A o 1 6 . M ue d i . . 9 97

6 . a . 2 366 k S o t a os e P . 1 . ee s . L . S o to s . l f viii 97

6 36 . n r n Un o unded in th n e c e of. 2 7 U p i cipled. gr p ri ipl s

. et L M o nbodd 26 37 0 Not be n in dan er c. o d o ea ad i g g , r gr tly m ed h s a en h es s and o n ed o ut h ow t h e v 0 1ce of the s eak e ir t i p r t i , p i t p r ” m ust have varied its to ne in p assing from the first cl ause t o the seco nd

(M asso n) .

- — . . . nd . . 2 27 3 3 5 r etc . a 8 a so 7 3 7 ue cou d see C a . Vi t l , f j iii 9 ; l “ . . 1 . 1 2 : V u her e h h o h r o F . Q i ert e giv es self lig t t r ug da k enesse f r to ” ade. B en onson in Pleasu r e R econciled to Vir tue sa s of V u e w J , , y irt

She she it is in da kness sh nes , r i , ’ T is she that st he se e nes ill r lf r fi , ” B her own ht t o e e y lig every y .

2 . C . L e. 8 . 7 37 5 Flat sea . f y 9 — ’ . It 27 37 5 380. And w sdom s se f etc has been o n ed o ut ha i l , p i t t t ’ h ne d b e M on fe t Ho n 1 — ese s esc s a o 6 2 1 6 . t li ri ilt li rt , 3 37

“ 2 6 . R eso s t o co m m on in o ur ans a on of the 7 37 S eek s to. rt tr l ti

Bible (Todd) .

2 3 . n m a C [l P 7 7 7 C o te pl tion . f . 54 . ’ ’ - M 27 380. t o ruffled. In o n s ed o ns n ed all to r u t d All ilt iti p ri t fi , which has been vari o usly em ended (1 ) all t oo r ufiled; (2 ) all-to r ufl ed ;

- Of h h a h th o o su o and a ll to r u ed. ese t e s as e m st t (3) fl t l t pp rt it , m eans quite ruffl ed up th e other readi ngs m ay b e interpreted as (1 ) ” ” ’ “ h t o o uf d “ e M son s no e m uc e and 2 a o e he uf ed. S e as r fl , ( ) lt g t r r fl t

. All . 1 1 . and N ew n . t s v E D ie . . C g , 4 , 5 ’ L . Th i n the n e of the ea h c P. 2 2. a s i e . 7 38 I h n re. c t e ce t t , t r rt f

. 68 . 6 P. R . . i 7 4, , iv 534 — A . 1 1 P. L . S . 6 2 38 . . 7 5 H m is his w n dun eon. C i self o g f 55 5 , — 2 2 . i. 54 55 — ’ — 2 e . I P. 1 6 1 . 7 38 5 389. T is m os rue tc C . t t t , f 7 7 4 2 L k es e e s h n o sense o f do n so for 7 386 . fe s A f ct . i , pr f r ; wit i g effect .

“ h n of the R om an ur ia . t . M o n w as n 27 389. As safe e c , ilt t i ki g C

T en ea s a e C o m e sh o ed A 20 th 1 6 ha the ea w ty y r l t r r w ll w , pril , 53, t t gr t

- English C ouncil cham b er w as n o t invi ol able (Verity) . ’

2 3 0. ee o n L Al 1 2 0 . 7 9 Weeds. S .

The de e th e s e who ass s ed Hes r n . Hes e s e s s 2 393 . e a 7 p i p ri w r i t r , , i t 99

b th e d a on Lado n ua ded th e o den a es of uno . y r g , g r g l ppl J this dragon and secure th e fruit w as one o f the l ab o rs of

lass D iet . S ee C .

’

Al . E a n see o n L . 0 27 395. Unench ant ed. xpl i ; 4 H d C P. . . . ea n 27 398 . Unsunned. f. Q ii 7 i g

G un on fi ndes M am on in a de e y lv , ” S unn n his t easu e hore i g r r .

2 401 Shu the e es t o seem n o t t o see o r oss 7 . W nk on . b i t y , ; p i ly,

s n can o ok t o . . A . Y. . . 1 1 2 . giv e a ig ifi t l Cf L . i 3

2 T en nse s a co m m a a e s in le An d 2 40 . . i e 7 A single. r t i rt ft r g y ff r ence in m eaning ?

28 403 . urr un n Wha w as the o n a m ean n of the o d S o di g. t rigi l i g w r

. It eeks m o 2 04 . f n h C . 6 e n t I a 8 4 O or one ness . r k e ig t l li f 3 9 , t

n . L 1 2 2 . no acco u t ; ef ye.

A ue. 2 . 8 408 I nfer . rg

B d all do ho ll u e on ub . 28 . u 409 Wit t a do bt . y t

P o no un e. 28 1 . c 4 3 S usp icion . r

E en 28 1 . f 4 9 I . v if — — ’ “ 28 30 420 47 5. T is chas et c. Th s assa e sa s M asso n is tity, i p g , y , not o n a concen a ed e ess o n of the m o a of th e h o e M as ue ly tr t xpr i r l w l q , b ut also an expo siti o n of what was a cardinal idea with Milton thro ugh

“ his ho e e and e h a s the m os cen a dea ofhis e sona h o w l lif , p r p t tr l i p r l p il s ” h in ea m anho d op y rly o .

28 421 n H . . . m ee o c m . 2 S . a . C o pl et e steel . 4 ; f i 4 5 ’ 8 22. C ens s de f B e 2 4 etc. S e u vered n m h . sc o n o l A q i y p , f p r ripti

h . . oebe F . . 2 1 p , Q ii 3 9, 3 .

28 42 T a D . 1 . 2 . 3 . r e se C M IV. . n ou T a e. . U ka r b r ed c . r v r f ii 5 , unharbo rin som n e ed “ n g ; etim es i terpr t yielding o shelter .

2 P o n oun c . 28 4 4. Inf m u e a o s. r

28 425. The sacred ra s et c. C 8 2 . y , f 7

M o n . M u t i e o n 28 426 . S O s e ed b o n a n er as Wa B nd e. a it p ll y ilt , rt

i m e m b. . 2 . 1 2 . o n h e no es s he e an o ob o us e . 0 C as t t , r p pr ri t r ; f Cy iv tr t

esen u of pr t se the word.

28 Ve a e ver is h e e an ad ec e . 428 . b Very . rit l ; y r j tiv

2 n n lior r or 8 and L a n k or r idu s. M ea ? C . 8 429. H r or id. i g f , 3 , ti How is the wo rd som etim es abused ? 8 —1 6 N e on c es Ha m . 1 . 1 29 432. S om e sa etc. C . y, f i 5 4 ; wt it

F e che Fa itb ul S k e b er dess . 1 l t r , f p , i 100 N O TE S .

Yet I ha e heard m m othe t o d it m e v ( y r l , And now I do be ie e it I kee l v ) , if p

M r in-flower unc o t u e chaste and fa y vi g r p , p r , , ir,

No ob n ood- od fa elf or end g li , w g , iry, , fi , S at r or othe o e that haunt s t he ro es y , r p w r g v , S ha hu t m bod or b a n us on ll r y y, y v i ill i D r aw m e t o wander after idle fires ; Or o ces ca n m e in dead ofn ht v i lli g ig , To m ake m e o o a nd so t o e m e on f ll w, l , Th u h m nd t nd n o s t fi nd m ru in o e a s a o o . r g ir i g p l , y

— — W h a d e ences do o u fi nd be een 11. 2 8 2 and t iff r y tw 43 437 , 43 45 , 453 47 5? ’ — L . 2 . A . ee on L l. 1 c P . 6 6 28 433 . Or fi re S 0 4 ; f. ix 34 4

9 The e e ch es t o e esen m os co o u s 2 434 . u e B l e. r w r wit r pr t t l r h a Unlaid Ve bu t blue h e e m a e e t o the a ea ance of the . ( rity) , r y r f r pp r g ” “ b 2 b ost a ho s ha has n ot been a d or e o c sed c . C m . . . g , g t t t l i x r i ; f y iv

2 Fo r om n e es n su e s ons en e a n ed e a d n h os s 8 . s e 7 i t r ti g p r titi t rt i r g r i g g t ,

B nd o ula r A n ti uities see a P . r , p q

h o su e on S ee o n Il P. for t e u a s u . 29 435. C rfew 7 4 ; p p l r p r titi th a hos s ou d ande abo u om cu e u n the st co ck c o t g t w l w r t fr rf w til fir r w , — c L ea r . . 1 20 1 2 1 . f. iii 4 ’ Al Wa on . n . S w a r t L e. 1 8 . 29 6 n S ee o L . 1 0 43 G obli . 5 ; cf y 3 rt and Todd giv e num ero us instances of th e sup erstition which supp osed

h a u th at m ines were i n abited by v rio s so rts of spirits .

— he a e a f th us etc. C . t o e 29 438 44 0 . D O e be ev e y li , f l tt r p rt j tly “ ” — h h . 6 2 8 . am o us assa e o n A en s t e e e of G eece P. R . 2 f p g t , y r , iv 3 4

2 - h Th e e h e is a cab e t o D an a 29 44 . S ilv er s afted queen . pit t ppli l i both as huntress and goddess Of t he m o on : as the fo rm er sh e b ore a o s h ch e e e uen ca ed s/z a ts and as the a e she bo e rr w w i w r fr q tly ll f , l tt r r ” a f h B sh afts o r r ys o lig t ( ell) .

b . 9 . C . M ac . 1 . 1 2 443 B rinded. f . iv

f V e ob e ha “ C u d 29 445. Th e r us b f u c s iv olo olt o C p id. rity j t t t pi w as sa d to h a e t w o k nds of da ts o ne h a o den th e o he h i v i r , wit g l , t r wit ” a eaden t i the o m e t o cau se th e a e t o e e ov e and uo es l p f r r , l tt r r p l , l , q t

et 6 — 1 bu M on w h o w a a n e of h ac O d M . . t s ce a a s vi , i 4 9 47 ; ilt , rt i ly w r t i f t, e dent de ends u on the co n e and the e h e r iv olous es ec a vi ly p p t xt, pit tf ( p i lly

fth o d n t n ch a ac e s c o e e b o to m ak e c ea his m ean . r t ri ti g l l ) , l r i g

- 8— 1 9 . lia 2 44 n k head r n h C I d . 7 S a y ed G o go s ield. f v 7 3 7 4 Abo ut her shoulders cast sh e th e tasselled aegi s terribl e and ’ h e e n is th e d ead u m on s e s G o on h ead d ead u and m t r i r f l t r rg , r f l gri ,

102 N O TE S .

’ - 31 . ee o n L Al 8 8 8 lz ium o ani 494 . S . s Thyrsis 3 ; in Epitap D m ,

M o n e esen s h m se as Th rsis and in his oem en ed Tlz r sis ilt r pr t i lf y , p titl y n f M atthew Arnold si gs o his friend C lo ugh . The nam e has been freely

ed in as o a o e om h us e m e ofTheoc us t o the esen . p t r l p try fr ’ t ti rit pr t — 31 5 12. Th hu u 49 5 e dd n brook et c. No e the h m ed co e s li g , t r y pl t ? in this p assage. Why ar e they used

3 . 1 495 Hud E a n . To h a e en d i he e an a u s o n dling. xpl i w t l g s t r ll i ’ h a ? — in sa e Al. s s C . L 1 1 0 etc. t i p g f 45 5 ,

3 1 501. Hi x R o e ak es h s a e e n t o t h e ou n e s ne t joy. lf t t i s r f rri g y g r ” ” b o he b ut n ex t be used in the sense of nea es dea es a sense r t r , if r t , r t,

e uen eno u h in E z abe han En sh m a be add essed t o the fr q t g li t gli , it y r e de b o h l r r t er .

31 502. S e on Il P. . To . e y , 4

3 1 F ce ofto 506 . o ? To. r

31 507 . Where is she B ut see 562 et seq .

31 508 . How chance etc. S ee Abbo . , tt, 37

31 0 . S ee on 18 . 5 9 S adly . 9

31 512. h P ono un ce. S ew . r

M o n e e s es ec a t o Hom e and V 31 1 . 5 5 e s. S age po t ilt r f r p i lly r irgil , tho ugh there is a p ossibility of his h avi ng Sp enser and Tasso also in

/ a v n s I . . 1 ta n t b tk e e e l M u e. n . he e ea k m d n P L . s i iii 9, r p t g i y y

32 16 . r E a n c . Ii P. 1 . 5 S to ied. xpl i ; f 59 ’ /z a nt a isl s e e . . . . 2 E n e e e 32 51 C P. L 6 8 . 7 D ire C him eras. f ii ; r f r

n obab t o the s ands of C ce and C a so Od sse a thou h ri g, pr ly , i l ir lyp ( y y) , l g

. 1 2 1 1 et se . are V erity think s the W andering Isl ands of th e F . Q . ii . q ’ Ta acco un of the s e of m ean . S ense he adds the e o o s sso s t p r , , r f ll w t i l

Arm ida .

Th d s n o e h a D e h w as nam ed 32 520. C en e . e e o Navel . t r it r t t t lp i the n av el Of th e earth .

. d o n . . s an 8 32 521 sorcerer etc S ee 6 et e . A , 4 q , 5

Ar cades 6 and a 2 . In n 8 1 0 S us 3 526 M urm urs . ca a ons c . t ti ; f 7 , , t ti , — Tlzebais ix . 7 32 7 33 (qu oted by To dd)

C a n tu sque sa cr os et con scia m iscet

M u r m u r a

— P. L . 1 1 2 . 3 2 . C . . 0 0 0 2 5 9 Reason . f v Im The d e s d s am d. w r is a en d 32 530 . harac ered. s e e cc e C t pr , t p p t

on th e seco nd s ab e be n used in its o na sense G r . a a xr yll l ; i g rigi l ( x p fip) ,

co n nu es the m e a ho h ch is ak en o m the ocess of m e n it ti t p r, w i t fr pr lti g do wn co ins. N O TES . 103

“ A of n d 32 31. ece e c ose o und u d 5 ro s . se fo r a e C ft p i l gr , till g or pasture : in m ost l ocalities a sm all piece of arable l and adj acent t o a ” ’ ho use N ew E n . D iet . M o n s use of the o d he e as M u a ( g ) ilt w r r , rr y

em a ks su es s the sense of t he D u ch o d kr o t kr oe/z t h ch he r r , gg t t w r f , , w i

“ de nes as om nen ock he h h h and dr and e d on th e fi p r i t r y ig t, ig y l , fi l

downs. 2 ’ W/z enee . 3 532. B r O e han c L Al. 8 . e a n ow . v r g ; f ; xpl i

32 533 . M n u S ee on L e. 1 8 . o strous ro t . y 5

W o n h n a h 32 534. ab e es es i e de s o u h so m e edi S d w o v . t l l lv t ir , lt g

tors interpret w olves th at hav e go t into the sheepfold. B ut co m pare

- P. L . . 1 2 and V { En eid . 1 : sta bula lta er ar um xi 7 5 7 5 , irgil , vi 7 9 a f

(quoted by Bell) .

32 535. Heca e S ee on 1 . t . 35

32 53 . U n n . 9 Unw eeti ng. witti g

32 540. hen B th e m e ha o r e ha s b tb en old is By t . y ti t t ; p r p y f

p arenth etical .

- S nk d L 2 . 3 2. h e 2 54 n e d w c e. D ew bespre t . pri l wit ; f y 9

32 . L e. 0 n h . C . 545. Fl aunti g oneysuck l e f y 4 P 32 546 . M e ancho ens e con em a o n a sense n ow a e. l ly . iv t pl ti ; r r ” This line contains the gist of Il Pen ser oso (Trent) .

“ 33 P o ab o a s e . . 54 . b t c se e on L e 66 7 To m editat e. r ly pr ti y “ . Th n u f m u h h m o 33 548 C ose. e co c s on o a s ca ase e e r l l i i l p r , t , m n a C D E E Wh h dea bes su s the m o e e NC IVew E n D iet . c v t A ( g . ) i i t it ? — esen assa e C . N a t 1 0 0 . p r t p g f . 99

E m o o a m ea n 33 0. c n ? 55 Barbarous. ty l gi l i g

33 5 2. unu u S ee 1 . 5 An s al stop . 45

- “ - M as on . 33 553 . D r w s fli h A a s d o s fl in s o y g t ed. lw y r w ily y g ( ) (

The ead n in the e is o m the C am br id e M S . h ch es r i g t xt fr g , w i giv ’ ’ dr ow s z /z ted bo h of M o n s ed ons as e as L awes s ed on y fi g ; t ilt iti , w ll iti

h he m ean of 1 6 ha e dr ow sie r ted. If M on n ended t e a e t 37 , v f n ilt i t l tt r,

“ ing wo uld p rob ably b e th e dro wsy steeds that hav e been frighten ed

d n r o s - r i /z ted and e a n r z /z ted as Masso n . S om e e o s d w ( ) it r pri t y f g , xpl i f g

“ freighted. ’ / ’ - “ 33 554 . se u a ne C Shak s e e s Th e cur tain d C lo c rt i d S l eep . f. p r

A n ien t M a r in er S ee M acb. . 1 . 1 see a so m ed on of Tb e c l p , ii 5 ; l y iti Th 8 . e M acm an C o m an . 8 ( ill p y) , p

- Echo so n 33 555 562. ast etc. Th e e e en ce is t o the At l , r f r g ’ the lines th em selves co nstitute Milton s finest com plim ent t o L ady Alice.

- he eco nd 1 . 1 t s 33 556 . Rose k e a s eam et c. C . T. IV. . 7 ; li t , f , i

ed on has str eam and so s o s the com a son . iti , p il p ri 104 N O TE S .

h P. L . . 0 . 33 . S o a c . 6 557 That . t t ; f iv 4

3 A a s e e . 3 60 . 5 . S till lw y , v r ’ ’

et . M 33 561. C rea e a sou c S ee asson s n o e fo r W arbur to n s t l , t ’ absu d su es on as to the o n of h s assa e an d T en s n o e for r gg ti rigi t i p g , r t t

B all m ean o ok u th e am ou s des t o n another oft h e sam e so rt . y s l p f crip i

- . 66 6 . of D eath in P. L ii . 6 7 3 ’

33 . S ee o n 1 . 568 n L l. Law s . A 7

33 5 2. n n C . 6 . 7 By certai sig s. f 44

An c a t o en h . 3 3 3 . n e as in S aks e e 57 Preve t . ti ip ; ft p r

4 . S en en . or e far I am 3 58 5 ce F m as as co nce ned. Pe d. rio t , r

— “ M on 4 . t A ecu a c a 3 58 6 599 a nst the threa s e c. s Ag i t , p li rly ilt i p sage : o ne of th ose th at o u ght to be go t by h eart both o n their own ” acco unt and in m em o ry of Milto n (M asson) .

34 591. M e n harm M ean t o be m os h a m u . a t m ost . t t r f l

34 592. H E a n . appy trial . xpl i

— Wh at hen i hi on 34 598 599. The ared fi rm am ent et c. s s c p ill , , t ,

io f h e u n e . P R . iv . . cept n o t iv rse ? Cf . 455

34 603 . Le n A s ab e. gio s. tri yll l

H he u t fo r th e ho e 34 60 . A e in e but e 4 ch eron . A riv r ll , r p w l

All h ru n o t a nd L . l s To dd uo e : e u e o n c P. . c e . s r gi ; f ii 57 5 q q t ll ,

o P F h ocusts s o a s d s a . e c e L ty fl g i pl y , l t r , i ass D e . S e l . 34 . e t 605 Harpies and Hydras . C ’ Wh a h a e ou ead abou h s 34 0 . In 6 6 Tw ixt Africa and d. t v y r t t i ’ regio n which wo uld m ak e Milto n s reference appro priate ?

“ Ac s o n of an k nd and b an m eans 35 0 . u 6 7 Purchase. q i iti y i y y

h e h e in th e sen e of m n b . . 1 t e o d i us d as e s I m . s S ch d . C ( i t) y i 4 9 , w r , r ,

“ ” - h d h n h ch nc udes t he ill gotten gains . Is t ere any wo r in t e li e w i i l ? sense of ba ck ? Wh hen w as the o d added C an o u fi nd an y, t , w r y y o ther instances of the so rt ?

ha ch a N o e he nd c desc o n . W a c e 35 . t e 608 The curl s. t i ir t ripti t r t r istic in C o m us do es this detail bring o ut ?

E e. 35 6 10. m s n e s E pri e. t rpri

H ce . 35 611. ead. e se S t lp , rvi

35 61 . m h See o n 2 . 7 Ut ost s ifts . 7 3 — T 35 6 19 628 . cer a n she herd lad etc . he e is obab a e e A t i p , r p r ly r f r ’ ence h e e t o C ha es D iodat i M o n sb oso m end ho se dea h in 1 6 8 r rl , ilt fri , w t 3 ’ n io dati o an ca kno ed e ns ed the E ita kium D am on is. O D s b i pir p p t i l wl g , — D . 1 s e E . 1 0 e 5 54.

To k a c E ekiel . 1 . 35 620. oo t z To see t o. l ; f xxiii 5

n P 1 1 . 35 621. ee o It uous S . Virt . 3

106 N O TE S .

- — etc. S ee a e 36 37 659 665. Na L ad G n M ilton . for y, y, r tt, , p 54, a s m a a n of hou h in C a de on s M a ico Pr od ioso h ch i il r tr i t g t l r ’ g ig , w i was acted in 1 637 bu t unk n own t o Milton . A writer in the N ew M ontkly

VII . 2 ha h M a ine V l. 2 ob ec s in t d a z o . e a o ue b e e g , p 7 , j t t t i l g twe n C om u s and the L ad 6 C om us h as the oe and th e ad h y ( 59 p try, l y t e

D O ou see an ob ec o n t o h s ? m etaphysics. y y j ti t i W as there any w ay t o avo id this ?

hn e u su ed b A 37 66 1. D a hne. D a o o was at h er own p p , p r y p ll , ,

l s ed n o a au e ee. S ee a s i . e ues chan C . D ct no e the n e r q t, g i t l r l tr ; t i v r n si o in this p assage. “ Th ” 3 . n s fl eshl n ook Il 664 h s r a r d. P. 2 7 T co o . i p r l i i y , 9

. 8 0 on as. 37 665 Wh ile. l g

- 37 67 2 67 5. And rs etc. F o r a an em en of nes in a m br id e t , rr g t li C g

V . M S . see e , rity

3 2. L ook u e m o o ca m ean n of ule an d s r u 7 67 Julep . p ty l gi l i g j p y p (67 4)

I . 37 673 . His. ts — 3 6 6 8 . ha Ne en hes etc. C Od sse . 2 2 7 5 Not . 0 cl se 7 7 . t t p t , f y y iv q “ Presently sh e [Hel en] cast a dr ug i nto the wine whereof they d ank a d u t o u all a n and an e and b n o e u ness of r , r g l ll p i g r, ri g f rg tf l

Wh oso hou d d nk a d au h he eo h e e so o . s en is v ry rr w l ri r g t t r f, w it m n ed in the b o o n h a da he ou d let n o ea a do n his i gl wl , t t y w l t r f ll w ch eek s not h ou h his m o he and his a h e d ed not ho u h m en , t g t r f t r i , t g s e his b o h e o r c ea son h th e s o d be o e his ace and his l w r t r l r wit w r f r f , n ow n eyes beheld it . M edici es of such virtue and so helpful h ad the da u h e of Z eus h ch Pol dam na th e e of Thon h ad en her g t r , w i y , wif , giv , ” B n om an of E u che a d L an . In hi o e t a g p ( g) s n o Odysse . w y t t r t _ y iv

2 M e a s i m oss b e t o sa ha h s d u d a xou 2 0 s s w as. , rry y it i p i l y w t t i r g (p pu ) ’ “ Pl utarch tho ught it only sym bolised th e glam ou r of Helen s elo ” e q uence : m any m odern s think it refers t o Opium . S e wh at Sp enser

k . . . f he d n . sa s o t F . y ri , Q iv 3 43

37 6 79. Wh shou d ou etc. C . Shak s e e on nets . 8 . y l y , f p r , S i — II . . . . 3 . C . M or I 1 1 7 68 0 Whi ch Nature lent . f f i 37 4 C on d o n om h ch no one 3 8 . n is 7 6 5 Unexem pt co dition. iti fr w i

on dition i u ad ab e. exem pt . C s a q risyll l “ W eak m o a : a ac for con e 3 . s bs c e 7 68 6 Mortal frailty. rt l tr t r t

(Bell) .

3 Th an eceden is ou 7 68 8 . Tha e t . t t y

. R . o L . 2 38 6 4 . s P onou nce e . 9 Aspect . r ; f f 45 ’ - M o s e s M a on . 8 . u h h S o in o h n d on ss 3 695 O g ly eaded. b t ilt iti ( ) N O TES . 07

. E a n. 38 698 Viz ared fal sehood. xpl i k h m 38 . . L c e s e n t th 7 00 Li uor sh o e as e. q i i ri , t pti g t t — 38 702 703 . None et c. N e on aces h s h ou h to Eu de , wt tr t i t g t ripi s,

M edea 6 18 .

- 38 707 . Bud e. S o em n in dem eano u m o an ook n m g l r , i p rt t l i g, po p ” ou s s i o m a N ew E n . D iet hou h Mu a su es s ha , t ff, f r l ( g ) , t g rr y gg t t t

“ p ossibly budge doctor m ay h ave o riginally m eant one who wo re budge ” ’ fur . Th s as cons s ed of am b s sk n the wOold essed o u a ds i l t i t l i with r tw r .

Th a u o 38 708 . C n c tub . e s n is t o the tub of D o enes the y i ll i i g , h ’ n h o he of A hens L . 0 e a ns t e a cy ic p il os p r t . 7 9 xpl i re so n of C o m us s

opp osition t o the Stoics and C ynics .

38 . h u u as in a k utcli. 1 . S 7 9 Hutched. t p — 39 2 . P as b an en t . D a i 7 1 Pu se. e e s s e c C . n el . 8 1 6 . l , , l til , f i

9 A coa se Woo en c o h th a ha 3 22. s na 7 Fri ez e. r l l t wi ggy p o n o ne

side.

9 u o a ed . n . . . 3 2 c . R a d . r n . S 7 9. S t a gl ed ff t ; cf j iv 3 35

39 30 . m W n s. 7 Plu es . i g ’ - - 39 2. e h d e 3 f O e e o oaded . . M a b . er rau h . c 7 O g t v r fr ig t v r l ; f c iv 3 .

2 10 . 1 — — ’ 39 40 739 7 55. B eau is Na ure s co n etc . The ed o s c e ty t i , it r it

m an a a e assa es om the old o e s. To ak e S hak s e e a on e y p r ll l p g fr p t t p r l , — — — . . A . 1 ts i V. a n d 6 D . . 1 . o n n e M . S o 1 IV. 6 8 and R a n d . f xvii , 3 7 4, i 7 7 , ] L —2 2 6.

9 . t . 3 7 43 If ou e c S can h s lne. y , t i i

39 4 . The a es n um be of eo e. 7 7 Most . l rg t r p pl

39 . e c. . i 7 49 Th e had t C 2 see o n 2 2 . om lex ons a y , f 3 5; 3 C p ; quadrisyllabl e. '

4 . o 0 0 C o see o n I P . h l . W a u e do ou fi nd 7 5 Grain . l r ; 33 t fig r y in this line ? 40 — M . . 2 . s o r 7 51. am r C IV. D 2 2 Tea e m b o S e . . 0 0 c pl f iii 3 5 , ca d a e m d a n o h - r ; t r r w fr m t e art of cl o th m anu facture .

- - 4 2. 0 5 erm e n ur Ve m on co o ed. 7 V il t i ct ed. r ili l r — 40 . h 7 53 L v e dar n e es T e e is n o h n o na ill h s ne. o ti g y . r t i g rigi l t i li “ ” S ylv ester had used lo v e-darti ng Eyn ; Ho m er also had applied th e “ h - e e a d é n hbxa o t o D a n d sse 0 . esse v s O . p it t f ir tr ( u ) w , y y v 39

“ 40 7 55. u r u Not on is et an e e e and Yo a e b t oun et . y g y ly y xpl tiv , m ak es the e se nha m on ou s bu t th e s ab es oun and et co m v r i r i , yll l y g y ” in g togeth er would o f them selves be i nto lerabl e anywh ere (L ando r) .

L ando h nk s he de s s h e e an o ccas ona unnecessa o d r t i tect el ew r i l ry w r , f as o r e am e in 11. 60 1 6 10 et . , x pl , , , c 108 N O TE S .

— 40 7 56 7 61. I had not etc. S ok en as de , p i

40 . Wha sh o u d be su ed a e a s 7 58 As m ine eyes . t l ppli ft r ’ Hu n u 40 5 . rank e in n e ace o s em a k s 7 9 P d reaso s garb . t r f ti ly r r - ’ ha “ M on had b eco m e a m oaem z oet hen h e o e Th us Be a t t ilt p w wr t li l , ’ ’ ’

h d elo nea in eason . o s t s a b . P L . 2 2 . wit w r r g r . ii 6

4 . R n th m h o m m n . 0 60 e e e e a is o . or . C C . 7 Bolt . fi ; t p r fr illi g f iii

1 . 32 2 .

4 . he am e m ode 0 6 . As h u etc Fo r nes on t s c 7 3 s e w o d . if l , li l , f '

. . P P. . 2 A . a o e D u nce or s P L . 2 W k 0 S . 8 68 s s e e ix 49, . i 3 , ; l Q i y,

M on V ol X I. . ass . . 6 no e ( ) , p 4 7 , t

4 . 0 6 . 2 1 a e . 7 7 are Tem eran e C . [l P 6 con as bo S c . p p f 4 ; tr t 7 , v — — 4 . . 0 et . . L a r iv . 1 To dd 7 68 7 74 If ever us m an c C e . 6 y j t , f 7 7 4 ( )

k or 40 7 73 . In unsu erfluous etc. S can the ne m a n r o tion a p , li , i g p p

uad a e q risyll bl . — — ' ’ 40 4 1 8 0 . W an n in a rn ér za e and 7 79 6 S ha I o on etc. C ll g , ti g g

' B r z elgew a ler M S S . — 40 4 1 80 . etc Ano h e ecu ence as 7 7 99 To him ha dares . t t , t r r rr ,

M asson o n s o ut to t h e ead n doc n e of th e m as u e. S ee o n p i t , l i g tri q — 42 0 47 5

o th u of t he Rh e o ca 41 7 83 . Yet to W hat end? N te e se t ri l

n . n d q uesti o Fi other instances.

h . n o r . 41 84 . Th u S ee o n . N or . n or n e e 7 o has n r ear . t o 997 , it r

41 8 5. ub m e S ee o n . 7 S li . 4

A f e ou o the o e of 4 1 . f t 791 Fence. rt o enc n e in o c se f i g ; r f rr g, r , p w r fencing with words. — “ 4 1 7 92 799. Thou art not et c. W h a a m a n cen assa e " t , t g ifi t p g h ow e o e in an an ua e is co m a ab e t o h s h ch c oses littl p try y l g g p r l t i , w i l

’ ‘ t he ad s e Th s is o h of Shak es ea e h m se in his l y r ply , i w rt y p r i lf

h hes m ood and is una a n ed and u na a nab e b an o h e oet . ig t , tt i tt i l y y t r p Wh at a transp o rt of enth usiasm " wh at a bu rst of h arm o n y " He who es one sen en ce e u a t o h s ha e eached a h he ank writ t q l t i , will v r ig r r ” in ha n h L d poetry t n a y as don e since this w as written ( an o r) .

41 93 . n n r Un con o ab e and hence es s b e as 7 c t ed. U o oll tr ll l , irr i ti l ; in hak S sp ere.

‘ ’ 4 1 . A ans a on of br n za fel as Ho ace Oa es 7 97 B ru e Ea h . l t rt tr l ti , r ,

. a n . i . 34 9 (W rto )

4 - Pa dles c 1 800 806 . S he fab es not etc. S ok en as de. . l , p i ; f

1 Hen . ] 2 2 . V . iv . . 4

4 1 802. And hou h et c. S can h s ne n o e the ans e ed , t g , t i li ; t tr f rr e h pit et .

110 N O TE S .

ea ed G endo en the dau h e he e ds to m a bu t in sec e o es f r , w l g t r yi l rry, r t l v the o he : and o m es e n as t o som e a e sac ce h o u h t r ftti r tiri g, priv t rifi , t r g

au s and assa es m ade unde ou nd and se en ea s h us en o n v lt p g r gr , v y r t j yi g

h er had b h er a dau h e e ua a hose nam e was S ab a. B ut , y g t r q lly f ir, w r

hen on ce his ea w as off b the dea h of C o neu s n ot con en h w f r y t ri , t t wit sec e en o m en d o c n G endo en h e m ak es Est rildis now his r t j y t, iv r i g w l ,

ueen G endo en all in a a e de a s n o C o n a h e Ma an . e d q w l , r g , p rt i t r w ll, w r , th e son she had b L oc ne w as h he o b ou h u b C o neu s hi y ri , it rt r g t p y ri s ’ n a h n n h r grandfather . A d g t eri g a arm y of e father s friends and sub ects es ba e to her h usband b the e S u e he e n L oc ne j , giv ttl y riv r t r ; w r i ri ,

sh o h an a o ends his e. But no t so ends the u of G en t wit rr w, lif f ry w do en for Est rildis and h er dau h e S ab a sh e h o s n o a e l ; , g t r r , t r w i t riv r and t o ea e a m o m en o f e en e oc a m s h a th e s eam b e h ence , l v t r v g , pr l i t t tr t ’ o h ca ed a e the dam se s n am e h ch b en th of m e is f rt ll ft r l ; w i , y l g ti , ” - Ph a ch an ed n o w t o S ab na o r S e e n . Pr ose Wor ks o M ilton g ri , v r f ( il

I . de h a Vol. I . 2 0 . lp i , p 3

42 8 32. Hi Its. s .

ss i . 4 . S ee la . D et 2 8 35 Nereu s. C

4 . D o o n 2 36 nk . 8 L a . r pi g k h E a n . As /z odil in ee m o o 4 3 8 38 . e ared av ers. G N ct l xpl i p r yt l gy ,

As /z odel was the a e o e of Hades and the dead in m ode n m es p p l fl w r ; r ti , ' ’ / w e have dafi odil and dafij a ow ndilly corrupted fro m a sp nodil.

. Ha m . . . 6 . 43 8 3 . r h C 9 Po c . f i 5 3

4 3 1. u m m a h n S ee o n 1 0 . 8 4 A q ick i ort l c a ge.

B h n co a e t . s n b 43 45. r h n b as s . s u o n c e c e 8 U c i l t lig t ( p r , ttl , ) t y th e h ed eh o o r oss b s nce m sch e ou s e es e e su o sed t o g g, , p i ly, i i i v lv w r pp

assu m e the sha e of the h ed eh o the n u es done b bad a es. p g g, i j ri y f iri

- Tem . . 2 . 1 1 . Cf. p ii 4 f Ha d R ob n G o od e o 4 3 8 46 . hr m d n el . Th e s ew d ed li g r ly i f ll w , ” ’

l 0 . o A . 1 but one of his frater nity (M asson) . S ee n L 5

P at/za h etc. C . S ense r 43 8 50 . Throw sw ee ar and w rea s t g l t , f p r ,

la m ion .

M li oeu 8 2 2 b ut n e he S ense n or 4 . e b s 3 8 52 The old sw ain . ( ) it r p r h a S ab n a was M onm ou h has h s de a . D a on h o e e sa s t t i t il r yt , w v r, y t t ri

b Nereus t au ht the m ost o ound se y g , pr f ly wi , That ea ned her the sk of h dden o hecies l r ill i pr p , ’ ” B Thet s s ec a ca e Pol oloion fth son . y i p i l r ( y , fi g)

- Ha of am be co o h t he 4 . 3 863 Am ber dropping h ai r . ir r l r wit w at erdrOp s falli ng through it (Masson) . N O TES . 111

k C . 8 2 . 4 . e 3 8 65 Goddess ofthe s il ver la . f 4 — f h e he h e . M an o t e in e 44 8 6 8 89. L s en tc s se nes can 7 i t , y pit t t li

The o o n m ho o ca a u be traced t o cl assical wri ters . f ll wi g yt l gi l ll sio ns

m a be n o ed : Ocea n us th e od of the ea o cean-s eam h ch was y t , g gr t tr w i

anc en su osed to enc c e th e ea h w as the o unde of t he o de i tly pp ir l rt , f r l r

d nas of the sea N e tun e o d of th e sea a e S a u n w as o e y ty ; p , g ft r t r v r h o n w as th e ounde of the o un e d nas Tetn s w as the e t r w , f r y g r y ty ; y wif of O cean us ; N er eu s w as the father of th e N ereids ; the C a rp atnia n

w iz a r d was P o eu s who had th e o he c and co u d chan e his r t , pr p ti gift l g

sha e at Tr iton the son of N e u ne and Am h e was th e p will ; , pt p itrit ,

um e e of the o cean and h his sea- sh e cou d s u o r a a tr p t r , wit ll l tir p ll y

the a es G la ueus was the B oeo an sh e m an wh o ha n ea en a w v ; ti fi r , , vi g t ce a n h e b w as chan ed n o a sea- od h o h e c o e s rt i r , g i t g wit pr p ti p w r ;

L eucot/z ea was Ino the dau h e of C adm us and who in o de t o , g t r , , r r esca e her m ad hu sband A ham as un ed n o the sea h h er so n p t , pl g i t wit M elicertes and becam e a sea-goddess lzer son was the ab o v e-m entioned

M e ce es who a e he becam e a sea- od was ca ed Pa aem on Tnetis li rt , ft r g , ll l , one ofth e dau h e s of N e eus is bes k n o n as th e m o he of Ach es g t r r , t w t r ill ; the S ir en s were tho se wh o se sweet singing drew seafarers t o their - destr uction ; Pa r tlzen op e a n d n ea were sirens (see o n 2

’ h e ha th 44 8 80. m e e obs es e com b L igea s golden co b . K ig tl y rv t t b e o n s t o the m e m a ds of th e No h e n m ho o a he than to the l g r i rt r yt l gy, r t r sirens of G reek m ytholo gy.

44 891. r S ee on L e. . G ow s. y 7

M n . 44 893. urn Az u e th e o m seem s t o be ecu a to o Az . r ; f r p li r ilt 4 4 Tu uo e. 8 4 . s 9 Turk is . rq i Th 45 . . 1 . . e dea o f a h . Tem 8 C . 97 Printless feet . f p v 34 i lig t tread is a com m on o ne in p oetry.

5 h e a i n u l /z e /z er s 11. 1 4 898 . . F e c e Tb F S des e v e h ead. C t V l t f l t r , f p

S ee t he dew - drops how t hey kiss Every litt le flower that is an n on the e et heads H gi g ir v lv , ” L ke a r o e of c st a bead i p ry l s.

As B o n e n o es he e are m an esem b ances be een h s a of r w t , t r y r l tw t i p rt ’ o us n e h a i /z C m a d Fl tc er s F t ful S nep ner dess . 45 — 0 . . 9 4 To undo etc C . 8 2 8 . , f 5 53 ’ 45 914 . h M asson uo es B o n I n ner Tem le M as ue T r ce. e s i q t r w p q , Wh ere C irce rouses Ulysses from sleep : 112 O TE N S .

Thrice I charge t hee by m y wand ; Thrice with m oly from m y hand ’ ” D o I t ouch U sses e es et c. ly y ,

O n the use of o dd n um be s see m ed on of Tlie A n cien t M a r in e r , y iti r Th M cm m — e a an C o an . 2 . ( ill p y) , pp 7 7 3

- 45 916 . Th s m arb e m S ee s a e d ec o n at 6 8 . i l v eno ed seat . t g ir ti 5

45 . 1 i Its. 9 9 H s . — 45 21. Th f n 9 m h r e i e o Ne u e see o n 8 6 88 . A p it it e. w f pt ; 7 9 ’ 4 5 23. nch ses L end h ad h a A nch e 9 A i line. eg it t t is s was the a he of Phineas wh o w as the a he of Ascan us who w as the a he f t r , f t r i , f t r of S us wh o was the a he of B u us see wh o was he ilvi , f t r r t ( t a he of L oc n f t r ri e . — “ 46 924 937 . M a th br m m ed w av es etc. The ho e of h s y y i , w l t i oet ca b ess n o n th e S e e n and its ne hbo u ho od n o n at the p i l l i g v r ig r , i v lvi g end hou h in u ose o eous an ua e th e sh of ha w e sho u d , t g p rp ly g rg l g g , wi w t l ’ ca so d co m m e c a os e ou d o t o the hea of th e assem ll li r i l p r p rity , w l g rt

ud o M n N o e he eau an d ec enes of th e blage at L l w ( asso ) . t t b ty eff tiv s epithet br im m ed.

4 6 927 . The sn h s The W e sh m o un a ns. ow y ill . l t i ? 46 29. A ud n t o ha 9 Thy tresses fair . ll i g w t ’ — “ H n 4 6 932 937 . M a th b ow s et c. e e M on s a ce seem s y y ill , r ilt gl t o quiver irregularly alo ng t h e cou rse of the S ev ern : first taki ng it at its m ou h in G ou ces e sh e h e e o en s n o a sea-fi rth and he e t l t r ir , w r it p i t , w r alone it co uld be properly said t o have bill o ws then m ou nting t o its ‘ ’ o h ead in W e sh Plinlim m on and o o n hence h ou h l fty l , f ll wi g it t t r g M o ntgom eryshire t o Shrewsbu ry and so through the rest of its curve

M asson . The co ns uc on of the as tw o n es is d f cu b u t the ( ) tr ti l t li i fi lt , tho ught prob ably is : “ And m ay thy h ead be cro wned h ere and there ” The ead upon thy bank s with gro v es of m yrrh and cinnam on . r er sh o uld k eep in m ind both the literal and figurative signifi cation of the whol e sp eech . d ca ed 47 56 . The s ars r h h E a n . No e th e m e n 9 t g ow ig . xpl i t ti i i t

I he e an so n fo th n h of h a ne ? in l . 957 . s t r y rea r e l e gt t t li ’ - 4 . L Al . C . 8 7 959 S un shine holiday. f. 9

4 1. r N o e th e con as be een t he two s es 7 96 Other t ipp ings . t tr t tw tyl

ofdan ces. — 47 966 97 5. Nob e Lord et c. Im a ne th e chee in h en L a es l , gi r g w w , ad anc n h the h ee o un o nes add essed h s s eech t o the Ea v i g wit t r y g , r t i p rl When and C o un ess of B d e a e he e ha s s n and b o n . t ri g w t r , t y p r p ri i g wi g the s eech w as ended he e was m o e dan c n in h ch o he ad es p , t r r i g, w i t r l i

114 N O TE S .

49 1011. You h and o . L a e in e hen M o n o e hi t J y t r lif , w ilt wr t s ” A olo or S m ec m n u us he m ade no ed e and V u e the off p gy f ty , K wl g irt ’ s n o f Ps che s d n n pri g y ivi e ge eratio n . 49 101 5. h d k B k A c e s . ow ed w el i n. r y — — 49 01 101 . 1 6 . 7 An fr m h etc. . M . 1 d o t ence C N . D . . 1 0 1 1 0 2 , f iv , — o . 11. 1 . 1 M a c . 2 2 . 7 5; . iii 5 3 5 4 9 . H n 1017 rners o s L a n cor n ua . C o . r ( ti )

49 h h m The m u s c of the s he es o n h s T e sphery c i e. i p r ; t i ecu a use of t he ad ec e h ch is co m m o n eno u h in Shak s e e p li r j tiv , w i g p r , h see S c m d . 1 1 et se . i t, p 4 5 q 49 — . Wh n a ne a in 1 M on 1022 1023 . r if ue et c e t G e 6 O , Virt , v 39, ilt wrote the foll owi ng autograph (all in his ow n hand excep t th e date) in an album if Vert ue feeble were h r H eaven it selfe would st oope t o e . a m n nim um m ut o dum t ans m are cur o C lu on a r r .

OAN N ES M IL TO N I S J U .

An u u n zz 1 0 1 6 . s. j , 39 gl

If w e com b n e the En sh nes h th e L a n add on is as h e i gli li wit ti iti , it if said ‘ The cl osi ng words of m y o w n Com us are a p erm an ent m axim ’ with m e (Masso n) . N O TES 115

L YC ID AS .

was en t o com m em o a e the death o f Ed a d n one Lycidas writt r t w r Ki g, ’ His a he Sir ohn n of M o n s ends at C am b d e. w as a ilt fri ri g f t r, J Ki g, m em ber of th e Privy C o uncil of Irel and and S ecretary o f the Irish

A t o h d a d n o ed o . b a o n Viceregal G ov ern m ent . l h ug E w r Ki g pr v t e y u g

m an of cons de ab e o m se is u e o bab e h a n o sm a a of i r l pr i , it q it pr l t t ll p rt ’ his o u a at C h s s C o e e h e e he was adm ed u ne 16 2 6 p p l rity ri t ll g , w r itt J 9, , as e as of his su ccess in secu n a Fe o sh ass ned to him b a w ll ri g ll w ip , ig y

o a m an da e une 10 1 6 0 w as due to his h h so c a s and n . The r y l t J , 3 , ig i l t i g

Fe o sh in ac o u d e k e ha e o n e t o M o n the m a e ll w ip , f t, w l v ry li ly v g ilt , if tt r

h n ook the de ee of M . A. ad been decided according t o m erit . Ki g t gr

“ ” in u 1 6 becam e a Tu o in his co e e and w as ae ec o in J ly, 33, t r ll g , pr l t r

— In t he m e a n of 1 h e a ed t o o b 1 6 1 6 . su m ca o 6 e 34 35 r v ti 37 , p r p r g y sh om C hes e B a t D ub n B ut the esse had oceeded o n ip fr t r y o li . v l pr ly a sho rt distance when it struck a ro ck and went do w n . Am ong the — p assengers w ho were dro wned an d o nly a few seem t o have escap ed

- a E d n w s dwar Ki g. ’ In the au u m n of ha ea hen n s ends ea ned of his dea h t t t y r , w Ki g fri l r t , it was prop osed to i ssue fro m the un i versity p ress a vo l um e of m em o rial

T h M on o idas in N o em e 1 6 a ho u h e ses. o s end e L c b v r t i ilt wr t y v r, 37 , lt g

h The boo k w as m ade u t e vol um e itself did n o t app ear until 1 638 . p of two a s th e one con a n n en - h ee eces in L a n and G eek p rt , t i i g tw ty t r pi ti r , ’ an d the o h e h een in En sh . L as of all cam e M on s o em t r , t irt gli t ilt p , ’ n h n h oe “ L a nd s ed o t e s n a s . M . Prefi x ed t o th e n a ig wit ly p t i iti l , J ti G reek p o rtion of the v ol um e th ere was an accou nt in L atin of the ’ ’ m ann e of n n f r Ki g s death . Here is a po rti on of M asson s tran sl atio o

Ed a d n son of ohn k n h and P C o u n c o fo r the w r Ki g ( J , ig t, rivy ill r

n dom of I e and t o he M a es es E z abe h am es and C ha es Ki g r l t ir j ti , li t , J , rl ) , ’ Fe o of C h s s C o e e in the Un e s of C am b d e h a in ll w ri t ll g iv r ity ri g , ppy the consc ou sne ss and in the am e of e and e u d o n and one in i f pi ty r iti ,

h o m h e e w as no h n m m a u e e ce his a e w as o n a o a e to w t r t i g i t r x pt g , v y g

I e and d a n b na u a a ec on t o s t his n a e cou n his e a r l , r w y t r l ff ti vi i tiv try, r l t iv es and his ends hen the sh in h ch he w as h a n s u ck fri , w , ip w i vi g tr on a ock no t far om t he B sh co as and b e n s o e in b t he r , fr riti t, i g t v y shock he h e the o he assen e s e u ess bus abo u t he , , w il t r p g r w re fr itl ly y t ir m o a es ha n a en o n his k nees and b ea h n a e h ch rt l liv , vi g f ll , r t i g lif w i was m m o al in the act of a e o n do n th the esse ende ed i rt , pr y r g i g w wi v l , r r 116 N O TE S .

1 u his so u t o G o d Au . 1 6 a ed L cidas w as e n ed p l , g 37 , g y r pri t ’ in th e 1 6 and 1 6 ed ons of M o n s oem s and in 1 6 the sub 47 7 3 iti ilt p , 4 5 ”

In h s M onod etc. was s add d e e . titl , t i y, , fir t

M o n had n a 50 1. Yet once m ore. o t so f r as is k no n en ilt , w , writt any p oetry since Com us b ut whether the p resent phrase refers m e e t o om u s o r t o his e o us e e ac oem s or is s m a so r ly C , p r vi l gi p , i ply rt of o m u a t o s ni t he be nn n of a new oem w e can on co n f r l ig fy gi i g p , ly jec

The la u r el th m tle and th u e. e r e iv seem t o be s m bo ca f t r , y , y y li l o

o e in ene a a h o u h som e ed o s e t o each an a a c a p try g r l , lt g it r giv pl t p rti ul r

n I h a o en e s cance. t as s b e obse d ha as th e an s are e e ig ifi l rv t t , pl t v r

eens he m a be e a ded a em m f a h s b e s o m m o . W a ea o n gr , t y y r g r l i rt lity t r s

can o u ass n for t he o m ss o n of th e h m e in 11. 1 1 1 2 2 y ig i i r y , 3, 5, , 39

1 8 2 1 6 1 ? W ha o he ecu a do ou no ce abo u th e 5 , , t t r p li rity y ti t rhym es in this p oem ?

5 D usk a k [l P. 1 d c . ee R k n 0 2. n S us M od r n Brow . . e y , r ; f 34 i , ’

III. ch a . 1 . r e dr hak Pa in ter s Vol. S e c . S s e e s e u s e use of , p 5 , y ; f p r xq i it

h e in M a b. 2 . t w ord c v . 3. 3

5 n e. 0 . U 3 C rude. rip — 50 U n n e a ned in 6 . 4 . F r e o c d. willi g ; xpl i 7

5 a e o o 0 S c e . B r e t/z e m ell w n a h 5. S ha er . i e r e e as in tt tt r f g y ; r , th e as t w o n es M to n a udes t o his o w n ack of n a d en ess l t li , il ll l i w r rip (see so n net written at the age of twenty -three) for undertaking the high ca n of o e h ch o m a o us so u ces w e k n o h e e a ded h lli g p t, w i fr v ri r w r g r wit a ene a on ha e t h o of o h He e n em h asiz e t h s v r ti t t f ll lit l e s rt w rs ip . ve p s i th ou h t o th e n e ec of his u e h ch cu o us e am ned g t gl t fig r , w i , if ri ly x i , will be fo u nd wanting in accuracy . ’

5 . 0 . 0 F h d o d o n Al. 6 ad occas on dear . or t e o e see L S i w r r r, 4 The sa d occa sion is p robably call ed dea r b ecau se it to uch es th e p oet ” “ nea Th s m ean n of th e o d is co m m on enbu h in E iz abe h an rly . i i g w r g l t

En sh a nd we o en fi nd a ed t o h a h ch is d sa eeab e as gli , ft it pp li t t w i i gr l , , fo r e am e in Ham 2 1 2 8 . x pl , . i . .

5 he u se of a s n u a e b h two s n u a 0 . m On t 7 C o p el s . i g l r v r wit i g l r

n o uns as sub ec see Abbo 6 . D ue o e . j t, tt, 33 , p r p r

5 In ak n a nam e o m an c n asto a o e c . 0 8 . L y cidas . t i g fr ie t p r l p try (f is end E clo u e . and a n t o h Th eo u s [d l v 11. V c , , , g pp g , rit y i'rgil ix ) lyi it fri Ed a d n M t on ado s th e con en o n a m e h od of ea n his w r Ki g, il pt v ti l t tr ti g

1 H d that Another accoun t uot ed b odd fr om a r eface b W . o state , q y T p y gg ’ som e esca ed in the boat and that the v ain l t ried to et Kin int o it so that he an d p , y y g g ,

h r es w ere drow n ed ex e those on l w ho esca ed in the boat erram . t e t , c p t y p (J )

118 N O TES .

- 50 22. W nd n shee a hou h o h S hroud. e s a ou n i i g t, lt g t r v ri sly i ter “ ” “ ” e it a e D uns e e e ed t o b To dd cof n Ha es or pr t gr v ( t r , r f rr y ) , fi . ( l ) , ” the da k ness in h ch I am sh ou r w i r ded (Bell) . The w o rd is used by

M on in at . 2 1 8 . 1 and . . N P L . 10 68 . It seem s bes h Todd ilt , C 47 , x t, wit

‘ and o h e to m ak th ara ra h d h h s e e en s ne ns ead of . 2 t r , p g p wit t i li , i t l 4, ’ as in Milton s o wn editions. 5 — 1 23 36 . For w e w ere nursed etc. U nde the u se of as o a , r g i p t r l ’ l anguage Milton n ow describes his co m pani o nship with King at C hrist s

“ C o e e C am b d e. Wh e h s is a assa e he e m o e is m ean ll g , ri g il t i p g w r r t

han m ee s the ear ‘ ou d be absu d to ns s on nd n a h dden t t , it w l r i i t fi i g i m eani ng in ev ery pasto ral p hrase. S o m e of the detail s were do ubtless p ut in b ecause th e co n ventio nal treatm ent of the subj ect seem ed to require them . ’ 51 ee 1 2 . S on L Al. . 5 Law ns. 7 51 h h 26 . Th en n e f h M n T s fin e ase o n e o e ds o t e or . e p i g y li i p r , ft

e ea ed o r m a ed b o he o e s was aced b To dd t o ob . r p t i it t y t r p t , tr y j iii 9

m a na ead n a so c . ob . 1 8 . M on shou d be em em ( rgi l r i g) ; l f j xli ilt , it l r be ed w as h ab ua an ea se an d so becam e ac ua n ed h the r , it lly rly ri r, q i t wit ’ — — — f h m o n n Al 1 8 . . e L . 6 P. L . 1 2 . 1 2 2 beau s o t e . C . 0 0 ti r i g f 4 , v 5, ix 9

Obse e how the o he two e ods of the da are nd ca ed in 28 rv t r p ri y i i t ,

ck ut th b m a n an . 51 2 . D o e o ur o s b e e b e s e 7 D rov e. r v fl ; v r y i tr itiv / ’ ’ - 2 . Fo r ohn o n s una e a co m m en o n Afi eld ; see o n L Al. 0 J s ppr ci tive t th s and the two o o n nes as e as o n the ho e oem see his i f ll wi g li , w ll w l p , life of Milton in L iv es of t/z e Poets.

- “ . 1 l s s 51 . e on 2 . G r e c e of(E tr 28 Wha m e. S e a s e s u t ti C 9 y fy , p i , a so k n o n as th e tr um et o m its sultr lz or n o r oud humm n l w p fiy , fr y , l i g in th e hea of the da Ro e t y ( lf ),

n Er es/z dew s et . erram V 51 29. B a n n Fa en . c c es tte i g. tt i g , ; J it irgil , — E clo ue . 1 G eor ies . 2 2 6 . g viii 5, g iii 3 4 3 — “ 51 30 31. Oft t t he st ar etc. The e en n s a a ea s not ill , v i g t r pp r , ’ ” ses and is ne e an he e b ut on Hea en s descen e h e ri , v r yw r v t (K ig tl y ,

k . E. uo ed b B o ne . S ense ho e e m ade the sam e m s a e in q t y r w ) p r , w v r, i t Q

1 and erram nds so m e c ass ca au ho fo r the e o . Fo r iii . 4 . 5 , J fi l i l t rity rr r ’ o he e e ences to Hes e us see O ch a d Astr on om o M ilton s Pa r t r r f r p r , r r , y f ’ — a dise L ost . 2 28 1 . , pp 7 7

If a o n is h in n e e n hese as 51 2. M ss 3 Rural ditties. rig t i t rpr ti g t ” ’ academ c am b cs a nd e e acs ha oem s in M on s case ou d i i i l gi , w t p , ilt , w l ’ he nc ude ? For n s o k see on 1 1 . t y i l Ki g w r , ’ 88 uned. Oaten ute sh e he d s e c 51 33 . m re . Te pe d Att fl , p r pip ; f ,

h n no e h e e in h ch he sho ws 18 8 C . and no e. erram as a o , 345 t J l g t r , w i N O TES . 119

“ ha a ho u h the o a en p e has been chosen b En sh oe s as the t t lt g , t ip y gli p t

e esen a e o f as o a m us c the c ass ca au ho for such u sa e r pr t tiv p t r l i , l i l t rity g ” is m ore than do ubtful . ’ l s i . Ha 51 34. Rou h S a rs etc. S ee as . D et . c ho ne s g ty , C f wt r

M ar ble Faun .

51 Ano he n am e ak en om as o a oe m . c . 36. D a cetas t r t fr p t r l p try ; f

Theoc us [d l . et c. Wh e is m oss b e os e t o den rit , y vi , il it i p i l p itiv ly i tify old D am cetas h an a cu a e so n m os ed o s find in the nam e wit y p rti l r p r , t it r M h a n a us o n t o M r . C ha e th e u o h h om on h ad t e oub e ll i pp ll , t t r wit w ilt tr l

h ch esu ed in his em o a us ca on . If h s is rue err am m a w i r lt t p r ry r ti ti t i t , J y “ b e right in supp osi ng that th e satyrs and fauns m ay represent the ’ ” de and ess s ud o us unde adua es of C h s s h o u h h s seem s wil r l t i rgr t ri t , t g t i

n he n e e a on of the assa e t o a dan e o us e em e t o be carryi g t i t rp r t ti p g g r xtr .

“ M on e o e m ak n t he echoes m o u n 51 37 . But oh " etc. b , ilt , f r i g r for L c das u s o ur ee n s in une as e e and h n s at his o w n y i , p t f li g t , it w r , i t ” im agination as the so urce of this em otion in inanim ate things.

L o e Wor ks Hou h on Vol. IV . . 2 . w ll , ( g t ) , p 9 “ Pe ha s he e is a fi ne co u es in the u e of h s 51 38 . Mus s t . r p t r rt y t i ’ h o d h e e ns ead of m a es . The oe h a n t o sa t a his end w r r i t y t p t , vi g y t fri ’ n e e e u n sa s ha h e is no t co m e ed t o e u n a he han will v r r t r , y t t, p ll r t r , r t r t ’ ‘ r h m u ar a o n d or he is n o t p erm itted t o ret urn . O p er ap s st t pp i te

o rdained (Hales) . h e f h e on 51 . Wh is t e ec o t e e 39. Thee S he herd etc a r , p , t ff t p titi

h n . . V G eor cs . 66 et . s e ? E. 1 . i in C . 0 c t i li f Q iv 44, irgil , g iv 4 ,

51 . a n . B ne o M a e A let n 40 add n . S o u es o G i g tr ggli g r w q t rv ll , pp

House : C u m e ab ou e add n nes. rl t, y g i g vi 51 41 M urn An e am e of ha Ru sk n ca s th e “ Pa he c o . x pl w t i ll t ti

a ac see M oder n Pa inter s Vol. III. cha . 1 2 . f ll y , p

51 . . 1 44 F nn n M o n k e ans c P. L . . a i g. vi g li f ; f iv 57

- 51 . . o . . et . 5 a The cank e o m c . T. G V. 1 c 4 nker . C r w r ; f f i 43,

51 4 . r E a n the u e. 7 Ward obe. xpl i fig r — ’ 51 . The h ho n c L Al . 48 a . . 68 Wh ite thorn . wt r ; f

51 4 . E a n the o ce ofth s o d. 9 S uch . xpl i f r i w r — — 51 52 50 55. Where w ere e etc. In m a o n ofTh eoc us [d l y , i it ti rit , y

— an V — M o n o o ed Theo c us in . 66 6 d E clo ue . 1 2 . i 9, irgil , g x 9 ilt f ll w rit sel ecting fo r the haunts of the nym phs su ch places as were near the ’ scene of L c das s d sase and V in den n th e n m hs h y i i t r , irgil i tifyi g y p wit ’ ’ V and M on s the Muses. Ofthe tw o m a ons ofTheoc us s i it ti rit , irgil ilt , h t at of Milto n is im m easurably the sup erio r .

P ob b Keri - - D u d o n in D enb hsh e W ar 51 52. a S teep . r ly g y r i i ig ir ( 120 N O TE S .

t on hou h e h e su es s Penm aenm aw r in C a na o nsh e O o ) , t g K ig tl y gg t r rv ir , pp site Angl esey .

52 4. M na Th e s and of An es ho o ak o e th e 5 o . e in se s i l gl y, w gr v d n de m u e h D rui s i ol n ti es cond ct d t eir m ystic rites .

Th e D h h n 52 55. D eva . e ee c o ce o m ed a a of t he riv r , w i f r p rt bounda be een En and and W a es is ca ed a w iz a r d str eam ry tw gl l , ll f ‘ because it w as supposed t o be frequented by wi z ards. O the m any su e s ons co nnec ed h the e o ne su osed h a it bo ded p r titi t wit riv r , pp t t ill h to the peopl e of t e co untry to ward which it changed its course. On

h s as o n ee M o and k a S e im en s o a l n lis/i Pt s s S e c E r E . t i l t p i t, rri t, p f y g ,

2 0 . . Va a ion e e s . II. p . 4 Cf c t E x r i e 98

52 Foo sh see on [I . . . P 6 56 Fondly. li ly ;

. Th n dl I hi ea m e f h 52 5 r s de e ds o n on . n s n o t e 7 Fo . i p f y tr t t “ u es of co n as G um m ere obse es ha the m os ab u t con as fig r tr t, rv t t t r p tr t a ses hen the co ns uc on co m es sudden t o an end is b o ken off ri w tr ti ly , r

o en and a new sen ence b e ns in a new d ec on . The am ous vi l tly, t gi ir ti f

Ve an e am e is he e Ne u ne ebuk es the nds and be ns t o rgili x pl w r pt r wi , gi

h ea en bu t ea es the h ea u n n shed t r t , l v t r t fi i

‘ ’ uos e o — sed m otos r ie st at m n e fluct us Q g p co po er .

dbook o P . Ha n oet ies . 1 2 f , p 5

’ h of h u d h e 52 . a o e Fo r t e o O e s s ea s e M u C . s 58 The se. lli p t ry rp t , — h e end a e i . . . 2 s . ict. t i n Cla s D ; e l g s repe t d P L vii 3 39. — . I 52 th son in H n . VI ] . . 59 Enchan n s n S ee e e 1 . 1 . ti g o . g iii 3 4

P. L . . . 52 6 1. C . Rout . f i 7 47

52 63 . S w Hebrus. M o n seem s to h a e o o ed V ift ilt v f ll w irgil , ’

E n eid . 1 : oolu er em Hebr um bu t S e u s s em a k h a the e ( i 3 7 , rvi r r t t riv r ' ’ uz issim g et us est has led to a deal of discu ssio n am o ng Milto n s edito rs . L esbia n sk or e ; “ Acco rding t o co m m o n traditio n the head of Orph eus w as ca ed b th e a es to L esbos an d he e bu ed for h ch o u s rri y w v , t r ri , w i pi ” o ffice the L esbians were rewardedwith the gift ofpreem inen ce in song

erram (J ) . ’

52 . M on s an o d A a s . n cessa n t so in s d ec n 64 B oots . v il U ; ilt fir t s — d n s M a so n ] . h o n e itio ( s ) . L 64 8 4 co nstitute o ne of t e two l g digressions — t o m the o h n . 1 A e u h a u in he e e b e 11 1 1 1 . o a e c e p , t r i g 3 3 ft r y v r f lly s ud ed the ho e oem ead a a n hese two assa es and t o t i w l p , r g i t p g , try determ in e whether th e po em wo uld be the better o r th e worse fo r their om issi on .

52 65. To end etc. To ac se o e as Ha es n o es the t , pr ti p try ; l t , — h i u ed in a d n 1 1 o m e a o s s fe en se se in 1 1 Hom el de ne . t p r i f r t 3 3 . y ; fi

122 N O TE S .

wh e e C on n o n o bse es ha ou ch n th e ear w as a s m bo ca act r i gt rv t t t i g y li l ,

the ear be n e a ded as the sea o f m em o . In the esen ns ance i g r g r t ry p r t i t ,

hen is to em nd the oe of som e h n he has o o en . But t , it r i p t t i g f rg tt “ M asson think s Milton all udes to th e pop ular hu m ou r th at th e tingling ’ of a p erso n s ears is a sign that so m ewhere p eople are t alk ing of him

Wh a o n had and saying goo d o r ill of him in his absence. t Milt b een saying abo ut p oetic fam e was evidently applicable t o him self

e so n a and ou d he saw be so unde s ood b his eade s. p r lly , w l , , r t y r r

D oe h m F e o r oil h o 52 0 . ff h s s a m S 8 S et o to t e w orld. t i li it f w

c ea ha th e m ean n o u d be in each case. N or n or ne h e l rly w t i g w l , it r

n or .

k t o m ean 52 8 1. B m eans o f hou h so m e ed o s a e By. y ; t g it r t it

” “ ” “ ” h a d b nea in the esence of. S r ea ds c . 8 . r y, r, pr p ; f 7

A h usa a o un a n n 53 8 5. O oun n re huse etc. e i S c f tai A t , r t , f t i i ily , repr esents the p asto ral p o etry written by Th eocritus and o th er G reek

o e s h e the M incius n ea h ch V w as bo n e esen s th e p t , w il , r w i irgil r , r pr t

or the e m h con p astoral p oetry written by th e L atin p o ets. F pr tty yt

In hi desc on of the M in nected h A e h usa see lass. D iet . s wit r t , C ripti ’

Hon ou r ed b V s o e . c us M on o o s V . i , ilt f ll w irgil y irgil p try ‘ ’ — M o d h a ac e o m 53 8 7 . Tha s ra n etc. C . 6 8 . o c t t i , f 7 4 , r t r, fr m odus s n n a a cu a a an em en of n e a s in th e m usidal , ig ifyi g p rti l r rr g t i t rv l ” The o d has n o h n t o do th a m ood or sta te o m in d scal e. w r t i g wi f

(Jerram ) .

53 8 8 . S ee on . My oat . 33

f h T o n the son of N e une w as 53 8 9. Th e Hera d o t e S ea . l rit , pt , th e um e e of the o cean and a sed o r ca m ed the a es b b o n tr p t r , r i l w v y l wi g

“ ” h . . o n his winding s ell Cf. C 8 7 3 ’ Ed o s are d ded as t o th e m ean n 53 90. In Nept une s pl ea . it r ivi i g

h nk th e o d e e s t o a ud c a of lea . S o m e h e e h p , wit K ig tl y, t i w r r f r j i i l ’ inq uiry into t he cau se of L y cidass death t o be h eld by Triton fo r N ep u ne h e o he s h nk it m ean s n o h n m o e h an the de ense m ade t , w il t r t i t i g r t f by N eptu ne thro ugh Triton .

W h th e e h e ? 53 1. 9 Felon w i nds . y pit t Th i th ac ua u es o n u t b 53 92. Wha hard m sha et c. s s e t i p , i t l q ti p y

Trito n . — P. L . . 8 0 . E a n c . 53 93 . G ust of rugged w ings. xpl i ; f xi 7 3 7 4

' E z/ery eaek see o n C. 1 9.

i t . o u see la ss . D e 53 . i s s 96 H ppot ade . l ; C

Th t o Hi o tades o r m a b e t h e e uiva 53 . . s m a e e 97 His i y r f r pp , it y q

It no t k e h a bla is e son ed. l ent ofits . is li ly t t B p r ifi N O TE S . 123

W ha does t he e h m ? 53 8 . l e S ee o n 9 L eve br i ne. t pit t i ply

f t he dau h f N reu 53 . One o e s o e s is si 99 Panope. fifty g t r ; it g

nificant ha the nam e as erram em a k s deno es a de t t J r r , t wi ” view. “ 53 100. It w as etc. C u o us eno u h th e oem in the C am , ri ly g , p ’ bridge collection by Edward King s brother im plies that the vessel o a Hen n struck ou a rock du ring a gale. Pr b bly ry Ki g w as better

h h k h n M o info rm ed as t o the detail s o f t e s ipwrec t a ilton c uld be. ” Nowh ere else is th ere a hi nt that th e ship was sim ply u nseaworthy

(Verity) . M an assa es m h be uo ed 53 101. Built in t he eclipse. y p g ig t q t om G eek and R o m an e s as e as om h o se of a e a es to fr r writ r , w ll fr t l t r g , u sho w that eclipses w ere regardedwith sup erstiti ous awe. It w as tho ght

ha an h n do n e du n an ec se es ec a was an ec se of t t yt i g ri g lip , p i lly if it lip

the m oon w as b o und t o ha e an u n uck end. S ee B and Po ula r , v l y r , p — d it/z u s s . ha do . . 6 . R e w c r e dar k W n ti u iti s c P. L 1 A q e f . 59 599 igg t yo u understand by this ?

53 103. Nex C am us etc. The u e a en us of th e e C am t , , t t l ry g i riv r ' n M asson u o es a L a n no e o a G e k a nd ot C am bridge U iversity . q t ti t t r e

ans a on ofL cidas b M r . ohn Plum t re h ch e a ns the cha ac tr l ti y y J , w i xpl i r t eristic garb of C am us : The m antle is as if m ade of th e pl ant riv er s on e h ch o a s co ou s in t he C am the bon n et ofthe e - sed e p g w i fl t pi ly riv r g , distingui shed by v ague m ark s traced so m eh ow o v er the m iddl e of the

ea es and se a ed at the ed e of the ea es a e the ash on of t he l v , rr t g l v , ft r f i “ f h a n h . F ootin slo c . . t h . . 1 0 : dam z l a? a o t e y ci t g w ; f F . Q i 3 A e l ” spyde sl o w fo o ting her before.

53 105. W a bu on hou h h e e w as an a us on Figures dim . r rt t g t t r ll i ” he e t o the “ abu o us ad ons of the h h an u of C am b d e r f l tr iti ig tiq ity ri g , “ bu t Todd e o s D uns e as em a k n ha o n sed e ea es o r a s r p rt t r r r i g t t g l v , fl g , hen d ed o r e en be nn n t o he he e are n ot on ce a n dim w ri v gi i g wit r, t r ly rt i , or n d s nc and dusk s eak s b ut a so a a e of do ed m a k s i i ti t, y tr , l v ri ty tt r ’ ser awl d ov er as M on h ad a t s en o n th e ed e h ch he s ( , ilt fir t writt ,) g , w i wit r ” before the rest of t he flag.

53 1 . t T The h a n h i an . h 06 Tha san uine flow er e c. c s m e e t g , y i t t m ark s on t he edge of the sedge (see on 1 0 5) Milton identifies with th e a t at (alas " alas which the G reek s fancied they saw on the p etals of the h ac n h and h ch he su osed com m em o a ed the dea h of y i t , w i t y pp r t t

H ac n hus the ou h om ho e b ood hence sa n uin e h e hou h y i t , y t fr w s l ( g ) t y t g t h i . /z o a F a ir In a nt t e o e had s un . S ee lass. D t D eat fl w r p r g C c ; cf. f f 2 — 3 27 . 124 N O TE S .

. h 53 1 C d so i n u s in L a n . 07 Pledge. il ; p g ti ’

e . Pa son s m m n 53 108 . L as cam e tc Fo r co e on th e assa e t , tti t p g

h ch h s ne n o duces see In o duc o n . . w i t i li i tr , tr ti , p xvii

. P h 53 109. The Pi o of the Ga ean L ak e. S t e e w o is n o l t lil t r , i tr h du ced as the representative of the C hu rch . In t e gosp el n arrative

Pe e is n o he e s ok en of as a ilot and the m ean n h e e obab t r w r p p , i g r pr ly is ha he was th e s ee sm an of his ow n sh a sen se in h ch err am t t t r ip , w i J

- I rem inds us p ilot is often used. t will b e rem em bered th at Ki ng h ad n o f th i tended t o enter the m i nistry e C h urch of Engl and.

5 . 3 1 . et . d o 1 0 Tw o m ass k e s c C M a tt . 1 w as a n y y , f xvi 9 ; it tr iti ,

n o t S c u e h ch m ade the n um be ofthe k e s tw o. ript r , w i r y Wh m i 53 112. k tr ed His m itred loc s. y — — 53 54 113 131. How w e etc. In o de t o u nde s and the si nifi ll , r r r t g can ce of h s s eech is necessa t o k n o so m e h n of the o ca t i p , it ry w t i g p liti l and r eligious con ditio n of England ab ou t th e tim e Lycida s w as written .

S ee G een S k or t IIistor o t/z e E n lisk Peo le G a d ne /z e Pu r ita n r , y f g p , r i r, T

R ev olution . How m an and ha ou nds of com a n does M on y, w t gr pl i t ilt here u rge against the clergy ?

53 115. R usk n in his S esam e a n d C ree and n rude and c m b . p , i t , li i ,

L ilies obse es ha hese h ee e bs “ e haus e co m eh end th e , rv t t t t r v r x tiv ly pr h ee c asses co es onden t o the h ee ch a ac e s of m en wh o dis t r l , rr p t t r r t r , ‘ h ones seek ecc es as ca o e . F s hose wh o c ee n o the tly l i ti l p w r ir t, t r p i t o d who do not ca e for o f ce nor nam e b ut for sec e n u ence and f l ; r fi , , r t i fl , do all h n s o ccu and cu n n n consen n t o an se of of ce t i g ltly i gly, ti g y rvility fi o r conduc so on ha he m a n m a e d sce n and una a es t, ly t t t y y i ti t ly i r , w r ’ h Th ho e h o ‘ n u e h us ha is d ec t e m nds of m en . en s w ir t , i t i tr d (t r t , t t ) h em se es n o the o d who b na u a nso ence o f h ea and s o u t lv i t f l , y t r l i l rt, t t e o uence of on ue and ea ess e se e an se - asse o n ob a n l q t g , f rl ly p r v r t lf rti , t i

h ea n and au h o h th e com m on c o d. L as h o se who ri g t rity wit r w tly, t ‘ ’ c m b who b ab o u and ea n n bo h s o u an d so und bu t se li , y l r l r i g, t t t , lf sh e e ed in the cau se of he o wn am b o n a n h h d n es i ly x rt t ir iti , g i ig ig iti ’ and au ho es and becom e ‘ o ds o e the h e a e ho u h n ot t riti , l r v r rit g , t g ’ en am o h s pl es t t e fl o ck . ’ d h s ? 54 11 . hearer Wha do o u unde s an b 7 S s feast . t y r t y t i 8 5 M a t . . 4 11 . h h C . t . 8 T e w ort y b idden guest . f xxii 54 An e ceed n b o d u e h ch m a 119. B n m u h s li d o t " x i gly l fig r , w i y, h ho The e is e en c ass ca ow e e be su o ed b c ass ca a u . v r, pp rt y l i l t rity r v l i l h — h u e h a o o s b h ch au o c Ho ace S at . . 2 . 0 for t e t rity (f r , ii 39 4 ) fig r t t f ll w , yw i m oa t /is are m ade to k old A s/z ee -lz ook — ar1 dea h ch L ando ho u h p , i w i r t g t

"‘ ’ ” a fitter representation of th e sh eph erd s dog th an of t h e sh epherd.

126 N O TE S .

’ erram s e ana o n is as oo d as an nam e ha M on i he J xpl ti g y, ly , t t ilt s re using “ the am a s m e of the ax e a d un o the o o of the ee f ili r i il l i t r t tr s (M att .

- . 10 O he ed o s h a e sou h to den the t o b a iii , t r it r v g t i tify w n ded engine with (2) th e axe with which L aud w as beheaded in 1 645 (3) the — “ o f h A h n M h . sw rd o t e rc a gel ic ael (P L . vi . 2 50 2 (4) the sharp ” — o ed ed s o d of R ev . . 1 6 . 1 2 1 6 th e En sh Pa am en tw g w r i , ii ; (5) gli rli t with its t wo Houses (M asson) ; (6) the scythe of th e executioner D eath ; (7 ) the tw o -handed sw ord of ro m an ce (Warb urton) ; (8) the sword of

“ J usti ce (Verity) ; (9) the civil and eccl esiastical p owers ; and (10 ) the d f ” s o o the S h ch is t he o d of G o d E /z sia n s . w r pirit, w i w r ( p e vi

“ h ch we e d b a do ub e o n the Old Tes am en and on the w i wi l y l grip , t t ” New (M o rl ey) .

- 54 1 2. The od h u ed h e 3 heus e w o u s A e usa . S e Alp . riv r g p r r t

C la ss. D ict. c . 8 . As A h eus s m bo z es as o a oe M on ; f 5 lp y li p t r l p try , ilt

d — 1 o e h n e his ess o n in 11. 1 1 t o hi em no w e u s a 0 8 s e. r t r , ft r igr i 3 , pr p r t

Tke r ea d v oice c 1 1 2 d ; f . T u 54 1 . Mus h e m use o fTh eo c us b t he e e ha s 33 c an e. S i ili rit , r , p r p , en e a d n f t m erely a g r l esig atio n o p as o ral p o etry .

54 H her . S ee 1 1 . 134 . it 5 “ . Haun . Th h h m h . 54 136 Use. e m ean n is e e t e d s e s t i g , w r il w i p r ” of shades etc. h aun . C an o u e a n how u se cam e t o ha e h s , , t y xpl i v t i m eaning ? ’ — 54 13 . n n S ee on L Al. 2 6 28 . 7 Wa ton w i ds.

- d s a 54 138 . The sw ar s ar . S us the do s a ca e w r t b ecause t t iri , g t r, ll

- Ha a it w as th ought t o be a sw a r t m aking tann ing) star . les s ys it

“ ose at A hens abo u th e m e of th e ea es hea and w as he e o e r t t ti gr t t t, t r f r ” supp o sed to cau se that h eat .

“ 4 u u an a . n lled a e a ed and 5 139. ua n . C o s s c E a m e Q i t ri , f t ti , v ri g t ” - oss as en am e o k V e . E es b ossom s. gl y l w r ( rity) y , l

h a h d c m itr ed . E a n t e o m o n of o . 54 140 H ne ed. s o y xpl i f r ti t i w r ; f ,

1 1 2 .

Em u e ut h e u ed k e the L a n u r u r eus 54 141. b e s Pur e. pl p rpl ; r , li ti p p ,

n e s e h e obse es ha for any bright colo r (Jerram ) . Ver alfl ow r ; K ig tl y rv t t m m n som e of the fl o wers b el ong t o su m er and aut u . — — 54 55 142 151. Br n the ra he r m rose etc. Th s assa e i g t p i , i p g sho uld be carefully co m p ared with o th er p assages of this sort in — En sh o e fo r ns an ce S ense S be k ea r des alen der Ecl. gli p try, i t , p r, p C , — ' — — . 18 2 2 . 1 6 1 Shak s e e W. T. . . 1 2 m b. . 2 2 iv 3 44, p r , iv 4 7 3 9, Cy iv 9, ’ — a E n Ben on son Pa n s An n iv er sa r M o n P. L . . 6 2 0 e s J , y , ilt , iv 9 7 3, K t , — d m an oem s 1 . h a m n dym ion ii . 40 8 4 9 T e reader will also c ll t o i y p N O TES . 127

’ ’ ds o h s D a oa ils o em s de o ed to the a se of k e W o o e s. li r w rt f , p v t pr i fl w r

a in t 11 h . Pt . 1 ec. 2 c a f r ee R usk n M oder n P er s . s o a d s nc on S i , , , p 3, i ti ti between fancy and im agination as well as for the applicatio n of the

— - H “ 1 8 and t o W T. . . 1 1 6 1 2 . e a m e t o L e. 1 2 s s : In sa y 4 4 , iv 4 5 y

on ha ens I h nk ene a a nd in th e case b e o e us m o Milt it pp , t i , g r lly , f r st

ce a n ha the m a na o n is m ed and b o k en h anc and so rt i ly , t t i gi ti ix r wit f y, ”

m a i a of on and a of a . the strength of the i gery s p rt ir p rt cl y In 1. 142

“ ” “ ” “ ” N a o . 1 1 Fan . h e nds Im a na on . u c 1 fi gi ti , l 43 g t ry, l 44 y, l 45 ” “ ” “ . Im a Im a na on . 1 6 Fanc u a 1 n a o n . 1 8 gi ti , l 4 y, v lg r , l 47 gi ti , l 4 ” ' th a sa o m h W. T. h e sa s Ob e e how h M ed. On e s e t e s t e ix p g fr , y rv i m agi nation in th ese l ast lin es go es into the very inm ost so ul of every

o e a e ha n o uched hem all at s h ha h ea en m d fl w r, ft r vi g t t fir t wit t t v ly ti i ’ ness the sh ado o f P o se ne s a nd ded hem h ce es a a he , w r rpi gil t wit l ti l g t r

in and ne e s o s on he s o s o r he bo d sha e h e M on g, v r t p t ir p t , t ir ily p , w il ilt

s ck s in th e s a ns u on h em and u s us off h h a unha eak ti t i p t , p t wit t t ppy fr of jet in the v ery fl o wer that withou t this bit of p aper - staining would ’ ha e b een th e m os ec ou s t o us of all. Th e e is ans es h a s for v t pr i r p i , t t ’ thoughts. i . e n M em r am x . Wha 54 142. Ea c T nn son I o c Ra he. t rly ; f y , t m eani ng do yo u fi n d in p r im r ose ? Why for sa ken C o l eridge called

“ ” h s the s ee es ne in the L c das An im a Poetae . S ee t i w t t li y i ( , p

I o d n uc on . tr ti , xlii '

54 1 . et c. . 8 1 . 44 The w h e nk C C . it p i , f 5

54 145. n L ando ho u h lom in o u d be be e han Glow i g. r t g t g g w l tt r t

o u glow ing. D o y agree 5 5 . 148 S ee on [1 P. . S ad. 43

55 . 149 m aran hus E m o o ca m ean n ? His its. A t . ty l gi l i g ,

55 1 . 50 F he r u s h E a n . ill t i c p w it tears . xpl i

“ 55 1 1. o n d Th er s a a 5 C e w h au e . e k e w s a L aureat e. r w it l r l pl t

o m deco a ed h b ack ha n n s a nd co n a n n an ef of the de f r , r t wit l gi g , t i i g figy d ” cease . L a uda o e ses e e a ached t o h ns w ax o r as e. t ry v r w r tt it wit pi , , p t

S a n e M e o ia s o st n s d b err am . m r l We m i ter Abbe . 1 uo e t l y, f y , p 34 (q t y J ) 55 — i the 1 2 1 . Wha e u a d ou n o t n 5 64 . For so etc t o e , t irr g l ri y y construction of this p assage ?

“ 55 153 . u The F s and e o nd Ed ons h a e a u s o S rm ise. ir t S c iti v f ll t p ‘ ’ after su r m ise ; which rath er im pairs the effect o f t h e m eani ng Mas ( son) . 55 “ 2 154 . D id M sk oa ls L o e . Fo r a h o n te . S ores . ilt wri ( w ll)

com m en — L o Wor ks o n h s n e as e as Il P. see e t t i li , w ll 7 5, w ll , H h ou n V o l. I o V . 1 0 0 . ( g t ) , . p 128 N O TE S .

55 . 1 . L oca e 56 Hebr ides. t h 55 158 . The m ns r us r E a n c . . . For S ak s o t o w o ld. xpl i ; f C 533 ’ — e e s desc on of tb c m onstr ous w or ld see R ick . III . . . 1 6 . p r ripti , i 4 33 ” “ W a 55 15 . M Vo s accom an ed h ea s on s s . 9 oi t vow w p i wit t r ( rt ) , “ oss b as Be su es s e e n t o h o se o m ses of h ank s n p i ly, ll gg t , r f rri g t pr i t givi g and offerings m ade t o N eptune th at h e m ight resto re the bo dies of ” those wh o had b een dro wn ed.

The d abo d o f B l . 55 1 . ab e e e ler us 60 The fabl e of B ellerus. f l

B eller us seem s t o ha e been co ned b M o n om B eller ium the v i y ilt fr , ’

R o m an nam e of L an d s End. “ Th ‘ d d 55 161. f h u r un e ua e The great Visi on o t e g a ded m o t . g r ’ o ed M o un is a s ee o ck o os e M a az on nea Penz an ce (f rtifi ) t t p r pp it r i r ,

re the u ns of a o e s accessibl e fro m th e l and at low water . On it a r i f rtr s

an d a m o nas e h a chu ch ded ca ed t o S t . M ch ae at t he sum m t ry, wit r i t i l ; it ’ a d M ch ae s ch a in h ch se e a a a on is a c a sea c e S t . s r ggy t ll i l ir, w i v r l pp riti of th e archangel ar e rep o rted t o hav e b een seen ; h ence the ‘ great V ’ ” s on in the e erram . It seem s be e ho e e t o ak e i i t xt (J ) tt r , w v r , t

“ e gua r ded as referrin g t o the watch k ept by th e ang l (Hal es) . ’ V e h a on e 55 1 2. m n h s a n o 6 Na ancos and B ayo a s old. rity l g t

h e e in h ch he a em s t o sho w h a M o n m a ha e o t h ese r , w i tt pt t t ilt y v g t ’ nam es o m th e ed on of M er cator s Atla s ub sh ed in 1 6 6 To dd at fr iti p li 3 ( ,

the su es o n o f a end s d sco e ed th e n am es in the ed o n s of gg ti fri , fir t i v r iti 1 62 3 and in whi ch N a m a n cos is p ut dow n as a fo rtress in the

S an sh o n ce G a c a nea C a e F n s e e h th e cas e bold p i pr vi li i , r p i i t rr , wit tl ( ) h ofB a on a t o the sou h on t e sea . y t ,

das a M chae . F or a um en s a o n L c s 55 163. n e S t . A g l . i l rg t f v ri g y i ’

th e an e add essed see erram a so co n su T en s n o e. g l r , J ; l lt r t t

A o n see la ss . c t . 55 164 . Ye do h ns et c. Fo r the e en d of lp i , l g ri , C

: 55 165. Wee no m ore et c. e h e hu s accen uat es p , K ig tl y t t

“ ‘ Wee no m o e oefu she he ds w ee no m ore. p r , w l p r , p

h dea in th e fo o n n es th e b eatifica A o 11 . 6 . Of t e M u ck d . Cf. 3 4 i ll wi g li ,

o n of the dead m an e am es m h b e c t ed. S ee E ita kium ti , y x p l ig t i p p

a on is D eatk o a Fa ir I n a n t and E ita /i on tk e [War ek ion ess o D m , f f , p p f

Win ckester .

Th e o b c o f ou so o . Nam e the 55 . e 166 Your sorrow . j t y r rr w

figure.

- The su n c II Peter . 1 . But see 55 1 . 68 The day star . ; f i 9

M o n “ is m o s k e t o erram who th nk s h a t h e e as in . 0 J , i t r , l 3 , ilt t li ly

ha e o o ed the usa e of th e an c en s wh o co m m o n s eak of v f ll w g i t , ly p

130 N O TES .

i ' D cadu nt altis de m ont bus um br a . o yo u get the full m eaning of ’ Milton s line ?

- . As Ma n 56 193 . To m orrow to fresh w oods etc sso ob se es h s , rv , t i

ne is e uen m s u o ed elds be n subs u ed fo r w ds He li fr q tly i q t , fi i g tit t oo . — com a es Ph neas F e che Pu r le Island . 8 p r i l t r, p vi 7 7 7

om e then m am bs the a n d o s esche H , , y l ; f lli g r p w ” T -m r sha in a u s n w o o row ll ye feast p st re e .

’ n h s/z oo s on o M l on I t e r e w d etc. he e is a e obab e a us t s f , , t r v ry pr l ll i i t o ec ed I a an o u we do n ot ead n o the assa e a m o e pr j t t li t r, if r i t p g r de n e e e ence h an e n nd d t o n fi it r f r t h i te e co v ey .

i fu Deac dr ed usmg the Bookkeeper process. tr lr rn Ma nesrum xrde Neu a z g agent. g O Treatm ent Date: March 2009 PreservationTechnoIogies AWORLDLEADER INCOLLECTIONS PRESERVATION 111 Thom son Park Dnve ranberr Townshl P 06 C y p, A16 6 (7 24) 7 7 9-2111