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[iii]

The Academy Series of English Classics

MILTON

MINOR POEMS

L’Allegro	Il Penseroso	Comus
Arcades	On the Nativity	Lycidas
On Shakespeare	At a Solemn Music	Sonnets

WITH INTRODUCTION AND NOTES
BY
SAMUEL THURBER

ALLYN AND BACON
Boston and Chicago

ALLYN AND BACON
Boston & Chicago

[iv]

Norwood Press
J. S. Cushing & Co.—Berwick & Smith
Norwood Mass. U.S.A.

**Norwood Press**
J. S. Cushing & Co.—Berwick & Smith
Norwood, Massachusetts, U.S.A.

[v]

CONTENTS.

[vi]

PREFACE.

The purpose held in view by those who place the study of Milton in high school English courses is twofold: first, that youth may seasonably become acquainted with a portion of our great classic poetry; and, secondly, that they may in this poetry encounter and learn to conquer difficulties more serious than those they have met in the literature they have hitherto read. It is for the teacher to see to it that both these aims are attained. The pupil must read with interest, and he must expect at the same time to have to do some strenuous thinking and not to object to turning over many books.

The goal of teaching Milton in high school English classes is twofold: first, to introduce students to some of our great classic poetry; and, second, to help them face and learn to overcome challenges that are more significant than those in the literature they’ve read so far. It’s the teacher’s responsibility to ensure that both these objectives are met. Students need to engage with the material, and they should be prepared to do some serious thinking and not shy away from looking through multiple books.

The average pupil will not at first read anything of Milton with perfect enjoyment. He will, with his wonted docility, commit passages to memory, and he will do his best to speak these passages with the elocution on which you insist. But the taste for this poetry is an acquired one, and in the acquisition usually costs efforts quite alien to the prevailing conceptions of reading as a pleasurable recreation.

The average student isn't going to fully enjoy reading Milton right away. They will, as usual, memorize certain passages and do their best to recite them with the pronunciation you expect. However, developing a taste for this kind of poetry takes time, and the process often requires effort that doesn't match the common idea of reading as a fun pastime.

The task of pedagogy at this point becomes delicate. First of all, the teacher must recognize the fact that his class will not, however good their intentions, leap to a liking for Comus or Lycidas or even for the Nativity [vii] Ode. It is of no use to assign stanzas or lines as lessons and to expect these to be studied to a conclusion like a task of French translation. The only way not to be disappointed in the performance of the class is to expect nothing. It will be well at first, except where the test is quite simple, for the teacher to read it himself, making comment, in the way of explanation, as he goes on. Now and then he will stop and have a little quiz to hold attention. When classical allusions come up requiring research, the teacher will tell in what books the matter may be looked up, and will show how other poets, or Milton elsewhere, have played with the same piece of history or mythology. Thus a poem may be dealt with for a number of days. Repetition is, to a certain extent, excellent. The verses begin to sink into the young minds; the measure appeals to the inborn sense of rhythm; the poem is caught by the ear like a piece of music; the utterance of it becomes more like singing than speaking. In fact, the great secret of teaching poetry in school is to get rid of the commonplace manner of speech befitting a recitation in language or science, and to put in practice the obvious truth that verse has its own form, which is very different from the form of prose. But repetition may go too far. Over-familiarity may beget indifference. Other poems await the attention of the class.

The task of teaching at this point becomes sensitive. First of all, the teacher has to accept that the class, no matter how good their intentions, won’t suddenly develop a fondness for Comus, Lycidas, or even the Nativity Ode. It’s pointless to assign stanzas or lines as lessons and expect them to be studied thoroughly like a French translation task. The only way to avoid being disappointed with the class's performance is to expect nothing. At first, it’s best for the teacher to read the material himself, providing explanations as he goes along, unless the test is really simple. Occasionally, he should pause for a quick quiz to keep their attention. When classical references arise that need research, the teacher should point out which books to consult and show how other poets, or Milton elsewhere, have engaged with similar historical or mythological themes. A poem might be explored for several days. Repetition is, to some extent, beneficial. The lines start to resonate with the students; the rhythm appeals to their natural sense of beat; the poem gets caught in their ears like music; reciting it starts to feel more like singing than speaking. In fact, the key to teaching poetry in school is to move away from the ordinary way of speaking typical of language or science recitations and to embrace the obvious fact that verse has its own structure, which is very different from prose. But repetition can be taken too far; becoming too familiar can lead to indifference. Other poems deserve the class's attention.

The teacher who really means to interest his classes, and begins by being interested and interesting himself, will rarely fail to accomplish his purpose. The principal obstacle to success here is the necessity, that frequently exists, of conforming to the custom of examining, marking, and ranking—a practice that thwarts genuine personal [viii] influence, formalizes all procedures, and tends to deaden natural interest by substituting for it the artificial interest of school standing. The Milton lesson must be a serious one because it is given to the study of the serious work of the gravest and most high-minded of men; and it must be an enjoyable one because it deals with the verse of the most musical of poets, and because one mood of joy is the only mood in which literature can be profitably studied.

The teacher who truly wants to engage their students and starts by being genuinely interested and engaging themselves will rarely fail to achieve their goal. The main barrier to success often lies in the need to follow the custom of testing, grading, and ranking—practices that undermine real personal influence, formalize all interactions, and tend to dampen natural interest by replacing it with the artificial interest of academic standing. The Milton lesson needs to be serious because it involves studying the important work of some of the most serious and noble individuals; it also needs to be enjoyable because it involves the poetry of the most lyrical poets, and joy is the only mindset in which literature can be effectively studied.

As to the difficulties which the learner first encounters when he comes to Milton, these grow sometimes out of the diction, sometimes out of the syntax, and sometimes out of the poet’s figures and allusions. Some difficulties can be explained at once and completely. Others cannot be explained at all with any reasonable hope of touching the beginner’s mind with matter that he can appropriate. Often the young reader slips over points of possible learned annotation without the least consciousness that here great scholarship might make an imposing display. Perfectly useless is it to set forth for the pupil the interesting echoes from ancient poets which generations of delving scholars have accumulated in their notes to Milton, pleasing as these are to mature readers.

When learners first dive into Milton, they often face challenges that come from his word choice, sentence structure, and the poet’s metaphors and references. Some issues can be clarified right away and fully. Others are impossible to explain in a way that resonates with a beginner. Often, young readers skim over potentially significant annotations without realizing that these could showcase extensive scholarship. It's completely pointless to present students with the fascinating parallels to ancient poets that countless scholars have gathered in their notes on Milton, no matter how enjoyable these might be for more experienced readers.

The rule should be to expound and illustrate sufficiently to remove those perplexities which really tease the pupil’s mind and cause him to feel dissatisfaction with himself. In many cases our only course is to postpone exposition and to trust that the learner will grow up to the insight which he as yet does not possess and which we cannot possibly give him. A learned writer, like Milton, who has read all antiquity, and who has no purpose of writing for children, [ix] inevitably contemplates a public of men approximately his equals in culture, and expects to find “fit audience, though few.”

The rule should be to explain and illustrate enough to clear up the confusion that frustrates the student and makes him feel dissatisfied with himself. In many situations, our only option is to delay explanation and trust that the learner will eventually develop the understanding he currently lacks and that we can't provide him. A knowledgeable writer, like Milton, who has studied all of history and isn't aiming his work at children, [ix] naturally considers an audience of people who are roughly his equals in knowledge and expects to find a “suitable audience, though small.”

But many of the difficulties that confront the beginner in Milton ask only to be explained at once by some one who has had more experience in the older literature. Archaic forms of words and expressions, with which the ripe student is familiar, worry the tyro, and must be accounted for. Often the common dictionaries will give all needed help; but the best means of acquiring speedy familiarity with obsolete and rare forms is a Milton concordance—such as that of Bradshaw—in connection with the Century Dictionary, or with the Oxford Dictionary, so far as this goes. These means of easy research should be at hand. I find that pupils often need a pretty sharp spur to make them use even their abridged dictionaries. But so far as concerns acquaintance with the vocabulary of poetic diction, nothing will do except the dictionary habit, accompanied by an effort of the memory to retain what has been learned.

But many of the challenges that beginners face in Milton can be easily clarified by someone who has more experience with older literature. Outdated words and phrases, which seasoned readers know well, often confuse newcomers and need to be addressed. Common dictionaries can provide much of the help needed; however, the quickest way to get familiar with obsolete and rare terms is to use a Milton concordance—like Bradshaw's—alongside the Century Dictionary or the Oxford Dictionary, as far as it goes. These handy research tools should be readily available. I've noticed that students often need a strong nudge to even use their simplified dictionaries. But when it comes to getting to know the vocabulary of poetic language, nothing works better than developing a habit of using dictionaries, combined with a conscious effort to remember what they've learned.

Difficulties that lurk in an involved syntax the pupil may usually be expected to solve by study. But such a peculiar construction as that in Sonnet X 9 will probably have to be explained to him.

Difficulties that lurk in complicated syntax are usually something the student can expect to solve through study. But a unique construction like that in Sonnet X 9 will likely need to be explained to them.

In the puritan theology and its implications he cannot take much interest, and will of course not be asked to do so. But high school students of Milton will ordinarily, in their historical courses, have come down to the times in which the poet lived, will understand his relation to public events, and will appreciate his feeling toward the English ecclesiastical system. Puritanism, a phenomenon of the most [x] tremendous importance at a certain period of English history, has so completely disappeared from the modern world, that the utterances of a seventeenth-century poet, professedly a partisan, on matters of church and state, no longer exasperate, and can barely even interest, students of literature.

In puritan theology and its implications, he doesn't have much interest and, of course, won't be asked to engage with it. However, high school students studying Milton will typically cover the historical context of the poet's time in their courses, understand his connection to public events, and appreciate his feelings toward the English church system. Puritanism, a highly significant phenomenon during a certain period of English history, has nearly vanished from the modern world, so the statements of a seventeenth-century poet, who was openly a supporter, about church and state no longer provoke annoyance and hardly even interest literature students.

To read either Paradise Lost or the Divine Comedy we must find the poet’s cosmical and his theological standpoint. We have no right to be surprised or shocked at his conceptions. We must take him as he is, and let him lead us through the universe as he has planned it. So long as we set up our modern views as a standard, and by this standard judge the ancient men, we fail in hospitality of thought, and come short of our duty as readers.

To read either Paradise Lost or the Divine Comedy, we need to understand the poet’s perspective on the universe and theology. We shouldn’t be surprised or offended by his ideas. We should accept him as he is and allow him to guide us through the universe as he imagined it. If we use our modern views as a benchmark and judge the ancient writers by that standard, we fail to be open-minded and don’t fulfill our responsibilities as readers.

This consideration suggests yet another purpose in setting youth to the reading of Milton. By no means an ancient poet, he takes us, nevertheless, to a world different from our own, and in some sense helps us out of the modern time in which our lives have fallen, to show us how other ages conceived of God and Heaven. The mark of an educated man is respect for the past; the old philosophies and religions do not startle and repel him; his ancestors were once in those stages of belief; in some stage of this vast movement of thought he and his fellows are at the present moment. This largeness of view can be fruitfully impressed on youth only by letting them read, under wise guidance, the older poets.

This idea suggests another reason for encouraging young people to read Milton. Although he's not an ancient poet, he takes us to a world that's different from our own and, in a way, helps us escape the modern era we live in, showing us how other times viewed God and Heaven. A sign of an educated person is their respect for the past; they’re not shocked or put off by old philosophies and religions because their ancestors once held those beliefs. In some part of this vast journey of thought, he and his peers are currently situated. This broader perspective can be effectively instilled in youth by allowing them to read the older poets with thoughtful guidance.

[xi]

OUTLINES OF THE LIFE OF MILTON.

John Milton was born in London on the ninth of December, 1608. Queen Elizabeth had then been dead five years, and the literature which we call Elizabethan was still being written by the men who had begun their careers under her reign. Spenser had died in 1599. The theatres were yet in the enjoyment of full popularity, and the play-writers were producing works that continued the traditions and the manner of the Elizabethan drama. Shakespeare had still eight years to live, and at least four of the great plays to write. Bacon’s fame was already great, but the events of eighteen years were to cloud his reputation and establish his renown. Jonson, great as a writer of masks, was to live till he might have seen, in Comus, how a young and scholarly puritan humanist thought that a mask should be conceived.

John Milton was born in London on December 9, 1608. Queen Elizabeth had been dead for five years, and the literature we call Elizabethan was still being created by writers who had started their careers during her reign. Spenser had died in 1599. The theaters were still very popular, and playwrights were producing works that continued the traditions and style of Elizabethan drama. Shakespeare still had eight years to live and at least four major plays to write. Bacon’s reputation was already significant, but events over the next eighteen years would tarnish his standing and solidify his legacy. Jonson, celebrated as a writer of masques, would live long enough to see how a young, scholarly Puritan humanist envisioned a masque in Comus.

Born thus in the fifth year of the first of the Stuarts, Milton lived to witness all the vicissitudes of English politics in which that family was involved, except the very last. He did not see the Revolution of 1688. Surviving for fourteen years the restoration of Charles II., he died in 1674, at the age of sixty-six.

Born in the fifth year of the first Stuart reign, Milton experienced all the ups and downs of English politics involving that family, except for the very last. He didn’t witness the Revolution of 1688. Outliving the restoration of Charles II. by fourteen years, he passed away in 1674 at the age of sixty-six.

Milton’s social position can be inferred from the fact that his father was what was then called a scrivener,—that is, he kept an office in his dwelling, and was employed to draw up contracts, wills, and other legal documents. This occupation [xii] implied knowledge at least of the forms of the law, though not of its history or principles. It did not imply liberal education, though it brought its practitioner, doubtless, more or less into contact with men of really professional standing in the science of jurisprudence. Perhaps the elder Milton cherished a deeper conviction of the value of classic culture than do those who simply inherit, and take as a matter of course, the custom of devoting years to the study of ancient languages and literatures.

Milton’s social status can be inferred from the fact that his father was what was then called a scrivener, which means he ran an office in his home and was hired to create contracts, wills, and other legal documents. This job implied at least some knowledge of legal forms, although not necessarily of its history or principles. It didn’t suggest a formal education, but it likely brought the person in this role into contact with those who had actual professional expertise in law. Perhaps the elder Milton had a deeper appreciation for the value of classical education than those who simply inherit the custom of spending years studying ancient languages and literatures as a given.

Evidently the father thought he saw in his son that promise of intellectual vigor and of sound moral stamina which justified the innovation, in his family, of sending his boy to the university. His preparation for college Milton got under private masters and at the famous public school of St. Paul’s, which was near his home. This preparation consisted chiefly in exercises in Latin composition and literature, and was both thorough and effectual. At sixteen, when he went to college, he had already composed Latin verse, and he read and wrote Latin with facility.

Clearly, the father thought he saw in his son the promise of intellectual strength and strong moral fiber that justified the decision to send his boy to university. Milton prepared for college under private tutors and at the well-known public school of St. Paul’s, which was close to home. This preparation mainly involved practicing Latin composition and literature, and it was both rigorous and effective. By the time he entered college at sixteen, he had already written Latin poetry and could read and write Latin easily.

In 1625 Milton entered Christ’s College, Cambridge. Here he remained as a student seven years, or till 1632, taking in course his A.B. and A.M. degrees, and, in spite of his studious habits and his aversion to the rough and wayward customs of student life, winning more and more, and at last having in full measure, the respect of his fellow-collegians. During these years he wrote, but did not publish, in Latin or English, no less than twenty-five pieces of verse, among them poems of no less note than the Nativity Ode, and the Sonnet on arriving at the age of twenty-three. The lines on Shakespeare were also composed in this period, and appeared in print among the poems prefixed to the second Shakespeare folio in 1632.

In 1625, Milton started attending Christ's College, Cambridge. He stayed there as a student for seven years, until 1632, earning his A.B. and A.M. degrees. Despite his dedication to studying and his dislike for the rough and unpredictable habits of student life, he gained more and more respect from his fellow students, ultimately earning it in full measure. During these years, he wrote but didn't publish a total of twenty-five poems in Latin and English, including notable works like the Nativity Ode and the Sonnet written when he turned twenty-three. He also wrote the lines about Shakespeare during this time, which were published alongside the poems in the second Shakespeare folio in 1632.

Returning, at the close of his university course, to the [xiii] paternal residence, the poet came, not to London, but to the village of Horton, in Buckinghamshire, where his father had taken a house in order to live in the country. Now had to be debated the question of a profession. Hitherto the son had seemed silently to acquiesce in the understood hope of the family that he would devote himself to a career in the church. But during his university years of study and observation his views had become fixed, his mind had advanced to self-determination, and he could not remain content with a future that seemed to hamper his intellectual freedom. This difference between father and son was settled, apparently without strife, by the elder man’s entire yielding to the desires of the younger. The son could not, as we can well understand if we have read even only a little of his verse or his prose, be otherwise than strenuous, insistent, and masterful. To his father he was of course filial and respectful, we may imagine him even gentle; but conciliatory, yielding, the point being a vital one, it was not in his nature to be.

Returning at the end of his university course to the [xiii] family home, the poet came not to London but to the village of Horton in Buckinghamshire, where his father had rented a house to live in the countryside. Now, the question of a profession had to be discussed. Until then, the son had seemed to quietly accept the family's unspoken wish that he would pursue a career in the church. However, during his years of study and observation at university, his views had crystallized, and he had come to value his independence, making it impossible for him to settle for a future that felt restrictive to his intellectual freedom. This difference between father and son was resolved, apparently without conflict, as the father completely yielded to the son's desires. As we can easily understand from reading even a little of his poetry or prose, the son was always determined, assertive, and commanding. To his father, he was certainly respectful and, we can imagine, even gentle; but he was not the type to be conciliatory or submissive, especially on such an important issue.

What the young Milton desired was to lead a life devoted to literature, or, more specifically, to poetry. This meant that he wished still to study a long time, to fathom all learning in all tongues. In college he had, besides Latin, mastered Greek, French, Italian, and Hebrew. His conception of a poet was of a most profoundly learned man. He had become aware of the existence of vast areas of knowledge that he had not yet explored. Other young men turned aside without misgiving from the ambition to know everything, and eagerly entered into useful and lucrative professions. But Milton scorns the thought of applying learning to the service of material gain. This is his poetical conception of his duty as a scholar. It will dominate the spirit of his life work. To understand his feelings at this time [xiv] both toward his father and toward his ideals, we must read the Latin poem Ad Patrem, of which Professor Masson gives an English translation.

What the young Milton wanted was to live a life dedicated to literature, or more specifically, to poetry. This meant he intended to study for a long time, to understand all knowledge in every language. In college, he had, in addition to Latin, learned Greek, French, Italian, and Hebrew. His idea of a poet was of someone who was deeply knowledgeable. He realized there were vast areas of knowledge he hadn't yet explored. While other young men easily turned away from the ambition to know everything and eagerly pursued useful and profitable careers, Milton rejected the idea of using his knowledge for material gain. This reflects his poetic view of his duty as a scholar, which would influence the spirit of his life's work. To fully grasp his feelings at that time regarding both his father and his ideals, we need to read the Latin poem Ad Patrem, which Professor Masson provides an English translation for.

At Horton, therefore, Milton remains, still subsisting on his father’s bounty. Having come back thither at the age of twenty-three, he continues to live at home for nearly six years, not yet practising any art by which to earn a livelihood. Occasionally he goes, on scholarly errands, to London, which is not far distant. He devotes himself simply to study, and having the poetic temperament, he cannot help devoting himself also to observation of nature. His learning becomes immense; his appetite is insatiable.

At Horton, Milton stays, still relying on his father's support. After returning there at the age of twenty-three, he continues to live at home for almost six years, not yet practicing any skill to make a living. Sometimes, he travels to London on academic errands, which is not far away. He dedicates himself solely to studying, and with his poetic nature, he can't help but observe the world around him. His knowledge grows tremendously; his thirst for learning is endless.

To the Horton time belong the “minor poems” not already produced during the student years at Cambridge. Of the circumstances in which the several poems were written, an account is given in the Notes in this volume. This early, or minor, verse of Milton is elicited by passing events, and is considered to concern only himself and a few friends. For immediate fame he takes no thought. He feels his immaturity. His ambition contemplates a distant future, and he meditates plans, as yet undefined and vague, of some great work that the world shall not willingly let die.

To the Horton period belong the "minor poems" that weren't created during Milton's student years at Cambridge. You'll find details about the circumstances in which the various poems were written in the Notes in this volume. This early, or minor, verse of Milton is inspired by current events and is thought to be relevant only to him and a few friends. He doesn't think about immediate fame. He recognizes his own immaturity. His ambition looks towards a distant future, and he is contemplating plans, still undefined and vague, for some great work that the world will not easily forget.

Very important in Milton’s intellectual development is his journey to France and Italy, on which he set out in April, 1638. As an indication of his social position in England, we must note that he carries with him letters of introduction which secure to him notice and recognition from men of rank or of notable literary and scientific standing. He goes abroad as a cultivated private gentleman, known to have achieved distinction as a student. Undoubtedly his chief qualification for holding his own in learned Italian society was his command of languages, especially of Latin, unless indeed we are to put before his linguistic accomplishments [xv] the refined and gentlemanly personal bearing which was his birthright, and which, in his years of intense application to books, he had not forfeited. In Italy he associated with men whose intellectual interests were the universal ones of science, in which he was as much at home as they. Thus he possessed a perfect outfit of the endowments and the acquisitions which a traveller needs to make his travel fruitful to himself and honorable to his country.

Very important in Milton’s intellectual development is his trip to France and Italy, which he began in April 1638. To show his social status in England, we should note that he brought letters of introduction that earned him attention and recognition from people of rank and notable literary and scientific standing. He traveled as a cultured private gentleman, known for his achievements as a student. Undoubtedly, his main strength in engaging with learned Italian society was his command of languages, especially Latin, unless we consider his refined and gentlemanly demeanor, which was his birthright and which he had maintained during his years of intense study. In Italy, he mingled with individuals whose intellectual interests were broadly scientific, where he felt as comfortable as they did. Thus, he had the perfect combination of talents and knowledge a traveler needs to make their journey meaningful for themselves and respectable for their country.

In Italy he made friends among men of note, and established relations which were to have their importance in his future life. But most memorable among his Italian experiences was his visit to the aged Galileo, who was then a “prisoner to the Inquisition” for teaching that the earth moves round the sun. The modern astronomy was then winning its way among men of thought very much as the doctrine of evolution has been winning its way during the last half century. Few minds surrendered instantly and without misgiving to the new conception. Milton has still many years to meditate the question before he comes to the composition of Paradise Lost, when his scheme of the physical universe will have to recognize the requirements of poetic art and the prevalence of ancient beliefs regarding the origin and order of the cosmos. From the fact that the poet puts the earth in the centre of the universe, that he adopts, in fact, the Ptolemaic system, though he knew the Copernican, we are not entitled to infer that he held a fixed conviction in the matter, and that, on direct examination as to his views, he would have absolutely professed one theory and rejected the other. The poet has all rights of choice, and may be said to know best where to stand to take his view of the world.

In Italy, he made friends with notable people and formed relationships that would be significant in his future. However, the most memorable of his Italian experiences was his visit to the elderly Galileo, who was then a “prisoner of the Inquisition” for teaching that the earth revolves around the sun. Modern astronomy was gaining acceptance among thinkers in a manner similar to how the theory of evolution has been progressing over the last fifty years. Few individuals accepted the new idea immediately and without doubt. Milton would spend many years contemplating the issue before he composed Paradise Lost, where his understanding of the physical universe would have to align with the artistic requirements of poetry and the widespread ancient beliefs about the cosmos's origin and order. The fact that the poet places the earth at the center of the universe and adopts the Ptolemaic system, despite being aware of the Copernican model, does not mean he firmly believed in one theory over the other. The poet has the right to choose his perspective and can be said to know best where to position himself to view the world.

Milton remained abroad some sixteen months, and was home again in August, 1639. The Horton household was [xvi] now broken up, the father going to live, first with his younger son, Christopher, at Reading, and afterward to spend his last years in the family of John in London, where he died in 1647.

Milton stayed overseas for about sixteen months and returned home in August 1639. The Horton household was now divided, with his father living first with his younger son, Christopher, in Reading, and later spending his final years with John’s family in London, where he passed away in 1647.

With his removal to London in 1639 a distinct period in Milton’s life comes to an end. He has hitherto been uninterruptedly acquiring knowledge both by studious devotion to books and by observation of human life in foreign lands. He has read all the great literatures in ancient and modern languages. He has felt the poetic impulse and has proved to himself that he has at command creative power. His purpose still is to produce a poem. But this poem of his aspirations is distinctly a great and majestic affair, and not at all a continuation of such work as that which he has hitherto given to his friends, and which he esteems as prolusions of his youth.

With his move to London in 1639, a significant chapter in Milton's life comes to an end. Until now, he has been steadily gaining knowledge through dedicated reading and by observing human life in different countries. He has explored the great literatures of both ancient and modern languages. He has experienced the urge to write poetry and has proven to himself that he possesses creative talent. His aim remains to create a poem, but the poem he envisions is something grand and impressive, not just a continuation of the earlier works he shared with his friends, which he sees as mere warm-ups from his youth.

The poetic waiting-time which Milton, now in full vigor of manhood, prescribes for himself, he is constrained, both by inner conviction and by external necessity, to fill with hard and earnest work. Henceforth, for a score of years, he ceases almost entirely to write verse, and he earns his living. He becomes a householder in London, where, as the father had gained his livelihood by drawing up contracts and mortgages for his fellow-citizens, the son proceeds to gain his by teaching their boys Latin.

The poetic waiting period that Milton, now fully mature, sets for himself, he is compelled, both by personal belief and outside circumstances, to occupy with hard and serious work. From that point on, for twenty years, he almost completely stops writing poetry and starts making a living. He becomes a homeowner in London, where, just as his father earned a living by drafting contracts and mortgages for his neighbors, he starts earning his by teaching their boys Latin.

To the work of teaching, Milton addressed himself with intelligence and predilection. About education he had ideas of his own which he applied in practice and advocated in writing. His Tract on Education is a document of importance in the history of pedagogy, and is, besides, one of those memorable pieces of English prose which every student of literature, whatever his professional aims, must include in his reading. He kept his school in his own [xvii] house, where he boarded some of his pupils. We could not imagine John Milton going into a great public school, like St. Paul’s, to serve as under-teacher to one of the tyrannical head-masters of the day. The only school befitting his absolutely convinced and masterful spirit is one in which he reigns supreme. The great subject is Latin, and so thoroughly is Latin taught that finally other subjects are explained through the medium of this language. He had, himself, brought from his school and college days very decided discontent with the methods then in vogue. This discontent he expresses in language of peculiar energy and even harshness. He is a true reformer.

Milton approached teaching with both intelligence and passion. He had his own ideas about education, which he put into practice and promoted in his writings. His "Tract on Education" is an important document in the history of teaching and is also one of those memorable pieces of English prose that every literature student, regardless of their professional goals, should read. He ran his school from his own home, where he also housed some of his students. It's hard to picture John Milton working in a large public school, like St. Paul's, as an underteacher to one of the domineering headmasters of the time. The only school suited to his strongly held beliefs and commanding spirit is one where he is in charge. The main focus is Latin, which is taught so thoroughly that other subjects are eventually taught through this language. He carried with him from his school and college days a strong dissatisfaction with the teaching methods of his time. This discontent is expressed in particularly forceful and even harsh language. He is a true reformer.

In 1643 Milton, then thirty-five years old, married Mary Powell, a girl of just half his own age, daughter of a royalist residing near Oxford. We must imagine this young wife as coming to preside, somewhat in the capacity of matron, over a family of boys held severely to their tasks of study by a master in whom the sense of humor was almost entirely lacking, and whose discipline was of the sternest. That she could not endure the situation was but natural. Very soon after the wedding she went home with the understanding that she was to make a short visit to her parents and sisters; but she did not return for two years. Her husband summoned her, but she would not come back. In 1645 she at last repented of her waywardness, sought reconciliation, and was forgiven. These two years had wrought a change in Mary Powell Milton. She was now ready to live with her husband, and did so till her death in 1652. She left him three daughters, the youngest of whom, Deborah, lived till 1723, and was known to Addison and his contemporaries, from whom she received distinguished honors.

In 1643, Milton, who was thirty-five at the time, married Mary Powell, a girl half his age and the daughter of a royalist living near Oxford. We should picture this young wife stepping into the role of a matron, overseeing a household of boys who were strictly kept on task by a teacher who had little sense of humor and enforced the strictest discipline. It's natural that she found the situation unbearable. Shortly after their wedding, she went home with the idea that it would be a brief visit to see her parents and sisters, but she didn't come back for two years. Her husband urged her to return, but she refused. In 1645, she finally regretted her rebelliousness, sought forgiveness, and was reconciled. These two years transformed Mary Powell Milton. She was now prepared to live with her husband, and they remained together until her death in 1652. She left him three daughters, the youngest of whom, Deborah, lived until 1723 and was known to Addison and his contemporaries, from whom she received notable honors.

In reading Milton we find that all the vicissitudes of his [xviii] life reflect themselves in his works, so that the political and social events in which he is personally concerned usurp his attention, color his views, and often become his themes. Thus he is not, like Shakespeare, a critic of the whole of humanity, but is usually an advocate or an accuser of the leaders in church and state and of the principles which they profess. He is by nature a partisan. All the energy of his mind goes into denunciation or vindication. His experience of wedded life made him an advocate of easier divorce, and determined in him a mood which expressed itself in writings that naturally brought upon him obloquy even from those who held him most in honor.

In reading Milton, we see that all the ups and downs of his life are reflected in his works. The political and social events he was personally involved in dominate his focus, shape his views, and often become the subjects of his writings. Unlike Shakespeare, who critiques all of humanity, Milton typically takes a side as either a supporter or a critic of leaders in the church and state and the principles they uphold. He is inherently partisan. All the energy of his mind goes into either denouncing or defending. His experiences in marriage led him to advocate for easier divorce and shaped a mindset that manifested in writings which, while bringing him great respect from some, also resulted in criticism from others.

It would be most interesting to know something of the daily routine of Milton’s school, to ascertain what his pupils knew and could do when he had done with them. But we must remember that during all the years of his teaching the great Revolution was in progress, that all men of thought were profoundly stirred on public questions, and that Milton himself was a politician and an eager partisan of the cause of Parliament. He did not consider himself a teacher finally and for good. His school did not develop into anything great or conspicuous, and never became an object of curiosity. While yet engaged in such teaching as he found to do, he had written the pamphlets on education and on divorce, and also the famous one entitled Areopagitica, a Speech for the Liberty of Unlicensed Printing to the Parliament of England. This is the best worth reading of all his prose writings. The subject of it is perfectly intelligible still, and its English shows to perfection the qualities of the great Miltonic style.

It would be really interesting to know about the daily routine at Milton's school, to find out what his students knew and could do by the time he was done with them. However, we should keep in mind that during all his years of teaching, the great Revolution was happening, which deeply engaged all thoughtful people in public issues, and that Milton himself was a politician and a passionate supporter of Parliament's cause. He didn’t see himself as a teacher for the long haul. His school didn't grow into anything significant or notable, and it never became a point of interest. While he was still engaged in the teaching he found to do, he wrote pamphlets on education and divorce, as well as the famous one titled Areopagitica, a speech advocating for the freedom of unlicensed printing to the Parliament of England. This is definitely the most worthwhile of all his prose writings. The subject matter is still completely understandable, and its English perfectly exemplifies the qualities of the great Miltonic style.

After the execution of Charles I., Jan. 30, 1649, it became more than ever necessary for all thoughtful men to express their convictions. For a people to put to death its king by [xix] judicial process was an unheard of event. Those who considered that the Parliament had acted within the law and could not have done otherwise with due regard to the welfare of the nation had to convince doubting and timid citizens at home, and also, so far as was possible, to placate critics in other nations who still believed that the king could do no wrong; for all Europe interested itself in this tremendous act of the English Parliament.

After the execution of Charles I on January 30, 1649, it became more crucial than ever for thoughtful individuals to voice their beliefs. For a nation to execute its king through a legal process was unprecedented. Those who believed that Parliament had acted lawfully and could not have done anything else for the good of the nation needed to persuade hesitant and fearful citizens at home, as well as, as much as possible, calm critics in other countries who still thought the king was infallible; the whole of Europe was focused on this monumental act by the English Parliament.

Within a fortnight after the death of the king, Milton published his pamphlet on The Tenure of Kings and Magistrates. This work so impressed the parliamentary leaders as a thorough and unanswerable argument in defence of their cause that they sought out its author, and in March appointed him to the important post of Secretary for Foreign Tongues. Milton’s perfect command of Latin now stood him in good stead. Here was an uncompromising puritan, fully the equal of the foreign ecclesiastics in theology, and capable of holding his own in Latin composition with the most famous humanists of the time. Latin was then the language of international intercourse. Milton’s duty was to translate into and from Latin the despatches that passed between his own and foreign governments. He also composed original treatises, some in English and some in Latin, the most important of which continued his justification of the national act of regicide. The importance of these writings was very great. Milton’s services to the puritan cause can to-day hardly be appreciated. It was the constant aim of royalists at home and abroad to represent England as having fallen under the control of ignorant fanatics, of ambitious, barbarous, blood-thirsty men. By his very personality, his knowledge of affairs, his familiarity with ancient and mediæval history, and, above all, by his fluency in Latin invective, Milton thwarted attempts to disparage his countrymen as [xx] lawless barbarians. He helped to maintain the good name of his country as a land of intellectual light and of respect for ancient usage. Foreigners who attempted personal vilification found him ready to meet them with their own weapons. The poet of Comus now shows himself a controversialist of unbounded energy.

Within two weeks after the king's death, Milton published his pamphlet on The Tenure of Kings and Magistrates. This work impressed the parliamentary leaders as a solid and unarguable defense of their cause, prompting them to seek out its author. In March, they appointed him to the significant role of Secretary for Foreign Tongues. Milton’s excellent command of Latin served him well. Here was a staunch Puritan, equal to the foreign religious leaders in theology, capable of holding his own in Latin writing with the most renowned humanists of the time. Latin was the language of international communication back then. Milton's job was to translate the communications between his government and foreign ones both into and from Latin. He also wrote original papers, some in English and some in Latin, with the most important ones continuing his justification of the national act of regicide. The significance of these writings was immense. Today, we can hardly appreciate Milton’s contributions to the Puritan cause. Royalists both at home and abroad constantly aimed to portray England as having fallen under the control of ignorant fanatics, ambitious, barbaric, bloodthirsty individuals. Through his very presence, knowledge of affairs, familiarity with ancient and medieval history, and especially his skill in Latin invective, Milton countered attempts to depict his fellow countrymen as lawless barbarians. He helped uphold his country’s reputation as a land of intellectual enlightenment and respect for tradition. Foreigners who attempted personal attacks found him ready to respond with their own tactics. The poet of Comus now revealed himself as a highly energetic debater.

In 1652, shortly before the death of his wife, Milton became totally blind. Henceforward the duties of his secretaryship had to be performed with the aid of an amanuensis. He continued, however, to fill the office till just before the end of the Protectorate in 1659. In November, 1656, he married Katharine Woodcocke, who lived but till March, 1658. She left an infant which died a month after the mother.

In 1652, just before his wife died, Milton became completely blind. From then on, he relied on a secretary to help him with his work. Despite this, he continued in his role until just before the Protectorate ended in 1659. In November 1656, he married Katharine Woodcocke, who lived only until March 1658. She left behind a baby who died a month after her.

Milton’s duties as Secretary for Foreign Tongues must have brought him, one would think, into some sort of personal relation with Cromwell and the other great parliamentary leaders. The poet leaves us in no doubt as to the high esteem in which he held these men. But no gossip of the time admits us to a glimpse of their intercourse with each other. It falls to Milton to eulogize Cromwell; it never came in Cromwell’s way to put on record his estimate of Milton.

Milton’s role as Secretary for Foreign Tongues must have connected him personally with Cromwell and other key parliamentary leaders. The poet makes it clear how highly he regarded these men. However, no contemporary gossip gives us any insight into their interactions. It’s Milton who celebrates Cromwell; Cromwell never recorded his thoughts on Milton.

With the restoration of royalty in the person of Charles II., in 1660, Milton’s public activity of course ceased, and the second period of his life comes to an end. We saw his first period devoted to preparation and to early essays in poetry, with the distinct conception that poetry was yet to be the great work of his life. In his second period he expresses himself in verse but rarely and briefly, but produces controversial prose, now in English, now in Latin. In this second period he works, as teacher or as public secretary, for payment, supporting himself and family. When the third [xxi] period begins, he loses all employment, goes into closest retirement, a widower with three daughters growing up from childhood, and devotes himself to the poetry that he has always contemplated as the object of his ambition. He has now been blind eight years.

With the restoration of monarchy in Charles II in 1660, Milton's public activities obviously came to an end, marking the close of the second phase of his life. The first phase was dedicated to preparation and early poetry, with the clear idea that poetry would be his life's greatest work. In his second phase, he rarely and briefly writes in verse but creates a significant amount of controversial prose, sometimes in English and other times in Latin. During this time, he worked as a teacher or public secretary for pay, supporting himself and his family. When the third phase begins, he loses all his jobs, retreats into solitude as a widower with three daughters growing up, and focuses on the poetry he has always dreamed of pursuing. He has now been blind for eight years.

In view of the conspicuous part that Milton had taken in defending the right of Parliament to bring a king to the scaffold, it is surprising that of the Restoration he was not included in the number of those marked out for the punishment of death. He was for some time undoubtedly in danger. Fortunately he was overlooked, or, perhaps, was purposely neglected as being henceforce harmless.

In light of the prominent role Milton played in defending Parliament's right to execute a king, it's surprising that he wasn't targeted for a death sentence during the Restoration. For a while, he was definitely at risk. Luckily, he was overlooked, or maybe he was intentionally ignored as he was seen as no longer a threat.

In February, 1663, he married his third wife Elizabeth Minshull, who faithfully cared for him till his death in 1674.

In February 1663, he married his third wife, Elizabeth Minshull, who took care of him faithfully until his death in 1674.

During this last period of his life Milton composed and published his major poems,—Paradise Lost, 1667, Paradise Regained, and Samson Agonistes, 1671. For Paradise Lost he received from his publisher five pounds in cash, with promise of five pounds when thirteen hundred copies should have been sold, and of two more payments, each of the same sum, when two more editions of the same size should have been disposed of.

During the final years of his life, Milton wrote and published his major poems—Paradise Lost in 1667, Paradise Regained, and Samson Agonistes in 1671. For Paradise Lost, he received five pounds in cash from his publisher, with a promise of another five pounds once thirteen hundred copies were sold, along with two additional payments of the same amount when two more editions of that size were sold.

The last years of his life Milton appears to have spent in comparative comfort. His three daughters had gone out to learn trades. It seems he had given them no education. It may be they showed no desire or aptitude for instruction. Far more probably, however, he took no interest in their education. His ideal of womanhood, as may be gathered from numerous passages in his poems, is as far as possible removed from the modern conception of sexual equality as to opportunity for education and for training to self-determination. He shared in this respect the views that [xxii] prevailed during his day in all classes of society, and he maintained these views as a parent no less than as the poet of Paradise.

The last years of his life, Milton seemed to have lived in relative comfort. His three daughters had gone out to learn trades. It seems he hadn't given them any education. They might not have shown any interest or talent for learning. However, it's more likely that he just wasn't interested in their education. His ideal image of womanhood, as can be seen in many passages of his poems, is quite distant from today's idea of gender equality in terms of access to education and opportunities for self-determination. He shared the views that were common in his time across all social classes, and he upheld these beliefs as a parent just as much as he did as the poet of Paradise.

Besides the poems named above as produced during this last period of his life, Milton published also in these years several prose works, which have now little value except as showing the bent and occupation of his mind. Among these may be named a small Latin Grammar, written in English, which he had composed long before, and a History of Britain to the Norman Conquest.

Besides the poems mentioned earlier that he created during this last period of his life, Milton also published several prose works in these years that now have little value except for illustrating the focus and interest of his mind. Among these are a small Latin Grammar, written in English, which he had prepared long before, and a History of Britain up to the Norman Conquest.

Though the immediate sale of Paradise Lost was not large, according to our ideas, it was yet sufficient to indicate a very respectable interest in the reading public of the day. We must remember that it appeared in the corrupt time of the Restoration, when the prevailing literary fashion was wholly adverse to seriousness and ideality. The age was spiritually degenerate. Milton himself considered that he lived “an age too late.” The great poem had no royal or noble sponsors to give it vogue; yet it made its way. By no means had all minds become frivolous. The minor poems had been published by themselves in 1645. These had always had their readers. The prose pamphlets of the secretary for foreign tongues were, at least by a small class of observant persons, known to be the work of the author of Comus and Lycidas. There were not wanting men to take a sympathetic interest in the fate of the poet in his retirement, and to note the appearance of Paradise Lost as a literary event.

Even though the initial sales of Paradise Lost weren’t that big by today’s standards, they were enough to show that there was a respectable interest among readers at the time. We have to remember that it was released during the corrupt Restoration period, when the dominant literary trend was completely against seriousness and idealism. The era was spiritually bankrupt. Milton himself felt he lived “an age too late.” The great poem lacked royal or noble endorsements to boost its popularity, yet it found its audience. Not all minds had become superficial. The minor poems had been published separately in 1645, and they always had their readers. The prose pamphlets by the secretary for foreign languages were, at least among a small group of observant individuals, recognized as the work of the author of Comus and Lycidas. There were still people who took a genuine interest in the poet's situation in his retirement and noted the release of Paradise Lost as a significant literary event.

Thus it was that Milton lived to have some slight foretaste of the honor which two centuries have bestowed on his memory. Visitors came to see him in his modest dwelling in an unfashionable quarter of London. Foreigners occasionally came to satisfy their curiosity. Dryden, the [xxiii] chief poet who wrote in the spirit of the Restoration, called to talk with the author of Paradise Lost, and to suggest improvements in the form of the poem, which he thought should be in rhyme. The recognition which the poet thus got in his lifetime is small only in comparison with the immense fame he has won since his death.

Thus it was that Milton lived to get a glimpse of the honor that two centuries have given to his memory. Visitors came to see him in his modest home in a less fashionable part of London. Occasionally, foreigners visited to satisfy their curiosity. Dryden, the main poet who wrote in the spirit of the Restoration, stopped by to chat with the author of Paradise Lost and to suggest improvements for the poem's structure, which he thought should be in rhyme. The recognition the poet received in his lifetime is minimal only when compared to the massive fame he has gained since his death.

Milton has now become an object of the profoundest curiosity. His life has been investigated by Professor Masson, with a minute scrutiny into detail such as has been devoted to no other writer but Shakespeare. His works are perpetually reprinted in all imaginable forms, whether of cheapness or of sumptuous elegance. They are read as text-books in schools by hosts of youth. Our beliefs regarding the great themes of the sacred scriptures are so colored by the Miltonic epics that we hardly know to-day just what part of our conceptions we owe to the Bible and what to the poet. Next to the Shakespearean dramas, the poems of Milton are the largest single influence that knits the English-speaking race into one vast brotherhood.

Milton has now become a source of deep curiosity. His life has been explored by Professor Masson, with a detailed examination unlike any other writer except Shakespeare. His works are constantly reprinted in every possible format, from inexpensive editions to luxurious versions. They are used as textbooks in schools by many young people. Our beliefs about the major themes of the sacred scriptures are so influenced by Milton's epics that we often struggle to understand which parts of our ideas come from the Bible and which come from the poet. After Shakespeare's plays, Milton's poems are the biggest influence that unites the English-speaking world into one large community.

All students of Milton have to acknowledge their indebtedness to Professor David Masson of Edinburgh, who has devoted years of labor to research in every department of Miltonic lore. Masson’s great Life of Milton in Connexion with the History of his Time is far too bulky for use except for reference on special points. The index volume makes the enormous Work accessible as occasion requires.

All students of Milton need to recognize their debt to Professor David Masson of Edinburgh, who has dedicated years of effort to researching every aspect of Milton's works. Masson’s extensive Life of Milton in Connection with the History of his Time is too large for regular use, except for referencing specific points. The index volume makes the massive work available whenever needed.

To his edition of the poetical works, Masson prefixes a life, which will suffice for all the needs likely to arise in school. Yet again, Masson is the writer of the article on Milton in the Encyclopædia Britannica, a most complete presentment of everything a student ordinarily needs to know.

To his edition of the poetry, Masson adds a biography that covers all the essential needs for students. Additionally, Masson has written the article on Milton in the Encyclopædia Britannica, which provides a thorough overview of everything a student typically needs to understand.

In the series of Classical Writers is a little book, or primer, on Milton, written by Stopford A. Brooke.

In the series of Classical Writers, there's a short book, or primer, about Milton, written by Stopford A. Brooke.

[xxiv]

In the English Men of Letters series, the Milton is the work of Mark Pattison.

In the English Men of Letters series, the Milton is written by Mark Pattison.

The latest good account of Milton is the book entitled simply John Milton, by Walter Raleigh, professor at University College, Liverpool. This is a remarkably vigorous and illuminating piece of criticism.

The most recent insightful book about Milton is titled simply John Milton, by Walter Raleigh, a professor at University College, Liverpool. This is a remarkably engaging and enlightening piece of criticism.

Perhaps the most interesting writing on a Milton subject is the book by Mrs. Anne Manning, The Maiden and Married Life of Mary Powell (afterward Mrs. Milton), and the sequel thereto, Deborah’s Diary. This the student must read with the full understanding that it is a work of fiction.

Perhaps the most interesting writing on a Milton topic is the book by Mrs. Anne Manning, The Maiden and Married Life of Mary Powell (later Mrs. Milton), and its sequel, Deborah’s Diary. This is something the student must read with the clear understanding that it is a work of fiction.

It is right to warn young readers against the natural tendency to give their time to critical and expository books and articles before they make acquaintance with originals. Almost every essayist of note has written on Milton. There is danger lest we accept opinions at second hand. The only opinions on Milton to which we have any right are those we form from our own reading of his works.

It’s important to caution young readers about the tendency to spend their time on critical and explanatory books and articles before they’ve read the original works. Nearly every famous essayist has written about Milton. There’s a risk that we might accept opinions without experiencing the originals ourselves. The only opinions about Milton that we really have the right to hold are those we develop from our own reading of his works.

[1]

MILTON’S MINOR POEMS.

ON THE MORNING OF CHRIST’S NATIVITY.

[Composed 1629.]

[Written 1629.]

I.

This is the month, and this the happy morn,

This is the month, and this is the happy morning,

Wherein the Son of Heaven’s eternal King,

Wherein the Son of Heaven's everlasting King,

Of wedded maid and virgin mother born,

Of a married woman and a virgin mother born,

Our great redemption from above did bring;

For so the holy sages once did sing, 5

__A_TAG_PLACEHOLDER_0__, 5

That he our deadly forfeit should release,

That he __A_TAG_PLACEHOLDER_0__,

And with his Father work us a perpetual peace.

And may he work with his Father to create lasting peace.

II.

That glorious form, that light unsufferable,

That glorious shape, that unbearable light,

And that far-beaming blaze of majesty,

And that distant, shining display of greatness,

Wherewith he wont at Heaven’s high council-table 10

Where __A_TAG_PLACEHOLDER_0__ at Heaven’s high council table

To sit the midst of Trinal Unity,

To sit in the center of Trinal Unity,

He laid aside, and, here with us to be,

He set it aside, and now he’s here with us to be,

Forsook the courts of everlasting day,

Forsook the courts of eternal daylight,

And chose with us a darksome house of mortal clay.

And chose with us a gloomy house of mortal flesh.

III.

Say, Heavenly Muse, shall not thy sacred vein 15

Say, Heavenly Muse, will not __A_TAG_PLACEHOLDER_0__

Afford a present to the Infant God?

Afford a gift to the Infant God?

Hast thou no verse, no hymn, or solemn strain,

Haven't you got any poetry, songs, or serious music,

[2]

To welcome him to this his new abode,

To welcome him to his new home,

Now while the heaven, by the Sun’s team untrod,

Now while the heaven, by __A_TAG_PLACEHOLDER_0__ unexplored,

Hath took no print of the approaching light, 20

Hath left no mark of the coming light,20

And all the spangled host keep watch in squadrons bright?

And does the sparkling army keep watch in bright groups?

IV.

See how from far upon the eastern road

See how from far away on the eastern road

The star-led wizards haste with odors sweet!

The wizards guided by the stars hurry with sweet scents!

Oh! run; prevent them with thy humble ode,

Oh! run; __A_TAG_PLACEHOLDER_0__,

And lay it lowly at his blessed feet; 25

And place it humbly at his blessed feet;25

Have thou the honor first thy Lord to greet,

Have you the honor to greet your Lord first,

And join thy voice unto the Angel Quire,

And join your voice with the Angel Choir,

From out his secret altar touched with hallowed fire.

From his secret altar __A_TAG_PLACEHOLDER_0__.

The Anthem.

I.

It was the winter wild,

It was the wild winter,

While the heaven-born child 30

While the heavenly child

All meanly wrapt in the rude manger lies;

All wrapped up poorly in the rough manger lies;

Nature, in awe to him,

Nature, in awe of him,

Had doffed her gaudy trim,

Had removed her flashy outfit,

With her great Master so to sympathize:

With her great Master to feel the same way:

It was no season then for her 35

It was not a good time for her.

To wanton with the Sun, her lusty paramour.

To be reckless with the Sun, her passionate lover.

II.

Only with speeches fair

Only with fair speeches

She woos the gentle air

She charms the gentle breeze

To hide her guilty front with innocent snow,

To cover her guilty facade with pure snow,

And on her naked shame, 40

And on her exposed shame, 40

Pollute with sinful blame,

__A_TAG_PLACEHOLDER_0__ with guilty shame,

[3]

The saintly veil of maiden white to throw;

The holy veil of pure white to wear;

Confounded, that her Maker’s eyes

Confused, that her Creator’s gaze

Should look so near upon her foul deformities.

Should look so closely at her horrible flaws.

III.

But he, her fears to cease, 45

But he, to calm her fears, 45

Sent down the meek-eyed Peace:

Sent down the gentle Peace:

She, crowned with olive green, came softly sliding

She, dressed in olive green, glided in quietly.

Down through the turning sphere,

Down through __A_TAG_PLACEHOLDER_0__,

His ready harbinger,

His prompt messenger,

With turtle wing the amorous clouds dividing; 50

__A_TAG_PLACEHOLDER_0__ the loving clouds separating;

And, waving wide her myrtle wand,

And, waving her myrtle wand widely,

She strikes a universal peace through sea and land.

She brings about peace everywhere, both at sea and on land.

IV.

No war, or battle’s sound,

No war or battle noise,

Was heard the world around;

Was heard worldwide;

The idle spear and shield were high uphung; 55

The unused spear and shield were hung up high; 55

The hooked chariot stood,

__A_TAG_PLACEHOLDER_0__ stood,

Unstained with hostile blood;

Unmarked by hostile blood;

The trumpet spake not to the armed throng;

The trumpet didn’t sound for the armed crowd;

And kings sat still with awful eye,

And kings sat quietly with a terrifying gaze,

As if they surely knew their sovran Lord was by. 60

As if they definitely knew their sovran Lord was nearby.60

V.

But peaceful was the night

But the night was peaceful.

Wherein the Prince of Light

Where __A_TAG_PLACEHOLDER_0__

His reign of peace upon the earth began.

His time of peace on earth began.

The winds, with wonder whist,

__A_TAG_PLACEHOLDER_0__,

Smoothly the waters kissed, 65

The waters kissed smoothly,

Whispering new joys to the mild Ocean,

[4]

Who now hath quite forgot to rave,

Who has completely forgotten how to rave,

While birds of calm sit brooding on the charmed wave.

While birds of calm sits brooding on the enchanted wave.

VI.

The stars, with deep amaze,

The stars, in deep awe,

Stand fixed in steadfast gaze, 70

Stand steady in a firm gaze,

Bending one way their precious influence,

Bending in one direction __A_TAG_PLACEHOLDER_0__,

And will not take their flight,

And will not be removed,

For all the morning light,

__A_TAG_PLACEHOLDER_0__,

Or Lucifer that often warned them thence;

Or Lucifer that frequently cautioned them from there;

But in their glimmering orbs did glow, 75

But in their shining eyes did glow,75

Until their Lord himself bespake, and bid them go.

Until their Lord himself spoke and told them to go.

VII.

And, though the shady gloom

And, despite the shady gloom

Had given day her room,

Gave her room for the day,

The Sun himself withheld his wonted speed,

The Sun itself slowed down its usual pace,

And hid his head for shame, 80

And hid his head out of shame,80

As his inferior flame

__A_TAG_PLACEHOLDER_0__ his lesser flame

The new-enlightened world no more should need:

The newly enlightened world should no longer need:

He saw a greater Sun appear

He saw a brighter sun rise.

Than his bright throne or burning axletree could bear.

VIII.

The shepherds on the lawn, 85

The shepherds on the grass,

Or ere the point of dawn,

__A_TAG_PLACEHOLDER_0__,

Sat simply chatting in a rustic row;

Sat simply chatting in a cozy row;

Full little thought they than

That the mighty Pan

That __A_TAG_PLACEHOLDER_0__

Was kindly come to live with them below: 90

Was kindly invited to live with them below:90

Perhaps their loves, or else their sheep,

Perhaps their loves, or maybe their sheep,

Was all that did their silly thoughts so busy keep.

Was everything that occupied their silly thoughts so busy?

[5]

IX.

When such music sweet

When music is so sweet

Their hearts and ears did greet

They embraced with open hearts.

As never was by mortal finger strook, 95

As never before __A_TAG_PLACEHOLDER_0__, 95

Divinely-warbled voice

Heavenly voice

Answering the stringed noise,

Responding to the stringed noise,

As all their souls in blissful rapture took:

__A_TAG_PLACEHOLDER_0__:

The air, such pleasure loth to lose, 99

The air, so enjoyable and hard to let go, 99

With thousand echoes still prolongs each heavenly close.

With thousand echoes still stretches out every heavenly ending.

X.

Nature, that heard such sound

Nature, that heard that sound

Beneath the hollow round

Under the hollow round

Of Cynthia’s seat the Airy region thrilling,

Of __A_TAG_PLACEHOLDER_0__ the Airy area exciting,

Now was almost won

Now was almost achieved

To think her part was done, 105

To think her role was finished,105

And that her reign had here its last fulfilling:

And that her reign had its final fulfillment here:

She knew such harmony alone

She knew that harmony alone

Could hold all Heaven and Earth in happier union.

XI.

At last surrounds their sight

Finally surrounds their view

A globe of circular light, 110

A sphere of light

That with long beams the shamefaced Night arrayed;

That with long beams the embarrassed Night dressed;

The helmed cherubim

And sworded seraphim

And __A_TAG_PLACEHOLDER_0__

Are seen in glittering ranks with wings displayed,

Are seen in shining lines with wings spread,

Harping in loud and solemn quire, 115

Harping in a loud and serious choir,115

With unexpressive notes, to Heaven’s new-born Heir.

__A_TAG_PLACEHOLDER_0__, to Heaven’s new baby.

[6]

XII.

Such music (as ’tis said)

Such music (as it's said)

Before was never made,

Before was never created,

But when of old the Sons of Morning sung,

__A_TAG_PLACEHOLDER_0__,

While the Creator great 120

While the Creator is great

His constellations set,

His stars are out,

And the well-balanced World on hinges hung,

And the well-balanced world hung on hinges,

And cast the dark foundations deep,

And lay the dark foundations deep,

And bid the weltering waves their oozy channel keep.

And tell the weltering waves to maintain their muddy channel.

XIII.

Ring out, ye crystal spheres! 125

__A_TAG_PLACEHOLDER_0__! 125

Once bless our human ears,

Once blessed our human ears,

If ye have power to touch our senses so;

If you have the power to touch our senses like that;

And let your silver chime

And let your silver ring

Move in melodious time;

Move in harmony;

And let the bass of heaven’s deep organ blow; 130

And let the bass of heaven's deep organ play; 130

And with your ninefold harmony

Make up full consort to the angelic symphony.

Make a complete ensemble for the heavenly music.

XIV.

For, if such holy song

For, if such sacred song

Enwrap our fancy long,

Wrap our fancy long,

Time will run back and fetch the Age of Gold; 135

Time will go back and bring back the Age of Gold;135

And speckled Vanity

And __A_TAG_PLACEHOLDER_0__

Will sicken soon and die,

Will get sick soon and die,

And leprous Sin will melt from earthly mould;

And sinful leprosy will dissolve from earthly form;

And Hell itself will pass away,

And Hell will disappear,

And leave her dolorous mansions to the peering day. 140

And let her sorrowful home be exposed to the watching daylight.140

XV.

Yea, Truth and Justice then

Yeah, Truth and Justice then

Will down return to men,

Orbed in a rainbow; and, like glories wearing,

Orbed in a rainbow; and, __A_TAG_PLACEHOLDER_0__,

Mercy will sit between,

Mercy will sit in between,

Throned in celestial sheen, 145

Throned in heavenly light, 145

With radiant feet the tissued clouds down steering;

With shining feet, the woven clouds are descending;

And Heaven, as at some festival,

And Heaven, like at some party,

Will open wide the gates of her high palace-hall.

Will open wide the gates of her grand palace hall.

[7]

XVI.

But wisest Fate says No,

But wise Fate says No,

This must not yet be so; 150

This can't be true yet; 150

The Babe yet lies in smiling infancy

The baby still lies in a peaceful sleep.

That on the bitter cross

That on the harsh cross

Must redeem our loss,

Must recover our loss,

So both himself and us to glorify:

So both he and we to glorify:

Yet first, to those ychained in sleep, 155

Yet first, to __A_TAG_PLACEHOLDER_0__, 155

The wakeful trump of doom must thunder through the deep.

The alert sound of doom must echo through the depths.

XVII.

With such a horrid clang

As on Mount Sinai rang,

As on Mount Sinai echoed,

While the red fire and smouldering clouds outbrake:

While the red fire and smoldering clouds break out:

The aged Earth, aghast 160

The old Earth, shocked

With terror of that blast,

With fear of that blast,

Shall from the surface to the centre shake,

Shall shake from the surface to the center,

When, at the world’s last session,

When, at the world's last meeting,

The dreadful Judge in middle air shall spread his throne.

The frightening Judge in the sky will set up his throne.

XVIII.

And then at last our bliss 165

And then finally our joy

Full and perfect is,

But now begins; for from this happy day

But now it starts; for from this happy day

The Old Dragon under ground,

__A_TAG_PLACEHOLDER_0__ underground,

In straiter limits bound,

In tighter limits confined,

Not half so far casts his usurped sway, 170

Not nearly as much power does his illegitimate rule have, 170

[8]

And, wroth to see his kingdom fail,

And, angry to see his kingdom fall,

Swinges the scaly horror of his folded tail.

Swinging the scaly horror of his curled tail.

XIX.

The Oracles are dumb;

__A_TAG_PLACEHOLDER_0__;

No voice or hideous hum

No sound or creepy buzz

Runs through the arched roof in words deceiving. 175

Runs through the arched roof in misleading words.175

Apollo from his shrine

__A_TAG_PLACEHOLDER_0__ from his altar

Can no more divine,

Can’t divine anymore,

With hollow shriek the steep of Delphos leaving.

With a hollow scream, leaving the heights of Delphi.

No nightly trance, or breathed spell,

No nightly trance, or breathed __A_TAG_PLACEHOLDER_0__,

Inspires the pale-eyed priest from the prophetic cell. 180

Inspires the pale-eyed priest from the prophetic cell.180

XX.

The lonely mountains o’er,

The lonely mountains above,

And the resounding shore,

And the booming shore,

A voice of weeping heard and loud lament;

A voice of crying was heard, loud with sorrow;

From haunted spring, and dale

From haunted spring and valley

Edged with poplar pale, 185

Edged with pale poplar,

The parting Genius is with sighing sent;

The goodbye Genius is sent with a sigh;

With flower-inwoven tresses torn

With flower-woven hair torn

The Nymphs in twilight shade of tangled thickets mourn.

The Nymphs in the dim light of twisted bushes grieve.

XXI.

In consecrated earth,

In sacred ground,

And on the holy hearth, 190

And on the sacred hearth, 190

The Lars and Lemures moan with midnight plaint;

__A_TAG_PLACEHOLDER_0__ moan with midnight sorrow;

In urns, and altars round,

In urns and around altars,

A drear and dying sound

A dull and fading sound

Affrights the flamens at their service quaint;

__A_TAG_PLACEHOLDER_0__ at their service.

And the chill marble seems to sweat, 195

And __A_TAG_PLACEHOLDER_0__, 195

While each peculiar power forgoes his wonted seat.

While each unusual power gives up his usual place.

[9]

XXII.

Peor and Baälim

Forsake their temples dim,

Leave their dark temples,

With that twice-battered god of Palestine;

With __A_TAG_PLACEHOLDER_0__;

And mooned Ashtaroth, 200

And __A_TAG_PLACEHOLDER_0__, 200

Heaven’s queen and mother both,

Queen of Heaven and Mother,

Now sits not girt with tapers’ holy shine:

Now sits not surrounded by the holy glow of candles:

The Lybic Hammon shrinks his horn;

__A_TAG_PLACEHOLDER_0__ reduces his horn;

In vain the Tyrian maids their wounded Thammuz mourn.

The Tyrian maids __A_TAG_PLACEHOLDER_0__ mourn in vain.

XXIII.

And sullen Moloch, fled, 205

And __A_TAG_PLACEHOLDER_0__, ran, 205

Hath left in shadows dread

Has left a dreadful shadow

His burning idol all of blackest hue;

His fiery idol, entirely black;

In vain with cymbals’ ring

In vain with cymbals' sound

They call the grisly king,

They call the brutal king,

In dismal dance about the furnace blue; 210

In a grim dance around __A_TAG_PLACEHOLDER_0__; 210

The brutish gods of Nile as fast,

The brutal gods of the Nile are quick,

Isis, and Orus, and the dog Anubis, haste.

__A_TAG_PLACEHOLDER_0__, hurry.

XXIV.

Nor is Osiris seen

In Memphian grove or green, 214

In Memphis grove or green,

Trampling the unshowered grass with lowings loud; 215

Trampling __A_TAG_PLACEHOLDER_0__ with loud moos;

Nor can he be at rest

Nor can he find peace.

Within his sacred chest;

Within his heart;

Nought but profoundest Hell can be his shroud;

Nothing but the deepest Hell can cover him;

In vain, with timbrelled anthems dark,

In vain, with drummed anthems dark,

The sable-stoled sorcerers bear his worshipped ark. 220

The dark-cloaked wizards carry his revered ark.220

[10]

XXV.

He feels from Juda’s land

He feels from Judah's land

The dreaded Infant’s hand;

The dreaded baby's hand;

The rays of Bethlehem blind his dusky eyn;

The light of Bethlehem blinds __A_TAG_PLACEHOLDER_0__;

Nor all the gods beside

Nor all the other gods

Longer dare abide, 225

Longer dare stay,

Not Typhon huge ending in snaky twine:

Not Typhon huge ending in snaky coils:

Our Babe, to show his Godhead true,

Our Baby, to prove his divine nature,

Can in his swaddling bands control the damned crew.

Can he in his swaddling clothes control the cursed crew.

XXVI.

So, when the sun in bed,

So, when the sun is down,

Curtained with cloudy red, 230

Curtained with red clouds, 230

Pillows his chin upon an orient wave,

Pillows his chin on an eastern wave,

The flocking shadows pale

The fading shadows are pale

Troop to the infernal jail,

Troop to the hell jail,

Each fettered ghost slips to his several grave,

Each bound ghost glides to its own grave,

And the yellow-skirted fays 235

And the yellow-skirted fairies

Fly after the night-steeds, leaving their moon-loved maze.

Fly after the night horses, leaving their moonlit path.

XXVII.

But see! the Virgin blest

But look! the blessed Virgin

Hath laid her Babe to rest.

Hath laid her baby to rest.

Time is our tedious song should here have ending:

Time is our boring song that should end here:

Heaven’s youngest-teemed star 240

Hath fixed her polished car,

__A_TAG_PLACEHOLDER_0__,

Her sleeping Lord with handmaid lamp attending;

Her sleeping Lord, attended by a handmaid with a lamp;

And all about the courtly stable

And all around the fancy stable

Bright-harnessed Angels sit in order serviceable.

Brightly harnessed angels sit in organized service.

[11]

ON SHAKESPEARE. 1630.

What needs my Shakespeare for his honored bones

What does my Shakespeare need for his respected remains

The labor of an age in piled stones?

The work of a time in stacked stones?

Or that his hallowed reliques should be hid

Or that his sacred remains should be hidden

Under a star-ypointing pyramid?

Under a __A_TAG_PLACEHOLDER_0__ pyramid?

Dear son of memory, great heir of fame, 5

Dear son of memory, great heir of fame,5

What need’st thou such weak witness of thy name?

What do you need such a weak witness for your name?

Thou in our wonder and astonishment

You in our wonder and amazement

Hast built thyself a livelong monument.

You've built yourself __A_TAG_PLACEHOLDER_0__.

For whilst, to the shame of slow-endeavoring art

For while, to the shame of slow-moving art

Thy easy numbers flow, and that each heart 10

Your easy numbers flow, __A_TAG_PLACEHOLDER_0__ 10

Hath from the leaves of thy unvalued book

Hath from the leaves of __A_TAG_PLACEHOLDER_0__

Those Delphic lines with deep impression took,

__A_TAG_PLACEHOLDER_0__ was deeply impressed,

Then thou, our fancy of itself bereaving,

Then you, __A_TAG_PLACEHOLDER_0__,

Dost make us marble with too much conceiving,

__A_TAG_PLACEHOLDER_0__,

And so sepulchred in such pomp dost lie 15

And so sepulchred in such grandeur do you lie15

That kings for such a tomb would wish to die.

That kings would want to die for such a tomb.

[12]

L’ALLEGRO.

Hence, loathed Melancholy,

So, hated Melancholy,

Of Cerberus and blackest Midnight born

In Stygian cave forlorn

In __A_TAG_PLACEHOLDER_0__ feeling down

’Mongst horrid shapes, and shrieks, and sights unholy!

Among terrifying shapes, screams, and unholy sights!

Find out some uncouth cell, 5

Find out __A_TAG_PLACEHOLDER_0__, 5

Where brooding Darkness spreads his jealous wings,

Where dark shadows stretch their envious wings,

And the night-raven sings;

And the night raven sings;

There, under ebon shades and low-browed rocks,

There, beneath dark shadows and low-hanging rocks,

As ragged as thy locks,

As ragged as your hair,

In dark Cimmerian desert ever dwell. 10

__A_TAG_PLACEHOLDER_0__ always linger. 10

But come, thou Goddess fair and free,

But come, you fair and free Goddess,

In heaven yclept Euphrosyne,

In heaven __A_TAG_PLACEHOLDER_0__ Euphrosyne,

And by men heart-easing Mirth;

And by men heartwarming Joy;

Whom lovely Venus, at a birth,

With two sister Graces more, 15

With __A_TAG_PLACEHOLDER_0__, 15

To ivy-crowned Bacchus bore:

To ivy-crowned Bacchus carried:

Or whether (as some sager sing)

Or whether (as some wiser ones sing)

The frolic wind that breathes the spring,

__A_TAG_PLACEHOLDER_0__ that brings spring to life,

Zephyr, with Aurora playing,

Zephyr, featuring Aurora playing,

As he met her once a-Maying, 20

As he met her one May day,20

There, on beds of violets blue,

There, on beds of blue violets,

And fresh-blown roses washed in dew,

And freshly bloomed roses covered in dew,

Filled her with thee, a daughter fair,

Filled her with you, a beautiful daughter,

So buxom, blithe, and debonair.

__A_TAG_PLACEHOLDER_0__.

Haste thee, Nymph, and bring with thee 25

Jest, and youthful Jollity,

Joking and youthful joy

Quips and Cranks and wanton Wiles,

Quips, Cranks, and Mischief

Nods and Becks and wreathed Smiles,

Nods and gestures around __A_TAG_PLACEHOLDER_0__,

Such as hang on Hebe’s cheek,

Such as hang on Hebe's cheek,

And love to live in dimple sleek; 30

And love to live in a smooth dimple; 30

[13]

Sport that wrinkled Care derides,

Sport that wrinkled Care mocks,

And Laughter holding both his sides.

And Laughter holding onto both sides.

Come, and trip it, as you go,

Come, and __A_TAG_PLACEHOLDER_0__,

On the light fantastic toe;

On the dance floor;

And in thy right hand lead with thee 35

And in your right hand lead with you35

The mountain-nymph, sweet Liberty;

The mountain nymph, sweet Liberty;

And, if I give thee honor due,

And if I give you the honor you deserve,

Mirth, admit me of thy crew,

Mirth, let me join your group,

To live with her, and live with thee,

To live with her and live with you,

In unreproved pleasures free; 40

In unjudged pleasures free;

To hear the lark begin his flight,

__A_TAG_PLACEHOLDER_0__ start his journey,

And, singing, startle the dull night,

And, singing, wake up the quiet night,

From his watch-tower in the skies,

From his watchtower in the skies,

Till the dappled dawn doth rise;

Until the spotted dawn rises;

Then to come, in spite of sorrow, 45

__A_TAG_PLACEHOLDER_0__, 45

And at my window bid good-morrow,

And at my window say good morning,

Through the sweet-briar or the vine,

Or the twisted eglantine;

Or the twisted wild rose;

While the cock, with lively din,

While the rooster, with lively noise,

Scatters the rear of darkness thin; 50

Scatters the back of darkness thin;50

And to the stack, or the barn-door,

And to the stack, or the barn door,

Stoutly struts his dames before:

Confidently shows off his ladies:

Oft listening how the hounds and horn

Cheerly rouse the slumbering morn,

Cheerfully wake the sleeping morning,

From the side of some hoar hill, 55

From the side of some old hill,55

Through the high wood echoing shrill:

Through the tall forest echoing with high-pitched sounds:

Sometime walking, not unseen,

__A_TAG_PLACEHOLDER_0__,

By hedgerow elms, on hillocks green,

By hedgerow elms, on green hills,

Right against the eastern gate

Right __A_TAG_PLACEHOLDER_0__ the east gate

Where the great Sun begins his state, 60

Where the great Sun starts its reign,60

Robed in flames and amber light,

Robed in flames and warm amber light,

[14]

The clouds in thousand liveries dight;

__A_TAG_PLACEHOLDER_0__;

While the ploughman, near at hand,

While the farmer, close by,

Whistles o’er the furrowed land,

Whistles over the plowed land,

And the milkmaid singeth blithe, 65

And the milkmaid sings happily,

And the mower whets his scythe,

And the mower sharpens his scythe,

And every shepherd tells his tale

Under the hawthorn in the dale.

Straight mine eye hath caught new pleasures,

Whilst the landskip round it measures: 70

While __A_TAG_PLACEHOLDER_0__ around it measures: 70

Russet lawns, and fallows gray,

__A_TAG_PLACEHOLDER_0__, and gray fields,

Where the nibbling flocks do stray;

Where the grazing herds roam;

Mountains on whose barren breast

Mountains on whose bare slopes

The laboring clouds do often rest;

The working clouds often take a break;

Meadows trim, with daisies pied; 75

Meadows trimmed, with spotted daisies;

Shallow brooks, and rivers wide;

Shallow streams and wide rivers;

Towers and battlements it sees

Towers and battlements __A_TAG_PLACEHOLDER_0__ see

Bosomed high in tufted trees,

Nestled high in leafy trees,

Where perhaps some beauty lies,

Where some beauty maybe exists,

The cynosure of neighboring eyes. 80

__A_TAG_PLACEHOLDER_0__. 80

Hard by a cottage chimney smokes

From betwixt two aged oaks,

From between two old oaks,

Where Corydon and Thyrsis met

Are at their savory dinner set

Are at their delicious dinner set

Of herbs and other country messes, 85

Of herbs and other simple dishes,85

Which the neat-handed Phyllis dresses;

Which the tidy-handed Phyllis dresses;

And then in haste her bower she leaves,

And then in a hurry, she leaves her bower.

With Thestylis to bind the sheaves;

With Thestylis to tie the bundles;

Or, if the earlier season lead,

Or, if the earlier season leads,

To the tanned haycock in the mead. 90

To the __A_TAG_PLACEHOLDER_0__ in the mead.

Sometimes, with secure delight,

__A_TAG_PLACEHOLDER_0__,

The upland hamlets will invite,

The mountain villages will invite,

When the merry bells ring round,

When the cheerful bells ring all around,

And the jocund rebecks sound

And the cheerful rebecks play

To many a youth and many a maid 95

To many young people and many young women95

Dancing in the chequered shade,

Dancing __A_TAG_PLACEHOLDER_0__,

[15]

And young and old come forth to play

And both young and old come out to play

On a sunshine holiday,

On a sunny vacation,

Till the livelong daylight fail:

__A_TAG_PLACEHOLDER_0__:

Then to the spicy nut-brown ale, 100

Then to the flavorful dark brown beer,100

With stories told of many a feat,

With stories shared about many achievements,

How Faery Mab the junkets eat.

How __A_TAG_PLACEHOLDER_0__ the trips eat.

She was pinched and pulled, she said;

She was squeezed and tugged, she said;

And he, by Friar’s lantern led,

And he, guided by the Friar's lantern,

Tells how the drudging goblin sweat 105

__A_TAG_PLACEHOLDER_0__ how the diligent goblin struggled

To earn his cream-bowl duly set,

To earn his properly arranged cream bowl,

When in one night, ere glimpse of morn,

When in one night, before the first light of dawn,

His shadowy flail hath threshed the corn

His shadowy whip has threshed the grain

That ten day-laborers could not end;

That ten workers __A_TAG_PLACEHOLDER_0__;

Then lies him down, the lubber fiend, 110

Then lays him down, __A_TAG_PLACEHOLDER_0__, 110

And, stretched out all the chimney’s length,

And, stretched out the entire length of the chimney,

Basks at the fire his hairy strength,

Basks by the fire, his hairy strength,

And crop-full out of doors he flings,

And he throws the full harvest out into the open air,

Ere the first cock his matin rings.

Before the first rooster crows in the morning.

Thus done the tales, to bed they creep, 115

__A_TAG_PLACEHOLDER_0__, they sneak to bed,

By whispering winds soon lulled asleep.

By whispering winds, soon made to sleep.

Towered cities please us then,

__A_TAG_PLACEHOLDER_0__,

And the busy hum of men,

And the constant buzz of people,

Where throngs of knights and barons bold,

Where crowds of brave knights and barons,

In weeds of peace, high triumphs hold, 120

__A_TAG_PLACEHOLDER_0__, 120

With store of ladies, whose bright eyes

With a group of ladies, whose sparkling eyes

Rain influence, and judge the prize

__A_TAG_PLACEHOLDER_0__, and evaluate the prize

Of wit or arms, while both contend

Of cleverness or strength, while both compete

To win her grace whom all commend.

To win her favor, everyone praises.

There let Hymen oft appear 125

In saffron robe, with taper clear,

In a saffron robe, with a clear taper,

And pomp, and feast, and revelry,

And celebration, and parties, and fun,

[16]

With mask and antique pageantry;

With __A_TAG_PLACEHOLDER_0__ and vintage flair;

Such sights as youthful poets dream,

Such sights as young poets dream,

On summer eves by haunted stream. 130

On summer evenings by the spooky stream.130

Then to the well-trod stage anon,

__A_TAG_PLACEHOLDER_0__,

If Jonson’s learned sock be on,

If __A_TAG_PLACEHOLDER_0__ is on,

Or sweetest Shakespeare, Fancy’s child,

__A_TAG_PLACEHOLDER_0__,

Warble his native wood-notes wild,

Warble his natural tunes, wild,

And ever, against eating cares, 135

__A_TAG_PLACEHOLDER_0__, 135

Lap me in soft Lydian airs,

__A_TAG_PLACEHOLDER_0__,

Married to immortal verse,

Married to timeless poetry,

Such as the meeting soul may pierce,

Such as __A_TAG_PLACEHOLDER_0__ can pierce,

In notes with many a winding bout

In notes with many twists and turns bout

Of linked sweetness long drawn out 140

Of connected sweetness that lasts a long time140

With wanton heed and giddy cunning,

With reckless disregard and dizzy cleverness,

The melting voice through mazes running,

The melting voice running through the mazes,

Untwisting all the chains that tie

Untangling all the chains that bind

The hidden soul of harmony;

The secret essence of harmony;

That Orpheus’ self may heave his head 145

From golden slumber on a bed

From golden sleep on a bed

Of heaped Elysian flowers, and hear

Of piled Elysian flowers, and hear

Such strains as would have won the ear

Such strains would have caught the listener's attention.

Of Pluto to have quite set free

Of __A_TAG_PLACEHOLDER_0__ to truly let go

His half-regained Eurydice. 150

His half-regained Eurydice.

These delights if thou canst give,

These delights if you can give,

Mirth, with thee I mean to live.

Mirth, with you I want to live.

[17]

IL PENSEROSO.

Hence, vain deluding Joys,

So, empty deceptive joys,

The brood of Folly without father bred!

The offspring of Foolishness born without a father!

How little you bested,

__A_TAG_PLACEHOLDER_0__,

Or fill the fixed mind with all your toys!

Or fill the always-busy mind with all your gadgets!

Dwell in some idle brain, 5

Dwell in an idle mind, 5

And fancies fond with gaudy shapes possess,

And fantasies fond filled with flashy shapes take over,

As thick and numberless

As dense and countless

As the gay motes that people the sun-beams,

As the colorful specks that fill the sunlight,

Or likest hovering dreams,

Or like hovering dreams,

The fickle pensioners of Morpheus’ train. 10

The unpredictable retirees of __A_TAG_PLACEHOLDER_0__ train.

But, hail! thou Goddess sage and holy!

But, hey! you wise and sacred Goddess!

Hail, divinest Melancholy!

Hey, sweetest __A_TAG_PLACEHOLDER_0__!

Whose saintly visage is too bright

Whose holy face is too bright

To hit the sense of human sight,

__A_TAG_PLACEHOLDER_0__,

And therefore to our weaker view, 15

And so to our less strong perspective,15

O’erlaid with black, staid Wisdom’s hue;

O’erlaid with black, serious Wisdom’s hue;

Black, but such as in esteem

Black, yet still respected

Prince Memnon’s sister might beseem,

__A_TAG_PLACEHOLDER_0__ sister might suit,

Or that starred Ethiop queen that strove

Or __A_TAG_PLACEHOLDER_0__ that tried

To set her beauty’s praise above 20

To celebrate her beauty above

The Sea-Nymphs, and their powers offended.

The Sea-Nymphs were upset because their powers were disrespected.

Yet thou art higher far descended:

Yet you are of a much higher descent:

Thee bright-haired Vesta long of yore

The __A_TAG_PLACEHOLDER_0__ long ago

To solitary Saturn bore;

To lonely Saturn carried;

His daughter she; in Saturn’s reign 25

His daughter, she; during Saturn’s rule. 25

Such mixture was not held a stain.

Such a mixture was not considered a stain.

Oft in glimmering bowers and glades

Oft in shimmering groves and clearings

He met her, and in secret shades

He met her in the shadows.

Of woody Ida’s inmost grove,

Of woody Ida's inner grove,

Whilst yet there was no fear of Jove. 30

__A_TAG_PLACEHOLDER_0__. 30

[18]

Come, pensive Nun, devout and pure,

Come, thoughtful Nun, devoted and pure,

Sober, steadfast, and demure,

Sober, strong, and modest,

All in a robe of darkest grain,

__A_TAG_PLACEHOLDER_0__,

Flowing with majestic train,

Flowing with a majestic train,

And sable stole of cypress lawn 35

Over thy decent shoulders drawn.

Over your decent shoulders drawn.

Come; but keep thy wonted state,

__A_TAG_PLACEHOLDER_0__,

With even step, and musing gait,

With a steady pace and a thoughtful stride,

And looks commercing with the skies

And looks trading with the skies

Thy rapt soul sitting in thine eyes: 40

__A_TAG_PLACEHOLDER_0__: 40

There, held in holy passion still,

There, still caught in sacred passion,

Forget thyself to marble, till

__A_TAG_PLACEHOLDER_0__, until

With a sad leaden downward cast

Thou fix them on the earth as fast.

You fix them on the earth just as firmly.

And join with thee calm Peace and Quiet, 45

__A_TAG_PLACEHOLDER_0__, 45

Spare Fast, that oft with gods doth diet,

__A_TAG_PLACEHOLDER_0__,

And hears the Muses in a ring

And hears the Muses in a circle

Aye round about Jove’s altar sing;

Aye gather around Jupiter’s altar and sing;

And add to these retired Leisure,

And add to these retired relaxation,

That in trim gardens takes his pleasure; 50

That enjoys his time in well-kept gardens;50

But, first and chiefest, with thee bring

But, first and foremost, bring with you

Him that yon soars on golden wing,

Him that over there soars on golden wings,

Guiding the fiery-wheeled throne,

Guiding __A_TAG_PLACEHOLDER_0__,

The Cherub Contemplation;

__A_TAG_PLACEHOLDER_0__;

And the mute Silence hist along, 55

And the quiet Silence __A_TAG_PLACEHOLDER_0__ moved along, 55

‘Less Philomel will deign a song,

__A_TAG_PLACEHOLDER_0__,

In her sweetest, saddest plight,

In her sweetest, saddest moment,

Smoothing the rugged brow of Night,

Smoothing the rough forehead of Night,

While Cynthia checks her dragon yoke

While __A_TAG_PLACEHOLDER_0__

Gently o’er the accustomed oak. 60

Gently over the familiar oak. 60

Sweet bird, that shunn’st the noise of folly,

Sweet bird, that avoids the noise of silliness,

Most musical, most melancholy!

[19]

Thee, chauntress, oft the woods among

Thee, singer, often in the woods

I woo, to hear thy even-song;

I long to hear your evening song;

And, missing thee, I walk unseen 65

And, missing you, I __A_TAG_PLACEHOLDER_0__ 65

On the dry smooth-shaven green,

On the dry, smooth green,

To behold the wandering moon,

To see the wandering moon,

Riding near her highest noon,

Riding at her peak noon,

Like one that had been led astray

Like someone who had been misled

Through the heaven’s wide pathless way, 70

Through the wide, open sky, 70

And oft, as if her head she bowed,

And often, as if she lowered her head,

Stooping through a fleecy cloud.

Stooping through a fluffy cloud.

Oft, on a plat of rising ground,

Oft, on a piece of raised land,

I hear the far-off curfew sound,

I hear the distant curfew sound,

Over some wide-watered shore, 75

Over a wide waterfront shore, 75

Swinging slow with sullen roar;

Swinging slowly with a dull roar;

Or, if the air will not permit,

__A_TAG_PLACEHOLDER_0__,

Some still removed place will fit,

Some still __A_TAG_PLACEHOLDER_0__ spot will fit,

Where glowing embers through the room

Where glowing embers filled the room

Teach light to counterfeit a gloom, 80

Teach light to mimic darkness, 80

Far from all resort of mirth,

Far from all sources of happiness,

Save the cricket on the hearth,

Or the bellman’s drowsy charm

Or the bellman's sleepy charm

To bless the doors from nightly harm.

To protect the doors from nighttime danger.

Or let my lamp, at midnight hour, 85

Or let my lamp, at midnight hour,85

Be seen in some high lonely tower,

Be spotted in some tall, isolated tower,

Where I may oft outwatch the Bear,

Where I might often __A_TAG_PLACEHOLDER_0__,

With thrice great Hermes, or unsphere

__A_TAG_PLACEHOLDER_0__, or unspherize

The spirit of Plato, to unfold

What worlds or what vast regions hold 90

What worlds or what vast areas hold90

The immortal mind that hath forsook

The timeless mind that has abandoned

Her mansion in this fleshly nook;

Her mansion in this earthly spot;

And of those demons that are found

And of those __A_TAG_PLACEHOLDER_0__ that are discovered

In fire, air, flood, or underground,

Whose power hath a true consent 95

Whose power has genuine consent

With planet or with element.

[20]

Sometime let gorgeous Tragedy

In sceptred pall come sweeping by,

In a royal cloak, they glide by,

Presenting Thebes, or Pelops’ line,

Presenting Thebes, or Pelops' lineage,

Or the tale of Troy divine, 100

Or the story of the divine Troy, 100

Or what (though rare) of later age

Or what (though rare) of later years

Ennobled hath the buskined stage.

The stage has been elevated.

But, O sad Virgin! that thy power

But, oh sad Virgin! That your power

Might raise Musæus from his bower;

Might raise __A_TAG_PLACEHOLDER_0__ from his pad;

Or bid the soul of Orpheus sing 105

__A_TAG_PLACEHOLDER_0__ the soul of __A_TAG_PLACEHOLDER_1__ sing

Such notes as, warbled to the string,

Such notes as, sang to the string,

Drew iron tears down Pluto’s cheek,

And made Hell grant what love did seek;

And made Hell give what love desired;

Or call up him that left half-told

The story of Cambuscan bold, 110

The tale of Cambuscan bold,

Of Camball, and of Algarsife,

Of Camball and Algarsife,

And who had Canace to wife,

And who had Canace as his wife,

That owned the virtuous ring and glass,

And of the wondrous horse of brass

And of the amazing brass horse

On which the Tartar king did ride; 115

On which the Tartar king rode;115

And if aught else great bards beside

And if there are any other great poets beside

In sage and solemn tunes have sung,

In wise and serious melodies have sung,

Of turneys, and of trophies hung,

Of tournaments, and of trophies displayed,

Of forests, and enchantments drear,

Of forests and gloomy enchantments,

Where more is meant than meets the ear. 120

Where __A_TAG_PLACEHOLDER_0__.

Thus, Night, oft see me in thy pale career,

__A_TAG_PLACEHOLDER_0__,

Till civil-suited Morn appear,

Till __A_TAG_PLACEHOLDER_0__ shows up,

Not tricked and frounced, as she was wont

Not fooled and offended, __A_TAG_PLACEHOLDER_0__

With the Attic boy to hunt,

But kerchieft in a comely cloud, 125

But __A_TAG_PLACEHOLDER_0__ in a nice cloud,

While rocking winds are piping loud

While __A_TAG_PLACEHOLDER_0__ are blasting loud

Or ushered with a shower still,

__A_TAG_PLACEHOLDER_0__,

[21]

When the gust hath blown his fill,

When the wind has blown its full force,

Ending on the rustling leaves,

Ending with the rustling leaves,

With minute-drops from off the eaves. 130

__A_TAG_PLACEHOLDER_0__. 130

And, when the sun begins to fling

And, __A_TAG_PLACEHOLDER_0__ to throw

His flaring beams, me, Goddess, bring

His shining light, me, Goddess, brings

To arched walks of twilight groves,

To curved paths of evening woods,

And shadows brown, that Sylvan loves,

And brown shadows that __A_TAG_PLACEHOLDER_0__ loves,

Of pine, or monumental oak, 135

Of pine, or __A_TAG_PLACEHOLDER_0__, 135

Where the rude axe with heaved stroke

Where the crude axe with a raised swing

Was never heard the nymphs to daunt,

Was never heard the nymphs to scare,

Or fright them from their hallowed haunt.

Or scare them away from their sacred place.

There, in close covert, by some brook,

There, in a hidden spot, by a stream,

Where no profaner eye may look, 140

__A_TAG_PLACEHOLDER_0__, 140

Hide me from day’s garish eye,

__A_TAG_PLACEHOLDER_0__,

While the bee with honeyed thigh,

__A_TAG_PLACEHOLDER_0__,

That at her flowery work doth sing,

That at her flowery work sings,

And the waters murmuring,

And the waters whispering,

With such consort as they keep, 145

With the company they keep,

Entice the dewy-feathered Sleep.

__A_TAG_PLACEHOLDER_0__.

And let some strange mysterious dream

And let some strange, mysterious dream

Wave at his wings, in airy stream

Wave at __A_TAG_PLACEHOLDER_0__’s wings, in the air

Of lively portraiture displayed,

Of vibrant portraits displayed,

Softly on my eyelids laid; 150

Gently on my eyelids rested;

And, as I wake, sweet music breathe

And, as I wake, sweet music breathes

Above, about, or underneath,

Above, about, or below,

Sent by some Spirit to mortals good,

Sent by some Spirit to good mortals,

Or the unseen Genius of the wood.

Or the unseen Genius of the woods.

But let my due feet never fail 155

But let my proper feet __A_TAG_PLACEHOLDER_0__ 155

To walk the studious cloister’s pale,

__A_TAG_PLACEHOLDER_0__,

And love the high embowed roof,

And love the tall __A_TAG_PLACEHOLDER_0__ roof,

With antique pillars massy-proof,

With vintage pillars __A_TAG_PLACEHOLDER_0__,

And storied windows richly dight,

__A_TAG_PLACEHOLDER_0__,

Casting a dim religious light. 160

Casting a faint religious light. 160

There let the pealing organ blow,

There let the booming organ play,

To the full-voiced quire below,

To the full-voiced choir below,

[22]

In service high and anthems clear,

In high service and clear anthems,

As may with sweetness, through mine ear,

As may with sweetness, through my ear,

Dissolve me into ecstasies, 165

Dissolve me into ecstasy,

And bring all Heaven before mine eyes.

And show me all of Heaven right in front of me.

And may at last my weary age

And may finally my tired old age

Find out the peaceful hermitage,

Discover the tranquil retreat,

The hairy gown and mossy cell,

The fuzzy robe and moss-covered cell,

Where I may sit and rightly spell 170

Of every star that heaven doth shew,

Of every star that heaven shows,

And every herb that sips the dew,

And every herb that drinks the dew,

Till old experience do attain

Until old experience is gained

To something like prophetic strain.

To something like a prophetic vibe.

These pleasures, Melancholy, give; 175

These joys, Melancholy, provide;

And I with thee will choose to live.

And I will choose to live with you.

[23]

ARCADES.

Part of an Entertainment presented to the Countess Dowager of Derby at Harefield by some Noble Persons of her Family; who appear on the Scene in pastoral habit, moving toward the seat of state, with this song:—

Part of a performance presented to the Countess Dowager of Derby at Harefield by some noble members of her family; who come on stage in pastoral attire, approaching the throne with this song:—

I. Song.

Look, Nymphs and Shepherds, look!

Hey, Nymphs and Shepherds, look!

What sudden blaze of majesty

What sudden burst of majesty

Is that which we from hence descry,

Is that what we see from here,

Too divine to be mistook?

Too divine to be mistaken?

This, this is she 5

This is her.

To whom our vows and wishes bend:

To whom our promises and hopes are directed:

Here our solemn search hath end.

Here our serious search has ended.

Fame, that her high worth to raise

Fame, that elevates her true value

Seemed erst so lavish and profuse,

Seemed once so lavish and abundant,

We may justly now accuse 10

We can now justly accuse

Of detraction from her praise:

Of criticism of her praise:

Less than half we find expressed;

Less than half is shown;

Envy bid conceal the rest.

Envy tried to hide the rest.

Mark what radiant state she spreads,

Check out how radiant she looks,

In circle round her shining throne 15

In a circle around her glowing throne15

Shooting her beams like silver threads:

Shooting her rays like silver threads:

This, this is she alone,

This, this is her alone,

Sitting like a goddess bright

Sitting like a radiant goddess

In the centre of her light.

In the center of her light.

Might she the wise Latona be, 20

Could she be the wise __A_TAG_PLACEHOLDER_0__ 20

Or the towered Cybele,

Or __A_TAG_PLACEHOLDER_0__,

Mother of a hundred gods?

Mother of many gods?

[24]

Juno dares not give her odds:

Juno doesn't want to take any chances:

Who had thought this clime had held

Who would have thought this place had held

A deity so unparalleled? 25

An unmatched deity?

As they come forward, the Genius of the Wood appears, and, turning toward them, speaks.

As they approach, the Genius of the Woods appears and, facing them, speaks.

Gen. Stay, gentle Swains, for, though in this disguise,

Gen. Wait, kind shepherds, because, even in this disguise,

I see bright honor sparkle through your eyes;

I see bright honor shining in your eyes;

Of famous Arcady ye are, and sprung

__A_TAG_PLACEHOLDER_0__, and jumped

Of that renowned flood, so often sung,

Of that famous flood, so frequently celebrated,

Divine Alpheus, who, by secret sluice, 30

__A_TAG_PLACEHOLDER_0__, who, through hidden channels, 30

Stole under seas to meet his Arethuse;

Stole under the seas to meet his Arethusa;

And ye, the breathing roses of the wood,

And you, the blooming roses of the forest,

Fair silver-buskined Nymphs, as great and good.

Fair silver-legged Nymphs, as great and good.

I know this quest of yours and free intent

I know your quest and your true intentions.

Was all in honor and devotion meant 35

Was all in honor and devotion meant35

To the great mistress of yon princely shrine,

To the great lady of that royal shrine,

Whom with low reverence I adore as mine,

Whom I respectfully admire as my own,

And with all helpful service will comply

And I will gladly help with anything you need.

To further this night’s glad solemnity,

To enhance the joy of tonight's celebration,

And lead ye where ye may more near behold 40

And guide you to where you can see more closely.

What shallow-searching Fame hath left untold;

What superficial Fame has left unsaid;

Which I full oft, amidst those shades alone,

Which I often find myself, surrounded by those shadows alone,

Have sat to wonder at, and gaze upon.

Have taken the time to think about and look at.

For know, by lot from Jove, I am the Power

Of this fair wood, and live in oaken bower, 45

Of this beautiful woods, and live in an oak grove,45

To nurse the saplings tall, and curl the grove

To nurture the young trees and curl the grove

With ringlets quaint and wanton windings wove;

__A_TAG_PLACEHOLDER_0__;

And all my plants I save from nightly ill

And I protect all my plants from the harm of the night.

Of noisome winds and blasting vapors chill;

Of noisome winds and harsh fumes are cold;

And from the boughs brush off the evil dew, 50

And shake off the bad dew from the branches,50

And heal the harms of thwarting thunder blue,

And heal the wounds of __A_TAG_PLACEHOLDER_0__,

Or what the cross dire-looking planet smites,

Or what __A_TAG_PLACEHOLDER_0__ strikes,

[25]

Or hurtful worm with cankered venom bites.

Or damaging worm with infected poison bites.

When evening gray doth rise, I fetch my round

When __A_TAG_PLACEHOLDER_0__ rises, I get my drink.

Over the mount, and all this hallowed ground; 55

Over the mountain, and all this sacred land;55

And early, ere the odorous breath of morn

And early, before the sweet smell of morning

Awakes the slumbering leaves, or tasselled horn

Awakens the sleeping leaves, or tasseled horn

Shakes the high thicket, haste I all about,

Shakes the dense bushes, I hurry all around,

Number my ranks, and visit every sprout

Number my ranks, and visit every shoot

With puissant words and murmurs made to bless. 60

With powerful words and murmurs meant to bless.60

But else, in deep of night, when drowsiness

But otherwise, in the deep of night, when sleepiness

Hath locked up mortal sense, then listen I

To the celestial Sirens’ harmony,

To __A_TAG_PLACEHOLDER_0__,

That sit upon the nine infolded spheres,

That sit on __A_TAG_PLACEHOLDER_0__,

And sing to those that hold the vital shears, 65

__A_TAG_PLACEHOLDER_0__, 65

And turn the adamantine spindle round

And spin the unbreakable spindle around

On which the fate of gods and men is wound.

On which the fate of gods and humans is intertwined.

Such sweet compulsion doth in music lie,

Such sweet compulsion is found in music,

To lull the daughters of Necessity,

To soothe __A_TAG_PLACEHOLDER_0__,

And keep unsteady Nature to her law, 70

And keep unpredictable Nature to her rules,70

And the low world in measured motion draw

And the low world moves in a measured way

After the heavenly tune, which none can hear

After the heavenly song, __A_TAG_PLACEHOLDER_0__

Of human mould with gross unpurged ear.

__A_TAG_PLACEHOLDER_0__.

And yet such music worthiest were to blaze

And yet such music truly deserves to shine.

The peerless height of her immortal praise 75

The unmatched level of her eternal praise75

Whose lustre leads us, and for her most fit,

Whose shine guides us, and for whom it's most appropriate,

If my inferior hand or voice could hit

If my weak hand or voice could strike

Inimitable sounds. Yet, as we go,

Incomparable sounds. Yet, as we move on,

Whate’er the skill of lesser gods can show

Whatever the abilities of lesser gods can demonstrate

I will assay, her worth to celebrate, 80

I will try to celebrate her worth,80

And so attend ye toward her glittering state;

And so pay attention to her dazzling appearance;

Where ye may all, that are of noble stem,

Where you all, who come from noble lineage,

Approach, and kiss her sacred vesture’s hem.

Approach her and kiss the hem of her sacred garment.

[26]

II. Song.

O’er the smooth enamelled green,

Over the smooth green surface,

Where no print of step hath been, 85

Where no footprint exists, 85

Follow me, as I sing

Follow me as I sing

And touch the warbled string:

And __A_TAG_PLACEHOLDER_0__:

Under the shady roof

Under the shaded roof

Of branching elm star-proof

Of branching elm weather-resistant

Follow me. 90

Follow me.

I will bring you where she sits,

I will take you to where she is sitting,

Clad in splendor as befits

Dressed in splendor as suits

Her deity.

Her god.

Such a rural Queen

Such a country queen

All Arcadia hath not seen. 95

All of Arcadia has not seen.

III. Song.

Nymphs and Shepherds, dance no more

Nymphs and Shepherds, stop dancing now

By sandy Ladon’s lilied banks;

By sandy __A_TAG_PLACEHOLDER_0__ flowered banks;

On old Lycæus, or Cyllene hoar,

On ancient __A_TAG_PLACEHOLDER_0__ hoar,

Trip no more in twilight ranks;

Trip no longer in twilight ranks;

Though Erymanth your loss deplore, 100

Though __A_TAG_PLACEHOLDER_0__ mourn your loss,

A better soil shall give ye thanks.

A better soil will thank you.

From the stony Mænalus

From the rocky __A_TAG_PLACEHOLDER_0__

Bring your flocks, and live with us;

Bring your flocks and live with us;

Here ye shall have greater grace,

Here you will find greater grace,

To serve the Lady of this place. 105

To serve the Lady of this place.105

Though Syrinx your Pan’s mistress were,

__A_TAG_PLACEHOLDER_0__,

Yet Syrinx well might wait on her.

Yet Syrinx might as well wait on her.

Such a rural Queen

Such a country queen

All Arcadia hath not seen.

All of Arcadia hasn't seen.

[27]

AT A SOLEMN MUSIC.

Blest pair of Sirens, pledges of Heaven’s joy,

Blessed pair of Sirens, symbols of Heaven’s joy,

Sphere-born harmonious sisters, Voice and Verse,

Wed your divine sounds, and mixed power employ,

Wed your divine sounds and mix your power.

Dead things with inbreathed sense able to pierce;

Dead things with a breathed-in sense that can pierce;

And to our high-raised phantasy present 5

And to our elevated imagination present5

That undisturbed song of pure concent,

That unbothered song of complete harmony,

Aye sung before the sapphire-colored throne

Aye sang before __A_TAG_PLACEHOLDER_0__

To Him that sits thereon,

To Him who sits there,

With saintly shout and solemn jubilee;

With a holy shout and serious celebration;

Where the bright Seraphim in burning row 10

Where the bright Seraphim stand in a blazing line10

Their loud uplifted angel-trumpets blow,

Their loud trumpets sound.

And the Cherubic host in thousand quires

And the angelic host in a thousand choirs

Touch their immortal harps of golden wires,

Touch their timeless harps of golden strings,

With those just Spirits that wear victorious palms,

With those noble souls who wear victorious crowns,

Hymns devout and holy psalms 15

Devotional hymns and holy psalms

Singing everlastingly:

Singing forever:

That we on Earth, with undiscording voice,

That we on Earth, with a harmonious voice,

May rightly answer that melodious noise;

May rightly respond to that beautiful sound;

As once we did, till disproportioned sin

As we once did, until our sins became unbalanced.

Jarred against nature’s chime, and with harsh din 20

Jarred against nature’s sound, and with a loud noise20

Broke the fair music that all creatures made

Broke the beautiful music that all living beings created

To their great Lord, whose love their motion swayed

To their great Lord, whose love influenced their actions

In perfect diapason, whilst they stood

In perfect harmony, while they stood

In first obedience, and their state of good.

In first obedience and their state of goodness.

O, may we soon again renew that song, 25

O, may we soon sing that song again,25

And keep in tune with Heaven, till God ere long

And stay in harmony with Heaven until God soon

To his celestial consort us unite,

To his heavenly __A_TAG_PLACEHOLDER_0__ unite us,

To live with Him, and sing in endless morn of light!

To live with Him and sing in the never-ending morning light!

[28]

COMUS.

A MASQUE PRESENTED AT LUDLOW CASTLE, 1634.

A MASQUE PERFORMED AT LUDLOW CASTLE, 1634.

THE PERSONS.

The Spirit Guide, afterwards in the habit of Thyrsis.
Comus, with his Crew.
The Woman.
First Bro.
Second Brother.
Sabrina, the Nymph.

The first Scene discovers a wild wood.

The first Scene reveals a dense forest.

The Attendant Spirit descends or enters.

The Attendant Spirit arrives.

Spirit. Before the starry threshold of Jove’s court

Vibe. __A_TAG_PLACEHOLDER_0__

My mansion is, where those immortal shapes

My mansion is where those eternal figures

Of bright aerial spirits live insphered

Of bright flying spirits live __A_TAG_PLACEHOLDER_0__

In regions mild of calm and serene air,

In areas with gentle weather and peaceful air,

Above the smoke and stir of this dim spot 5

Above the smoke and commotion of this dark place5

Which men call Earth, and, with low-thoughted care,

Which men call Earth, and, with little thought,

Confined and pestered in this pinfold here,

__A_TAG_PLACEHOLDER_0__,

Strive to keep up a frail and feverish being,

Strive to maintain a delicate and restless existence,

Unmindful of the crown that Virtue gives,

Unaware of the crown that Virtue offers,

After this mortal change, to her true servants 10

__A_TAG_PLACEHOLDER_0__, to her real servants

Amongst the enthroned gods on sainted seats.

__A_TAG_PLACEHOLDER_0__ on blessed __A_TAG_PLACEHOLDER_1__

Yet some there be that by due steps aspire

Yet there are some who aspire through proper steps.

To lay their just hands on that golden key

That opes the palace of eternity.

That opens the palace of eternity.

To such my errand is; and, but for such, 15

To such my errand is; and, but for such,15

I would not soil these pure ambrosial weeds

I wouldn't mess up __A_TAG_PLACEHOLDER_0__

With the rank vapors of this sin-worn mould.

With the foul vapors of this sin-soaked mold.

[29]

But to my task. Neptune, besides the sway

But to my task. Neptune, besides the control

Of every salt flood and each ebbing stream

Of every salty flood and each receding stream

Took in, by lot ’twixt high and nether Jove. 20

Took in, __A_TAG_PLACEHOLDER_0__.

Imperial rule of all the sea-girt isles

Imperial control over all the island nations surrounded by the sea

That, like to rich and various gems, inlay

That, like rich and diverse gems, inlay

The unadorned bosom of the deep;

The bare chest of the deep;

Which he, to grace his tributary gods,

Which he, to honor his tribute gods,

By course commits to several government, 25

__A_TAG_PLACEHOLDER_0__, 25

And gives them leave to wear their sapphire crowns

And allows them to wear their sapphire crowns

And wield their little tridents. But this Isle,

And use their little tridents. __A_TAG_PLACEHOLDER_0__,

The greatest and the best of all the main,

The greatest and best of all the main,

He quarters to his blue-haired deities;

He __A_TAG_PLACEHOLDER_0__ to his blue-haired deities;

And all this tract that fronts the falling sun 30

And all this land that faces the setting sun30

A noble Peer of mickle trust and power

__A_TAG_PLACEHOLDER_0__ of great trust and authority

Has in his charge, with tempered awe to guide

Has in his care, with careful respect to lead

An old and haughty nation, proud in arms:

An __A_TAG_PLACEHOLDER_0__, proudly armed:

Where his fair offspring, nursed in princely lore,

Where __A_TAG_PLACEHOLDER_0__, raised on royal wisdom,

Are coming to attend their father’s state, 35

Are coming to attend their father's estate,35

And new-intrusted sceptre. But their way

And a newly entrusted scepter. But their way

Lies through the perplexed paths of this drear wood,

Lies via __A_TAG_PLACEHOLDER_0__,

The nodding horror of those shady brows

The unsettling fear of those dark brows

Threats the forlorn and wandering passenger;

Threatens the lonely and wandering traveler;

And here their tender age might suffer peril, 40

And here their young age might be at risk,40

But that, by quick command from sovran Jove,

But that, by a quick command from sovran Jove,

I was despatched for their defence and guard!

I was sent out to defend and protect them!

And listen why; for I will tell you now

And listen up; I'm going to tell you now.

What never yet was heard in tale or song,

What has never been heard in stories or songs,

From old or modern bard, in hall or bower. 45

From an old or modern bard, in hall or bower.45

Bacchus, that first from out the purple grape

Bacchus, that first from the purple grape

Crushed the sweet poison of misused wine,

After the Tuscan mariners transformed,

__A_TAG_PLACEHOLDER_0__,

Coasting the Tyrrhene shore, as the winds listed,

Coasting the Tyrrhenian shore, as the winds shifted,

On Circe’s island fell. (Who knows not Circe, 50

On Circe’s island fell. (Who doesn’t know Circe,50

The daughter of the Sun, whose charmed cup

The daughter of the Sun, whose enchanted cup

[30]

Whoever tasted lost his upright shape,

Whoever tasted lost his straight shape,

And downward fell into a grovelling swine?)

And fell down into a filthy pig?

This Nymph, that gazed upon his clustering locks,

This Nymph, who looked at his thick, curly hair,

With ivy berries wreathed, and his blithe youth, 55

With ivy berries wrapped around him, and his cheerful youth,55

Had by him, ere he parted thence, a son

Had by him, before he left there, a son

Much like his father, but his mother more,

Much like his dad, but even more like his mom,

Whom therefore she brought up, and Comus named:

Whom she raised and __A_TAG_PLACEHOLDER_0__ named:

Who, ripe and frolic of his full-grown age,

Who, matured and frolic of his full-grown age,

Roving the Celtic and Iberian fields, 60

Roving __A_TAG_PLACEHOLDER_0__, 60

At last betakes him to this ominous wood,

At last he goes to this ominous wood,

And, in thick shelter of black shades imbowered,

And, in the thick cover of dark shadows,

Excels his mother at her mighty art;

Excels his mother at her great skill;

Offering to every weary traveller

Available for every tired traveler

His orient liquor in a crystal glass, 65

__A_TAG_PLACEHOLDER_0__ in a glass, 65

To quench the drouth of Phœbus; which as they taste

To satisfy the thirst of Phœbus; which as they taste

(For most do taste through fond intemperate thirst),

Soon as the potion works, their human count’nance,

Soon as the potion takes effect, their human appearance,

The express resemblance of the gods, is changed

The direct resemblance of the gods has changed.

Into some brutish form of wolf or bear, 70

Into some savage form of wolf or bear,70

Or ounce or tiger, hog, or bearded goat,

Or once or tiger, hog, or bearded goat,

All other parts remaining as they were.

__A_TAG_PLACEHOLDER_0__.

And they, so perfect in their misery,

And they, so flawless in their suffering,

Not once perceive their foul disfigurement,

Not once notice their awful disfigurement,

But boast themselves more comely than before, 75

But they boast about themselves looking better than before,75

And all their friends and native home forget,

And all their friends and hometown forget,

To roll with pleasure in a sensual sty.

To enjoy life in a pleasurable way.

Therefore, when any favored of high Jove

Therefore, when anyone favored by high Jove

Chances to pass through this adventurous glade,

Chances to walk through this exciting clearing,

Swift as the sparkle of a glancing star 80

Swift as the flash of a passing star80

I shoot from heaven, to give him safe convoy,

I shoot from the sky to provide him with safe passage,

As now I do. But first I must put off

As I do now. But first, I have to take off

These my sky-robes, spun out of Iris’ woof,

These are my sky robes, woven from Iris' fabric,

And take the weeds and likeness of a swain

And take the weeds and likeness of a young man.

That to the service of this house belongs, 85

That to the service of this house belongs,85

[31]

Who, with his soft pipe and smooth-dittied song,

Who, with his gentle flute and melodious song,

Well knows to still the wild winds when they roar,

__A_TAG_PLACEHOLDER_0__ when they shout,

And hush the waving woods; nor of less faith,

And quiet the rustling trees; __A_TAG_PLACEHOLDER_0__,

And in this office of his mountain watch

Likeliest, and nearest to the present aid 90

Likeliest, and closest to the current assistance90

Of this occasion. But I hear the tread

Of this occasion. But I hear the footsteps

Of hateful steps; I must be viewless now.

Of hateful steps; I must be invisible now.

Comus enters, with a charming-rod in one hand, his glass in the other; with him a rout of monsters, headed like sundry sorts of wild beasts, but otherwise like men and women, their apparel glistering. They come in making a riotous and unruly noise, with torches in their hands.

Comus enters, holding a charming rod in one hand and a glass in the other; with him is a group of creatures resembling different kinds of wild animals, but otherwise appearing as men and women, their clothes sparkling. They come in, creating a loud and chaotic noise, with torches in their hands.

Comus. The star that bids the shepherd fold

Comus. __A_TAG_PLACEHOLDER_0__

Now the top of heaven doth hold;

Now the top of heaven holds;

And the gilded car of day 95

And the golden chariot of day

His glowing axle doth allay

His shining axle __A_TAG_PLACEHOLDER_0__

In the steep Atlantic stream:

In the __A_TAG_PLACEHOLDER_0__ Atlantic current:

And the slope sun his upward beam

And the sun climbed higher in the sky.

Shoots against the dusky pole,

Shoots against the dark __A_TAG_PLACEHOLDER_0__,

Pacing toward the other goal 100

Heading toward the other goal 100

Of his chamber in the east.

Of his room in the east.

Meanwhile, welcome joy and feast,

Meanwhile, embrace joy and feast,

Midnight shout and revelry,

Midnight cheers and celebration,

Tipsy dance and jollity.

Drunk dancing and fun.

Braid your locks with rosy twine, 105

Braid your hair __A_TAG_PLACEHOLDER_0__, 105

Dropping odors, dropping wine.

Dropping scents, spilling wine.

Rigor now is gone to bed;

Rigor has now gone to bed;

And Advice with scrupulous head,

And __A_TAG_PLACEHOLDER_0__ with careful thought,

Strict Age, and sour Severity,

__A_TAG_PLACEHOLDER_0__,

With their grave saws, in slumber lie. 110

With __A_TAG_PLACEHOLDER_0__, asleep lie. 110

We, that are of purer fire,

We, who are of purer fire,

[32]

Imitate the starry quire,

Imitate the starry choir,

Who, in their nightly watchful spheres,

Lead in swift round the months and years.

Lead quickly through the months and years.

The sounds and seas, with all their finny drove, 115

The sounds and seas, with all their fish-filled groups,115

Now to the moon in wavering morrice move;

Now to the moon __A_TAG_PLACEHOLDER_0__ shift;

And on the tawny sands and shelves

And on the sandy shores and ledges

Trip the pert fairies and the dapper elves.

Trip the lively fairies and __A_TAG_PLACEHOLDER_0__.

By dimpled brook and fountain-brim,

By the dimpled brook and fountain rim,

The wood-nymphs, decked with daisies trim, 120

The wood nymphs, adorned with neatly arranged daisies,120

Their merry wakes and pastimes keep:

Their joyful gatherings and activities continue:

What hath night to do with sleep?

What does night have to do with sleep?

Night hath better sweets to prove;

Night has better pleasures to offer;

Venus now wakes, and wakens Love.

Venus is now waking up, and she's waking Love.

Come, let us our rites begin; 125

Come on, let’s start our rituals; 125

’Tis only daylight that makes sin,

It’s only daylight that creates sin,

Which these dun shades will ne’er report.

Which these dull shadows will never reveal.

Hail, goddess of nocturnal sport,

Hey, goddess of night games,

Dark-veiled Cotytto, to whom the secret flame

Dark-veiled Cotytto, to whom the hidden flame

Of midnight torches burns! mysterious dame, 130

Of midnight torches burning! mysterious lady,130

That ne’er art called but when the dragon womb

That never gets mentioned except when the dragon's womb

Of Stygian darkness spets her thickest gloom,

Of deep, dark gloom spreads her thickest shadow,

And makes one blot of all the air!

And __A_TAG_PLACEHOLDER_0__!

Stay thy cloudy ebon chair,

Stay your dark clouded chair,

Wherein thou ridest with Hecat’, and befriend 135

Where __A_TAG_PLACEHOLDER_0__, and befriend

Us thy vowed priests, till utmost end

Us, your dedicated priests, until the very end

Of all thy dues be done, and none left out

Of all your dues be paid, and none left out.

Ere the blabbing eastern scout,

Before the blabbing eastern scout,

The nice Morn on the Indian steep,

__A_TAG_PLACEHOLDER_0__ on the Indian slope,

From her cabined loop-hole peep, 140

__A_TAG_PLACEHOLDER_0__, 140

And to the tell-tale Sun descry

And to the tell-tale Sun __A_TAG_PLACEHOLDER_0__

Our concealed solemnity.

Our hidden seriousness.

Come, knit hands, and beat the ground

Come, hold hands, and stomp the ground.

In a light fantastic round.

__A_TAG_PLACEHOLDER_0__.

[33]

The Measure.

Break off, break off! I feel the different pace 145

Break off, stop it! I notice the different speed145

Of some chaste footing near about this ground.

Of some modest presence around this area.

Run to your shrouds within these brakes and trees;

Run to your shrouds among these brakes and trees;

Our number may affright. Some virgin sure

Our number might be alarming. Some virgin definitely

(For so I can distinguish by mine art)

(For that’s how I can tell by my skill)

Benighted in these woods! Now to my charms, 150

Benighted in these woods! Now to my charms,150

And to my wily trains: I shall ere long

And to __A_TAG_PLACEHOLDER_0__: I'll be there soon.

Be well stocked with as fair a herd as grazed

Be well stocked with a well-bred herd.

About my mother Circe. Thus I hurl

About my mother Circe. So I throw

My dazzling spells into the spongy air,

My incredible skills in the __A_TAG_PLACEHOLDER_0__,

Of power to cheat the eye with blear illusion, 155

Of the ability to deceive the eye with blear illusion,155

And give it false presentments, lest the place

And give it false appearances, so that the place

And my quaint habits breed astonishment,

And my unique habits create surprise,

And put the damsel to suspicious flight;

And made the young woman flee in suspicion;

Which must not be, for that’s against my course.

Which can't happen, because that's not the way I do things.

I, under fair pretence of friendly ends, 160

I, under the good guise of friendly intentions,160

And well-placed words of glozing courtesy,

And well-chosen words of flattering politeness,

Baited with reasons not unplausible,

Baited with seemingly valid reasons,

Wind me into the easy-hearted man,

Wind me into the easy-going guy,

And hug him into snares. When once her eye

And trap him in her snares. When her gaze once

Hath met the virtue of this magic dust 165

Has encountered the power of this magical dust165

I shall appear some harmless villager,

I will pretend to be just a harmless villager,

Whom thrift keeps up about his country gear.

Whom frugality maintains regarding his country outfit.

But here she comes; I fairly step aside,

But here she comes; I definitely step aside,

And hearken, if I may her business hear.

And listen, if I may hear about her business.

The Lady enters.

The lady enters.

Lady. This way the noise was, if mine ear be true, 170

Lady. This is how the noise was, if my ear is correct,170

My best guide now. Methought it was the sound

My best guide now. I thought it was the sound

Of riot and ill-managed merriment,

Of chaos and bad fun,

Such as the jocund flute or gamesome pipe

Such as the cheerful flute or playful pipe

Stirs up among the loose unlettered hinds,

Stirs up among __A_TAG_PLACEHOLDER_0__,

When, for their teeming flocks and granges full, 175

When, for their teeming flocks and farms full,175

[34]

In wanton dance they praise the bounteous Pan,

In joyful dance, they celebrate the generous Pan,

And thank the gods amiss. I should be loth

And thank the gods amiss. I should be reluctant

To meet the rudeness and swilled insolence

To confront the rudeness and disrespect

Of such late wassailers; yet, oh! where else

Shall I inform my unacquainted feet 180

Shall I let my unfamiliar feet know180

In the blind mazes of this tangled wood?

In the dark twists of this complicated forest?

My brothers, when they saw me wearied out

My brothers, when they saw me worn out

With this long way, resolving here to lodge

With this long path, deciding here to stay

Under the spreading favor of these pines,

Under the wide embrace of these pines,

Stepped, as they said, to the next thicket-side 185

Stepped, as they said, to the next thicket side185

To bring me berries, or such cooling fruit

To bring me berries or other refreshing fruit

As the kind hospitable woods provide.

As the inviting woods provide.

They left me then when the gray-hooded Even,

They left me then when __A_TAG_PLACEHOLDER_0__,

Like a sad votarist in palmer’s weed,

Like a sad votarist in palmer’s weed

Rose from the hindmost wheels of Phœbus’ wain. 190

Rose from the back wheels of the sun god's chariot.190

But where they are, and why they came not back,

But where they are, and why they haven't come back,

Is now the labor of my thoughts. ’Tis likeliest

Is now the work of my thoughts. It's most likely

They had engaged their wandering steps too far;

They had strayed too far;

And envious darkness, ere they could return,

And jealous darkness, before they could come back,

Had stole them from me. Else, O thievish Night, 195

Had stolen them from me. Otherwise, O thieving Night,195

Why shouldst thou, but for some felonious end,

Why should you, except for some criminal purpose,

In thy dark lantern thus close up the stars

In your dark lantern, cover up the stars

That Nature hung in heaven, and filled their lamps

That nature hung in the sky and filled their lights

With everlasting oil, to give due light

With everlasting oil to provide proper light

To the misled and lonely traveller? 200

To the confused and lonely traveler?200

This is the place, as well as I may guess,

This is the place, as far as I can tell,

Whence even now the tumult of loud mirth

Where even now the __A_TAG_PLACEHOLDER_0__

Was rife, and perfect in my listening ear;

Was rife, and flawless in my listening ear;

Yet nought but single darkness do I find.

__A_TAG_PLACEHOLDER_0__.

What might this be? A thousand fantasies 205

What could this be? A thousand dreams205

Begin to throng into my memory,

Begin to crowd into my memory,

Of calling shapes, and beckoning shadows dire,

Of calling shapes and ominous shadows,

[35]

And airy tongues that syllable men’s names

And light voices that pronounce people's names

On sands and shores and desert wildernesses.

On beaches and coastlines and desert landscapes.

These thoughts may startle well, but not astound 210

These ideas __A_TAG_PLACEHOLDER_0__ 210

The virtuous mind, that ever walks attended

The virtuous mind, which is always accompanied

By a strong siding champion, Conscience.

By __A_TAG_PLACEHOLDER_0__, Conscience.

O, welcome, pure-eyed Faith, white-handed Hope,

O, welcome, clear-eyed Faith, clean-handed Hope,

Thou hovering angel girt with golden wings,

You hovering angel draped in golden wings,

And thou unblemished form of Chastity! 215

And you, perfect embodiment of Purity!215

I see thee visibly, and now believe

I can see you clearly, and now I believe

That He, the Supreme Good, to whom all things ill

That He, the Supreme Good, to whom all things bad

Are but as slavish officers of vengeance,

Are just like obedient agents of revenge,

Would send a glistering guardian, if need were,

Would send a shining protector, if necessary,

To keep my life and honor unassailed.... 220

To keep my life and honor safe....220

Was I deceived, or did a sable cloud

Was I fooled, or did a dark cloud

Turn forth her silver lining on the night?

Turn to __A_TAG_PLACEHOLDER_0__ tonight?

I did not err: there does a sable cloud

I didn’t make a mistake: there lies a dark cloud

Turn forth her silver lining on the night,

Turn her silver lining to face the night,

And casts a gleam over this tufted grove. 225

And casts a shine over this lush grove.225

I cannot hallo to my brothers, but

I cannot call out to my brothers, but

Such noise as I can make to be heard farthest

Such noise as I can make to be heard the farthest

I’ll venture; for my new-enlivened spirits

I’ll take a chance; for my newly energized spirits

Prompt me, and they perhaps are not far off.

Prompt me, and they might not be too far away.

Song.

Sweet Echo, sweetest nymph, that liv’st unseen 230

Sweet Echo, sweetest nymph, who lives unseen230

Within thy airy shell

By slow Meander’s margent green,

By the slow __A_TAG_PLACEHOLDER_0__ green bank,

And in the violet-embroidered vale

Where the love-lorn nightingale

Where the lovesick nightingale

Nightly to thee her sad song mourneth well: 235

Nightly, her sad song mourns for you well:235

Canst thou not tell me of a gentle pair

Can you tell me about a kind couple?

That likest thy Narcissus are?

That like your __A_TAG_PLACEHOLDER_0__?

[36]

O, if thou have

Oh, if you have

Hid them in some flowery cave,

Hid them in a flowery cave,

Tell me but where, 240

Tell me where,

Sweet Queen of Parley, Daughter of the Sphere!

Sweet Queen of Conversation, __A_TAG_PLACEHOLDER_0__!

So may’st thou be translated to the skies,

So may you be taken up to the heavens,

And give resounding grace to all Heaven’s harmonies!

__A_TAG_PLACEHOLDER_0__!

Comus. Can any mortal mixture of earth’s mould

Comus. Can any human blend of earth's material

Breathe such divine enchanting ravishment? 245

Breathe in such divine enchantment?

Sure something holy lodges in that breast,

Sure, something sacred resides in that heart,

And with these raptures moves the vocal air

And with these joys, the singing air flows

To testify his hidden residence.

To confirm his hidden location.

How sweetly did they float upon the wings

Of silence, through the empty-vaulted night, 250

Of silence, through the empty-arched night,250

At every fall smoothing the raven down

__A_TAG_PLACEHOLDER_0__ petting the raven

Of darkness till it smiled! I have oft heard

Of darkness until it smiled! I have often heard

My mother Circe with the Sirens three,

My mom Circe with __A_TAG_PLACEHOLDER_0__ three,

Amidst the flowery-kirtled Naiades,

Amidst the floral __A_TAG_PLACEHOLDER_0__,

Culling their potent herbs and baleful drugs, 255

Culling their powerful herbs and harmful drugs,255

Who, as they sung, would take the prisoned soul,

Who, as they sang, would free the trapped soul,

And lap it in Elysium: Scylla wept,

__A_TAG_PLACEHOLDER_0__: __A_TAG_PLACEHOLDER_1__ cried,

And chid her barking waves into attention,

And made her barking waves sit up and take notice,

And fell Charybdis murmured soft applause.

And fell __A_TAG_PLACEHOLDER_0__ soft applause.

Yet they in pleasing slumber lulled the sense, 260

Yet they in a comforting sleep calmed the senses,260

And in sweet madness robbed it of itself;

And in its sweet madness, it lost itself;

But such a sacred and home-felt delight,

But such a cherished and deeply felt joy,

Such sober certainty of waking bliss,

Such a clear certainty of waking happiness,

I never heard till now. I’ll speak to her,

I haven't heard about this until now. I'll talk to her,

And she shall be my queen.—Hail, foreign wonder! 265

And she will be my queen.—Hail, amazing stranger!265

Whom certain these rough shades did never breed,

Whom these harsh shadows never produced,

Unless the goddess that in rural shrine

__A_TAG_PLACEHOLDER_0__ at rural shrine

Dwell’st here with Pan or Sylvan, by blest song

Dwell here with Pan or Sylvan, by blessed song

Forbidding every bleak unkindly fog

Banning every dark, cruel fog

To touch the prosperous growth of this tall wood. 270

To experience the thriving growth of this tall forest.270

[37]

Lady. Nay, gentle shepherd, ill is lost that praise

Lady. No, kind shepherd, it's a shame to waste that praise

That is addressed to unattending ears.

That is directed at unresponsive ears.

Not any boast of skill, but extreme shift

Not any brag about ability, but extreme shift

How to regain my severed company,

How can I get my company back?

Compelled me to awake the courteous Echo 275

Compelled me to wake the polite Echo275

To give me answer from her mossy couch.

To give me an answer from her mossy couch.

Comus. What chance, good Lady, hath bereft you thus?

Comus. __A_TAG_PLACEHOLDER_0__

Lady. Dim darkness and this leavy labyrinth.

Lady. Dim darkness and this leafy maze.

Comus. Could that divide you from near-ushering guides?

Comus. Could that separate you from close and helpful guides?

Lady. They left me weary on a grassy turf. 280

Lady. They left me exhausted on the grass.280

Comus. By falsehood, or discourtesy, or why?

Comus. By lying, or being rude, or why?

Lady. To seek i’ the valley some cool friendly spring.

Lady. To look for a cool, friendly spring in the valley.

Comus. And left your fair side all unguarded, Lady?

Comus. And you left your lovely side completely unprotected, my lady?

Lady. They were but twain, and purposed quick return.

Lady. They were just two and intended to come back quickly.

Comus. Perhaps forestalling night prevented them.285

Comus. Maybe the early night stopped them.285

Lady. How easy my misfortune is to hit!

Lady. How easy it is for misfortune to strike me!

Comus. Imports their loss, beside the present need?

Comus. Does it matter their loss, given the current need?

Lady. No less than if I should my brothers lose.

Lady. It's just as bad as if I were to lose my brothers.

Comus. Were they of manly prime, or youthful bloom?

Comus. __A_TAG_PLACEHOLDER_0__

Lady. As smooth as Hebe’s their unrazored lips. 290

Lady. Their unshaven lips are as smooth as Hebe's.290

Comus. Two such I saw, what time the labored ox

Comus. I saw two like that when the labored ox

In his loose traces from the furrow came,

__A_TAG_PLACEHOLDER_0__ from the field came,

And the swinked hedger at his supper sat.

And the exhausted gardener sat down to his dinner.

I saw them under a green mantling vine,

I saw them under __A_TAG_PLACEHOLDER_0__,

That crawls along the side of yon small hill, 295

That moves along the side of that small hill,295

Plucking ripe clusters from the tender shoots;

Plucking ripe bunches from the young shoots;

Their port was more than human, as they stood.

Their stance was more than human, as they stood.

I took it for a faery vision

I thought it was a fairy tale vision.

Of some gay creatures of the element,

Of some __A_TAG_PLACEHOLDER_0__,

That in the colors of the rainbow live, 300

That in the colors of the rainbow live,300

And play i’ the plighted clouds. I was awe-strook,

__A_TAG_PLACEHOLDER_0__. I was in awe,

And, as I passed, I worshiped. If those you seek,

And as I walked by, I admired. If those you're looking for,

[38]

It were a journey like the path to Heaven

It was a journey like the road to Heaven.

To help you find them.

To assist you in finding them.

Lady. Gentle villager,

Ma'am. Kind villager,

What readiest way would bring me to that place? 305

What’s the quickest way to get me there?305

Comus. Due west it rises from this shrubby point.

Comus. It rises due west from this overgrown spot.

Lady. To find out that, good shepherd, I suppose,

Lady. To discover that, good shepherd, I guess,

In such a scant allowance of star-light,

In such a limited amount of starlight,

Would overtask the best land-pilot’s art,

Would overwhelm even the most skilled land pilot's expertise,

Without the sure guess of well-practised feet. 310

Without the confident stride of practiced feet.310

Comus. I know each lane, and every alley green,

Comus. I know every street and all the leafy alleys,

Dingle, or bushy dell, of this wild wood,

Dingle, or overgrown valley, of this wild forest,

And every bosky bourn from side to side,

And every wooded stream from side to side,

My daily walks and ancient neighborhood;

My daily walks and old neighborhood;

And, if your stray attendance be yet lodged, 315

And if your occasional attendance is still noted,315

Or shroud within these limits, I shall know

__A_TAG_PLACEHOLDER_0__, I'll know

Ere morrow wake, or the low-roosted lark

Ere tomorrow awakens, or the low-roosted lark

From her thatched pallet rouse. If otherwise,

__A_TAG_PLACEHOLDER_0__. If not,

I can conduct you, Lady, to a low

I can lead you, my lady, to a low

But loyal cottage, where you may be safe 320

But loyal cottage, where you can be safe320

Till further quest.

Until next quest.

Lady. Shepherd, I take thy word,

Lady. Shepherd, I trust your word,

And trust thy honest-offered courtesy,

And trust your genuinely offered kindness,

Which oft is sooner found in lowly sheds,

Which is often found sooner in humble sheds,

With smoky rafters, than in tapestry halls

With smoky beams, rather than in tapestry rooms

And courts of princes, where it first was named, 325

And royal courts, __A_TAG_PLACEHOLDER_0__, 325

And yet is most pretended. In a place

And yet it's mostly faked. In a place

Less warranted than this, or less secure,

__A_TAG_PLACEHOLDER_0__,

I cannot be, that I should fear to change it.

I can't be afraid to change it.

Eye me, blest Providence, and square my trial

Look at me, blessed Providence, and __A_TAG_PLACEHOLDER_0__

To my proportioned strength! Shepherd, lead on.... 330

__A_TAG_PLACEHOLDER_0__! Shepherd, lead the way.... 330

[39]

The Two Brothers.

Eld. Bro. Unmuffle, ye faint stars; and thou, fair moon,

Eld. Bro. Unmuffle, you faint stars; and you, pretty moon,

That wont’st to love the traveller’s benison,

__A_TAG_PLACEHOLDER_0__ the traveler's blessing,

Stoop thy pale visage through an amber cloud,

__A_TAG_PLACEHOLDER_0__ through an amber haze,

And disinherit Chaos, that reigns here

In double night of darkness and of shades; 335

In the deep night filled with darkness and shadows; 335

Or, if your influence be quite dammed up

Or, if your influence is completely blocked

With black usurping mists, some gentle taper,

With dark creeping fogs, a soft candle,

Though a rush-candle from the wicker hole

Though __A_TAG_PLACEHOLDER_0__ from the wicker hole

Of some clay habitation, visit us

Of some clay dwelling, come see us

With thy long levelled rule of streaming light, 340

With your long, steady stream of light,340

And thou shalt be our star of Arcady,

And you will be our __A_TAG_PLACEHOLDER_0__,

Or Tyrian Cynosure.

__A_TAG_PLACEHOLDER_0__.

Sec. Bro. Or, if our eyes

Sec. Bro. Or, if we look

Be barred that happiness, might we but hear

Be warned that happiness, if only we could hear

The folded flocks, penned in their wattled cotes,

The folded flocks, kept in their woven enclosures,

Or sound of pastoral reed with oaten stops, 345

__A_TAG_PLACEHOLDER_0__, 345

Or whistle from the lodge, or village cock

Or whistle from the cabin, or village rooster.

Count the night-watches to his feathery dames,

Count the night watches to his feathery ladies,

’Twould be some solace yet, some little cheering,

It would still be some comfort, a little bit of cheer,

In this close dungeon of innumerous boughs.

In this cramped dungeon of __A_TAG_PLACEHOLDER_0__.

But, Oh, that hapless virgin, our lost sister! 350

But, oh, that unfortunate virgin, our lost sister!350

Where may she wander now, whither betake her

Where can she roam now, where should she go?

From the chill dew, amongst rude burs and thistles?

From the cold dew, among rough burs and thistles?

Perhaps some cold bank is her bolster now,

Perhaps some cold bank is her pillow now,

Or ’gainst the rugged bark of some broad elm

Or against the rough bark of some wide elm

Leans her unpillowed head, fraught with sad fears. 355

Leans her head without a pillow, filled with sad worries.355

What if in wild amazement and affright,

What if in stunned wonder and fear,

Or, while we speak, within the direful grasp

Or, while we talk, within the terrifying grip

Of savage hunger, or of savage heat!

Eld. Bro. Peace, brother: be not over-exquisite

Eld. Bro. Chill, brother: don't be overly picky.

To cast the fashion of uncertain evils; 360

To shape the style of unknown troubles;360°

[40]

For, grant they be so, while they rest unknown,

For, __A_TAG_PLACEHOLDER_0__, while they stay unrecognized,

What need a man forestall his date of grief,

What does a man need to do to avoid his day of grief,

And run to meet what he would most avoid?

And run to face what he would try to avoid the most?

Or, if they be but false alarms of fear,

Or, if they are just false alarms of fear,

How bitter is such self-delusion! 365

How bitter is that __A_TAG_PLACEHOLDER_0__! 365

I do not think my sister so to seek,

__A_TAG_PLACEHOLDER_0__,

Or so unprincipled in virtue’s book,

Or so lacking in principles in the book of virtue,

And the sweet peace that goodness bosoms ever,

And the sweet peace that goodness always holds,

As that the single want of light and noise

As the only desire for light and noise

(Not being in danger, as I trust she is not) 370

(Not being in danger, as I believe she isn't)370

Could stir the constant mood of her calm thoughts,

Could disrupt the steady flow of her calm thoughts,

And put them into misbecoming plight.

And get them into an unflattering situation.

Virtue could see to do what Virtue would

By her own radiant light, though sun and moon

Were in the flat sea sunk. And Wisdom’s self 375

__A_TAG_PLACEHOLDER_0__ And Wisdom itself

Oft seeks to sweet retired solitude,

Oft seeks to sweet, quiet solitude,

Where, with her best nurse, Contemplation,

Where, with her top nurse, __A_TAG_PLACEHOLDER_0__,

She plumes her feathers, and lets grow her wings,

She preens her feathers and lets her wings grow,

That, in the various bustle of resort,

That, in the various hustle and bustle of the resort,

Were all to-ruffled, and sometimes impaired. 380

__A_TAG_PLACEHOLDER_0__, and sometimes dysfunctional. 380

He that has light within his own clear breast

He who has light inside his own clear heart

May sit i’ the centre, and enjoy bright day:

May I sit in the center and enjoy the bright day:

But he that hides a dark soul and foul thoughts

But the one who conceals a dark soul and wicked thoughts

Benighted walks under the mid-day sun;

Benighted walks under the midday sun;

Himself is his own dungeon.

He’s his own dungeon.

Sec. Bro. ’Tis most true 385

Sec. Bro. It’s definitely true 385

That musing Meditation most affects

That thoughtful meditation most __A_TAG_PLACEHOLDER_0__

The pensive secrecy of desert cell,

The thoughtful solitude of the desert cell,

Far from the cheerful haunt of men and herds,

Far away from the joyful places where people and animals gather,

And sits as safe as in a senate-house;

And sits as safely as in a government building;

For who would rob a hermit of his weeds, 390

For who would steal a hermit's weeds,390

His few books, or his beads, or maple dish,

His few books, or his beads, or maple bowl,

Or do his gray hairs any violence?

Or do his gray hairs suffer any harm?

[41]

But Beauty, like the fair Hesperian tree

But Beauty, like __A_TAG_PLACEHOLDER_0__

Laden with blooming gold, had need the guard

Laden with blooming gold, __A_TAG_PLACEHOLDER_0__

Of dragon-watch with unenchanted eye 395

Of __A_TAG_PLACEHOLDER_0__ with unenchanted eyes

To save her blossoms, and defend her fruit,

To protect her flowers and keep her fruit safe,

From the rash hand of bold Incontinence.

From the reckless actions of reckless impulsiveness.

You may as well spread out the unsunned heaps

You might as well spread out the sunless piles.

Of miser’s treasure by an outlaw’s den,

Of a miser's treasure hidden near an outlaw's hideout,

And tell me it is safe, as bid me hope 400

And tell me it’s safe, as you asked me to hope. 400

Danger will wink on Opportunity,

Danger __A_TAG_PLACEHOLDER_0__,

And let a single helpless maiden pass

And let one helpless girl go by

Uninjured in this wild surrounding waste.

Unharmed in this chaotic, barren environment.

Of night or loneliness it recks me not;

Of night or loneliness __A_TAG_PLACEHOLDER_0__;

I fear the dread events that dog them both, 405

I fear the terrible events that follow them both,405

Lest some ill-greeting touch attempt the person

Lest some unfriendly touch try to affect the person

Of our unowned sister.

Eld. Bro. I do not, brother,

Brother. __A_TAG_PLACEHOLDER_0__,

Infer as if I thought my sister’s state

Infer as if I believed my sister's condition

Secure without all doubt or controversy;

Secure without any doubt or argument;

Yet, where an equal poise of hope and fear 410

Yet, where there is a balance of hope and fear410

Does arbitrate the event, my nature is

That I incline to hope rather than fear,

That I tend to hope instead of fear,

And gladly banish squint suspicion.

And happily get rid of __A_TAG_PLACEHOLDER_0__.

My sister is not so defenceless left

My sister isn't so defenseless anymore.

As you imagine; she has a hidden strength, 415

As you can guess, she has a hidden strength,415

Which you remember not.

Which you don't remember.

Sec. Bro. What hidden strength,

Sec. Bro. What secret power,

Unless the strength of Heaven, if you mean that?

Unless you mean the power of Heaven?

Eld. Bro. I mean that too, but yet a hidden strength,

Eld. Bro. I mean that as well, but there's also a hidden strength,

Which, if Heaven gave it, may be termed her own.

Which, if Heaven granted it, could be called her own.

’Tis chastity, my brother, chastity: 420

It's chastity, my brother, chastity: 420

She that has that is clad in complete steel,

She who is dressed in full armor,

And, like a quivered nymph with arrows keen,

And, like a quivered nymph with sharp arrows,

[42]

May trace huge forests, and unharbored heaths,

May trace large forests, and __A_TAG_PLACEHOLDER_0__ heaths,

Infamous hills, and sandy perilous wilds;

__A_TAG_PLACEHOLDER_0__, and sandy dangerous wilderness;

Where, through the sacred rays of chastity, 425

Where, through the holy light of purity,425

No savage fierce, bandite, or mountaineer,

No fierce savage, bandit, or mountain dweller,

Will dare to soil her virgin purity.

Will dare to tarnish her virgin purity.

Yea, there where very desolation dwells,

Yea, there where great emptiness resides,

By grots and caverns shagged with horrid shades,

By grots and caves covered with horrible shadows,

She may pass on with unblenched majesty, 430

She may move on with __A_TAG_PLACEHOLDER_0__ grace,

Be it not done in pride, or in presumption.

Don't do it out of pride or arrogance.

Some say no evil thing that walks by night,

Some say no evil thing that walks at night,

In fog or fire, by lake or moorish fen,

In fog or fire, by lake or marshy swamp,

Blue meagre hag, or stubborn unlaid ghost,

__A_TAG_PLACEHOLDER_0__, or stubborn unresolved ghost,

That breaks his magic chains at curfew time, 435

That breaks his magic chains at curfew time,435

No goblin or swart faery of the mine,

No goblin or __A_TAG_PLACEHOLDER_0__,

Hath hurtful power o’er true virginity.

Has harmful power over true virginity.

Do ye believe me yet, or shall I call

Do you believe me now, or should I call

Antiquity from the old schools of Greece

Antiquity from the ancient schools of Greece

To testify the arms of chastity? 440

To prove the power of purity?440

Hence had the huntress Dian her dread bow,

Hence had __A_TAG_PLACEHOLDER_0__ her feared bow,

Fair silver-shafted queen forever chaste,

Pure silver-arrowed queen forever chaste,

Wherewith she tamed the brinded lioness

Wherewith she tamed the brindled lioness

And spotted mountain-pard, but set at nought

And the spotted mountain leopard, but disregarded

The frivolous bolt of Cupid; gods and men 445

The playful arrow of Cupid; gods and humans445

Feared her stern frown, and she was queen o’ the woods.

Feared her serious glare, and she was queen of the woods.

What was that snaky-headed Gorgon shield

What was that shield with the snake-haired Gorgon?

That wise Minerva wore, unconquered virgin,

That __A_TAG_PLACEHOLDER_0__ wore, undefeated virgin,

Wherewith she freezed her foes to congealed stone,

Where she turned her enemies into solid stone,

But rigid looks of chaste austerity, 450

But strict appearances of pure seriousness,450

And noble grace that dashed brute violence

And noble grace that overcame brute violence

With sudden adoration and blank awe?

With sudden love and complete amazement?

So dear to Heaven is saintly chastity

So precious to Heaven is saintly purity

That, when a soul is found sincerely so,

That, when a soul is genuinely found that way,

A thousand liveried angels lackey her, 455

A thousand dressed-up angels serve her, 455

Driving far off each thing of sin and guilt,

Driving far away from every sin and guilt,

[43]

And in clear dream and solemn vision

And in a vivid dream and serious vision

Tell her of things that no gross ear can hear;

Tell her about things that no ordinary ear can hear;

Till oft converse with heavenly habitants

Till often converse with heavenly inhabitants

Begin to cast a beam on the outward shape, 460

Begin to shine a light on the outer form,460

The unpolluted temple of the mind,

The pure temple of the mind,

And turns it by degrees to the soul’s essence,

And turns it gradually to the soul's essence,

Till all be made immortal. But, when lust,

Till everyone becomes immortal. But, when desire,

By unchaste looks, loose gestures, and foul talk,

By inappropriate glances, flirtatious gestures, and crude language,

But most by lewd and lavish act of sin, 465

But mostly through immoral and excessive sinful actions,465

Lets in defilement to the inward parts,

Lets in defilement to the inner parts,

The soul grows clotted by contagion,

The soul gets stuck and suffocated by infection,

Imbodies, and imbrutes, till she quite lose

Imbodies, and imbrutes, until she completely loses

The divine property of her first being.

The divine quality of her initial existence.

Such are those thick and gloomy shadows damp 470

Such are those thick and gloomy shadows damp

Oft seen in charnel-vaults and sepulchres,

Lingering and sitting by a new-made grave,

Lingering and sitting by a freshly dug grave,

As loth to leave the body that it loved,

As reluctant to leave the body that it loved,

And linked itself by carnal sensualty

And connected itself through physical desire

To a degenerate and degraded state. 475

To a broken and diminished state.475

Sec. Bro. How charming is divine Philosophy!

Sec. Bro. How delightful is divine Philosophy!

Not harsh and crabbed, as dull fools suppose,

Not harsh and grumpy, as boring people think,

But musical as is Apollo’s lute,

But as musical as Apollo's lute,

And a perpetual feast of nectared sweets,

And an endless banquet of sweet treats,

Where no crude surfeit reigns.

Where no excessive abundance rules.

Eld. Bro. List! list! I hear 480

Eld. Bro. Listen! Listen! I hear 480

Some far-off hallo break the silent air.

Some distant calls break the silence.

Sec. Bro. Methought so too; what should it be?

Sec. Bro. I thought so too; what could it be?

Eld. Bro. For certain,

Eld. Bro. Definitely,

Either some one, like us, night-foundered here,

Either someone, like us, got stuck here at night,

Or else some neighbor woodman, or, at worst,

Or else some neighbor woodsman, or, at worst,

Some roving robber calling to his fellows. 485

Some wandering thief calling to his buddies.485

Sec. Bro. Heaven help my sister! Again, again, and near!

Sec. Bro. God help my sister! Again, again, and so close!

Best draw, and stand upon our guard.

__A_TAG_PLACEHOLDER_0__.

[44]

Eld. Bro. I’ll hallo.

Eld. Bro. I'll call out.

If he be friendly, he comes well: if not,

If he's friendly, he's welcome; if not,

Defence is a good cause, and Heaven be for us!

Defending what's right is a worthy cause, and may God be with us!

The Attendant Spirit, habited like a shepherd.

The Spirit Guide, dressed like a shepherd.

That hallo I should know. What are you? speak. 490

That greeting sounds familiar. Who are you? Speak. 490

Come not too near; you fall on iron stakes else.

Stay back; otherwise, you'll fall on sharp iron stakes.

Spir. What voice is that? my young lord? speak again.

Spir. What voice was that? My young lord? Speak again.

Sec. Bro. O brother, ’tis my father’s Shepherd, sure.

Sec. Bro. Oh brother, it's definitely my father's Shepherd.

Eld. Bro. Thyrsis! whose artful strains have oft delayed

Eld. Bro. Thyrsis! whose skillful melodies have often postponed

The huddling brook to hear his madrigal, 495

__A_TAG_PLACEHOLDER_0__, 495

And sweetened every musk-rose of the dale.

And sweetened every musk rose in the valley.

How camest thou here, good swain? Hath any ram

How did you get here, good shepherd? Has any ram

Slipped from the fold, or young kid lost his dam,

Slipped from the fold, or a young kid lost its mother,

Or straggling wether the pent flock forsook?

Or did the scattered wether leave the confined flock?

How could’st thou find this dark sequestered nook? 500

How did you find this dark, hidden corner? 500

Spir. O my loved master’s heir, and his next joy,

Spir. Oh my beloved master's heir, and his next source of joy,

I came not here on such a trivial toy

I didn't come here for something so insignificant.

As a strayed ewe, or to pursue the stealth

As a lost sheep, or to chase the hidden

Of pilfering wolf; not all the fleecy wealth

Of stealing wolf; not all the fluffy riches

That doth enrich these downs is worth a thought 505

That enriches these hills is worth considering505

To this my errand, and the care it brought.

To this task, and the responsibility it brought.

But, oh! my virgin Lady, where is she?

But oh! my pure Lady, where is she?

How chance she is not in your company?

__A_TAG_PLACEHOLDER_0__ at your company?

Eld. Bro. To tell thee sadly, Shepherd, without blame

Eld. Bro. To tell you sadly, Shepherd, without blame

Or our neglect, we lost her as we came. 510

Or due to our neglect, we lost her as we arrived.510

Spir. Ay me unhappy! then my fears are true.

Spir. Oh no, I'm so unhappy! My fears are real.

Eld. Bro. What fears, good Thyrsis? Prithee briefly shew.

Eld. Bro. What are you worried about, good Thyrsis? Please share briefly.

Spir. I’ll tell ye. ’Tis not vain or fabulous

Spir. I'll tell you. It's not meaningless or made-up

(Though so esteemed by shallow ignorance)

(Though so respected by superficial ignorance)

What the sage poets, taught by the heavenly Muse, 515

What the wise poets, inspired by the divine Muse,515

Storied of old in high immortal verse

Storied from long ago in lofty, timeless poetry

Of dire Chimeras and enchanted isles,

Of terrible __A_TAG_PLACEHOLDER_0__ and enchanted islands,

[45]

And rifted rocks whose entrance leads to Hell;

And split rocks that open up to Hell;

For such there be, but unbelief is blind.

For those who exist, but doubt is blind.

Within the navel of this hideous wood, 520

Within the center of this ugly forest,520

Immured in cypress shades, a sorcerer dwells,

Immersed in the shade of cypress trees, a sorcerer resides,

Of Bacchus and of Circe born, great Comus,

Of Bacchus and Circe born, great Comus,

Deep skilled in all his mother’s witcheries,

Deeply skilled in all of his mother's magical arts,

And here to every thirsty wanderer

And here for every thirsty traveler

By sly enticement gives his baneful cup, 525

By crafty persuasion offers his deadly drink,525

With many murmurs mixed, whose pleasing poison

__A_TAG_PLACEHOLDER_0__, with its tempting allure

The visage quite transforms of him that drinks,

The appearance of someone who drinks changes completely,

And the inglorious likeness of a beast

And the shameful image of a beast

Fixes instead, unmoulding reason’s mintage

Fixes instead, uncoding reason’s __A_TAG_PLACEHOLDER_0__

Charactered in the face. This have I learnt 530

__A_TAG_PLACEHOLDER_0__. This is what I've learned 530

Tending my flocks hard by i’ the hilly crofts

Tending my flocks right by in the hilly crofts

That brow this bottom glade; whence night by night

That brow this bottom glade; where night after night

He and his monstrous rout are heard to howl

He and his monstrous crowd can be heard howling.

Like stabled wolves, or tigers at their prey,

Like wolves in a pen or tigers on the hunt,

Doing abhorred rites to Hecate 535

Doing hated rituals for Hecate

In their obscurèd haunts of inmost bowers.

In their hidden spots of deepest retreats.

Yet have they many baits and guileful spells

Yet they have many traps and deceitful tricks.

To inveigle and invite the unwary sense

To lure and invite the unsuspecting senses

Of them that pass unweeting by the way.

Of those who pass unknowingly along the way.

This evening late, by then the chewing flocks 540

This late evening, __A_TAG_PLACEHOLDER_0__ 540

Had ta’en their supper on the savory herb

Had taken their supper on the savory herb

Of knot-grass dew-besprent, and were in fold,

Of knot-grass covered in dew, and were in a group,

I sat me down to watch upon a bank

I sat down to watch by a riverbank.

With ivy canopied, and interwove

With ivy-covered and intertwined

With flaunting honeysuckle, and began, 545

With blooming honeysuckle, and began,

Wrapt in a pleasing fit of melancholy,

Wrapped in a pleasing fit of melancholy,

To meditate my rural minstrelsy,

Till fancy had her fill. But ere a close

Till fancy had her fill. But before a close

The wonted roar was up amidst the woods,

The usual roar was heard among the woods,

And filled the air with barbarous dissonance; 550

And filled the air with harsh noise;550

[46]

At which I ceased, and listened them a while,

At that point, I stopped and listened to them for a while,

Till an unusual stop of sudden silence

Till an __A_TAG_PLACEHOLDER_0__

Gave respite to the drowsy-flighted steeds

That draw the litter of close-curtained Sleep.

That draws the pile of tightly drawn curtains of Sleep.

At last a soft and solemn-breathing sound 555

At last, a soft and solemn breathing sound555

Rose like a steam of rich distilled perfumes,

Rose like a stream of luxurious distilled fragrances,

And stole upon the air, that even Silence

Was took ere she was ware, and wished she might

Deny her nature, and be never more,

__A_TAG_PLACEHOLDER_0__,

Still to be so displaced. I was all ear, 560

Still to feel so out of place. I was all ears,560

And took in strains that might create a soul

And absorbed sounds that could bring a soul to life

Under the ribs of Death. But, oh! ere long

__A_TAG_PLACEHOLDER_0__. But, oh! soon

Too well I did perceive it was the voice

Too clearly I realized it was the voice

Of my most honored Lady, your dear sister.

Of my esteemed Lady, your beloved sister.

Amazed I stood, harrowed with grief and fear; 565

Amazed, I stood, overwhelmed with grief and fear;565

And ‘O poor hapless nightingale,’ thought I,

And 'Oh, poor unfortunate nightingale,' I thought,

‘How sweet thou sing’st, how near the deadly snare!’

‘How sweet you sing, how close the deadly trap!’

Then down the lawns I ran with headlong haste,

Then I ran down the lawns in a mad rush,

Through paths and turnings often trod by day,

Through paths and turns often walked during the day,

Till, guided by mine ear, I found the place 570

Till, guided by my ear, I found the place570

Where that damned wizard, hid in sly disguise

Where that cursed wizard, hidden in a clever disguise

(For so by certain signs I knew), had met

Already, ere my best speed could prevent,

Already, before my best effort could stop it,

The aidless innocent lady, his wished prey;

The defenseless innocent woman, his desired target;

Who gently asked if he had seen such two, 575

Who softly asked if he had seen such two,575

Supposing him some neighbor villager.

Assuming he’s a local villager.

Longer I durst not stay, but soon I guessed

Longer I couldn't stay, but soon I figured

Ye were the two she meant; with that I sprung

You were the two she meant; with that, I jumped

Into swift flight, till I had found you here;

Into quick flight, until I had found you here;

But further know I not.

But I don't know more.

Sec. Bro. O night and shades, 580

Sec. Bro. Oh night and shadows, 580

How are ye joined with hell in triple knot

How are you tied to hell in a triple knot?

Against the unarmed weakness of one virgin,

Against the unarmed vulnerability of one innocent,

[47]

Alone and helpless! Is this the confidence

Alone and helpless! Is this what confidence feels like?

You gave me, brother?

What did you give me, bro?

Eld. Bro. Yes, and keep it still;

Elder Brother Yes, and be quiet;

Lean on it safely; not a period 585

Lean on it safely; not a period585

Shall be unsaid for me. Against the threats

__A_TAG_PLACEHOLDER_0__. Against the dangers

Of malice or of sorcery, or that power

Which erring men call Chance, this I hold firm:

Which misguided people call Chance, this I firmly believe:

Virtue may be assailed, but never hurt,

Virtue can be attacked, but it can never be harmed,

Surprised by unjust force, but not enthralled; 590

Surprised by unfair force, but not captivated;590

Yea, even that which Mischief meant most harm

Yup, even that which Mischief intended to cause the most harm

Shall in the happy trial prove most glory.

Shall in the joyful test show the greatest glory.

But evil on itself shall back recoil,

But evil will turn back on itself,

And mix no more with goodness, when at last,

And don’t mix with goodness anymore, when finally,

Gathered like scum, and settled to itself, 595

__A_TAG_PLACEHOLDER_0__, 595

It shall be in eternal restless change

It will be in constant, restless change.

Self-fed and self-consumed. If this fail,

Self-sufficient and self-serving. If this doesn't work,

The pillared firmament is rottenness,

__A_TAG_PLACEHOLDER_0__ is decay,

And earth’s base built on stubble. But come, let’s on!

And the earth's foundation is built on stubble. But come on, let's go!

Against the opposing will and arm of Heaven 600

Against the opposing will and power of Heaven600

May never this just sword be lifted up;

May this sword never be raised.

But for that damned magician, let him be girt

But for that damn magician, let him be equipped.

With all the griesly legions that troop

With all the grim legions that march

Under the sooty flag of Acheron,

Under the dirty flag of __A_TAG_PLACEHOLDER_0__,

Harpies and Hydras, or all the monstrous forms 605

Harpies and Hydras, or all the monstrous forms605

’Twixt Africa and Ind, I’ll find him out,

’Twixt Africa and India, I’ll track him down,

And force him to return his purchase back,

And make him return __A_TAG_PLACEHOLDER_0__ again,

Or drag him by the curls to a foul death,

Or drag him by his curls to a horrible death,

Cursed as his life.

Cursed like his life.

Spir. Alas! good venturous youth,

Spir. Alas! brave young adventurer,

I love thy courage yet, and bold emprise; 610

__A_TAG_PLACEHOLDER_0__, and bold endeavor;

But here thy sword can do thee little stead.

But here’s your sword __A_TAG_PLACEHOLDER_0__.

Far other arms and other weapons must

Far different arms and different weapons must

Be those that quell the might of hellish charms.

Be those who defeat the power of dark magic.

[48]

He with his bare wand can unthread thy joints,

He can use his bare wand to take apart your joints,

And crumble all thy sinews.

And break all your muscles.

Eld. Bro. Why, prithee, Shepherd, 615

Eld. Bro. Why, please, Shepherd, 615

How durst thou then thyself approach so near

How could you then come so close to me?

As to make this relation?

How to build this relationship?

Spir. Care and utmost shifts

Spir. Care and Support

How to secure the Lady from surprisal

How to protect the lady from surprise

Brought to my mind a certain shepherd lad,

Brought to my mind a certain shepherd boy,

Of small regard to see to, yet well skilled 620

__A_TAG_PLACEHOLDER_0__, but highly skilled

In every virtuous plant and healing herb

In every __A_TAG_PLACEHOLDER_0__ and healing plant

That spreads her verdant leaf to the morning ray.

That spreads her green leaves to the morning light.

He loved me well, and oft would beg me sing;

He loved me deeply and often asked me to sing.

Which when I did, he on the tender grass

Which when I did, he on the soft grass

Would sit, and hearken even to ecstasy, 625

Would sit and listen even to ecstasy,625

And in requital ope his leathern scrip,

And in return, he opened his leather scrip,

And show me simples of a thousand names,

And show me __A_TAG_PLACEHOLDER_0__,

Telling their strange and vigorous faculties.

Telling about their unusual and strong abilities.

Amongst the rest a small unsightly root,

Among the others, a small ugly root,

But of divine effect, he culled me out. 630

But by divine intervention, he chose me.630

The leaf was darkish, and had prickles on it,

The leaf was a dark color and had prickles on it,

But in another country, as he said,

But in another country, as he mentioned,

Bore a bright golden flower, but not in this soil:

Unknown, and like esteemed, and the dull swain

__A_TAG_PLACEHOLDER_0__, and the boring guy

Treads on it daily with his clouted shoon; 635

__A_TAG_PLACEHOLDER_0__; 635

And yet more med’cinal is it than that Moly

And yet it is more medicinal than that Moly

That Hermes once to wise Ulysses gave.

That Hermes once gave to wise Ulysses.

He called it Hæmony, and gave it me,

__A_TAG_PLACEHOLDER_0__, and gave it to me,

And bade me keep it as of sovran use

And told me to keep it for a very important purpose.

’Gainst all enchantments, mildew blast, or damp, 640

Against all enchantments, __A_TAG_PLACEHOLDER_0__, 640

Or ghastly Furies’ apparition.

Or __A_TAG_PLACEHOLDER_0__.

I pursed it up, but little reckoning made,

I tightened my lips, but didn't think much of it,

Till now that this extremity compelled.

Till now that this situation forced.

But now I find it true; for by this means

But now I see it clearly; because of this way

I knew the foul enchanter, though disguised, 645

I knew the wicked sorcerer, even though he was in disguise,645

[49]

Entered the very lime-twigs of his spells,

__A_TAG_PLACEHOLDER_0__,

And yet came off. If you have this about you

And yet it worked out. If you have this within you

(As I will give you when we go) you may

Boldly assault the necromancer’s hall;

Storm the necromancer’s lair;

Where if he be, with dauntless hardihood 650

Wherever he is, with fearless determination650

And brandished blade rush on him: break his glass,

And swung the sword at him: shatter his glass,

And shed the luscious liquor on the ground;

And pour the rich drink on the ground;

But seize his wand. Though he and his curst crew

But grab his wand. Even though he and his cursed crew

Fierce sign of battle make, and menace high,

Fierce signs of battle rise up and threaten greatly,

Or, like the sons of Vulcan, vomit smoke, 655

Or, like Vulcan's sons, spew smoke,655

Yet will they soon retire, if he but shrink.

Yet they will soon back off if he just hesitates.

Eld. Bro. Thyrsis, lead on apace; I’ll follow thee;

Eld. Bro. Thyrsis, go ahead apace; I’ll follow you;

And some good angel bear a shield before us!

And may a good angel hold a shield in front of us!

The Scene changes to a stately palace, set out with all manner of deliciousness: soft music, tables spread with all dainties. Comus appears with his rabble, and the Lady set in an enchanted chair: to whom he offers his glass; which she puts by, and goes about to rise.

The scene shifts to a grand palace, filled with all kinds of treats: soft music plays, and tables are laid with all sorts of delicacies. Comus shows up with his crew, and the Woman is seated in an enchanted chair. He offers her his drink, which she declines, and goes about attempts to stand up.

Comus. Nay, Lady, sit. If I but wave this wand,

Comus. No, my Lady, please stay. If I just wave this wand,

Your nerves are all chained up in alabaster, 660

Your nerves are all tangled up in white, 660

And you a statue, or as Daphne was,

And you a statue, or __A_TAG_PLACEHOLDER_0__

Root-bound, that fled Apollo.

__A_TAG_PLACEHOLDER_0__.

Lady. Fool, do not boast.

Ma'am. Fool, don't brag.

Thou canst not touch the freedom of my mind

You cannot touch the freedom of my mind.

With all thy charms, although this corporal rind

With all your charms, even though this physical body

Thou hast immanacled while Heaven sees good. 665

You have been shackled while Heaven looks favorably upon you.665

Comus. Why are you vexed, Lady? why do you frown?

Comus. Why are you upset, my lady? Why do you look so unhappy?

Here dwell no frowns, nor anger; from these gates

Here, there's no frowning or anger; from these gates

Sorrow flies far. See, here be all the pleasures

Sorrow flies far. Look, here are all the pleasures.

That fancy can beget on youthful thoughts,

That fancy can inspire young minds,

When the fresh blood grows lively, and returns 670

When the fresh blood becomes vibrant and comes back

Brisk as the April buds in primrose season.

Brisk as the April blossoms in spring.

[50]

And first behold this cordial julep here,

And first check out __A_TAG_PLACEHOLDER_0__ here,

That flames and dances in his crystal bounds,

That flames and dances in his glass confines,

With spirits of balm and fragrant syrups mixed.

With soothing spirits and scented syrups mixed together.

Not that Nepenthes which the wife of Thone 675

In Egypt gave to Jove-born Helena

Is of such power to stir up joy as this,

Is there anything that can create joy as powerful as this?

To life so friendly, or so cool to thirst.

To life that is so refreshing, or so great for quenching thirst.

Why should you be so cruel to yourself,

Why be so harsh on yourself,

And to those dainty limbs, which Nature lent 680

And to those delicate limbs, which Nature gave

For gentle usage and soft delicacy?

For gentle use and soft delicacy?

But you invert the covenants of her trust,

But you twist the promises of her trust,

And harshly deal, like an ill borrower,

And treat harshly, like a bad borrower,

With that which you received on other terms,

With what you got under different conditions,

Scorning the unexempt condition 685

Scorning __A_TAG_PLACEHOLDER_0__ 685

By which all mortal frailty must subsist,

By which all human weakness must exist,

Refreshment after toil, ease after pain,

Refreshment after hard work, comfort after suffering,

That have been tired all day without repast,

That have been tired all day without a meal,

And timely rest have wanted. But, fair virgin,

And timely rest have been lacking. But, beautiful maiden,

This will restore all soon.

This will be restored soon.

Lady. ’Twill not, false traitor! 690

Lady. It won't, false traitor! 690

’Twill not restore the truth and honesty

It won't bring back truth and honesty.

That thou hast banished from thy tongue with lies.

That you have removed from your speech with lies.

Was this the cottage and the safe abode

Was this the cottage and the safe home

Thou told’st me of? What grim aspects are these,

You told me about? What grim things are these,

These oughly-headed monsters? Mercy guard me! 695

__A_TAG_PLACEHOLDER_0__? God help me! 695

Hence with thy brewed enchantments, foul deceiver!

Hence with your brewed enchantments, foul deceiver!

Hast thou betrayed my credulous innocence

Have you betrayed my trusting innocence?

With vizored falsehood and base forgery?

__A_TAG_PLACEHOLDER_0__ and basic forgery?

And wouldst thou seek again to trap me here

And would you try to trap me here again?

With liquorish baits, fit to ensnare a brute? 700

With liquorish baits, suitable to trap a savage?700

Were it a draught for Juno when she banquets,

Were it a drink for Juno when she feasts,

I would not taste thy treasonous offer. None

I won’t accept your treasonous offer. None

[51]

But such as are good men can give good things;

__A_TAG_PLACEHOLDER_0__;

And that which is not good is not delicious

And what isn't good isn't tasty.

To a well-governed and wise appetite. 705

To a well-managed and discerning appetite.705

Comus. O foolishness of men! that lend their ears

Comus. Oh, the foolishness of people! who lend their ears

To those budge doctors of the stoic fur,

To __A_TAG_PLACEHOLDER_0__,

And fetch their precepts from the Cynic tub,

And __A_TAG_PLACEHOLDER_0__,

Praising the lean and sallow Abstinence!

Praising the thin and pale Abstinence!

Wherefore did Nature pour her bounties forth 710

Where did Nature share her gifts?

With such a full and unwithdrawing hand,

With such a generous and open hand,

Covering the earth with odors, fruits, and flocks,

Covering the earth with scents, fruits, and herds,

Thronging the seas with spawn innumerable,

Thronging the seas with countless offspring,

But all to please and sate the curious taste?

But all to satisfy and fulfill the curious appetite?

And set to work millions of spinning worms, 715

And started working on millions of spinning worms,715

That in their green shops weave the smooth-haired silk,

That in their green shops weave the silky, smooth hair,

To deck her sons; and, that no corner might

To decorate her sons; and, to ensure that no corner might

Be vacant of her plenty, in her own loins

Be empty of her abundance, within herself

She hutched the all-worshipped ore and precious gems,

She hutched the highly coveted ore and valuable gems,

To store her children with. If all the world 720

To store her children with. If all the world720

Should, in a fit of temperance, feed on pulse,

Should, in a moment of moderation, eat pulse,

Drink the clear stream, and nothing wear but frieze,

Drink the clear stream, and wear nothing but frieze,

The All-giver would be unthanked, would be unpraised,

The All-giver would go unthanked, would go unpraised,

Not half his riches known, and yet despised;

Not even half of his wealth was known, and yet looked down on;

And we should serve him as a grudging master, 725

And we should serve him like a reluctant boss,725

As a penurious niggard of his wealth,

As a stingy miser with his money,

And live like Nature’s bastards, not her sons,

And live like Nature’s rejects, not her children,

Who would be quite surcharged with her own weight,

Who would be pretty burdened by her own weight,

And strangled with her waste fertility:

And suffocated with her wasted potential:

The earth cumbered, and the winged air darked with plumes, 730

The earth was weighed down, and the air was dark with feathers,730

The herds would over-multitude their lords;

The herds would outnumber their leaders;

The sea o’erfraught would swell, and the unsought diamonds

The sea would swell, and the hidden diamonds

Would so emblaze the forehead of the deep,

Would so shine on the forehead of the deep,

And so bestud with stars, that they below

And so covered in stars, that they below

Would grow inured to light, and come at last 735

Would grow used to light, and finally come

[52]

To gaze upon the sun with shameless brows.

To look at the sun without any shame.

List, Lady; be not coy, and be not cozened

List, Lady; do not coy, and do not cozened

With that same vaunted name, Virginity.

With that same highly regarded name, Virginity.

Beauty is Nature’s coin; must not be hoarded,

Beauty is nature's currency; it shouldn't be hoarded,

But must be current; and the good thereof 740

But must be current; and the good of it

Consists in mutual and partaken bliss,

Consists in shared and mutual happiness,

Unsavory in the enjoyment of itself.

Unsavory in its own way.

If you let slip time, like a neglected rose

If you waste time, like a forgotten rose

It withers on the stalk with languished head.

It wilts on the stem with a drooping head.

Beauty is Nature’s brag, and must be shown 745

Beauty is Nature’s way of showing off, and it must be displayed745

In courts, at feasts, and high solemnities,

In courts, at parties, and major ceremonies,

Where most may wonder at the workmanship.

Where most might admire the craftsmanship.

It is for homely features to keep home;

It is for homely features to maintain home;

They had their name thence: coarse complexions

They got their name from that: rough complexions

And cheeks of sorry grain will serve to ply 750

And cheeks of sorry grain will serve to ply750

The sampler, and to tease the huswife’s wool.

__A_TAG_PLACEHOLDER_0__.

What need a vermeil-tinctured lip for that,

What does a lip colored like vermilion need for that,

Love-darting eyes, or tresses like the morn?

Love-struck eyes, or __A_TAG_PLACEHOLDER_0__?

There was another meaning in these gifts;

Think what, and be advised; you are but young yet. 755

Think about it and take advice; you are still young.755

Lady. I had not thought to have unlocked my lips

Lady. I didn't expect to have opened my mouth

In this unhallowed air, but that this juggler

In this cursed atmosphere, if it weren't for this trickster

Would think to charm my judgment, as mine eyes,

Would try to influence my judgment, as my eyes,

Obtruding false rules pranked in reason’s garb.

Obtrusive false rules disguised as rationality.

I hate when vice can bolt her arguments 760

I dislike __A_TAG_PLACEHOLDER_0__ 760

And virtue has no tongue to check her pride.

And virtue has no voice to keep her pride in check.

Impostor! do not charge most innocent Nature,

Impostor! Don't blame the most innocent Nature,

As if she would her children should be riotous

As if she would want her children to be wild.

With her abundance. She, good cateress,

With all her plenty. She, a good hostess,

Means her provision only to the good, 765

Means her provision only to the good,765

That live according to her sober laws,

That live according to her clear rules,

And holy dictate of spare Temperance.

And the sacred rule of moderation.

[53]

If every just man that now pines with want

If every righteous person who is currently suffering from lack

Had but a moderate and beseeming share

Had only a reasonable and appropriate share

Of that which lewdly-pampered Luxury 770

Of that which indulgent Luxury

Now heaps upon some few with vast excess,

Now piles up on a select few with overwhelming abundance,

Nature’s full blessings would be well-dispensed

Nature’s full blessings would be generously shared.

In unsuperfluous even proportion,

__A_TAG_PLACEHOLDER_0__,

And she no whit encumbered with her store;

And she wasn’t bothered at all by her possessions;

And then the Giver would be better thanked, 775

And then the Giver would be appreciated more,775

His praise due paid: for swinish gluttony

His praise is deserved: for piggish greed

Ne’er looks to Heaven amidst his gorgeous feast,

Never looks to Heaven during his lavish feast,

But with besotted base ingratitude

But with blind base ingratitude

Crams, and blasphemes his Feeder. Shall I go on?

Crams and curses his provider. Should I continue?

Or have I said enow? To him that dares 780

__A_TAG_PLACEHOLDER_0__ To those who dare

Arm his profane tongue with contemptuous words

Arm his foul mouth with scornful words

Against the sun-clad power of chastity

Against the sunlit strength of purity

Fain would I something say;—yet to what end?

I would like to say something;—but what's the point?

Thou hast nor ear, nor soul, to apprehend

You have neither the ear nor the soul to understand.

The sublime notion and high mystery 785

The amazing idea and deep mystery785

That must be uttered to unfold the sage

That must be said to reveal the wise.

And serious doctrine of Virginity;

And serious teaching on Virginity;

And thou art worthy that thou shouldst not know

And __A_TAG_PLACEHOLDER_0__

More happiness than this thy present lot.

More happiness than what you have now.

Enjoy your dear wit, and gay rhetoric, 790

Enjoy your clever humor and lively speech,790

That hath so well been taught her dazzling fence;

That has been taught her dazzling skills so well;

Thou art not fit to hear thyself convinced.

You aren't ready to hear yourself being convinced.

Yet, should I try, the uncontrolled worth

Yet, should I give it a shot, __A_TAG_PLACEHOLDER_0__

Of this pure cause would kindle my rapt spirits

__A_TAG_PLACEHOLDER_0__ would boost my mood.

To such a flame of sacred vehemence 795

To such a intense and holy passion795

That dumb things would be moved to sympathize,

That stupid things would be changed to relate,

And the brute Earth would lend her nerves, and shake,

And the tough Earth would give its strength, and tremble,

Till all thy magic structures, reared so high,

Till all your magical structures, built so high,

Were shattered into heaps o’er thy false head.

Were shattered into heaps over your false head.

Comus. She fables not. I feel that I do fear 800

Comus. She's not making this up. I know that I'm afraid800

[54]

Her words set off by some superior power;

Her words were triggered by some higher force;

And, though not mortal, yet a cold shuddering dew

And, although not human, still a chilling, shivering dew

Dips me all o’er, as when the wrath of Jove

Dips me all over, like when the anger of Jupiter

Speaks thunder and the chains of Erebus

To some of Saturn’s crew. I must dissemble, 805

__A_TAG_PLACEHOLDER_0__. I must lie, 805

And try her yet more strongly,—Come, no more!

And try her even harder—Come on, no more!

This is mere moral babble, and direct

This is just empty talk about morality, and direct

Against the canon laws of our foundation.

Against __A_TAG_PLACEHOLDER_0__ of our organization.

I must not suffer this; yet ’tis but the lees

I can’t let this happen; yet it’s just the dregs.

And settlings of a melancholy blood. 810

And settling of a sad mood.810

But this will cure all straight; one sip of this

But this will fix everything; just one sip of this.

Will bathe the drooping spirits in delight

Will lift the downcast spirits in joy

Beyond the bliss of dreams. Be wise, and taste....

Beyond the joy of dreams. Be smart, and savor....

The Brothers rush in with swords drawn, wrest his glass out of his hand, and break it against the ground: his rout make sign of resistance, but are all driven in. The Attendant Spirit comes in.

The Siblings rush in with their swords out, take his glass from his hand, and smash it on the floor: his followers show signs of fighting back, but they are all pushed back. The Spirit Guide enters.

Spir. What! have you let the false enchanter scape?

Spir. What! Did you let the fake sorcerer get away?

O ye mistook; ye should have snatched his wand, 815

O, you were mistaken; you should have grabbed his wand,815

And bound him fast. Without his rod reversed,

And tied him up tightly. Without his rod turned around,

And backward mutters of dissevering power,

__A_TAG_PLACEHOLDER_0__,

We cannot free the Lady that sits here

We can’t free the lady sitting here.

In stony fetters fixed and motionless.

In heavy chains, stuck and unmoving.

Yet stay: be not disturbed; now I bethink me, 820

Yet wait: don't be upset; now I remember, 820

Some other means I have which may be used,

Some other methods I have that could be used,

Which once of Melibœus old I learnt,

Which one of __A_TAG_PLACEHOLDER_0__ I learned,

The soothest shepherd that e’er piped on plains.

The soothest shepherd that ever played on the fields.

There is a gentle Nymph not far from hence,

There’s a gentle Nymph not far from here,

That with moist curb sways the smooth Severn stream: 825

That with wet bank sways the smooth Severn stream:825

Sabrina is her name: a virgin pure;

__A_TAG_PLACEHOLDER_0__: a pure virgin;

Whilom she was the daughter of Locrine,

__A_TAG_PLACEHOLDER_0__ she was Locrine's child,

That had the sceptre from his father Brute.

That had the scepter from his father Brutus.

She, guiltless damsel, flying the mad pursuit

She, an innocent young woman, escaping the crazy chase

Of her enraged stepdame, Guendolen, 830

Of her furious stepmother, Guendolen, 830

[55]

Commended her fair innocence to the flood

That stayed her flight with his cross-flowing course.

That stopped her from leaving with his conflicting direction.

The water-nymphs, that in the bottom played,

The water nymphs who played at the bottom,

Held up their pearled wrists, and took her in,

Held up their pearl-decorated wrists and took her in,

Bearing her straight to aged Nereus’ hall; 835

Taking her straight to __A_TAG_PLACEHOLDER_0__ hall;

Who, piteous of her woes, reared her lank head,

Who, feeling sorry for her troubles, lifted her thin head,

And gave her to his daughters to imbathe

And let his daughters give her a bath.

In nectared lavers strewed with asphodel,

__A_TAG_PLACEHOLDER_0__,

And through the porch and inlet of each sense

And through the entrance and opening of each sense

Dropt in ambrosial oils, till she revived, 840

Dropped in ambrosial oils, until she came back to life,840

And underwent a quick immortal change,

And went through a rapid transformation into immortality,

Made Goddess of the river. Still she retains

Her maiden gentleness, and oft at eve

Her gentle nature, and often in the evening

Visits the herds along the twilight meadows,

Visits the herds in the evening fields,

Helping all urchin blasts, and ill-luck signs 845

__A_TAG_PLACEHOLDER_0__, and bad luck signs

That the shrewd meddling elf delights to make,

That the clever interfering elf loves to create,

Which she with precious vialed liquors heals:

Which she uses to heal with precious bottled liquids:

For which the shepherds, at their festivals,

Carol her goodness loud in rustic lays,

Carol her goodness loud in simple songs,

And throw sweet garland wreaths into her stream 850

And toss sweet flower crowns into her stream850

Of pansies, pinks, and gaudy daffodils.

Of pansies, pinks, and bright blooms.

And, as the old swain said, she can unlock

And, as the old guy said, she can unlock

The clasping charm, and thaw the numbing spell,

If she be right invoked in warbled song;

If she is correctly called upon in a beautiful song;

For maidenhood she loves, and will be swift 855

For her virginity, she has love, and will be quick855

To aid a virgin, such as was herself,

To help a virgin, like herself,

In hard-besetting need. This will I try,

In a tough situation. I’ll give this a shot,

And add the power of some adjuring verse.

And add the strength of some adjuring verse.

Song.

Sabrina fair,

Sabrina's beautiful,

Listen where thou art sitting 860

Listen where you are sitting

Under the glassy, cool, translucent wave,

Under the smooth, cool, clear wave,

[56]

In twisted braids of lilies knitting

In tangled braids of lilies weaving

The loose train of thy amber-dropping hair;

The loose strands of your golden hair;

Listen for dear honor’s sake,

Listen for honor's sake,

Goddess of the silver lake, 865

Goddess of the silver lake,

Listen and save!

Listen and save it!

Listen, and appear to us,

Listen and show yourself to us,

In name of great Oceanus,

In the name of great __A_TAG_PLACEHOLDER_0__,

By the earth-shaking Neptune’s mace,

By the __A_TAG_PLACEHOLDER_0__,

And Tethys’ grave majestic pace; 870

And __A_TAG_PLACEHOLDER_0__; 870

By hoary Nereus’ wrinkled look,

By __A_TAG_PLACEHOLDER_0__ wrinkled appearance,

And the Carpathian wizard’s hook;

And __A_TAG_PLACEHOLDER_0__;

By scaly Triton’s winding shell,

By __A_TAG_PLACEHOLDER_0__,

And old soothsaying Glaucus’ spell;

An old __A_TAG_PLACEHOLDER_0__ spell;

By Leucothea’s lovely hands, 875

And her son that rules the strands;

__A_TAG_PLACEHOLDER_0__;

By Thetis’ tinsel-slippered feet,

By __A_TAG_PLACEHOLDER_0__,

And the songs of Sirens sweet;

And __A_TAG_PLACEHOLDER_0__ awesome;

By dead Parthenope’s dear tomb,

By __A_TAG_PLACEHOLDER_0__,

And fair Ligea’s golden comb, 880

And __A_TAG_PLACEHOLDER_0__, 880

Wherewith she sits on diamond rocks

Where she sits on diamond rocks

Sleeking her soft alluring locks;

Sleeking her soft, alluring hair;

By all the nymphs that nightly dance

By all the nymphs that dance each night

Upon thy streams with wily glance;

Upon your streams with clever glance;

Rise, rise, and heave thy rosy head 885

Rise, rise, and lift your rosy head885

From thy coral-paven bed,

From your coral-paved bed,

And bridle in thy headlong wave,

And __A_TAG_PLACEHOLDER_0__ your headlong wave,

Till thou our summons answered have.

Till you have answered our summons.

Listen and save!

Listen and save it!

Sabrina rises, attended by Water-nymphs, and sings.

Sabrina stands up, accompanied by water nymphs, and sings.

By the rushy-fringed bank, 890

By the rushy-fringed bank,

Where grow the willow and the osier dank,

Where willows and wet osiers grow,

[57]

My sliding chariot stays,

__A_TAG_PLACEHOLDER_0__,

Thick set with agate, and the azurn sheen

Thick set with agate, and __A_TAG_PLACEHOLDER_0__

Of turkis blue, and emerald green,

Of turquoise blue and emerald green,

That in the channel strays: 895

That in the channel strays:

Whilst from off the waters fleet

Thus I set my printless feet

Thus I set my bare feet

O’er the cowslip’s velvet head,

Over the cowslip's soft head,

That bends not as I tread.

That doesn't bend as I walk.

Gentle swain, at thy request 900

Gentle guy, at your request

I am here!

I'm here!

Spir. Goddess dear,

Goddess dear,

We implore thy powerful hand

We ask for your strong help

To undo the charmed band

To break the enchanted band

Of true virgin here distressed 905

Of the true virgin here distressed

Through the force and through the wile

Through the strength and through the cunning

Of unblessed enchanter vile.

Of a cursed evil sorcerer.

Sabr. Shepherd, ’tis my office best

Patience. __A_TAG_PLACEHOLDER_0__

To help ensnared chastity.

Brightest Lady, look on me. 910

Brightest Lady, gaze at me. 910

Thus I sprinkle on thy breast

Thus I sprinkle on your chest

Drops that from my fountain pure

Drops that flow from my pure fountain

I have kept of precious cure;

I have maintained __A_TAG_PLACEHOLDER_0__;

Thrice upon thy finger’s tip,

Three times on your fingertip,

Thrice upon thy rubied lip: 915

Thrice upon your ruby lip:

Next this marble venomed seat,

Next to this marble seat,

Smeared with gums of glutinous heat,

Covered in sticky heat,

I touch with chaste palms moist and cold.

I touch with pure hands, cool and damp.

Now the spell hath lost his hold,

Now the spell has lost its grip,

And I must haste ere morning hour 920

And I have to hurry before morning.920

To wait in Amphitrite’s bower.

__A_TAG_PLACEHOLDER_0__.

Sabrina descends, and the Lady rises out of her seat.

Sabrina goes down, and the Woman stands up from her seat.

Spir. Virgin, daughter of Locrine,

Virgin, daughter of Locrine,

[58]

Sprung of old Anchises’ line,

__A_TAG_PLACEHOLDER_0__,

May thy brimmed waves for this

May __A_TAG_PLACEHOLDER_0__ for this

Their full tribute never miss 925

Their complete tribute never miss 925

From a thousand petty rills,

From a thousand tiny streams,

That tumble down the snowy hills:

That fall down the snowy hills:

Summer drouth or singed air

Summer drought or scorched air

Never scorch thy tresses fair,

Never scorch your beautiful hair,

Nor wet October’s torrent flood 930

Nor rainy October’s __A_TAG_PLACEHOLDER_0__ 930

Thy molten crystal fill with mud;

Your molten crystal is filled with mud;

May thy billows roll ashore

May your waves roll ashore

The beryl and the golden ore;

The __A_TAG_PLACEHOLDER_0__ and the shiny gold;

May thy lofty head be crowned

May your high head be crowned

With many a tower and terrace round, 935

With many towers and terraces around,935

And here and there thy banks upon

And here and there your banks upon

With groves of myrrh and cinnamon.

With __A_TAG_PLACEHOLDER_0__

Come, Lady; while Heaven lends us grace,

Come, Lady; while Heaven gives us grace,

Let us fly this cursed place,

Let’s get out of this cursed place,

Lest the sorcerer us entice 940

Lest the sorcerer tempt us

With some other new device.

With another new device.

Not a waste or needless sound

Not a waste or unnecessary sound

Till we come to holier ground.

Till we reach a more sacred place.

I shall be your faithful guide

I will be your loyal guide.

Through this gloomy covert wide; 945

Through this dark hidden path;

And not many furlongs thence

And not many miles away

Is your Father’s residence,

Is your dad's place,

Where this night are met in state

Where this night are gathered in style

Many a friend to gratulate

Many friends to congratulate

His wished presence, and beside 950

His desired presence, and beside

All the swains that there abide

All the young men that live there

With jigs and rural dance resort.

With jigs and country dancing available.

We shall catch them at their sport,

We will catch them while they're playing,

And our sudden coming there

And our sudden arrival there

Will double all their mirth and cheer. 955

Will double all their joy and happiness.955

[59]

Come, let us haste; the stars grow high,

Come on, let’s hurry; the stars are getting high,

But Night sits monarch yet in the mid sky.

__A_TAG_PLACEHOLDER_0__.

The Scene changes, presenting Ludlow Town, and the President’s Castle: then come the Country Dancers; after them the Attendant Spirit, with the Two Brothers and the Lady.

The scene shifts to Ludlow Town and the President's Castle; next, the Country Dancers appear, followed by the Spirit Guide, with the Two Bros and the Woman.

Song.

Spir. Back, shepherds, back! Enough your play

Spir. Back, shepherds, back! That’s enough of your play.

Till next sun-shine holiday.

Until the next sunny holiday.

Here be, without duck or nod, 960

Here it is, without __A_TAG_PLACEHOLDER_0__, 960

Other trippings to be trod

Other paths to be taken

Of lighter toes, and such court guise

Of lighter steps and such courtly style

As Mercury did first devise

As Mercury first designed

With the mincing Dryades

On the lawns and on the leas. 965

On the lawns and on the meadows.965

This second Song presents them to their Father and Mother.

This second song introduces them to their Dad and Mom.

Noble Lord and Lady bright,

Noble Lord and Lady, bright,

I have brought ye new delight.

I have brought you new joy.

Here behold so goodly grown

Look how beautifully grown.

Three fair branches of your own.

Heaven hath timely tried their youth, 970

Heaven has tested their youth in due time,970

Their faith, their patience, and their truth,

And sent them here through hard assays

And sent them here through tough challenges

With a crown of deathless praise,

With a crown of everlasting praise,

To triumph in victorious dance

To win in a triumphant dance

O’er sensual folly and intemperance. 975

Over indulgence and excess.

The dances ended, the Spirit epiloguizes.

The dances ended, the Spirit concludes.

Spir. To the ocean now I fly,

Spir. Now I’m flying to the ocean,

And those happy climes that lie

And those sunny places that are

[60]

Where day never shuts his eye,

Where day never closes its eye,

Up in the broad fields of the sky.

Up in the wide open fields of the sky.

There I suck the liquid air, 980

There __A_TAG_PLACEHOLDER_0__, 980

All amidst the gardens fair

All amidst __A_TAG_PLACEHOLDER_0__

Of Hesperus, and his daughters three

That sing about the golden tree.

That sings about the golden tree.

Along the crisped shades and bowers

Revels the spruce and jocund Spring; 985

Enjoys the __A_TAG_PLACEHOLDER_0__ and happy Spring;

The Graces and the rosy-bosomed Hours

Thither all their bounties bring.

There, bring all their gifts.

There eternal Summer dwells,

There’s an eternal summer here,

And west winds with musky wing

And west winds with fragrant wings

About the cedarn alleys fling 990

__A_TAG_PLACEHOLDER_0__ fling

Nard and cassia’s balmy smells.

Nard and cassia’s soothing scents.

Iris there with humid bow

__A_TAG_PLACEHOLDER_0__ there with a damp bow

Waters the odorous banks, that blow

Waters the stinky banks, that __A_TAG_PLACEHOLDER_0__

Flowers of more mingled hue

Mixed-color flowers

Than her purfled scarf can shew, 995

Than her embroidered scarf can show,995

And drenches with Elysian dew

And drenches with heavenly dew

(List, mortals, if your ears be true)

(List, mortals, if your ears are true)

Beds of hyacinth and roses,

Hyacinth and rose beds,

Where young Adonis oft reposes,

Where young __A_TAG_PLACEHOLDER_0__ often rests,

Waxing well of his deep wound, 1000

Waxing well of his deep wound,1000

In slumbers soft, and on the ground

In soft sleep, lying on the ground

Sadly sits the Assyrian queen.

Sadly sits __A_TAG_PLACEHOLDER_0__.

But far above, in spangled sheen,

But high above, shining with sparkle,

Celestial Cupid, her famed son, advanced

Celestial Cupid, her famous son, moved forward

Holds his dear Psyche, sweet entranced 1005

__A_TAG_PLACEHOLDER_0__, sweet mesmerized 1005

After her wandering labors long,

After her long wandering work,

Till free consent the gods among

Make her his eternal bride,

Make her his forever bride,

And from her fair unspotted side

And from her beautiful, unblemished side

Two blissful twins are to be born, 1010

Two happy twins are about to be born,1010

Youth and Joy; so Jove hath sworn.

Youth and Joy; that's what Jove has promised.

[61]

But now my task is smoothly done:

But now my job is finished smoothly:

I can fly, or I can run

I can fly, or I can run.

Quickly to the green earth’s end,

Quickly to the green earth's edge,

Where the bowed welkin slow doth bend, 1015

__A_TAG_PLACEHOLDER_0__, 1015

And from thence can soar as soon

And from there can rise as soon

To the corners of the moon.

To the edges of the moon.

Mortals, that would follow me,

Humans who would follow me,

Love Virtue; she alone is free.

Love Virtue; she is the only one who is truly free.

She can teach ye how to climb 1020

She can teach you how to climb1020

Higher than the sphery chime;

Higher than __A_TAG_PLACEHOLDER_0__;

Or, if Virtue feeble were,

Or, if Virtue were weak,

Heaven itself would stoop to her.

Heaven itself would come down to her.

[62]

LYCIDAS.

In this Monody the Author bewails a learned Friend, unfortunately drowned in his passage from Chester on the Irish Seas, 1637; and, by occasion, foretells the ruin of our corrupted Clergy, then in their height.

In this Monody, the Author mourns a knowledgeable friend who tragically drowned while crossing the Irish Sea from Chester in 1637; and, as a result, predicts the downfall of our corrupt clergy, who were at their peak at that time.

Yet once more, O ye laurels, and once more,

Yet once more, O you laurels, and once again,

Ye myrtles brown, with ivy never sere,

Ye myrtles brown, with ivy never dying,

I come to pluck your berries harsh and crude,

I come to pick your berries, rough and uncultured,

And with forced fingers rude

And with harsh, forced fingers

Shatter your leaves before the mellowing year. 5

Shatter your leaves before the softening year.5

Bitter constraint and sad occasion dear

__A_TAG_PLACEHOLDER_0__ and a sad time, dear

Compels me to disturb your season due;

Compels me to interrupt your timely period;

For Lycidas is dead, dead ere his prime,

For Lycidas is dead, dead before his prime,

Young Lycidas, and hath not left his peer.

Young Lycidas, and hasn't left his equal.

Who would not sing for Lycidas? he knew 10

Who wouldn’t sing for Lycidas? __A_TAG_PLACEHOLDER_0__ 10

Himself to sing, and build the lofty rhyme.

He must not float upon his watery bier

He must not float on his watery coffin

Unwept, and welter to the parching wind,

Uncried, __A_TAG_PLACEHOLDER_0__,

Without the meed of some melodious tear.

Without the gift of some sweet tear.

Begin, then, Sisters of the sacred well 15

Begin, then, __A_TAG_PLACEHOLDER_0__ 15

That from beneath the seat of Jove doth spring;

That springs from beneath Jupiter's seat;

Begin, and somewhat loudly sweep the string.

Begin, and sweep the string somewhat loudly.

Hence with denial vain and coy excuse:

Hence with empty denial and playful excuses:

So may some gentle Muse

With lucky words favor my destined urn, 20

With lucky words favor my urn,

And as he passes turn,

And as he turns,

And bid fair peace be to my sable shroud!

And may fair peace be with my dark shroud!

For we were nursed upon the self-same hill,

__A_TAG_PLACEHOLDER_0__,

Fed the same flock, by fountain, shade, and rill;

Fed the same flock, by fountain, shade, and stream;

Together both, ere the high lawns appeared 25

Together both, before the lawns appeared

Under the opening eyelids of the Morn,

Under the opening eyelids of the Morning,

We drove a-field, and both together heard

We drove out to the field, and together we heard

[63]

What time the gray-fly winds her sultry horn,

What time the gray-fly blows her hot horn,

Battening our flocks with the fresh dews of night,

Battening our flocks with the fresh dew of night,

Oft till the star that rose at evening bright 30

Oft until the star that rose in the bright evening

Toward heaven’s descent had sloped his westering wheel.

Toward heaven, his setting wheel had sloped down.

Meanwhile the rural ditties were not mute;

__A_TAG_PLACEHOLDER_0__;

Tempered to the oaten flute

Tempered to the oat flute

Rough Satyrs danced, and Fauns with cloven heel

From the glad sound would not be absent long; 35

From the happy sound wouldn't be gone for long;35

And old Damœtas loved to hear our song.

And old Damœtas loved listening to our song.

But, oh! the heavy change, now thou art gone,

But, oh! the heavy change, now thou art gone

Now thou art gone and never must return!

Now you are gone and can never come back!

Thee, Shepherd, thee the woods and desert caves,

Thee, Shepherd, you the woods and desert caves,

With wild thyme and the gadding vine o’ergrown, 40

With wild thyme and the wandering vine overgrown,40

And all their echoes, mourn.

The willows, and the hazel copses green,

The willows and the green hazel thickets,

Shall now no more be seen

Shall now no longer be seen

Fanning their joyous leaves to thy soft lays.

Fanning their cheerful leaves to your gentle tunes.

As killing as the canker to the rose, 45

As harmful as the blight to the rose,45

Or taint-worm to the weanling herds that graze,

Or taint-worm to the young herds that graze,

Or frost to flowers, that their gay wardrobe wear,

Or frost to flowers, that they wear their colorful outfits,

When first the white-thorn blows;

When the hawthorn blooms for the first time;

Such Lycidas, thy loss to shepherd’s ear.

Such Lycidas, your loss to the shepherd's ear.

Where were ye, Nymphs, when the remorseless deep 50

Where were you, Nymphs, when the merciless deep50

Closed o’er the head of your loved Lycidas?

Closed over the head of your beloved Lycidas?

For neither were ye playing on the steep

For you weren't playing __A_TAG_PLACEHOLDER_0__ either.

Where your old bards, the famous Druids, lie,

__A_TAG_PLACEHOLDER_0__,

Nor on the shaggy top of Mona high,

Nor yet where Deva spreads her wizard stream. 55

Nor yet __A_TAG_PLACEHOLDER_0__.

Ay me! I fondly dream

“Had ye been there,” ... for what could that have done?

“Had you been there,” ... for what could that have done?

What could the Muse herself that Orpheus bore,

What could the Muse that Orpheus carried,

The Muse herself, for her enchanting son,

The Muse herself, for her captivating son,

Whom universal nature did lament, 60

Whom universal nature mourned,

[64]

When, by the rout that made the hideous roar,

When, by the loud commotion that created the terrible noise,

His gory visage down the stream was sent,

His bloody face was sent down the stream,

Down the swift Hebrus to the Lesbian shore?

Down the fast Hebrus to the Lesbian shore?

Alas! what boots it with uncessant care

Alas! __A_TAG_PLACEHOLDER_0__ with __A_TAG_PLACEHOLDER_1__

To tend the homely, slighted, shepherd’s trade, 65

And strictly meditate the thankless Muse?

__A_TAG_PLACEHOLDER_0__ the unappreciated Muse?

Were it not better done, as others use,

__A_TAG_PLACEHOLDER_0__, like others do,

To sport with Amaryllis in the shade,

To play around with Amaryllis in the shade,

Or with the tangles of Neæra’s hair?

Or with the tangles of __A_TAG_PLACEHOLDER_0__ hair?

Fame is the spur that the clear spirit doth raise 70

(That last infirmity of noble mind)

(That last weakness of a noble mind)

To scorn delights and live laborious days;

To reject pleasures and live hard-working days;

But the fair guerdon when we hope to find,

But the good reward we hope to find,

And think to burst out into sudden blaze,

And imagine breaking out into a sudden blaze,

Comes the blind Fury with the abhorred shears, 75

Comes the __A_TAG_PLACEHOLDER_0__, 75

And slits the thin-spun life. “But not the praise,”

And cuts through the delicate threads of life. “But not the praise,”

Phœbus replied, and touched my trembling ears:

“Fame is no plant that grows on mortal soil,

“Fame is not something that grows in the earthly ground,

Nor in the glistering foil

Nor __A_TAG_PLACEHOLDER_0__

Set off to the world, nor in broad rumor lies, 80

Set off to the world, nor in widespread gossip lies,80

But lives and spreads aloft by those pure eyes

But lives and spreads above by those pure eyes

And perfect witness of all-judging Jove;

And perfect witness of all-judging Zeus;

As he pronounces lastly on each deed,

As he gives his final word on each action,

Of so much fame in heaven expect thy meed.”

Of so much fame in heaven, expect your reward.

O fountain Arethuse, and thou honored flood, 85

Smooth-sliding Mincius, crowned with vocal reeds,

__A_TAG_PLACEHOLDER_0__, topped with vocal reeds,

That strain I heard was of a higher mood.

That sound I heard had a more uplifting vibe.

But now my oat proceeds,

But __A_TAG_PLACEHOLDER_0__,

And listens to the Herald of the Sea,

And listens to __A_TAG_PLACEHOLDER_0__

That came in Neptune’s plea. 90

He asked the waves, and asked the felon winds,

He questioned the waves and the guilty winds,

What hard mishap hath doomed this gentle swain?

What tough luck has befallen this gentle farmer?

[65]

And questioned every gust of rugged wings

And questioned every strong gust of wings

That blows from off each beaked promontory.

That blows from each pointed headland.

They knew not of his story; 95

__A_TAG_PLACEHOLDER_0__; 95

And sage Hippotades their answer brings,

And __A_TAG_PLACEHOLDER_0__ their response brings,

That not a blast was from his dungeon strayed:

That no sound came from his dungeon:

The air was calm, and on the level brine

The air was calm, and on the flat saltwater

Sleek Panope with all her sisters played.

Sleek __A_TAG_PLACEHOLDER_0__ hung out with all her sisters.

It was that fatal and perfidious bark, 100

It was that deadly and deceitful ship,100

Built in the eclipse, and rigged with curses dark,

Built during the eclipse, and equipped with dark curses,

That sunk so low that sacred head of thine.

That sank so low that holy head of yours.

Next, Camus, reverend sire, went footing slow,

Next, __A_TAG_PLACEHOLDER_0__, respected sir, strolled slowly,

His mantle hairy, and his bonnet sedge,

__A_TAG_PLACEHOLDER_0__,

Inwrought with figures dim, and on the edge 105

Inwrought with figures dim, and on the edge105

Like to that sanguine flower inscribed with woe.

“Ah! who hath reft,” quoth he, “my dearest pledge?”

“Ah! who has taken,” he said, “my dearest pledge?”

Last came, and last did go,

The Pilot of the Galilean Lake;

__A_TAG_PLACEHOLDER_0__ of the Sea of Galilee;

Two massy keys he bore of metals twain 110

(The golden opes, the iron shuts amain).

(The golden doors, the iron shuts tightly).

He shook his mitred locks, and stern bespake:—

__A_TAG_PLACEHOLDER_0__, and said sternly:—

“How well could I have spared for thee, young swain,

“__A_TAG_PLACEHOLDER_0__, young guy,

Enow of such as, for their bellies’ sake,

Enow of things like that, for the sake of their stomachs,

Creep, and intrude, and climb into the fold! 115

Creep, intrude, and __A_TAG_PLACEHOLDER_0__! 115

Of other care they little reckoning make

Of other concerns they pay little attention to

Than how to scramble at the shearers’ feast,

And shove away the worthy bidden guest.

And push away the deserving invited guest.

Blind mouths! that scarce themselves know how to hold

Blind mouths! that barely know how to hold

A sheep-hook, or have learnt aught else the least 120

A sheep hook, or have learned anything else at all120

That to the faithful herdman’s art belongs!

That belongs to the skill of a dedicated shepherd!

What recks it them? What need they? They are sped;

What recks it them? What do they need? They're done;

And, when they list, their lean and flashy songs

And, when they post, __A_TAG_PLACEHOLDER_0__

Grate on their scrannel pipes of wretched straw;

Grate on their harsh pipes made of miserable straw;

The hungry sheep look up, and are not fed, 125

The hungry sheep look up, and are not fed,125

But swoln with wind and the rank mist they draw,

But swollen with wind and the thick mist they carry,

[66]

Rot inwardly, and foul contagion spread;

Rot inside, and disgusting infection spread;

Besides what the grim wolf with privy paw

Besides what __A_TAG_PLACEHOLDER_0__

Daily devours apace, and nothing said.

Daily consumes quickly, and nothing is said.

But that two-handed engine at the door 130

But __A_TAG_PLACEHOLDER_0__ 130

Stands ready to smite once, and smite no more.”

Return, Alpheus; the dread voice is past

Return, Alpheus; the frightening voice is gone

That shrunk thy streams; return, Sicilian Muse,

That shrunk your streams; come back, Sicilian Muse,

And call the vales, and bid them hither cast

And call the vales, and invite them to come here

Their bells and flowerets of a thousand hues. 135

Their bells and flowers in a thousand colors. 135

Ye valleys low, where the mild whispers use

Ye valleys low, __A_TAG_PLACEHOLDER_0__

Of shades, and wanton winds, and gushing brooks,

Of shadows, playful winds, and flowing streams,

On whose fresh lap the swart star sparely looks,

On whose fresh lap __A_TAG_PLACEHOLDER_0__ softly rests,

Throw hither all your quaint enamelled eyes,

Throw all your quirky __A_TAG_PLACEHOLDER_0__ here,

That on the green turf suck the honeyed showers, 140

That on the green grass drink the sweet rain, 140

And purple all the ground with vernal flowers.

And covered the ground with spring flowers in shades of purple.

Bring the rathe primrose that forsaken dies,

Bring the __A_TAG_PLACEHOLDER_0__ primrose that fades away,

The tufted crow-toe, and pale jessamine,

The tufted crow-toe and pale jasmine,

The white pink, and the pansy freaked with jet,

The white, pink, and the pansy freaked out with black,

The glowing violet, 145

The glowing violet

The musk-rose, and the well-attired woodbine,

The musk-rose and the nicely dressed honeysuckle,

With cowslips wan that hang the pensive head,

With cowslips pale that droop their thoughtful heads,

And every flower that sad embroidery wears;

And every flower that wears that sad embroidery;

Bid amaranthus all his beauty shed,

Bid __A_TAG_PLACEHOLDER_0__ all his beauty go.

And daffadillies fill their cups with tears, 150

And __A_TAG_PLACEHOLDER_0__ fill their cups with tears,

To strew the laureate hearse where Lycid lies.

To scatter flowers on the hearse where Lycid rests.

For so, to interpose a little ease,

For now, to take a break,

Let our frail thoughts dally with false surmise.

Let our fragile thoughts __A_TAG_PLACEHOLDER_0__.

Ay me! whilst thee the shores and sounding seas

Ay me! While you the shores and roaring seas

Wash far away, where’er thy bones are hurled; 155

Wash far away, wherever your bones are thrown;155

Whether beyond the stormy Hebrides,

Whether beyond __A_TAG_PLACEHOLDER_0__,

Where thou perhaps under the whelming tide

Where you might be overwhelmed by the tide

Visit’st the bottom of the monstrous world;

Visit the bottom of the monstrous world;

Or whether thou, to our moist vows denied,

Or whether you, to our heartfelt promises denied,

Sleep’st by the fable of Bellerus old, 160

__A_TAG_PLACEHOLDER_0__, 160

[67]

Where the great Vision of the guarded mount

Where __A_TAG_PLACEHOLDER_0__

Looks toward Namancos and Bayona’s hold.

Looks towards Namancos and Bayona's base.

Look homeward, Angel, now, and melt with ruth:

Look homeward, Angel, now, and feel compassion:

And, O ye dolphins, waft the hapless youth.

And, oh you dolphins, carry the helpless young man.

Weep no more, woeful shepherds, weep no more, 165

Weep no more, sad shepherds, weep no more,165

For Lycidas, your sorrow, is not dead,

For Lycidas, your grief is not over,

Sunk though he be beneath the watery floor.

Sunk though he is beneath the watery floor.

So sinks the day-star in the ocean bed,

So sets the evening star in the ocean's depths,

And yet anon repairs his drooping head,

And yet soon lifts his drooping head,

And tricks his beams, and with new-spangled ore 170

And tricks his beams, and __A_TAG_PLACEHOLDER_0__ 170

Flames in the forehead of the morning sky:

Flames in the early morning sky:

So Lycidas sunk low, but mounted high,

So Lycidas fell low, but rose high,

Through the dear might of Him that walked the waves,

Through the great power of __A_TAG_PLACEHOLDER_0__,

Where, other groves and other streams along,

With nectar pure his oozy locks he laves, 175

__A_TAG_PLACEHOLDER_0__, 175

And hears the unexpressive nuptial song,

And hears __A_TAG_PLACEHOLDER_0__,

In the blest kingdoms meek of joy and love.

In the blessed kingdoms filled with joy and love.

There entertain him all the Saints above,

There entertain him all the saints up above,

In solemn troops, and sweet societies,

In serious groups and pleasant gatherings,

That sing, and singing in their glory move, 180

That sing, and singing in their glory move,180

And wipe the tears forever from his eyes.

__A_TAG_PLACEHOLDER_0__.

Now, Lycidas, the shepherds weep no more;

Now, Lycidas, the shepherds no longer weep;

Henceforth thou art the Genius of the shore,

__A_TAG_PLACEHOLDER_0__,

In thy large recompense, and shalt be good

In your generous reward, and you will be good

To all that wander in that perilous flood. 185

To everyone who travels through that dangerous flood.185

Thus sang the uncouth swain to the oaks and rills,

Thus sang the uncouth young man to the oaks and streams,

While the still morn went out with sandals gray:

While __A_TAG_PLACEHOLDER_0__:

He touched the tender stops of various quills,

He touched the delicate parts of various quills,

With eager thought warbling his Doric lay:

With eager thoughts racing, his Doric laid out:

And now the sun had stretched out all the hills, 190

And now the sun __A_TAG_PLACEHOLDER_0__, 190

And now was dropt into the western bay.

And now it was dropped into the western bay.

At last he rose, and twitched his mantle blue;

At last he stood up and adjusted his blue cloak;

To-morrow to fresh woods, and pastures new.

Tomorrow to fresh woods and new pastures.

[68]

SONNETS.

I.

TO THE NIGHTINGALE.

O Nightingale that on yon bloomy spray

O Nightingale that on that blooming branch

Warblest at eve, when all the woods are still,

Warbles at night, when all the woods are quiet,

Thou with fresh hope the lover’s heart dost fill,

You fill the lover's heart with fresh hope,

While the jolly Hours lead on propitious May.

While __A_TAG_PLACEHOLDER_0__ led in a good May.

Thy liquid notes that close the eye of day, 5

First heard before the shallow cuckoo’s bill,

Portend success in love. O, if Jove’s will

Portend success in love. Oh, if Jupiter's will

Have linked that amorous power to thy soft lay,

Have connected that loving power to your gentle song,

Now timely sing, ere the rude bird of hate

Now sing timely, before __A_TAG_PLACEHOLDER_0__

Foretell my hopeless doom, in some grove nigh; 10

Foresee my inevitable downfall, in some nearby grove; 10

As thou from year to year hast sung too late

As you have sung too late from year to year

For my relief, yet hadst no reason why.

For my relief, yet you had no reason for it.

Whether the Muse or Love called thee his mate,

Whether the Muse or Love called you their partner,

Both them I serve, and of their train am I.

Both of them I serve, and I am part of their group.

II.

ON HIS HAVING ARRIVED AT THE AGE OF TWENTY-THREE.

How soon hath Time, the subtle thief of youth,

How quickly has Time, the sneaky thief of youth,

Stolen on his wing my three-and-twentieth year!

Stolen on his wing my twenty-third year!

My hasting days fly on with full career,

My hurried days pass by quickly,

But my late spring no bud or blossom shew’th.

But my late spring shows no buds or blossoms.

Perhaps my semblance might deceive the truth 5

Perhaps my appearance might mislead the truth5

That I to manhood am arrived so near;

That I have come so close to manhood;

And inward ripeness doth much less appear,

And inner maturity is much less visible,

[69]

That some more timely-happy spirits endu’th.

That some more __A_TAG_PLACEHOLDER_0__ vibes endure.

Yet, be it less or more, or soon or slow,

Yet, whether it's less or more, or soon or late,

It shall be still in strictest measure even 10

It shall be still in strictest measure even10

To that same lot, however mean or high,

To that same lot, no matter how low or high,

Toward which Time leads me, and the will of Heaven.

Toward where time takes me and what fate has planned.

All is, if I have grace to use it so,

All is, if I have the ability to use it that way,

As ever in my great Task-Master’s eye.

As always in my great Task Master's gaze.

VIII.

WHEN THE ASSAULT WAS INTENDED TO THE CITY.

Captain or Colonel, or Knight in Arms,

Whose chance on these defenceless doors may seize,

Whose opportunity on these unprotected doors may take hold,

If deed of honor did thee ever please,

If acts of honor have ever pleased you,

Guard them, and him within protect from harms.

Guard them, and protect him from harm.

He can requite thee; for he knows the charms 5

He can repay you; because he knows the charms5

That call fame on such gentle acts as these,

And he can spread thy name o’er lands and seas,

And he can share your name across countries and oceans,

Whatever clime the sun’s bright circle warms.

Whatever place the sun's bright circle warms.

Lift not thy spear against the Muses’ bower:

Lift not your spear against the Muses’ bower:

The great Emathian conqueror bid spare 10

__A_TAG_PLACEHOLDER_0__ bid extra

The house of Pindarus, when temple and tower

Went to the ground; and the repeated air

__A_TAG_PLACEHOLDER_0__; and __A_TAG_PLACEHOLDER_1__

Of sad Electra’s poet had the power

__A_TAG_PLACEHOLDER_0__ had the ability

To save the Athenian walls from ruin bare.

To save the Athenian walls from complete destruction.

[70]

IX.

TO A VIRTUOUS YOUNG LADY.

Lady, that in the prime of earliest youth

Lady, who in the prime of early youth

Wisely hast shunned the broad way and the green,

__A_TAG_PLACEHOLDER_0__ and the greenery,

And with those few art eminently seen

And with those few pieces of art clearly visible

That labor up the hill of heavenly Truth,

That effort climbing the hill of heavenly Truth,

The better part with Mary and with Ruth 5

Chosen thou hast; and they that overween,

Chosen you have; and those who are overly confident,

And at thy growing virtues fret their spleen,

And your growing virtues annoy their bitterness,

No anger find in thee, but pity and ruth.

No anger is found in you, but pity and ruth.

Thy care is fixed, and zealously attends

Your care is set, and __A_TAG_PLACEHOLDER_0__

To fill thy odorous lamp with deeds of light, 10

__A_TAG_PLACEHOLDER_0__, 10

And hope that reaps not shame. Therefore be sure

And hope that doesn't lead to shame. So make sure

Thou, when the Bridegroom with his feastful friends

You, when the Bridegroom with his festive friends

Passes to bliss at the mid-hour of night,

Enters bliss at midnight,

Hast gained thy entrance, Virgin wise, and pure.

You've gained your entrance, wise and pure Virgin.

X.

TO THE LADY MARGARET LEY.

Daughter to that good Earl, once President

Daughter of that noble Earl, who was once President

Of England’s Council and her Treasury,

Who lived in both unstained with gold or fee,

Who lived without being tainted by wealth or payment,

And left them both, more in himself content,

And left them both, feeling more satisfied within himself,

Till the sad breaking of that Parliament 5

Till the unfortunate end of that Parliament5

Broke him, as that dishonest victory

Broke him, as __A_TAG_PLACEHOLDER_0__

At Chæronea, fatal to liberty,

__A_TAG_PLACEHOLDER_0__, dangerous to freedom,

[71]

Killed with report that old man eloquent,

Killed with report __A_TAG_PLACEHOLDER_0__,

Though later born than to have known the days

Though __A_TAG_PLACEHOLDER_0__ knew the days

Wherein your father flourished, yet by you, 10

Where your father thrived, but you, 10

Madam, methinks I see him living yet:

Madam, I think I see him alive still:

So well your words his noble virtues praise

So well your words praise his noble qualities

That all both judge you to relate them true

That you both judge to tell them the truth.

And to possess them, honored Margaret.

And to have them, respected Margaret.

XIII.

TO MR. H. LAWES ON HIS AIRS.

Harry, whose tuneful and well-measured song

Harry, whose melodic and well-paced song

First taught our English music how to span

First taught our English music how to spread

Words with just note and accent, not to scan

With Midas’ ears, committing short and long,

__A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__,

Thy worth and skill exempts thee from the throng, 5

Your __A_TAG_PLACEHOLDER_0__ from the crowd,

With praise enough for Envy to look wan;

With so much praise that it made Envy seem pale;

To after age thou shalt be writ the man

To be a man after a certain age, you shall be written.

That with smooth air couldst humor best our tongue.

That with smooth air __A_TAG_PLACEHOLDER_0__.

Thou honor’st Verse, and Verse must send her wing

You honor Verse, and Verse must take flight.

To honor thee, the priest of Phœbus’ quire, 10

To honor you, the priest of Phœbus’ quire,10

That tunest their happiest lines in hymn or story.

That sing their happiest verses in songs or stories.

Dante shall give Fame leave to set thee higher

Than his Casella, whom he wooed to sing,

Than his Casella, whom he persuaded to sing,

Met in the milder shades of Purgatory.

Met in the softer tones of Purgatory.

[72]

XV.

ON THE LORD GENERAL FAIRFAX, AT THE SIEGE OF COLCHESTER.

Fairfax, whose name in arms through Europe rings,

Fairfax, whose name in battle echoes across Europe,

Filling each mouth with envy or with praise,

Filling each mouth with jealousy or admiration,

And all her jealous monarchs with amaze,

And all her jealous rulers were amazed,

And rumors loud that daunt remotest kings,

And rumors spread widely that scare even the farthest-reaching kings,

Thy firm unshaken virtue ever brings 5

Thy strong, unwavering virtue always brings5

Victory home, though new rebellions raise

Victory at home, despite new rebellions emerging

Their Hydra heads, and the false North displays

Their Hydra heads, and __A_TAG_PLACEHOLDER_0__

Her broken league to imp their serpent wings.

__A_TAG_PLACEHOLDER_0__ to __A_TAG_PLACEHOLDER_1__.

O yet a nobler task awaits thy hand

O yet a greater task awaits your hand

(For what can war but endless war still breed?) 10

(For what can war but endless war still create?)10

Till truth and right from violence be freed,

Till truth and justice are free from violence,

And public faith cleared from the shameful brand

And public trust removed the shameful mark

Of public fraud. In vain doth Valor bleed,

Of public fraud. In vain does Valor bleed,

While Avarice and Rapine share the land.

While __A_TAG_PLACEHOLDER_0__ share the land.

XVI.

TO THE LORD GENERAL CROMWELL, MAY, 1652,

ON THE PROPOSALS OF CERTAIN MINISTERS AT THE COMMITTEE FOR PROPAGATION OF THE GOSPEL.

Cromwell, our chief of men, who through a cloud

Cromwell, our leader, who through a cloud

Not of war only, but detractions rude,

Not just about war, but also harsh criticisms,

Guided by faith and matchless fortitude,

Guided by faith and unmatched strength,

To peace and truth thy glorious way hast ploughed,

To peace and truth, you have paved a glorious path,

And on the neck of crowned Fortune proud 5

And on the neck of proud Fortune crowned

Hast reared God’s trophies, and his work pursued,

Hast raised God's trophies, and his work continued,

While Darwen stream, with blood of Scots imbrued,

While Darwen stream, with blood of Scots stained,

[73]

And Dunbar field, resounds thy praises loud,

And __A_TAG_PLACEHOLDER_0__ field, sings your praises loudly,

And Worcester’s laureate wreath: yet much remains

And Worcester's laurel wreath: yet there's still a lot left

To conquer still; Peace hath her victories 10

To conquer still; Peace has her victories10

No less renowned than War: new foes arise,

No less famous than War: new enemies emerge,

Threatening to bind our souls with secular chains.

Threatening __A_TAG_PLACEHOLDER_0__.

Help us to save free conscience from the paw

Help us save free conscience from being crushed.

Of hireling wolves, whose Gospel is their maw.

Of hireling wolves, whose Gospel is their way of life.

XVII.

TO SIR HENRY VANE THE YOUNGER.

Vane, young in years, but in sage counsel old,

Vane, young in years, but in wise advice from the past,

Than whom a better senator ne’er held

Than whom a better senator never held

The helm of Rome, when gowns, not arms, repelled

The leadership of Rome, when gowns, not arms, pushed back.

The fierce Epirot and the African bold,

__A_TAG_PLACEHOLDER_0__,

Whether to settle peace, or to unfold 5

Whether to establish peace or to reveal

The drift of hollow states hard to be spelled;

The decline of empty states __A_TAG_PLACEHOLDER_0__;

Then to advise how war may best, upheld,

Then to advise how war may best be supported,

Move by her two main nerves, iron and gold,

In all her equipage; besides, to know

In all her gear; also, to know

Both spiritual power and civil, what each means, 10

Both spiritual power and civil, what each means,10

What severs each, thou hast learned, which few have done.

What separates each, you have learned, which few have done.

The bounds of either sword to thee we owe:

The limits of either sword we owe to you:

Therefore on thy firm hand Religion leans

Therefore, Religion relies on your strong hand.

In peace, and reckons thee her eldest son.

In peace, and considers you her oldest son.

[74]

XVIII.

ON THE LATE MASSACRE IN PIEDMONT.

Avenge, O Lord, thy slaughtered saints, whose bones

Avenge, O Lord, your slaughtered saints, whose bones

Lie scattered on the Alpine mountains cold;

Lie scattered on the cold Alpine mountains;

Even them who kept thy truth so pure of old,

Even those who held your truth so pure in the past,

When all our fathers worshiped stocks and stones,

__A_TAG_PLACEHOLDER_0__,

Forget not: in thy book record their groans 5

Forget not: in your book record their groans5

Who were thy sheep, and in their ancient fold

Who were thy sheep, and in their old embrace

Slain by the bloody Piedmontese, that rolled

Mother with infant down the rocks. Their moans

The vales redoubled to the hills, and they

The valleys stretched back to the hills, and they

To heaven. Their martyred blood and ashes sow 10

To heaven. Their sacrificed blood and ashes scatter10

O’er all the Italian fields, where still doth sway

O'er all the Italian fields, where still does sway

The triple Tyrant; that from these may grow

A hundredfold, who, having learnt thy way,

A hundred times, those who have learned your way,

Early may fly the Babylonian woe.

Early May fly __A_TAG_PLACEHOLDER_0__.

XIX.

ON HIS BLINDNESS.

When I consider how my light is spent

When I think about how I've used my time

Ere half my days in this dark world and wide,

__A_TAG_PLACEHOLDER_0__ in this dark, expansive world,

And that one talent which is death to hide

Lodged with me useless, though my soul more bent

To serve therewith my Maker, and present 5

To serve my Creator with that, and present

My true account, lest He returning chide,

My honest story, so He won't scold me when He comes back,

“Doth God exact day-labor, light denied?”

“Does God demand day labor, light denied?”

[75]

I fondly ask. But Patience, to prevent

__A_TAG_PLACEHOLDER_0__. But wait, to prevent

That murmur, soon replies, “God doth not need

That murmur soon replies, “God doesn’t need

Either man’s work or his own gifts. Who best 10

Either a person's work or their own talents. Who's best10

Bear his mild yoke, they serve him best. His state

Bear his gentle burden; they serve him well. His condition

Is kingly; thousands at his bidding speed,

Is kingly; thousands rush at his command,

And post o’er land and ocean without rest;

And travel over land and sea without stopping;

They also serve who only stand and wait.”

They also serve who just stand and wait.

XX.

TO MR. LAWRENCE.

Lawrence, of virtuous father virtuous son,

Lawrence, the son of a virtuous father,

Now that the fields are dank, and ways are mire,

Now that the fields are wet and the paths are muddy,

Where shall we sometimes meet, and by the fire

Where shall we occasionally meet, and by the fire

Help waste a sullen day, what may be won

Help waste a gloomy day, what can be gained

From the hard season gaining? Time will run 5

From the tough season gaining? Time will run5

On smoother, till Favonius reinspire

On smoother, until __A_TAG_PLACEHOLDER_0__ reinspire

The frozen earth, and clothe in fresh attire

The frozen ground, dressed in fresh attire

The lily and rose, that neither sowed nor spun.

The lily and the rose, which neither planted nor wove.

What neat repast shall feast us, light and choice,

What nice meal will we enjoy, light and special,

Of Attic taste, with wine, whence we may rise 10

Of Attic flavor, with wine, from which we may elevate

To hear the lute well touched, or artful voice

To hear the lute played well, or a skillful voice

Warble immortal notes and Tuscan air?

Warble eternal melodies and Tuscan breeze?

He who of those delights can judge, and spare

He who can judge those delights, and spare

To interpose them oft, is not unwise.

__A_TAG_PLACEHOLDER_0__ is not a bad idea.

[76]

XXI.

TO CYRIACK SKINNER.

Cyriack, whose grandsire on the royal bench

__A_TAG_PLACEHOLDER_0__ in the royal court

Of British Themis, with no mean applause,

Of British Themis, with no small praise,

Pronounced, and in his volumes taught, our laws,

Pronounced, and in his works explained, our laws,

Which others at their bar so often wrench,

Which others at their bar so often twist,

To-day deep thoughts resolve with me to drench 5

To today, deep thoughts settle with me to soak

In mirth that after no repenting draws;

In joy that brings no regrets afterwards;

Let Euclid rest, and Archimedes pause,

__A_TAG_PLACEHOLDER_0__,

And what the Swede intend, and what the French.

__A_TAG_PLACEHOLDER_0__.

To measure life learn thou betimes, and know

To understand life, start learning early, and know

Toward solid good what leads the nearest way; 10

Toward solid good that shows the quickest path;10

For other things mild Heaven a time ordains,

For other things, gentle Heaven allows a time.

And disapproves that care, though wise in show,

And disapproves that care, even though it seems wise,

That with superfluous burden loads the day,

That weighs the day down with unnecessary burdens,

And, when God sends a cheerful hour, refrains.

And when God sends a happy moment, he holds back.

XXII.

TO THE SAME.

Cyriack, this three years’ day these eyes, though clear,

Cyriack, __A_TAG_PLACEHOLDER_0__ these eyes, even though clear,

To outward view, of blemish or of spot,

To the casual eye, of flaw or of mark,

Bereft of light, their seeing have forgot;

Bereft of light, their vision has faded;

Nor to their idle orbs doth sight appear

Nor do their lazy eyes see anything

Of sun, or moon, or star, throughout the year, 5

Of the sun, moon, or stars, throughout the year,5

Or man, or woman. Yet I argue not

Or man, or woman. But I don't argue.

Against Heaven’s hand or will, nor bate a jot

Against Heaven’s will, nor lessen it at all

[77]

Of heart or hope, but still bear up and steer

Of heart or hope, but still keep going and navigate

Right onward. What supports me, dost thou ask?

Right on. What supports me, you ask?

The conscience, friend, to have lost them overplied 10

In Liberty’s defence, my noble task,

In defense of Liberty, my honorable duty,

Of which all Europe rings from side to side.

Of which all of Europe echoes from one side to the other.

This thought might lead me through the world’s vain mask

This thought might guide me through the world's meaningless facade

Content, though blind, had I no better guide.

Content, though clueless, had I no better guide.

XXIII.

ON HIS DECEASED WIFE

Methought I saw my late espoused saint

I thought I saw my recently married saint.

Brought to me like Alcestis from the grave,

Brought to me __A_TAG_PLACEHOLDER_0__ from the dead,

Whom Jove’s great son to her glad husband gave,

Whom Jupiter's great son gave to her happy husband,

Rescued from Death by force, though pale and faint.

Rescued from death by force, though weak and pale.

Mine, as whom washed from spot of child-bed taint 5

Mine, like someone cleansed from the stain of childhood5

Purification in the Old Law did save,

__A_TAG_PLACEHOLDER_0__ did save,

And such as yet once more I trust to have

And I hope to have once more

Full sight of her in Heaven without restraint,

Full view of her in Heaven without limits,

Came vested all in white, pure as her mind.

Came dressed entirely in white, as pure as her thoughts.

Her face was veiled; yet to my fancied sight 10

Her face was covered; yet in my imagination

Love, sweetness, goodness, in her person shined

Love, sweetness, and kindness shone in her.

So clear as in no face with more delight.

So clear, like there's no face more joyful.

But, oh! as to embrace me she inclined,

But, oh! as she leaned in to embrace me,

I waked, she fled, and day brought back my night.

I woke up, she ran away, and the day returned my night.

[79]

NOTES.

ON THE MORNING OF CHRIST’S NATIVITY.

From his sixteenth year Milton had been wont to write freely in Latin verse, on miscellaneous poetic themes, sometimes expressing his thoughts on events of the day, and sometimes addressing letters to his friends on purely personal matters. From these Latin poems, which therefore in some sense belong to English literature, we obtain valuable insight into his course of life and his way of thinking. What Milton wrote in foreign languages is indispensable for the information it gives us about himself—its content is important; but as poetry implies a fusing of content and form into an artistic unity, if one of these elements is foreign, the result is nondescript and cannot be ranged under the head of English literature in the strict sense of the term.

From the age of sixteen, Milton often wrote freely in Latin verse on various poetic topics, sometimes sharing his thoughts on current events and other times writing letters to his friends about personal matters. These Latin poems, which can be considered a part of English literature in some way, provide us with valuable insights into his life and mindset. What Milton wrote in other languages is crucial for the information it reveals about himself—its content matters; however, since poetry combines content and form into a cohesive artistic piece, if one of these elements is foreign, the outcome is unclear and can't be classified strictly as English literature.

It is in one of Milton’s own Latin pieces that we find our best commentary on the Hymn on the Nativity. The sixth Latin Elegy is an epistle to his intimate college friend, “Charles Diodăti making a stay in the country,” the last twelve lines of which may be freely translated as follows:—

It is in one of Milton’s own Latin works that we find the best commentary on the Hymn on the Nativity. The sixth Latin Elegy is a letter to his close college friend, “Charles Diodăti, who is staying in the countryside,” the last twelve lines of which can be loosely translated as follows:—

But if you shall wish to know what I am doing,—if indeed you think it worth your while to know whether I am doing anything at all,—we are singing the peace-bringing king born of heavenly seed, and the happy ages promised in the sacred books, and the crying of the infant God lying in a manger under a poor roof, who dwells with his father in the realms above; and the starry sky, and the squadrons singing on high, and the gods suddenly driven away to their own fanes. Those gifts we have indeed given to the birthday of Christ; that first light brought them to me at dawn. Thee also they await sung to our native pipes; thou shalt be to me in lieu of a judge for me to read them to.

But if you want to know what I'm up to—if you even think it’s worth your time to find out whether I'm doing anything— we're singing about the peace-bringing king born from heavenly origins, the happy times promised in the sacred texts, and the cries of the infant God lying in a manger under a humble roof, who lives with his father above; and the starry sky, and the choirs singing on high, and the gods suddenly returned to their own shrines. Those are the gifts we’ve offered for Christ’s birthday; that first light brought them to me at dawn. They also await you to be sung to our local tunes; you shall be my judge for me to read them to.

[80]

This means, of course, that the poet is composing a Christmas Hymn in his native language. We must note his age at this time,—twenty-one years: he is a student at Cambridge. The poem remains the great Christmas hymn in our literature. “The Ode on the Nativity,” says Professor Saintsbury, “is a test of the reader’s power to appreciate poetry.”

This means, of course, that the poet is writing a Christmas hymn in his native language. We should consider his age at this time—twenty-one years; he is a student at Cambridge. The poem remains the most significant Christmas hymn in our literature. “The Ode on the Nativity,” says Professor Saintsbury, “is a test of the reader’s ability to appreciate poetry.”

In four stanzas the poet speaks in his own person: he too must, with the wise men from the east, bring such gifts as he has, to offer to the Infant God. His offering is the humble ode which follows. We must take note of the change in the metric form which marks the transition from the introduction to the ode. In the stanzas of the former the lines all have five accents, except the last, which has six; while in the latter, four lines have three accents each, one has four, two have five, and one has six. Notice also the occasional hypermetric lines, such as line 47.

In four stanzas, the poet speaks in his own voice: he too must, along with the wise men from the east, bring whatever gifts he has to offer to the Infant God. His offering is the humble ode that follows. We should pay attention to the change in the metric form that indicates the shift from the introduction to the ode. In the stanzas of the introduction, all the lines have five accents, except for the last one which has six; whereas in the ode, four lines have three accents each, one has four, two have five, and one has six. Also note the occasional hypermetric lines, such as line 47.

In connection with Milton’s Hymn, read Alfred Domett’s It was the calm and silent night.

In relation to Milton’s Hymn, check out Alfred Domett’s It was the calm and silent night.

5. For so the holy sages once did sing. See Par. Lost XII 324.

__A_TAG_PLACEHOLDER_0__ See Paradise Lost XII 324.

6. our deadly forfeit should release. Compare Par. Lost III 221, and see the idea of releasing a forfeit otherwise expressed in the Merchant of Venice IV 1 24.

10. he wont. This is the past tense of the verb wont, meaning to be accustomed. See the present, Par. Lost I 764, and the participle, I 332.

15. thy sacred vein. See vein in the same sense, Par. Lost VI 628.

19. the Sun’s team. Compare Comus 95, and read the story of Phaëthon in Ovid’s Metamorphoses II 106.

24. prevent them with thy humble ode. See prevent in this sense, in Shakespeare’s Julius Cæsar V 1 105, and in Psalm XXI 3.

24. prevent them with thy humble ode. See prevent in this sense, in Shakespeare’s Julius Caesar V 1 105, and in Psalm XXI 3.

28. touched with hallowed fire. See Acts II 3. On the meaning of secret, compare Par. Lost X 32.

41. Pollute is the participle, exactly equivalent to polluted.

48. the turning sphere. For poetical purposes Milton everywhere adopts the popular astronomy of his day, which was based on the ancient, i.e. the Ptolemaic, or geocentric system of the universe. Copernicus had already taught the modern, heliocentric theory of the [81] solar system, and his innovations were not unknown to Milton, who, however, consistently adheres to the old conceptions. In Milton, therefore, we find the earth the centre of the visible universe, while the sun, the planets, and the fixed stars revolve about it in their several spheres. These spheres are nine in number, arranged concentrically, like the coats of an onion, about the earth, and, if of solid matter, are to be conceived as being of perfectly transparent crystal. Beginning with the innermost, they present themselves in the following order: the Moon, Mercury, Venus, the Sun, Mars, Jupiter, Saturn, the Fixed Stars, the Primum Mobile. In Par. Lost III 481, the ninth sphere appears as “that crystalline sphere whose balance weighs the trepidation talked,” and the Primum Mobile, or the first moved, becomes the tenth and outermost of the series. The last two spheres contain no stars.

48. the turning sphere. For poetic purposes, Milton consistently uses the popular astronomy of his time, which was based on the ancient Ptolemaic or geocentric view of the universe. Copernicus had already introduced the modern heliocentric theory of the solar system, and while Milton was aware of these ideas, he stuck to the old beliefs. In Milton's work, the earth is at the center of the visible universe, with the sun, the planets, and the fixed stars orbiting around it in their respective spheres. There are nine of these spheres, arranged like the layers of an onion around the earth, and if they were made of solid material, they would be imagined as perfectly transparent crystal. Starting from the innermost sphere, they are in the following order: the Moon, Mercury, Venus, the Sun, Mars, Jupiter, Saturn, the Fixed Stars, and the Primum Mobile. In Par. Lost III 481, the ninth sphere is referred to as “that crystalline sphere whose balance weighs the trepidation talked,” and the Primum Mobile, or the first moved, becomes the tenth and outermost sphere. The last two spheres do not contain any stars.

We see, then, what we must understand by the oft-recurring spheres in Milton’s poetry. In the line, Down through the turning sphere, however, the singular sphere is obviously used to mean the whole aggregate of spheres composing the starry universe.

We can now see what we need to understand about the frequently mentioned spheres in Milton’s poetry. In the line, Down through the turning sphere, the singular sphere clearly refers to the entire collection of spheres that make up the starry universe.

50. With turtle wing. With the wing of a turtle-dove.

50. With turtle wing. With the wing of a turtle dove.

56. The hooked chariot. War chariots sometimes had scythes, or hooks, attached to their axles. See 2 Maccabees XIII 2.

56. The hooked chariot. War chariots sometimes had blades or hooks attached to their axles. See 2 Maccabees XIII 2.

60. sovran. Milton always uses this form in preference to sovereign.

60. sovran. Milton always prefers this form over sovereign.

62. the Prince of Light. Note the corresponding epithet applied to Satan, Par. Lost X 383.

62. the Prince of Light. Look at the specific nickname given to Satan, Par. Lost X 383.

64. The winds, with wonder whist. The word whist, originally an interjection, becomes an adjective, as here and in The Tempest I 2 378.

64. The winds, with wonder whist. The word whist, which started as an interjection, turns into an adjective, as seen here and in The Tempest I 2 378.

66. Make three syllables of Oceän, and make it rhyme with began.

66. Create three syllables for Oceän that rhyme with began.

68. birds of calm. The birds referred to are doubtless halcyons. Dr. Murray defines halcyon thus: “A bird of which the ancients fabled that it bred about the time of the winter solstice in a nest floating on the sea, and that it charmed the wind and waves so that the sea was specially calm during the period; usually identified with a species of kingfisher, hence a poetic name of this bird.”

68. birds of calm. The birds mentioned here are definitely halcyons. Dr. Murray defines halcyon like this: “A bird that ancient legends claimed would breed around the time of the winter solstice in a nest floating on the sea, and that it enchanted the wind and waves so the sea was notably calm during that time; usually associated with a type of kingfisher, thus giving this bird a poetic name.”

71. their precious influence. The word influence is originally a term of astrology,—“a flowing in, or influent course, of the planets; their virtue infused into, or their course working on, inferior creatures” (Skeat, Etym. Dict.).

71. their precious influence. The word influence originally comes from astrology, meaning “a flowing in, or influent course, of the planets; their power infused into, or their course affecting, lower beings” (Skeat, Etym. Dict.).

[82]

73. For all the morning light. As in Burns’s “We dare be poor for a’ that,” for meaning in spite of.

73. For all the morning light. As in Burns’s “We dare be poor for all that,” for meaning despite that.

74. Lucifer. See Par. Lost VII 131-133.

__A_TAG_PLACEHOLDER_0__ Check Par. Lost VII 131-133.

81. As, for as if.

__A_TAG_PLACEHOLDER_0__, like as if.

86. Or ere the point of dawn. The two words or ere mean simply before, as in Hamlet I 2 147, “A little month, or ere those shoes were old.” The point of dawn imitates the French le point du jour.

86. Or ere the point of dawn. The two words or ere mean simply before, as in Hamlet I 2 147, “A little month, or before those shoes were old.” The point of dawn imitates the French le point du jour.

88. Full little thought they than. Than is an ancient form of then, not wholly obsolete in Milton’s day.

88. Full little thought they than. Than is an old version of then, which wasn’t completely out of use in Milton’s time.

89. the mighty Pan. The poet takes the point of view of the shepherds and uses the name of their special deity.

89. the mighty Pan. The poet adopts the perspective of the shepherds and uses the name of their unique god.

95. by mortal finger strook. Milton uses the three participle forms, strook, struck, and strucken.

98. As all their souls in blissful rapture took. The verb take has here the same meaning as in Hamlet I 1 163, “no fairy takes nor witch hath power to charm.” Thus also we say, a vaccination takes.

98. As all their souls in blissful rapture took. The verb take has the same meaning as in Hamlet I 1 163, “no fairy takes nor witch hath power to charm.” Similarly, we say, a vaccination takes.

103. Cynthia’s seat. See Penseroso 59, and Romeo and Juliet III 5 20.

108. Make the line rhyme properly, giving to union three syllables.

108. Make the line rhyme correctly, giving union three syllables.

112. The helmed cherubim. See Genesis III 24.

__A_TAG_PLACEHOLDER_0__ See Genesis 3:24.

113. The sworded seraphim. See Isaiah VI 2-6.

__A_TAG_PLACEHOLDER_0__ See Isaiah 6:2-6.

116. With unexpressive notes, meaning beyond the power of human expression. So in Lycidas 176; Par. Lost V 595; and in As You Like It, “the fair, the chaste, and inexpressive she.”

116. With unexpressive notes, meaning beyond what humans can express. So in Lycidas 176; Par. Lost V 595; and in As You Like It, “the beautiful, the pure, and the unexplainable she.”

119. But when of old the Sons of Morning sung. See Job XXXVIII 7.

__A_TAG_PLACEHOLDER_0__ See Job 38:7.

124. the weltering waves. Compare Lycidas 13.

__A_TAG_PLACEHOLDER_0__ Compare __A_TAG_PLACEHOLDER_1__.

125. Ring out, ye crystal spheres. See note, line 48. The elder poetry is full of the notion that the spheres in their revolutions made music, which human ears are too gross to hear. See Merchant of Venice V 1 50-65.

125. Ring out, ye crystal spheres. See note, line 48. The ancient poetry often expresses the idea that the celestial bodies in their orbits produce music that human ears are too dull to perceive. See Merchant of Venice V 1 50-65.

136. speckled Vanity. The leopard that confronts Dante in Canto I of Hell is beautiful with its dappled skin, but symbolizes vain glory.

136. speckled Vanity. The leopard that faces Dante in Canto I of Hell is stunning with its spotted coat, but represents empty pride.

143. like glories wearing. The adjective like means nothing without a complement, though the complement sometimes has to be supplied, as in this instance. Fully expressed the passage would be,—wearing glories like those of Truth and Justice. The like in such a case as this must be spoken with a fuller tone than when its construction is completely expressed.

143. like glories wearing. The adjective like doesn’t mean anything without a complement, although sometimes you have to fill in that missing part, like in this example. Fully expressed, the passage would be,—wearing glories like those of Truth and Justice. The like in this case needs to be pronounced with more emphasis than when its meaning is fully spelled out.

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155. those ychained in sleep. The poets, in order to gain a syllable, long continued to use the ancient participle prefix y. See yclept, Allegro 12.

155. those ychained in sleep. The poets, to get an extra syllable, kept using the old participle prefix y. See yclept, Allegro 12.

157. With such a horrid clang. See Exodus XIX.

__A_TAG_PLACEHOLDER_0__ See Exodus 19.

168. The Old Dragon. See Revelation XII 9.

__A_TAG_PLACEHOLDER_0__ See Revelation 12:9.

173. Stanzas XIX-XXVI announce the deposition and expulsion of the pagan deities, and the ruin of the ancient religions. In accordance with his custom of grouping selected proper names in abundance, thus giving vividness and concreteness to his story and sonority to his verse, the poet here illustrates the triumph of the new dispensation by citing the names of various gods from the Roman, Greek, Syrian, and Egyptian mythologies.

173. Stanzas XIX-XXVI announce the removal and ousting of the pagan gods, and the downfall of ancient religions. Sticking to his habit of clustering a wealth of chosen names to add depth and clarity to his narrative and rhythm to his poetry, the poet showcases the victory of the new order by referencing various gods from Roman, Greek, Syrian, and Egyptian mythologies.

176. Apollo, the great god, whose oracle was at Delphi, or Delphos.

179. spell, as in Comus 853, and often.

__A_TAG_PLACEHOLDER_0__, like in __A_TAG_PLACEHOLDER_1__, and often.

186. Genius. A Latin word, signifying a tutelary or guardian spirit supposed to preside over a person or place. See Lycidas 183, and Penseroso 154.

186. Genius. A Latin term meaning a protective or guardian spirit believed to oversee a person or location. See Lycidas 183, and Penseroso 154.

191. The Lars and Lemures. In the Roman mythology these were the spirits of dead ancestors, worshipped or propitiated in families as having power for good or evil over the fortunes of their descendants.

191. The Lars and Lemures. In Roman mythology, these were the spirits of deceased ancestors, honored or appeased by families, believed to have the power to influence the fate of their descendants for better or worse.

194. Affrights the flamens. The Roman flamens were the priests of particular gods.

194. Affrights the flamens. The Roman flamens were priests dedicated to specific gods.

195. the chill marble seems to sweat. Many instances of this phenomenon are reported. Thus Cicero, in his De Divinatione, tells us: “It was reported to the senate that it had rained blood, that the river Atratus had even flowed with blood, and that the statues of the gods had sweat.”

195. the chill marble seems to sweat. Many cases of this phenomenon have been reported. For example, Cicero, in his De Divinatione, mentions: “It was reported to the senate that it had rained blood, that the river Atratus had even flowed with blood, and that the statues of the gods had sweated.”

197. Peor and Baälim. Syrian false gods. See Numbers XXV 3.

__A_TAG_PLACEHOLDER_0__ Syrian idols. See Numbers 25 3.

199. that twice-battered god of Palestine. See I Samuel V 2.

__A_TAG_PLACEHOLDER_0__ See 1 Samuel V 2.

200. mooned Ashtaroth. See I Kings XI 33.

__A_TAG_PLACEHOLDER_0__ See 1 Kings 11 33.

203. The Lybic Hammon. “Hammon had a famous temple in Africa, where he was adored under the symbolic figure of a ram.”

203. The Lybic Hammon. “Hammon had a well-known temple in Africa, where he was worshipped as a ram.”

204. their wounded Thammuz. See Ezekiel VIII 14.

__A_TAG_PLACEHOLDER_0__ See Ezekiel 8:14.

205. sullen Moloch. See Par. Lost I 392-396.

__A_TAG_PLACEHOLDER_0__ See Paradise Lost I 392-396.

210. the furnace blue. Compare Arcades 52.

__A_TAG_PLACEHOLDER_0__ Compare __A_TAG_PLACEHOLDER_1__.

212. Isis, and Orus, and the dog Anubis. Egyptian deities, the latter figured as having the head of a dog.

212. Isis, and Orus, and the dog Anubis. Egyptian gods, the latter depicted with the head of a dog.

213. Nor is Osiris seen. Osiris was the principal god of the Egyptians, [84] brother and husband of Isis. His highest function was as god of the Nile. He met his death at the hands of his brother Typhon, a deity of sterility, by whom he was torn into fourteen pieces. Thereupon a general lament was raised throughout Egypt. The bull Apis was regarded as the visible incarnation of Osiris.—Murray’s Manual of Mythology.

213. Nor is Osiris seen. Osiris was the main god of the Egyptians, [84] brother and husband of Isis. His main role was as the god of the Nile. He was killed by his brother Typhon, a god of sterility, who tore him into fourteen pieces. This led to widespread mourning across Egypt. The bull Apis was seen as the physical embodiment of Osiris.—Murray’s Manual of Mythology.

215. the unshowered grass. Remember, this was in Egypt.

215. the unshowered grass. Remember, this took place in Egypt.

223. his dusky eyn. This ancient plural of eye occurs several times in Shakespeare, as in As You Like It IV 3 50.

223. his dusky eyn. This old-fashioned plural of eye appears multiple times in Shakespeare, like in As You Like It IV 3 50.

240. Heaven’s youngest-teemed star. Compare Comus 175.

__A_TAG_PLACEHOLDER_0__ Compare __A_TAG_PLACEHOLDER_1__.

241. Hath fixed her polished car. Fix has its proper meaning, stopped. The star “came and stood over where the young child was.”

241. Hath fixed her polished car. Fix means to stop in the right way. The star “came and stood over where the young child was.”

ON SHAKESPEARE.

The first edition of the collected works of Shakespeare, known as the first folio, was published in 1623, when Milton was fifteen years old. The second Shakespeare folio appeared in 1632. Among the commendatory verses by various hands prefixed, after the fashion of the time, to the latter volume, was a little piece of eight couplets, in which some then unknown rhymer expressed his admiration of the great poet. Collecting his poems for publication in 1645, Milton included these couplets, gave them the date 1630, and the title On Shakespeare which they have since borne in his works. The fact that he wrote the verses two years before their publication in the Shakespeare folio shows that he did not produce them to order, for the special occasion. It is interesting to note that Milton at twenty-two was an appreciative reader of Shakespeare. The lines themselves give no hint of great poetic genius; they are a fair specimen of the conventional, labored eulogy in vogue at the time.

The first edition of Shakespeare's collected works, known as the first folio, was published in 1623, when Milton was fifteen. The second folio appeared in 1632. Among the commendatory verses by various authors included, as was customary at the time, in the latter volume, was a short piece of eight couplets, where an unknown poet expressed admiration for the great playwright. When Milton collected his poems for publication in 1645, he included these couplets, dated them 1630, and titled them On Shakespeare, which they have been known by in his works ever since. The fact that he wrote the verses two years before they were published in the Shakespeare folio shows that he didn’t create them specifically for that occasion. It's interesting to note that Milton, at twenty-two, was an appreciative reader of Shakespeare. The lines themselves don’t reveal great poetic talent; they’re a typical example of the conventional, laborious praise that was popular at the time.

4. star-ypointing. To make the decasyllabic verse, the poet takes the liberty of prefixing to the present participle the y which properly belongs only to the past.

4. star-ypointing. To create the decasyllabic verse, the poet adds the y to the present participle, which technically should only belong to the past.

8. a livelong monument. Instead of livelong, the first issue of the lines, in the Shakespeare folio of 1632, has lasting. The change is Milton’s, appearing in his revision of his poems in 1645. Does it seem to be an improvement?

8. a livelong monument. Instead of livelong, the first version of the lines in the Shakespeare folio from 1632 uses lasting. This change was made by Milton in his 1645 revision of his poems. Does it seem like an improvement?

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10-12. and that each heart hath ... took. The conjunction that simply repeats the whilst.

__A_TAG_PLACEHOLDER_0__ The conjunction that simply repeats the while.

11. thy unvalued book. In Hamlet I 3 19 unvalued persons are persons of no value, or of no rank. In Macbeth III 1 94 the valued file is the file that determines values or ranks. In Milton’s phrase the unvalued book means the book whose merit is so great as to be beyond all valuation: a new rank must be created for it.

11. thy unvalued book. In Hamlet I 3 19 unvalued persons are people of no value or status. In Macbeth III 1 94 the valued file refers to the list that determines value or rank. In Milton's words, the unvalued book indicates a book whose merit is so great that it can't be measured: it requires a new rank to be established for it.

12. Those Delphic lines: lines so crowded with meaning as to seem the utterances of an oracle.

12. Those Delphic lines: lines packed with so much meaning that they feel like the words of an oracle.

13. our fancy of itself bereaving: transporting us into an ecstasy, or making us rapt with thought.

13. our fancy of itself bereaving: taking us into a blissful state, or making us deeply contemplative.

14. Dost make us marble with too much conceiving. The concentrated attention required to penetrate Shakespeare’s meaning makes statues of us.

14. Dost make us marble with too much conceiving. The intense focus needed to understand Shakespeare’s meaning turns us into statues.

15. Make the word sepulchred fit metrically into the iambic verse.

15. Make the word buried fit metrically into the iambic verse.

L’ALLEGRO AND IL PENSEROSO.

The year in which the poems were composed is uncertain. Masson regards 1632 as the probable date.

The year the poems were written isn't clear. Masson thinks 1632 is the likely date.

The exquisite poems to which Milton gave the Italian titles L’Allegro,—the mirthful, or jovial, man,—and Il Penseroso,—the melancholy, or saturnine, man,—should be regarded each as the pendant and complement of the other, and should be read as a single whole. The poet knew both moods, and takes both standpoints with equal grace and heartiness. The essential idea of thus contrasting the mirthful and the melancholy temperament he found ready to his hand. Robert Burton had prefaced his Anatomy of Melancholy, published in 1621, with a series of not unpleasing, though by no means graceful, amœbean stanzas, in which two speakers alternately represent Melancholy, one as sweet and divine, and the other as harsh, sour, and damned. Undoubtedly Milton knew his Burton. But if he got his main idea from this source, he made his poems thoroughly Miltonic by his art of visualizing in delicious pictures the various phases of his abstract theme. The poems are wholly poetical, equally free from obscurity of thought and from obscurity of expression.

The beautiful poems that Milton titled L’Allegro—meaning the cheerful or joyful person—and Il Penseroso—meaning the sad or gloomy person—should be seen as each other’s counterpart and complement, and read as a single piece. The poet experienced both moods and expresses both perspectives with equal grace and enthusiasm. The central idea of contrasting the joyful and melancholic temperament was readily available to him. Robert Burton prefaced his Anatomy of Melancholy, published in 1621, with a series of somewhat pleasing but not particularly graceful alternating stanzas, where two speakers represent Melancholy; one is sweet and divine, while the other is harsh, bitter, and cursed. It’s clear that Milton was aware of Burton’s work. However, even if he drew his main idea from this source, he infused his poems with his own unique style by vividly picturing the different aspects of his abstract theme. The poems are completely poetic, free from any confusion of thought or expression.

Each poem is prefaced with a vigorous exorcism of the spirit to [86] which it is hostile. This is couched in alternate three and five accent iambics, preparing a delicious rhythmic effect when the metre changes, in the invocation, to the octosyllable, with or without anacrusis.

Each poem starts with a strong banishment of the spirit it opposes. This is written in alternating three and five stressed syllables, creating a nice rhythmic effect when the meter shifts in the invocation to eight syllables, with or without anacrusis.

In L’Allegro we accompany the mirthful man through an entire day of his pleasures, from early morning to late evening. The melancholy man moves through a programme less definitely and regularly planned. The scenes of his delights are mostly in the hours of the night: when the sun is up, he hides himself from day’s garish eye.

In L’Allegro, we follow the cheerful man through a whole day of his joys, from the early morning to the late evening. The sad man goes through a schedule that is less structured and organized. His moments of joy mostly happen at night; when the sun is out, he keeps himself away from the harsh light of day.

L'Allegro.

2. Of Cerberus and blackest Midnight born. Milton follows the example of the ancient poets in announcing the parentage of the principal beings whom he brings upon his stage. Moreover, he uses the ancient freedom in assigning mythical pedigrees, not only adopting no authority as a canon, but allowing his own fancy to invent origins as suits his purpose. He knew the Greek and Latin poets, and assumed for himself the privilege which they exercised of shaping the myths as they pleased. We are not therefore to seek in Milton a reproduction of any system of mythology. Cerberus was the terrible three-headed dog of Pluto. His station was at the entrance to the lower world, or the Stygian cave.

2. Of Cerberus and blackest Midnight born. Milton takes inspiration from ancient poets by announcing the parentage of the main characters he introduces. He also embraces the creative freedom of ancient times in crafting mythical family trees, not sticking to any established authority, and letting his imagination come up with origins that fit his narrative. He was familiar with Greek and Latin poets and claimed for himself the same license they had to mold myths as they wished. So, we shouldn't expect Milton to provide an exact replication of any particular mythology. Cerberus was the fearsome three-headed dog of Pluto, stationed at the entrance to the underworld, or the Stygian cave.

3. The Stygian cave is so called from the Styx, the infernal river, “the flood of deadly hate.”

3. The Stygian cave gets its name from the Styx, the underworld river, “the flood of deadly hate.”

5. some uncouth cell. Uncouth may be used here in its original sense of unknown, as in Par. Lost VIII 230.

5. some uncouth cell. Uncouth can be understood here in its original meaning of unknown, as seen in Par. Lost VIII 230.

10. In dark Cimmerian desert. The Cimmerians were a people fabled by the ancients to live in perpetual darkness.

10. In dark Cimmerian desert. The Cimmerians were a group of people mythologized by ancient cultures to dwell in constant darkness.

12. yclept is the participle of the obsolete verb clepe, with the ancient prefix y, as in ychained, Hymn on the Nativity 155.

12. yclept is the participle of the outdated verb clepe, with the old prefix y, as in ychained, Hymn on the Nativity 155.

15. two sister Graces more. Hesiod names, as the three Graces, Euphrosyne, Aglaia, and Thalia, but he makes them the daughters of Zeus and Eurynome.

15. two sister Graces more. Hesiod identifies the three Graces as Euphrosyne, Aglaia, and Thalia, and describes them as the daughters of Zeus and Eurynome.

18. The frolic wind. See frolic again as an adjective, Comus 59.

__A_TAG_PLACEHOLDER_0__ See frolic as a fun word again, __A_TAG_PLACEHOLDER_1__.

24. So buxom, blithe, and debonair. See Shakespeare’s Pericles, I Gower 23. All these words are interesting to look up for etymologies and changes of meaning.

24. So buxom, blithe, and debonair. Check out Shakespeare’s Pericles, I Gower 23. All these words are fascinating to explore for their origins and changes in meaning.

25-36. We readily accept and understand the personification of [87] Jest, Jollity, Sport, Laughter, and Liberty, but the plurals, Quips, Cranks, Wiles, Nods, Becks, Smiles, we do not manage quite so easily, especially in view of the couplet 29-30.

25-36. We easily accept and understand the personification of [87] Jest, Jollity, Sport, Laughter, and Liberty, but the plurals, Quips, Cranks, Wiles, Nods, Becks, Smiles, we don't handle as easily, especially when considering couplet 29-30.

28. Smiles may be said to be wreathed because they inwreathe the face. See Par. Lost III 361.

28. Smiles can be described as wreathed since they surround the face. See Par. Lost III 361.

33. trip it, as you go. So in Shakespeare, “I’ll queen it no inch further; Rather than fool it so; I’ll go brave it at the court, lording it in London streets.”

33. trip it, as you go. So in Shakespeare, “I won’t act like a queen any longer; Rather than be a fool; I’ll boldly face the court, showing off in the streets of London.”

41. With this line begins a series of illustrations of the unreproved pleasures which L’Allegro is going to enjoy during a day of leisure. At first the specified pleasures or occupations are introduced by infinitives, to hear, to come; but the construction soon changes, as we shall see. The first pleasure is To hear the lark, etc. 41-44. L’Allegro begins his day with early morning. Here we must imagine him as having risen and gone forth where he can see the sky and can look about him to see what is going on in the farm-yard.

41. This line kicks off a series of descriptions of the unrestrained pleasures that L’Allegro will experience during a day of relaxation. Initially, the mentioned pleasures or activities are presented using infinitives, to hear, to come; but the structure quickly shifts, as we'll see. The first pleasure is To hear the lark, etc. 41-44. L’Allegro starts his day in the early morning. Here we should picture him getting up and heading outside where he can see the sky and check out what’s happening in the farmyard.

45-46. Then to come, in spite of sorrow,

And at my window bid good-morrow.

And at my window say good morning.

It must be L’Allegro himself who comes to the window, and as he is outside, he comes to look in through the shrubbery and bid good morning to the cottage inmates, who are now up and about their work. The pertinency of the phrase, in spite of sorrow, is not intelligible.

It must be L’Allegro himself who comes to the window, and since he’s outside, he looks in through the bushes and says good morning to the people in the cottage, who are now up and busy with their work. The relevance of the phrase, in spite of sorrow, isn’t clear.

53. Oft listening how the hounds and horn. This “pleasure” and the next—sometime walking—are introduced with present participles. There is no interruption of grammatical consistency.

57. Sometime walking, not unseen. See the counterpart of this line, Penseroso 65. Todd quotes the note of Bishop Hurd,—“Happy men love witnesses of their joy: the splenetic love solitude.”

57. Sometime walking, not unseen. See the counterpart of this line, Penseroso 65. Todd quotes Bishop Hurd's note: “Happy people enjoy sharing their joy with others; those who are bitter prefer solitude.”

59. against, i.e. toward.

__A_TAG_PLACEHOLDER_0__, i.e. toward.

62. The clouds in thousand liveries dight. Dight is the participle of the verb to dight, meaning to adorn. It is still used as an archaism.

62. The clouds in thousand liveries dight. Dight is the participle of the verb to dight, which means to adorn. It's still used as an old-fashioned term.

67. And every shepherd tells his tale. This undoubtedly means counts the number of his flock. In Shakespeare we find, to tell money, years, steps, a hundred. So tale often means an enumeration, a number. L’Allegro finds the shepherds in the morning counting their sheep, not telling stories.

67. And every shepherd tells his tale. This definitely means counts the number of his flock. In Shakespeare, we see that tell refers to money, years, steps, a hundred. So tale often signifies an enumeration, a number. L’Allegro finds the shepherds in the morning counting their sheep, not sharing stories.

68. With this line ends the long, loose sentence that began with line 37. We now come to a full stop, and with line 69 begin a new sentence.

68. With this line, the long, loose sentence that started with line 37 comes to an end. We now pause completely, and with line 69, we start a new sentence.

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70. the landskip. A word of late origin in English, of unsettled spelling in Milton’s day.

70. the landskip. A word that originated recently in English, with spelling that wasn't standardized in Milton's time.

71. Russet lawns. In Milton, lawn means field or pasture. See Lycidas 25.

71. Russet lawns. In Milton, lawn means a field or pasture. See Lycidas 25.

77. In this line the subject, mine eye, is resumed.

77. In this line, the subject, my eye, is brought up again.

80. The cynosure of neighboring eyes. In the constellation Cynosure, usually called the Lesser Bear, is the pole-star, to which very many eyes are directed.

80. The cynosure of neighboring eyes. In the constellation Cynosure, often referred to as the Little Bear, is the North Star, which draws the gaze of many.

81. A new “pleasure” is introduced, with a new grammatical subject.

81. A new "pleasure" is introduced, featuring a new grammatical subject.

83. Where Corydon and Thyrsis met. The proper names in lines 83-88 add to the poem a pleasing touch of pastoral simplicity and cheerfulness. They are taken from the common stock of names, which, originally devised by the Greek idyllists for their shepherds and shepherdesses, have by the pastoral poets of all subsequent ages been appropriated to their special use. Corydon and Thyrsis stand for farm-laborers, Phyllis and Thestylis for their wives or housekeepers. The day of L’Allegro has now advanced to dinner-time. Phyllis has been preparing the frugal meal, as we could surmise from the smoking chimney. As soon as the dinner is over the women go out to work with the men in the harvest field.

83. Where Corydon and Thyrsis met. The proper names in lines 83-88 add a delightful touch of rural simplicity and joy to the poem. They come from a common set of names, originally created by Greek poets for their shepherds and shepherdesses, which have since been adopted by pastoral poets through the ages. Corydon and Thyrsis represent farm workers, while Phyllis and Thestylis stand for their wives or housekeepers. The day in L’Allegro has now reached dinner time. Phyllis has been preparing the simple meal, as we can guess from the smoking chimney. Once dinner is finished, the women join the men in the harvest field.

87. bower means simply dwelling.

87. bower

90. In the tanned haycock we see the hay dried and browned by the sun.

90. In the tanned haystack we see the hay dried and browned by the sun.

91. The scene changes and brings yet another “pleasure.” secure delight is delight without care, sine cura. See Samson Agonistes 55.

91. The scene shifts and introduces another “pleasure.” secure delight is joy without worry, sine cura. See Samson Agonistes 55.

96. in the chequered shade. They danced under trees through whose foliage the sunlight filtered.

96. in the chequered shade. They danced beneath the trees where sunlight streamed through the leaves.

99. Evening comes on, and a new pleasure succeeds. Story-telling is now in order.

99. As evening arrives, a new enjoyment takes over. It's time for storytelling.

102. Sufficient information about Faery Mab can be got from Romeo and Juliet I 4 53-95.

102. You can get enough information about Faery Mab from Romeo and Juliet I 4 53-95.

103-104. She, i.e. one of the maids; And he,—one of the youths. The Friar’s lantern is the ignis fatuus, or will-o’-the-wisp, fabled to lead men into dangerous marshes.

103-104. She, that is one of the maids; And he,—one of the guys. The Friar’s lantern is the will-o’-the-wisp, said to lead people into dangerous marshes.

105. A connective is lacking to make the syntax sound: the subject of tells must be he. the drudging goblin. This is Robin Goodfellow, known to readers of fairy tales. Ben Jonson makes him a character in his Court Masque, Love Restored, where he is made to [89] recount many of his pranks, and says, among other things, “I am the honest plain country spirit, and harmless, Robin Goodfellow, he that sweeps the hearth and the house clean, riddles for the country maids, and does all their other drudgery.”

105. A connective is missing to make the sentence clear: the subject of tells must be he. the hardworking goblin. This is Robin Goodfellow, a character familiar to fairy tale readers. Ben Jonson features him in his Court Masque, Love Restored, where he shares many of his tricks and says, among other things, “I am the honest, straightforward country spirit, and harmless, Robin Goodfellow, the one who sweeps the hearth and cleans the house, helps the country maids with their riddles, and does all their other chores.”

109. could not end. Dr. Murray gives this among other quotations as an instance of the verb end meaning to put into the barn, to get in. So in Coriolanus V 6 87.

109. could not end. Dr. Murray provides this quote as an example of the verb end meaning to store in the barn, to bring in. This is also found in Coriolanus V 6 87.

110. the lubber fiend. This goblin is loutish in shape and fiendish-looking, though so good to those who treat him well.

110. the lubber fiend. This goblin looks rough and sinister, but he's really nice to those who are kind to him.

115. Thus done the tales. An absolute construction, imitating the Latin ablative absolute.

115. Thus done the tales. An absolute construction that mimics the Latin ablative absolute.

117. The country folk having gone early to bed, tired with their day’s labor, L’Allegro hastes to the city, where the pleasures of life are prolonged further into the night.

117. The country people went to bed early, exhausted from their day's work, while L’Allegro rushes to the city, where the fun continues late into the night.

120. In weeds of peace, high triumphs hold. This must mean such things as masques and revelries among the upper classes.

120. In weeds of peace, high triumphs hold. This must refer to things like fancy parties and celebrations among the wealthy.

122. Rain influence. See note on Hymn on the Nativity 71.

__A_TAG_PLACEHOLDER_0__ See __A_TAG_PLACEHOLDER_1__.

124. What is the antecedent of whom?

__A_TAG_PLACEHOLDER_0__ What is the antecedent of whom?

125. What ceremony is here introduced?

125. What ceremony is being introduced here?

128. Do not misunderstand the word mask. Its meaning becomes plain from the context.

128. Don't misinterpret the word mask. Its meaning is clear from the context.

131. To what pleasure does L’Allegro now betake himself?

131. What pleasure does L’Allegro choose for himself now?

132. Among the dramatists of the Jacobean time Ben Jonson had especially the repute of scholarship. The sock symbolizes comedy, as the buskin does tragedy. Compare Il Penseroso 102.

132. Among the playwrights of the Jacobean era, Ben Jonson was particularly known for his intellectual depth. The sock represents comedy, just as the buskin represents tragedy. Compare Il Penseroso 102.

133-134. Or sweetest Shakespeare, Fancy’s child,

Warble his native wood-notes wild.

Sing his natural wild tunes.

The couplet seems intended to convey the idea of a counterpart or contrast to the learned sock of Jonson. So considered, it is by no means an unhappy characterization.

The couplet seems designed to express the idea of a counterpart or contrast to the learned sock of Jonson. From this perspective, it is by no means an inadequate description.

135. The last of the “unreproved pleasures” that L’Allegro wishes he may enjoy, seems not so much planned to follow the rest in sequence of time as to accompany them and be diffused through them all. Observe the ever in this line. The eating cares are a reminiscence of Horace’s curas edaces, Ode II 11 18.

135. The final of the “uncriticized pleasures” that L’Allegro hopes to experience doesn’t seem to be intended to come after the others in chronological order, but to blend in with them and be spread throughout all of them. Notice the ever in this line. The eating cares are a reminder of Horace’s curas edaces, Ode II 11 18.

136. Lap me in soft Lydian airs. The three chief modes, or moods, of Greek music were the Lydian, which was soft and pathetic; the Dorian, especially adapted to war (see Par. Lost 550); and the Phrygian, which was bold and vehement.

136. Lap me in soft Lydian airs. The three main styles, or moods, of Greek music were the Lydian, which was gentle and emotional; the Dorian, which was particularly suited for war (see Par. Lost 550); and the Phrygian, which was strong and intense.

[90]

138. the meeting soul. The soul, in its eagerness, goes forth to meet and welcome the music.

138. the meeting soul. The soul, full of anticipation, moves out to embrace and welcome the music.

139. The word bout seems to point at a piece of music somewhat in the nature of a round, or catch.

139. The word bout appears to refer to a type of music similar to a round or catch.

145. That Orpheus’ self may heave his head. Even Orpheus, who in his life “drew trees, stones, and floods” by the power of his music, and who now reposes in Elysium, would lift his head to listen to the strains that L’Allegro would fain hear.

145. That Orpheus’ self may heave his head. Even Orpheus, who in his life "charmed trees, stones, and rivers" with his music, and who now rests in Elysium, would lift his head to listen to the melodies that L’Allegro would gladly hear.

149. Orpheus, with his music, had succeeded in obtaining from Pluto only a conditional release of his wife Eurydice. He was not to look back upon her till he was quite clear of Pluto’s domains. He failed to make good the condition, and so again lost his Eurydice.

149. Orpheus, with his music, managed to get a conditional release for his wife Eurydice from Pluto. He was not supposed to look back at her until he was completely out of Pluto’s realm. He didn’t meet the condition, and as a result, he lost Eurydice once more.

The Thinker.

3. How little you bested. The verb bested means to avail, to be of service. It is not the same word that we find in Isaiah VIII 21, “hardly bestead and hungry.”

3. How little you bested. The verb bested means to help, to be of assistance. It is not the same word that appears in Isaiah VIII 21, “hardly bestead and hungry.”

6. fond here has its primitive meaning, foolish. Understand possess in the sense in which it is used in the Bible,—“possessed with devils.”

6. fond here has its basic meaning, foolish. Understand possess in the way it's used in the Bible—“possessed by demons.”

10. Make two syllables of Morpheus.

__A_TAG_PLACEHOLDER_0__ Pronounce Morpheus with two syllables.

12. Note that while he invoked Mirth in L’Allegro under her Greek name Euphrosyne, the poet finds no corresponding Greek designation for Melancholy. To us Melancholy seems a name unhappily chosen. But see how Milton applies it in line 62 below, and in Comus 546. To him the word evidently connotes pensive meditation rather than gloomy depression.

12. Note that while he called upon Mirth in L’Allegro by her Greek name Euphrosyne, the poet doesn’t find a matching Greek name for Melancholy. To us, Melancholy seems like an unfortunate choice. But look at how Milton uses it in line 62 below, and in Comus 546. For him, the word clearly suggests thoughtful reflection instead of just sadness.

14. To hit the sense of human sight: to be gazed at by human eyes.

14. To hit the sense of human sight: to be looked at by humans.

18. Prince Memnon was a fabled Ethiopian prince, black, and celebrated for his beauty. Recall Virgil’s nigri Memnonis arma.

18. Prince Memnon was a legendary Ethiopian prince, Black, and known for his stunning looks. Remember Virgil’s nigri Memnonis arma.

19. that starred Ethiop queen. Cassiopeia, wife of the Ethiopian king Cepheus, boasted that she was more beautiful than the Nereids, for which act of presumption she was translated to the skies, where she became the beautiful constellation which we know by her name.

19. that starred Ethiop queen. Cassiopeia, the wife of the Ethiopian king Cepheus, claimed she was more beautiful than the Nereids. Because of this act of arrogance, she was taken up to the skies, where she became the beautiful constellation we now call by her name.

23. bright-haired Vesta. Vesta—in Greek, Hestia—“was the goddess of the home, the guardian of family life. Her spotless purity fitted her peculiarly to be the guardian of virgin modesty.”

23. bright-haired Vesta. Vesta—in Greek, Hestia—“was the goddess of the home, the protector of family life. Her complete purity made her especially suited to be the guardian of virgin modesty.”

30. Whilst yet there was no fear of Jove, i.e. before Saturn was dethroned by Jupiter.

30. Whilst yet there was no fear of Jove, that is before Saturn was overthrown by Jupiter.

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33. All in a robe of darkest grain. In Par. Lost V 285, the third pair of Raphael’s wings have the color of sky-tinctured grain; and XI 242, his vest is of purple livelier than “the grain of Sarra,” or Tyrian purple. This would leave us to infer that the robe of Melancholy is of a deep rich color, so dark as to be almost black. Dr. Murray quotes from Southey’s Thalaba, “The ebony ... with darkness feeds its boughs of raven grain.” What objection is there to making the grain in Milton’s passage black?

33. All in a robe of darkest grain. In Par. Lost V 285, the third pair of Raphael’s wings is the color of sky-tinted grain; and XI 242, his vest is a brighter purple than “the grain of Sarra,” or Tyrian purple. This suggests that the robe of Melancholy is a deep, rich color, so dark it’s almost black. Dr. Murray cites Southey’s Thalaba, “The ebony ... with darkness feeds its boughs of raven grain.” What’s wrong with interpreting the grain in Milton’s passage as black?

35. And sable stole of cypress lawn. Dr. Murray thus defines cypress lawn, “A light transparent material resembling cobweb lawn or crape; like the latter it was, when black, much used for habiliments of mourning.”

35. And sable stole of cypress lawn. Dr. Murray defines cypress lawn as “a light, transparent material that looks like cobweb lawn or crape; when black, it was commonly used for mourning garments.”

37. Come; but keep thy wonted state. Compare with this passage, L’Allegro 33.

40. Thy rapt soul sitting in thine eyes. In Cymbeline I 6 51 we find the present tense of the verb of which rapt is the participle: “What, dear Sir, thus raps you?” Do not confound this word with rap, meaning to strike.

40. Thy rapt soul sitting in thine eyes. In Cymbeline I 6 51 we find the present tense of the verb of which rapt is the participle: “What, dear Sir, thus raps you?” Do not confuse this word with rap, meaning to strike.

42. Forget thyself to marble. With this compare On Shakespeare 14.

__A_TAG_PLACEHOLDER_0__ With this, compare __A_TAG_PLACEHOLDER_1__.

43. With a sad leaden downward cast. So in Love’s Labor’s Lost IV 3 321, “In leaden contemplation;” Othello III 4 177, “I have this while with leaden thoughts been pressed.” So also Gray in the Hymn to Adversity, “With leaden eye that loves the ground.”

43. With a sad leaden downward cast. So in Love’s Labor’s Lost IV 3 321, “In heavy contemplation;” Othello III 4 177, “I have been weighed down by heavy thoughts all this while.” Also, Gray in the Hymn to Adversity, “With a heavy eye that loves the ground.”

45-55. Compare the company which Il Penseroso entreats Melancholy to bring along with her with that which L’Allegro wishes to see attending Mirth.

45-55. Compare the company that Il Penseroso asks Melancholy to bring with her to the one that L’Allegro wants to see with Mirth.

46. Spare Fast, that oft with gods doth diet. Only the rigid ascetic has a spiritual ear so finely trained that he hears the celestial music.

46. Spare Fast, that oft with gods doth diet. Only the strict ascetic has a spiritual ear so finely tuned that he can perceive the divine music.

48. Aye, as their rhymes show, is always pronounced by the poets with the vowel sound in day.

48. Aye, as their rhymes indicate, is always pronounced by the poets with the vowel sound in day.

53. the fiery-wheeled throne. See Daniel VII 9.

__A_TAG_PLACEHOLDER_0__ See Daniel 7:9.

54. The Cherub Contemplation. Pronounce contemplation with five syllables. It is difficult to form a distinct conception of the nature and office of the cherub of the Scriptures. Milton in many passages of Par. Lost follows, with regard to the heavenly beings, the account given by Dionysius the Areopagite in his Celestial Hierarchy. According to Dionysius there were nine orders or ranks of beings in [92] heaven, namely,—seraphim, cherubim, thrones, dominions, virtues, powers, principalities, archangels, angels. The cherubim have the special attribute of knowledge and contemplation of divine things.

54. The Cherub Contemplation. Pronounce contemplation with five syllables. It’s hard to get a clear idea of what the cherub in the Scriptures really is and does. Milton, in several parts of *Paradise Lost*, follows the description provided by Dionysius the Areopagite in his *Celestial Hierarchy* when it comes to heavenly beings. According to Dionysius, there are nine orders or ranks of beings in heaven: seraphim, cherubim, thrones, dominions, virtues, powers, principalities, archangels, and angels. The cherubim are especially known for their knowledge and contemplation of divine things.

55. hist, primarily an interjection commanding silence, becomes here a verb.

55. hist, mainly an interjection used to demand silence, turns into a verb here.

56. With the introduction of the nightingale comes the first intimation of the time of day at which Il Penseroso conceives the course of his satisfactions to begin.

56. With the arrival of the nightingale comes the first hint of the time of day when Il Penseroso believes his journey of fulfillment begins.

57. Everywhere else in Milton plight is used with its modern connotations.

57. Everywhere else in Milton plight is used with its current meanings.

59. The moon stops to hear the nightingale’s song.

59. The moon pauses to listen to the nightingale's song.

65. Remember L’Allegro’s not unseen.

__A_TAG_PLACEHOLDER_0__ Remember L'Allegro's __A_TAG_PLACEHOLDER_1__.

77. Up to this point Il Penseroso has been walking in the open air.

77. So far, Il Penseroso has been walking outside.

78. removed,—remote, retired.

__A_TAG_PLACEHOLDER_0__,—working from home, retired.

87. As the Bear never sets, to outwatch him must mean to sit up all night.

87. Since the Bear never goes down, to stay awake to watch him means you have to be up all night.

88. With thrice great Hermes. “Hermes Trismegistos—Hermes thrice-greatest—is the name given by the Neo-Platonists and the devotees of mysticism and alchemy to the Egyptian god Thoth, regarded as more or less identified with the Grecian Hermes, and as the author of all mysterious doctrines, and especially of the secrets of alchemy.” (The New Eng. Dicty.) To such studies the serious mediæval scholars devoted themselves. To unsphere the spirit of Plato is to call him from the sphere in which he abides in the other world, or, simply, to take in hand for study his writings on immortality.

88. With thrice great Hermes. “Hermes Trismegistos—Hermes thrice-greatest—is the name given by the Neo-Platonists and followers of mysticism and alchemy to the Egyptian god Thoth, viewed as largely the same as the Greek Hermes and as the author of all mysterious teachings, especially regarding the secrets of alchemy.” (The New Eng. Dicty.) Serious medieval scholars dedicated themselves to such studies. To unsphere the spirit of Plato means to summon him from the realm where he exists in the afterlife, or simply, to engage with his writings on immortality.

93-96. On the four classes of demons,—Salamanders, Sylphs, Nymphs, Gnomes,—see Pope’s Rape of the Lock. These demons are in complicity with the planets and other heavenly bodies to influence mortals.

93-96. On the four types of demons—Salamanders, Sylphs, Nymphs, Gnomes—check out Pope’s Rape of the Lock. These demons work together with the planets and other celestial bodies to influence humans.

97-102. Thebes, Pelops’ line, and the tale of Troy are the staple subjects of the great Attic tragedians. It seems strange that the poet finds no occasion to name Shakespeare here, as well as in L’Allegro.

97-102. Thebes, Pelops’ line, and the story of Troy are the main topics of the great Attic tragedians. It's odd that the poet doesn't mention Shakespeare here, just like in L’Allegro.

104-105. Musæus and Orpheus are semi-mythical bards, to whom is ascribed a greatness proportioned to their obscurity.

104-105. Musæus and Orpheus are semi-mythical bards, whose greatness is often linked to how obscure they are.

105-108. See note on L’Allegro, 149.

__A_TAG_PLACEHOLDER_0__ See __A_TAG_PLACEHOLDER_1__.

109-115. Or call up him that left half-told. This refers to Chaucer and to his Squieres Tale in the Canterbury Tales. It is left unfinished. Note that Milton changes not only the spelling but the [93] accent of the chief character’s name. Chaucer writes, “This noble king was cleped Cambinskan.”

109-115. Or call up him that left half-told. This refers to Chaucer and his Squire's Tale in the Canterbury Tales. It is left unfinished. Note that Milton changes not only the spelling but the [93] accent of the main character’s name. Chaucer writes, “This noble king was called Cambinskan.”

120. Stories in which more is meant than meets the ear refer to allegories, like the Fairy Queen.

120. Stories where there's more to it than what you see refer to allegories, like the Fairy Queen.

121. Having thus filled the night with the occupations that he loves, Il Penseroso now greets the morning, which he hopes to find stormy with wind and rain.

121. Having filled the night with the activities he enjoys, Il Penseroso now welcomes the morning, hoping to find it stormy with wind and rain.

122. civil-suited Morn: i.e. Morn in the everyday habiliments of business.

122. civil-suited Morn: i.e. Morning in the usual work clothes.

123-124. Eos—Aurora, the Dawn—carried off several youths distinguished for their beauty. the Attic boy is probably Cephalus, whom she stole from his wife Procris.

123-124. Eos—Aurora, the Dawn—took away several young men known for their beauty. the Attic boy is likely Cephalus, whom she took from his wife Procris.

125. kerchieft in a comely cloud. Kerchief is here used in its original and proper sense. Look up its origin.

125. kerchieft in a comely cloud. Kerchief is used here in its original and correct sense. Check out where it came from.

126. The winds may be called rocking because they visibly rock the trees, or because they shake houses.

126. The winds can be referred to as rocking because they visibly sway the trees or shake buildings.

127. Or ushered with a shower still. The shower falls gently, without wind.

127. Or ushered with a shower still. The shower falls softly, without any breeze.

130. With minute-drops from off the eaves. After the rain has ceased, and while the thatch is draining, the drops fall at regular intervals for a time,—as it were, a drop every minute. Il Penseroso listens with contentment to the wind, the rustling rain-fall on the leaves, and the monotonous patter of the drops when the rain is over.

130. With minute-drops from off the eaves. After the rain has stopped, and while the thatch is draining, the drops fall at regular intervals for a while—a drop every minute or so. Il Penseroso listens happily to the wind, the gentle rain on the leaves, and the steady sound of the drops when the rain has ended.

131. The shower is past, and the sun appears, but Il Penseroso finds its beams flaring and distasteful. He seeks covert in the dense groves.

131. The shower has ended, and the sun is shining, but Il Penseroso finds its rays harsh and unpleasant. He looks for shelter in the thick woods.

134. Sylvan is the god of the woods.

134. Sylvan is the god of the forest.

135. The monumental oak is so called from its great age and size.

135. The monumental oak gets its name from its impressive age and size.

140. Consciously nursing his melancholy, Il Penseroso deems the wood that hides him a sacred place, and resents intrusion as a profanation.

140. Fully aware of his sadness, Il Penseroso considers the woods that conceal him a sacred space and feels that being disturbed there is disrespectful.

141. Hide me from day’s garish eye. See Richard III. IV 4 89, Romeo and Juliet III 2 25.

142. While the bee with honeyed thigh. Is this good apiology?

__A_TAG_PLACEHOLDER_0__ Is this a good apology?

146. Entice the dewy-feathered Sleep. Note that sleep is represented as having feathers. These feathers, in their soft, gentle movement and in their refreshing effect are likened to dew. The figure is a common one with the poets. In Par. Lost IX 1044, Milton has,—“till dewy sleep oppressed them.” Cowper, Iliad II, 41, has,—“Awaking from thy dewy slumbers.”

146. Entice the dewy-feathered Sleep. Note that sleep is described as having feathers. These feathers, with their soft, gentle movement and refreshing effect, are compared to dew. This imagery is common among poets. In "Paradise Lost" IX 1044, Milton writes, “till dewy sleep oppressed them.” Cowper, in "Iliad" II, 41, says, “Awaking from thy dewy slumbers.”

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148. his refers to the dewy-feathered sleep. Il Penseroso asks that a strange, mysterious dream, hovering close by the wings of sleep, and lightly pictured in a succession of vivid forms, may be laid on his eye-lids.

148. his refers to the dewy-feathered sleep. Il Penseroso requests that a strange, mysterious dream, lingering near the edges of sleep, and softly imagined in a series of vivid images, may be placed upon his eyelids.

155-166. The word studious in line 156 determines that the passage refers to college life and not to church attendance. The old English colleges have their cloisters, and these have much the same architectural features as do churches.

155-166. The word studious in line 156 indicates that the passage is about college life and not about attending church. The traditional English colleges have their cloisters, which share many architectural features with churches.

157. embowed means vaulted, or bent like a bow.

157. embowed means arched, or curved like a bow.

158. massy-proof: massive and proof against all failure to support their load.

158. massy-proof: massive and resilient enough to handle their load without fail.

159. And storied windows richly dight. Compare L’Allegro, 62.

__A_TAG_PLACEHOLDER_0__ Compare __A_TAG_PLACEHOLDER_1__.

170. The best possible comment on this use of the verb spell is Milton’s own language, Par. Regained IV 382, where Satan, addressing the Son of God, thus speaks:—

170. The best possible comment on this use of the verb spell is Milton’s own words, Par. Regained IV 382, where Satan, addressing the Son of God, says:—

Now, contrary, if I read aught in Heaven,

Now, on the other hand, if I read anything in Heaven,

Or Heaven write aught of fate, by what the stars

Or if Heaven writes anything about fate, based on the stars

Voluminous, or single characters

Heavy or single characters

In their conjunction met, give me to spell,

In their meeting, let me spell it out,

Sorrows and labors, opposition, hate,

Sorrows, hardships, opposition, hate,

Attends thee; scorns, reproaches, injuries,

Attends you; scorns, insults, wounds,

Violence and stripes, and, lastly, cruel death.

Violence, scars, and, finally, brutal death.

Il Penseroso’s aspiration is that as an astrologer he may learn the influence of every star and that he may come to know the virtue of every herb.

Il Penseroso wishes to study the influence of every star as an astrologer and to understand the benefits of every herb.

ARCADES.

The noble persons of the family of the Countess Dowager of Derby were fortunate enough to obtain the services of the poet John Milton to aid in the composition of a mask, which they presented to her ladyship at her residence in the country. Arcădes—the Arcadians—is Milton’s contribution to this performance. In date the poem precedes Comus, which is known to have been composed in 1634.

The distinguished members of the family of the Countess Dowager of Derby were lucky to have the poet John Milton help in creating a masque, which they presented to her ladyship at her countryside home. Arcades—the Arcadians—is Milton’s addition to this performance. In terms of chronology, the poem came before Comus, which is known to have been written in 1634.

On the meaning of the term mask, as applied to a dramatic form, see introductory note on Comus.

20. Latona (or Leto) was the mother of Apollo and Diana by Zeus.

20. Latona (or Leto) was the mother of Apollo and Diana with Zeus.

21. the towered Cybele is Virgil’s Berecyntia Mater, the Phrygian mother, who, wearing her mural crown, drives in her chariot through [95] the cities of Phrygia. She was conceived as one of the very oldest deities, and as mother of a hundred gods. See Æneid VI 785.

28. Of famous Arcady ye are. Arcadia, in the Peloponnesus, was peculiarly the home of music and song, especially among the shepherds. See Virgil, Eclogue VII 4-5.

28. Of famous Arcady ye are. Arcadia, in the Peloponnesus, was particularly known as the home of music and song, especially among the shepherds. See Virgil, Eclogue VII 4-5.

30. Divine Alpheus. See note on Lycidas 132.

__A_TAG_PLACEHOLDER_0__ See __A_TAG_PLACEHOLDER_1__.

46. curl the grove: bestow upon the grove dense, crisp foliage.

46. curl the grove: gift the grove thick, fresh leaves.

47. With ringlets quaint and wanton windings wove. The grove is intersected with a maze of circling and purposeless paths.

47. With ringlets quaint and wanton windings wove. The grove is crisscrossed with a maze of winding and meaningless paths.

49. noisome: full of annoyance, injurious. See Par. Lost XI 478. blasting vapors. See note on Comus 640.

49. noisome: full of irritation, harmful. See Par. Lost XI 478. destructive fumes. See note on Comus 640.

51. thwarting thunder blue. Compare Julius Cæsar I 3 50, “the cross blue lightning.”

52. the cross dire-looking planet. Cross means adverse, unfavorable. See note on influence, Hymn on the Nativity 71.

52. the cross dire-looking planet. Cross means negative, unfavorable. See note on influence, Hymn on the Nativity 71.

54. evening gray. See note on Lycidas 187.

__A_TAG_PLACEHOLDER_0__ Check out __A_TAG_PLACEHOLDER_1__.

60. murmurs. Compare Comus 526.

__A_TAG_PLACEHOLDER_0__ Compare __A_TAG_PLACEHOLDER_1__.

63. the celestial Sirens’ harmony. The Sirens are here advanced to a high function and given a new Epithet. Compare Comus 253.

63. the celestial Sirens’ harmony. The Sirens are now given a higher role and a new title. See Comus 253.

64. the nine infolded spheres. See note on Hymn on Nativity 48.

__A_TAG_PLACEHOLDER_0__ See __A_TAG_PLACEHOLDER_1__.

65-66. See note on Lycidas 75.

__A_TAG_PLACEHOLDER_0__ Check __A_TAG_PLACEHOLDER_1__.

69. the daughters of Necessity: the Fates.

__A_TAG_PLACEHOLDER_0__ the Fates.

72-73. which none can hear Of human mould with gross unpurged ear. Compare Merchant of Venice V 1 64.

87. touch the warbled string: the string that is accompanied with the voice. See Il Penseroso 106.

87. touch the warbled string: the string that comes with the voice. See Il Penseroso 106.

97. Ladon, a river of Arcadia, flowing into the Alpheus.

97. Ladon, a river in Arcadia, flowing into the Alpheus.

98. Lycæus and Cyllene, mountains of Arcadia.

__A_TAG_PLACEHOLDER_0__, Arcadia's mountains.

100. Erymanth. Erymanthus is a range of mountains separating Arcadia from Achaia and Elis.

100. Erymanth. Erymanthus is a mountain range that divides Arcadia from Achaia and Elis.

102. Mænalus, another mountain of Arcadia.

__A_TAG_PLACEHOLDER_0__, another Arcadian mountain.

106. Though Syrinx your Pan’s mistress were. Syrinx was an Arcadian nymph, who, being pursued by Pan, threw herself into the Ladon, where she was metamorphosed into a reed, of which the shepherds thereafter made their pipes.

106. Though Syrinx your Pan’s mistress were. Syrinx was an Arcadian nymph who, being chased by Pan, jumped into the Ladon River, where she was transformed into a reed, from which the shepherds later made their pipes.

AT A SOLEMN MUSIC.

The poet listens to what in the phrase of his time is a solemn music, but which we should name a sacred concert. The poem is [96] unalloyed lyric, expressing the rapture to which the music has lifted his soul. We must remember that Milton was himself an amateur musician, and in his days of darkness found habitual diversion at his organ. Indications of a susceptible and appreciative ear for musical harmony are frequent throughout the poems.

The poet listens to what was called a solemn music in his time, but we would refer to it as a sacred concert. The poem is [96] pure lyric, conveying the joy that the music has brought to his soul. It's important to remember that Milton was an amateur musician and found regular solace at his organ during his dark times. Throughout his poems, there are many signs of his sensitive and appreciative ear for musical harmony.

7. the sapphire-colored throne. See Ezekiel I 26.

__A_TAG_PLACEHOLDER_0__ Check Ezekiel I 26.

27. consort is the word from which we derive our concert.

27. consort is the word we get our concert from.

COMUS.

During the reigns of Elizabeth, James I., and Charles I., the mask was one of the most popular forms of dramatic entertainment. Having a function and a character peculiar to itself, it flourished side by side with the regular plays of the theatrical stage, and gave large scope to the genius of poets, composers, and scenic artists.

During the reigns of Elizabeth, James I, and Charles I, the mask was one of the most popular forms of dramatic entertainment. With its unique function and character, it thrived alongside the regular plays on the theatrical stage, providing ample opportunity for the creativity of poets, composers, and set designers.

The mask was usually designed to grace some important occasion, in which members of the upper classes of society, or even royal personages, were concerned. When the occasion called for particularly brilliant display, and had been long foreseen, the preparations for it would involve immense outlays for costumes, theatrical machinery, for new music, and for a libretto by a play-writer of the greatest note. When the mask was purely a private one, like Arcades and Comus, it was all the fashion for the gentle youths and maidens, for gentlemen and ladies of the highest rank, to take upon themselves the parts of the drama, to rehearse them assiduously, and finally to enact them on the private stage or on the lawn in the presence of a select audience.

The mask was typically created for significant events that involved members of the upper class or even royalty. When the event demanded particularly extravagant displays and had been anticipated for a long time, the preparations required substantial spending on costumes, stage equipment, new music, and a script from a highly regarded playwright. When the mask was just for private occasions, like Arcades and Comus, it was fashionable for young men and women, as well as gentlemen and ladies of high status, to take on roles in the drama, practice diligently, and ultimately perform it on a private stage or lawn in front of a select audience.

The mask thus differentiated itself from the stage play in that it was not given for the pecuniary behoof of a company of actors, but represented rather expenditure for the simple purpose of producing grand effects. To act in a mask was an honor, when common players were social outcasts. The mask was got up for the occasion, and was not intended to keep the boards and attract a paying public. When the august ceremonial was over, the poet had his manuscript, to increase the bulk of his works, and the composer had his score, to furnish airs that might be played and sung in drawing-rooms if they had the good fortune to be popular.

The mask set itself apart from stage plays because it wasn’t meant for the financial benefit of an acting troupe; instead, it was an expense aimed at creating stunning effects. Acting in a mask was a privilege at a time when regular actors were seen as social outcasts. The mask was specifically designed for the occasion and wasn’t meant to stay on stage and attract a paying audience. Once the grand ceremony concluded, the poet had their manuscript to add to their collection of works, and the composer had their score, which could provide melodies that might be played and sung in living rooms if they happened to become popular.

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Such was the origin of the poem which Milton, in all the editions published during his lifetime, entitled simply “A Maske presented at Ludlow Castle, 1634,” but which editors since his day have agreed to name Comus.

Such was the origin of the poem that Milton, in all the editions published during his lifetime, titled simply “A Maske presented at Ludlow Castle, 1634,” but which editors since then have agreed to call Comus.

The occasion of the poem was the coming of the Earl of Bridgewater to Ludlow Castle, to enter upon his official residence there as Lord President of Wales. The person chiefly concerned in the scenic, musical, and histrionic preparations of the mask was Milton’s esteemed friend, the most accomplished musical composer of the day, Henry Lawes. Lawes composed the music and arranged the stage business. He seems to have taken upon himself the part of the Attendant Spirit. Lawes knew to whom to apply for the all-important matter of the book, the words, or the poetry, of the piece, for he had learned to know Milton’s qualifications as a mask-poet in the fragment which we have under the name Arcades. With good music even for commonplace lyric verse, and with sprightly declamation even of conventional dialogue, the thing, as we know from modern instances, might have been carried off by gorgeous costumes and shrewdly devised scenic effects. Most of the masks of the time fell at once into oblivion. But Lawes had secured for his poet John Milton; and the consequence thereof is that the Earl of Bridgewater is now chiefly heard of because at Ludlow Castle there was enacted, in the form of a mask written by Milton, a drama which is still read and reread by every English-speaking person who reads any serious poetry, though Ludlow Castle has long been a venerable ruin.

The occasion of the poem was the arrival of the Earl of Bridgewater at Ludlow Castle to start his official residency there as Lord President of Wales. The person most involved in the scenic, musical, and theatrical preparations for the masque was Milton’s close friend, the highly skilled musical composer of the time, Henry Lawes. Lawes created the music and organized the stage production. He appears to have taken on the role of the Attendant Spirit. Lawes knew exactly who to approach for the crucial task of writing the piece’s words or poetry, as he had recognized Milton’s talents as a masque poet from the fragment we have titled Arcades. With good music even for ordinary lyric verse, and lively delivery even of traditional dialogue, the production could have been a success with stunning costumes and cleverly designed stage effects, much like modern instances show. Most masques of that era quickly faded into obscurity. However, Lawes had secured John Milton as his poet; as a result, the Earl of Bridgewater is primarily remembered because, at Ludlow Castle, a drama written by Milton was performed in the form of a masque, a work that continues to be read and appreciated by anyone who enjoys serious poetry, even though Ludlow Castle has long been an ancient ruin.

For his plot, the poet feigned that the young children of the earl, two sons and a daughter, in coming to Ludlow, had to pass unattended through a forest, in which the boys became separated from the girl and she fell into the hands of the enchanter Comus. The Attendant Spirit appears to the youths with his magic herb, and with the further assistance of the water-nymph Sabrina, at last makes all right, and the children are restored to their parents in the midst of festive rejoicing.

For his story, the poet pretended that the earl’s young children—two sons and a daughter—had to travel through a forest alone on their way to Ludlow. In the process, the boys got separated from their sister, and she was captured by the enchanter Comus. The Attendant Spirit shows up to help the boys with his magical herb, and with help from the water-nymph Sabrina, everything gets sorted out, and the children are reunited with their parents amid celebrations.

The poem is dramatic, because it is acted and spoken or sung in character by its persons. It is allegorical, because it inculcates a moral, and more is meant than meets the ear. In parts it is pastoral, [98] both because the chief personage appears in the guise of a shepherd, and because its motive largely depends on the superstitions and traditions of simple, ignorant folk. In the longer speeches, where events are narrated with some fulness, it becomes epic. Lastly, in its songs, in the octosyllables of the magician, and in the adjuration and the thanking of Sabrina, it is lyric. With iambic pentameter as the basis of the dialogue, the poet varies his measures as Shakespeare does his, and with very similar ends in view.

The poem is dramatic because it is performed and spoken or sung in character by its characters. It is allegorical, as it teaches a lesson, and there's more to it than what you hear. In some parts, it's pastoral, both because the main character takes on the role of a shepherd and because its themes are largely influenced by the superstitions and traditions of simple, uneducated people. In the longer speeches, where events are described in detail, it becomes epic. Finally, in its songs, in the octosyllables of the magician, and in the calling upon and thanking of Sabrina, it is lyrical. With iambic pentameter as the foundation of the dialogue, the poet varies his rhythms like Shakespeare does, with very similar goals in mind.

The name Comus Milton found ready to his hand. As a common noun, the Greek word comus signifies carousal,—wassail. In the later classic period it had become a proper name, standing for a personification of nocturnal revelry, and a god Comus was frequently depicted on vases and in mural paintings. Philostratus, in his Ikŏnes,—or Pictures,—gives an interesting description of a painting of this god. See Encyclopædia Britannica, article Comus. Ben Jonson, in his mask, Pleasure Reconciled to Virtue, played in 1619, presents a Comus as “the god of cheer, or the belly, riding in triumph, his head crowned with roses and other flowers, his hair curled.” The character and the name were the common property of mask-writers.

The name Comus was easily available to Milton. As a common noun, the Greek word comus means a party or celebration. By the later classical period, it had become a proper name, representing a personification of nighttime festivities, and the god Comus was often illustrated on vases and in murals. Philostratus, in his Ikŏnes,—or Pictures,—provides an intriguing description of a painting of this god. Check out the Encyclopædia Britannica, article Comus. Ben Jonson, in his mask Pleasure Reconciled to Virtue, performed in 1619, depicts a Comus as “the god of cheer, or the belly, riding in triumph, his head crowned with roses and other flowers, his hair curled.” The character and the name were widely used by mask-writers.

The great distinction of Comus is its beauty, maintained at height through a thousand lines of supremely perfect verse. Greatly dramatic it of course is not. It yields its meaning to the most cursory reading; it has no mystery. It is simply beautiful, with a sustained beauty elsewhere unparalleled.

The following letter of Sir Henry Wotton to the Author deserves to be read both for its engaging style as a piece of English prose and for its exquisite characterization of Comus. Wotton was a versatile scholar, diplomat, and courtier, seventy years old at the time of this letter, with a reputation as a kindly and appreciative literary critic. He was now residing at Eton College, where he held the office of Provost. Milton, thirty years of age, the first edition of his Comus recently published anonymously, had good cause for elation over such a testimonial from such a source.

The following letter from Sir Henry Wotton to the Author is worth reading for its engaging style as a piece of English prose and for its wonderful description of Comus. Wotton was a versatile scholar, diplomat, and courtier, seventy years old when he wrote this letter, known for being a kind and appreciative literary critic. At that time, he lived at Eton College, where he was the Provost. Milton, thirty years old and having just published the first edition of his Comus anonymously, had every reason to feel proud about receiving such a commendation from such a respected figure.

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“From the College, this 13 of April, 1638.

“From the College, this 13th of April, 1638.

“Sir,

"Hey,"

“It was a special favour when you lately bestowed upon me here the first taste of your acquaintance, though no longer than to make me know that I wanted more time to value it and to enjoy it rightly; and, in truth, if I could then have imagined your farther stay in these parts, which I understood afterwards by Mr. H., I would have been bold, in our vulgar phrase, to mend my draught (for you left me with an extreme thirst), and to have begged your conversation again, jointly with your said learned friend, over a poor meal or two, that we might have banded together some good Authors of the ancient time; among which I observed you to have been familiar.

“It was a special favor when you recently gave me the first taste of your friendship here, even if it was just long enough for me to realize that I wanted more time to truly appreciate and enjoy it; and honestly, if I could have imagined that you would stay longer in this area, which I later learned from Mr. H., I would have been bold, in our common language, to ask for a refill (since you left me feeling extremely thirsty), and I would have asked for your company again, along with your learned friend, over a couple of simple meals, so that we could discuss some great authors from ancient times, with whom I noticed you were familiar.

“Since your going, you have charged me with new obligations, both for a very kind letter from you dated the 6th of this month, and for a dainty piece of entertainment which came therewith. Wherein I should much commend the tragical part, if the lyrical did not ravish me with a certain Doric delicacy in your Songs and Odes, whereunto I must plainly confess to have seen yet nothing parallel in our language: Ipsa mollities. But I must not omit to tell you that I now only owe you thanks for intimating unto me (how modestly soever) the true artificer. For the work itself I had viewed some good while before with singular delight; having received it from our common friend Mr. R., in the very close of the late R.’s Poems, printed at Oxford: whereunto it was added (as I now suppose) that the accessory might help out the principal, according to the art of Stationers, and to leave the reader con la bocca dolce.

“Since you're leaving, you've given me new obligations, both for a very kind letter from you dated the 6th of this month, and for a delightful piece of entertainment that came with it. I would really commend the tragic part if the lyrical section didn’t captivate me with a certain Doric delicacy in your Songs and Odes, which I honestly must admit I've never seen anything like in our language: Ipsa mollities. But I shouldn’t forget to tell you that I now only owe you thanks for subtly letting me know the true creator. I had actually enjoyed the work itself for some time before, having received it from our mutual friend Mr. R., at the very end of the late R.’s Poems, printed at Oxford: it was added (as I now suppose) to help out the main work, according to the practice of Stationers, and to leave the reader con la bocca dolce.

“Now, Sir, concerning your travels; wherein I may challenge a little more privilege of discourse with you. I suppose you will not blanch Paris in your way: therefore I have been bold to trouble you with a few lines to Mr. M. B., whom you shall easily find attending the young Lord S. as his governor; and you may surely receive from him good directions for the shaping of your farther journey into Italy where he did reside, by my choice, some time for the King, after mine own recess from Venice.

“Now, Sir, about your travels; I’d like to take a moment to talk with you. I assume you won’t skip Paris on your way: therefore, I’ve taken the liberty to send you a few lines for Mr. M. B., whom you’ll easily find looking after the young Lord S. as his tutor; and you can definitely get good advice from him on planning your further journey into Italy, where he lived for a while on my recommendation, after I returned from Venice.”

“I should think that your best line will be through the whole length of France to Marseilles, and thence by sea to Genoa; whence the passage into Tuscany is as diurnal as a Gravesend barge. I hasten, as you do, to Florence or Siena, the rather to tell you a short story, from the interest you have given me in your safety.

“I think your best route will be through all of France to Marseille, and then by sea to Genoa; from there, getting into Tuscany is as regular as a Gravesend ferry. I’m rushing, just like you, to Florence or Siena, mainly to share a quick story because I care about your safety.”

“At Siena I was tabled in the house of one Alberto Scipioni, an old Roman courtier in dangerous times; having been steward to the Duca di Pagliano, who with all his family were strangled, save this only man [100] that escaped by foresight of the tempest. With him I had often much chat of those affairs, into which he took pleasure to look back from his native harbour; and at my departure toward Rome (which had been the centre of his experience), I had won his confidence enough to beg his advice how I might carry myself there without offence of others or of mine own conscience. ‘Signor Arrigo mio,’ says he, ‘I pensieri stretti ed il viso sciolto will go safely over the whole world.’ Of which Delphian oracle (for so I have found it) your judgment doth need no commentary; and therefore, Sir, I will commit you, with it, to the best of all securities, God’s dear love, remaining

“At Siena, I stayed at the house of Alberto Scipioni, an old Roman courtier from turbulent times. He had been the steward for the Duca di Pagliano, whose entire family was murdered, leaving him as the only survivor due to his foresight about the impending danger. I often talked with him about those events, which he enjoyed reminiscing about from his home base. When I was about to leave for Rome, the center of his experiences, I had gained enough of his trust to ask for his advice on how to conduct myself there without offending others or compromising my own conscience. ‘Signor Arrigo mio,’ he said, ‘I pensieri stretti ed il viso sciolto will go safely over the whole world.’ This Delphian oracle (as I’ve found it to be) needs no explanation from you, so, Sir, I will entrust you, along with it, to the best security of all, God’s dear love, remaining”

“Your friend, as much to command as any of longer date,

"Your friend, just as much to be in charge as any of the older ones,"

“Henry Wotton.”

"Henry Wotton."

Postscript.

P.S.

“Sir: I have expressly sent this my footboy to prevent your departure without some acknowledgment from me of the receipt of your obliging letter; having myself through some business, I know not how, neglected the ordinary conveyance. In any part where I shall understand you fixed, I shall be glad and diligent to entertain you with home-novelties, even for some fomentation of our friendship, too soon interrupted in the cradle.”

“Dear Sir, I’ve specifically sent my footboy to make sure you don’t leave without me acknowledging your kind letter. Due to some business, I somehow missed the usual way of responding. Wherever you decide to stay, I’ll be happy and eager to share the latest from home, even just to rekindle our friendship that was cut short too soon.”

The Latin phrase, ipsa mollities, may be translated,—it is the very perfection of delicacy. The Italian words below mean,—My dear Henry, thoughts close, face open.

The Latin phrase, ipsa mollities, can be translated as—it is the utmost perfection of delicacy. The Italian words below mean—My dear Henry, thoughts private, face open.

1. Before the starry threshold of Jove’s court. The attendant spirit not only announces himself as a dweller in heaven, but he specifies his particular function among the celestials: he is doorkeeper in the house of God.

1. Before the starry threshold of Jove’s court. The attending spirit not only introduces himself as a resident of heaven, but he also clarifies his specific role among the celestial beings: he is the doorkeeper in God’s house.

3. insphered. Compare Il Penseroso 88.

__A_TAG_PLACEHOLDER_0__ Compare __A_TAG_PLACEHOLDER_1__.

7. Confined and pestered. Pester has its primitive meaning, to clog or encumber. In this pinfold here. Pinfold is probably not connected with the verb to pen, but is a shortened form of poundfold, and means, literally, an enclosure for stray cattle.

7. Confined and pestered. Pester originally means to obstruct or burden. In this pen here. Pinfold is likely not related to the verb to pen, but is a shortened version of poundfold, and literally refers to an enclosure for stray cattle.

10. After this mortal change: after this life on earth, which is subject to death.

10. After this mortal change: after this life on earth, which can end at any moment.

11. Amongst the enthroned gods. Make but two syllables of enthroned, and accent the first.

11. Amongst the enthroned gods. Just make enthroned two syllables and stress the first one.

The long sentence ending with line 11 is very loose in construction: the and in line 7 is a coördinate conjunction, but does not connect coördinate elements.

The long sentence ending with line 11 is very loosely constructed: the and in line 7 is a coordinating conjunction, but it doesn't connect coordinating elements.

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13. To lay their just hands on that golden key. Compare Lycidas 110.

__A_TAG_PLACEHOLDER_0__ Compare __A_TAG_PLACEHOLDER_1__.

16. these pure ambrosial weeds. Ambrosial has its proper meaning,—pertaining to the immortals.

16. these pure ambrosial weeds. Ambrosial means something that relates to the immortals.

20. by lot ’twixt high and nether Jove. Neptune drew lots with Jupiter and Pluto. To Jupiter fell the region of the upper air, to Pluto the lower world, and to Neptune the sea. The ancient poets sometimes spoke of Jupiter and Pluto as the upper and the lower Jove.

20. by lot ’twixt high and nether Jove. Neptune drew lots with Jupiter and Pluto. Jupiter got the upper air, Pluto got the underworld, and Neptune got the sea. Ancient poets sometimes referred to Jupiter and Pluto as the upper and lower Jove.

25. By course commits to several government: in due order he assigns the islands to his tributaries, giving them an island apiece.

25. By course commits to several government: in the right order, he gives each of his tributaries one island.

27. But this Isle is so large that he has to divide it.

27. But this Isle is so big that he has to split it up.

29. Consider quarters to mean nothing more than divides. his blue-haired deities. The epithet is conventional, taken from the Greek poets, and probably has no special significance in this passage.

29. Think of quarters as just divisions. his blue-haired gods. The nickname is standard, borrowed from the Greek poets, and likely doesn’t hold any particular meaning in this context.

31. A noble Peer. This connects the poem with actual persons and announces its occasion. The noble peer is the Earl of Bridgewater, and the event which is to be celebrated is his appointment to the Vice-royalty of Wales.

31. A noble Peer. This links the poem to real people and sets the scene. The esteemed nobleman is the Earl of Bridgewater, and the occasion being celebrated is his appointment as the Vice-Roy of Wales.

33. The old and haughty nation are the Welsh.

33. The proud and arrogant nation is the Welsh.

34. his fair offspring are two sons and a daughter, who are to play the parts of the Two Brothers and the Lady in the mask.

34. his fair offspring are two sons and a daughter, who will play the roles of the Two Brothers and the Lady in the mask.

37. the perplexed paths of this drear wood. Compare Par. Lost IV 176.

__A_TAG_PLACEHOLDER_0__ Compare Par. Lost IV 176.

41. sovran. See note on Hymn on the Nativity 60.

__A_TAG_PLACEHOLDER_0__ See __A_TAG_PLACEHOLDER_1__.

45. in hall or bower. Hall and bower are conventionally coupled by the poets to signify the dwellings, respectively, of the gentry and the laboring classes.

45. in hall or bower. Hall and bower are traditionally linked by poets to represent the homes of the upper classes and the working classes, respectively.

46. The transformation by Bacchus of the treacherous Tuscan sailors into dolphins belongs to the established myths of that god. But Milton exercises his right as a poet to add to the classic story whatever suits his purposes.

46. Bacchus turning the deceitful Tuscan sailors into dolphins is part of the well-known myths about that god. But Milton uses his freedom as a poet to add whatever fits his intentions to the classic tale.

48. After the Tuscan mariners transformed; a Latinism, meaning, after the transformation of the Tuscan mariners.

48. After the Tuscan mariners transformed; a Latin term, meaning, after the change of the Tuscan sailors.

50. fell: chanced to land.

__A_TAG_PLACEHOLDER_0__ happened to land.

For the story of Circe, see the Odyssey X.

For the story of Circe, see the Odyssey Chapter 10.

58. Understand that no such distinct character as Comus belongs to the received mythology. Milton is a myth-maker.

58. Know that there isn't a specific character like Comus in the traditional mythology. Milton creates his own myths.

59. frolic is used as an adjective, as in L’Allegro 18.

59. frolic is used as an adjective, like in L’Allegro 18.

[102]

60. the Celtic and Iberian fields. The god traversed Gaul and Spain, on his way to Britain.

60. the Celtic and Iberian fields. The god traveled through Gaul and Spain on his way to Britain.

61. ominous: abounding in mysterious signs of danger.

__A_TAG_PLACEHOLDER_0__ filled with cryptic warnings.

65. His orient liquor. See line 673 of this poem.

__A_TAG_PLACEHOLDER_0__ See __A_TAG_PLACEHOLDER_1__ of this poem.

72. Note that only the countenance is changed.

72. Keep in mind that only the expression is altered.

87. Well knows to still the wild winds. The poem moves throughout in the realm of romance. The swain Thyrsis is in his own character a practitioner of magic.

87. Well knows to still the wild winds. The poem explores the theme of romance. The young man Thyrsis embodies a kind of magic in his character.

88. nor of less faith. Thyrsis has just been described as a person of great skill.

88. nor of less faith. Thyrsis has just been described as someone with exceptional talent.

90. Likeliest: most likely to be.

__A_TAG_PLACEHOLDER_0__ probably is.

93. The transition from the stately mood of the Attendant Spirit’s exordium to the noisy exhilaration of Comus is marked by appropriate changes in the verse. Comus speaks in a lyric strain, and his tone is exultant. When he comes to serious business, in line 145, he also employs blank-verse. The lyric lines, 93-144, rhyme in couplets, and vary in length, most of them having four accents, while some have five. The four-accent lines vary between seven and eight syllables, many of them dropping the initial light syllable, or anakrusis (Auftakt). These seven-syllable lines have a trochaic effect, but are to be scanned as iambic, the standard rhythm of the poem. The star that bids the shepherd fold. So Collins, in his ode To Evening,—“For when thy folding-star arising shows His paly circlet.” See also Measure for Measure IV 2 218.

93. The shift from the dignified tone of the Attendant Spirit's introduction to the lively excitement of Comus is highlighted by notable changes in the verse. Comus speaks in a lyrical style, and his tone is joyful. When he gets to serious matters, in line 145, he also uses blank verse. The lyrical lines, 93-144, rhyme in couplets and vary in length, most containing four beats, while some have five. The four-beat lines range from seven to eight syllables, with many omitting the initial light syllable or anakrusis (Auftakt). These seven-syllable lines create a trochaic effect, but they should be read as iambic, the poem's standard rhythm. The star that bids the shepherd fold. So Collins, in his ode To Evening,—“For when thy folding-star arising shows His paly circlet.” See also Measure for Measure IV 2 218.

96. doth allay: doth cool.

__A_TAG_PLACEHOLDER_0__ cools.

97. The epithet steep is applied to the ocean, though really it is the course of the downward-moving sun that is steep.

97. The term steep is used to describe the ocean, but it's actually the path of the sinking sun that is steep.

99-101. Milton uses pole, as the poets were wont to do, to mean the sky; and the passage means,—the sun, moving about the earth in his oblique course, now shines upon that part of the heavens which, when it is daylight to us, is in shadow.

99-101. Milton uses pole, as poets typically did, to refer to the sky; and the passage means—the sun, orbiting the earth in its slanted path, now shines on that part of the sky which, when it's daylight for us, is in shadow.

105. with rosy twine; with twined, or wreathed, roses.

105. with rosy twine; with intertwined or braided roses.

108-109. Advice ... Age ... Severity. For these abstract terms substitute their concretes.

108-109. Advice ... Age ... Severity. Replace these abstract terms with their concrete equivalents.

110. their grave saws. So Hamlet I 5 100, “all saws of books.”

110. their grave saws. So Hamlet I 5 100, “all the sayings from books.”

116. in wavering morrice. See M. N. Dream II 1 98; All’s Well II 2 25.

118. the dapper elves. Dapper is akin to the German tapfer, but with a very different connotation.

118. the dapper elves. Dapper is similar to the German tapfer, but it has a very different meaning.

[103]

124. Love: the Latin Amor, the Greek Eros, and our Cupid.

129. Dark-veiled Cotytto was a Thracian goddess, whose worship was connected with licentious frivolity.

129. Dark-veiled Cotytto was a Thracian goddess whose worship was associated with carefree indulgence.

133. makes one blot of all the air. Compare line 204 of this poem.

__A_TAG_PLACEHOLDER_0__ Check out __A_TAG_PLACEHOLDER_1__ of this poem.

135. thou ridest with Hecat’. Hecate was a goddess of the lower world, mistress of witchcraft and the black arts.

135. thou ridest with Hecat’. Hecate was a goddess of the underworld, the queen of witchcraft and dark magic.

139. The nice Morn. Nice is used in a disparaging sense, meaning over particular, minutely critical.

139. The nice Morn. Nice is used in a negative way, meaning overly particular or excessively critical.

140. From her cabined loop-hole peep. As if morn dwelt in a cabin and clandestinely peeped from a small window.

140. From her cabined loop-hole peep. As if morning lived in a cabin and secretly peeked through a small window.

141. descry must here mean reveal.

__A_TAG_PLACEHOLDER_0__ must mean reveal.

144. In a light fantastic round. Recall L’Allegro 34. Comus and his crew are now dancing.

144. In a light fantastic round. Remember L’Allegro 34. Comus and his crew are dancing now.

147. shrouds: hiding-places. See the verb, line 316.

147. shrouds: hiding spots. Check out the verb, line 316.

151. my wily trains. Trains are tricks, as in Macbeth IV 3 118.

151. my wily trains. Trains are deceptive, as in Macbeth IV 3 118.

154. The air is spongy because it absorbs his magic dust.

154. The air feels soft because it soaks up his magic dust.

155. blear, usually applied to eyes, here refers to the effect of seeing objects with blear eyes.

155. blear, usually applied to eyes, here refers to the effect of seeing objects with blurry vision.

174. the loose unlettered hinds. The hinds are farm-servants, usually with an implication of rudeness and rusticity, and they are loose because unrestrained in speech and act by considerations of propriety.

174. the loose unlettered hinds. The hinds are farm workers, often suggesting a lack of refinement and a rough, country lifestyle, and they are free to speak and act without concern for proper behavior.

177. amiss: in wrong or unseemly ways.

__A_TAG_PLACEHOLDER_0__ in inappropriate or awkward ways.

178. swilled is a very contemptuous word.

__A_TAG_PLACEHOLDER_0__ is a super disrespectful word.

179. wassailers. See Macbeth I 7 64. The word has an interesting etymology.

179. wassailers. See Macbeth I 7 64. The word has a fascinating origin.

188. the grey-hooded Even. Milton is fond of applying the epithet gray to the evening and the dawn. See Par. Lost IV 598, Lycidas 187.

188. the grey-hooded Even. Milton likes to describe the evening and dawn as gray. See Par. Lost IV 598, Lycidas 187.

189. Like a sad votarist in palmer’s weed. The votarist is one who has made a vow. In this case he goes on a pilgrimage, carrying a palm branch, and wearing the pilgrim garb.

189. Like a sad votarist in palmer’s weed. The voter is someone who has taken a vow. In this case, they go on a pilgrimage, carrying a palm branch and wearing pilgrimage attire.

203. the tumult of loud mirth was rife. As to the meaning of rife compare Sam. Ag. 866 and Par. Lost I 650.

203. the tumult of loud mirth was rife. Regarding the meaning of rife, refer to Sam. Ag. 866 and Par. Lost I 650.

204. Yet nought but single darkness do I find. The darkness is unbroken by any ray of light.

204. Yet nought but single darkness do I find. The darkness is completely untouched by any light.

210. may startle well, but not astound. Astound is a strong word. See Par. Lost I 281.

210. may startle well, but not astound. Astound is a powerful word. See Par. Lost I 281.

212. a strong siding champion: a champion who sides with the virtuous mind.

212. a strong siding champion: a champion who supports a good-hearted person.

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222. her silver lining. Note Milton’s avoidance of the possessive its. In all his verse he uses its but three times.

222. her silver lining. Notice Milton’s avoidance of the possessive its. Throughout all his poetry, he uses its only three times.

231. Within thy airy shell. The airy shell in which Echo lives must be the “hollow round” of the atmosphere. Compare Hymn on the Nativity 100-103.

231. Within thy airy shell. The airy shell where Echo resides must be the “hollow round” of the atmosphere. Compare Hymn on the Nativity 100-103.

232. The Meander is the river of Asia Minor, famous for its windings.

232. The Meander is the river in Asia Minor, known for its twists and turns.

233-237. The mention of the nightingale and Narcissus in this passage suggests that it may be a reminiscence of the chorus in the Oedipus Coloneus,—“Of this land of goodly steeds, O stranger.”

233-237. The mention of the nightingale and Narcissus in this passage suggests that it might recall the chorus in Oedipus Coloneus,—“Of this land of beautiful horses, O stranger.”

237. Echo’s passion for the beautiful Narcissus was not requited, and she pined away till she became a mere voice, which she could not utter till she was spoken to.

237. Echo's deep love for the beautiful Narcissus was unreturned, and she faded away until she became nothing but a voice, which she could only speak when addressed.

241. Daughter of the Sphere: daughter of the air, which forms a hollow sphere about the earth.

241. Daughter of the Sphere: daughter of the atmosphere, which creates a hollow sphere around the earth.

243. And give resounding grace to all Heaven’s harmonies: by echoing back the music of the spheres.

243. And give resounding grace to all Heaven’s harmonies: by reflecting the sounds of the universe.

249-252. Even darkness smiled, as if acknowledging itself agreeably caressed by the strains of the lady’s song.

249-252. Even the darkness seemed to smile, as if it were happily embracing the beautiful melody of the lady's song.

251. At every fall. Fall, as a musical term, is “a sinking down or lowering of the note or voice; cadence” (New Eng. Dict.).

251. At every fall. Fall, in music, refers to “a descending note or voice; a cadence” (New Eng. Dict.).

253. the Sirens dwelt on an island near Sicily, and by their sweet song allured mariners to destruction. See Odyssey XII.

253. the Sirens lived on an island near Sicily, and with their enchanting song lured sailors to their doom. See Odyssey XII.

254. the Naiades were nymphs attendant on Circe and the Sirens.

254. the Naiades were nymphs who served Circe and the Sirens.

257. And lap it in Elysium. Compare L’Allegro 136.

__A_TAG_PLACEHOLDER_0__ Compare __A_TAG_PLACEHOLDER_1__.

257-259. Scylla and Charybdis were dangerous rocks and whirlpools on opposite sides of the strait of Messina. They were personified as cruel sea-monsters.

257-259. Scylla and Charybdis There were dangerous rocks and whirlpools on opposite sides of the Strait of Messina. They were seen as cruel sea monsters.

260. Yet they: Circe and the Sirens.

__A_TAG_PLACEHOLDER_0__ Circe and the Sirens.

267. Unless the goddess. Supply thou art.

__A_TAG_PLACEHOLDER_0__ Supply you are.

273. extreme shift: a pressing necessity of devising some expedient.

273. extreme shift: an urgent need to come up with a solution.

289. Were they of manly prime or youthful bloom? Were they in the prime of adult manhood, or in the bloom of youth?

289. Were they of manly prime or youthful bloom? Were they in the height of adulthood, or in the freshness of youth?

277-290. These fourteen lines are an instance of “stichomythia, or conversation in alternate lines, which was always popular on the Attic stage. This scheme of versification is used chiefly in excited discussions, where the speakers are hurried along by the eagerness of their feelings.”—Haigh, The Tragic Drama of the Greeks.

277-290. These fourteen lines are an example of “stichomythia, or conversation in alternating lines, which was always popular on the Attic stage. This style of verse is mainly used in heated discussions, where the speakers are driven by the intensity of their emotions.” —Haigh, The Tragic Drama of the Greeks.

[105]

292. An ox in traces would now be a rare sight.

292. An ox in traces would now be hard to come by.

294. a green mantling vine. See Par. Lost IV 258.

__A_TAG_PLACEHOLDER_0__ See Paradise Lost IV 258.

299. gay creatures of the element: creatures of the air,—supernatural beings.

__A_TAG_PLACEHOLDER_0__ sky creatures—supernatural beings.

301. And play i’ the plighted clouds. Probably the poet means the plaited, or pleated, clouds, conceiving the clouds as appearing folded together. I was awe-strook. See Hymn on the Nativity 95.

301. And play i’ the plighted clouds. The poet likely refers to the plaited or pleated clouds, imagining them as if they are folded together. I was stunned. See Hymn on the Nativity 95.

316. Or shroud within these limits. Shroud as a noun we saw above, line 147.

318. From her thatched pallet rouse. The lark builds on the ground, seeking a spot protected by overarching stems of grass or grain, which may be called a natural thatch; and if this protection is destroyed by mowers or reapers, the bird will at once take pains to build a roof or thatch over the nest, completely covering it, and for a door will make an opening on the side.

318. From her thatched pallet rouse. The lark builds its nest on the ground, looking for a spot sheltered by tall grass or grain, which can be thought of as a natural roof; and if this shelter is removed by mowers or harvesters, the bird will quickly go to work to create a cover or roof over the nest, fully enclosing it, and will leave an opening on the side for a door.

325. where it first was named. The derivation of the words courteous and courtesy from court is obvious.

325. where it first was named. It's clear that the words courteous and courtesy come from court.

327. Less warranted than this, or less secure. The lady says that she cannot be in any place less guaranteed than this against evil, and that she cannot anywhere be less free from anxiety. Her situation she conceives to be as bad as it can be.

327. Less warranted than this, or less secure. The lady says she can't be in a place less safe from evil than this, and that she can't be anywhere else more free from anxiety. She believes her situation is as bad as it can get.

329. square my trial To my proportioned strength: make my trial proportionate to my strength.

329. square my trial To my proportioned strength: make my test suitable for my abilities.

332. That wont’st to love. Wont’st, in the present tense, means, as we say, art wont.

332. That wont’st to love. Won't, in the present tense, means, as we say, is customary.

333. Stoop thy pale visage. Stoop is thus used, transitively, Richard II. III 1 19, “myself ... have stooped my neck.”

333. Stoop thy pale visage. Stoop is used this way, transitively, Richard II. III 1 19, “myself ... have stooped my neck.”

334. And disinherit Chaos, that reigns here. Chaos, “the formless void of primordial matter,” is personified by Milton here and, much more conspicuously, in Par. Lost III.

334. And disinherit Chaos, that reigns here. Chaos, “the shapeless emptiness of original matter,” is represented by Milton here and, even more clearly, in Par. Lost III.

338. a rush-candle: a candle made with a rush for a wick,—the cheapest kind of light. from the wicker hole Of some clay habitation. Imagine a hut whose walls are made of wattled twigs plastered with clay. This clay when dry is apt to fall off in spots, leaving holes through which the light within can be seen from without. A wicker hole is a hole in the wicker-work, perhaps made intentionally, to serve as a window.

338. a rush-candle: a candle made with a rush for a wick—the cheapest kind of light. from the wicker hole of some clay dwelling. Imagine a hut with walls constructed from woven twigs, covered in clay. This clay, when it dries, tends to crumble off in patches, creating gaps through which the light inside can be seen from the outside. A wicker hole is an opening in the woven structure, possibly made on purpose to act as a window.

341-342. The star of Arcady is the constellation of the Greater [106] Bear, and the Tyrian Cynosure that of the Lesser Bear. Stars in these constellations served as guides to Greek and Tyrian mariners.

341-342. The star of Arcady is the constellation of the Greater Bear, and the Tyrian Cynosure is that of the Lesser Bear. Stars in these constellations acted as navigational aids for Greek and Tyrian sailors.

345. Or sound of pastoral reed with oaten stops. Compare Collins’s Ode to Evening,—If aught of oaten stop, or pastoral song. The shepherds of the Greek idylls made their musical pipes of reeds or oat-straws, and the oat has therefore been adopted by the pastoral poetry of all ages.

345. Or sound of pastoral reed with oaten stops. Compare Collins’s Ode to Evening,—If any of oaten stop, or pastoral song. The shepherds of the Greek idylls created their musical pipes from reeds or oat-straws, and the oat has since been embraced by pastoral poetry throughout the ages.

349. innumerous boughs. Compare Par. Lost VII 455.

__A_TAG_PLACEHOLDER_0__ Compare Par. Lost VII 455.

358. Of savage hunger, or of savage heat: of hungry savages, or of lustful savages.

358. Of savage hunger, or of savage heat: of ravenous barbarians, or of craving barbarians.

361. grant they be so: grant that they are real evils.

361. grant they be so: grant that they are real problems.

365. Make four syllables of delusion.

__A_TAG_PLACEHOLDER_0__ Make four syllables of illusion.

366. I do not think my sister so to seek: I do not think she has her seeking, or learning, still to do: I do not think her so inexperienced.

366. I do not think my sister so to seek: I don’t believe she still has to seek or learn: I don’t think she’s that inexperienced.

373-375. Is this practical doctrine?

__A_TAG_PLACEHOLDER_0__ Is this a practical guideline?

377. Make five syllables of Contemplation.

__A_TAG_PLACEHOLDER_0__ Create five syllables of Contemplation.

380. Were all to-ruffled. The particle to—Anglo Saxon tô, Modern German zer—has disappeared from Modern English. In Old English it was often used with the force of the Latin dis. So still in Chaucer, to-bete, to-cleve, to-rende, and many others.

380. Were all to-ruffled. The particle to—Old English tô, Modern German zer—is no longer present in Modern English. In Old English, it was often used with the meaning of the Latin dis. This can still be seen in Chaucer, in words like to-bete, to-cleve, to-rende, and many others.

386. affects: likes, has an affection for.

__A_TAG_PLACEHOLDER_0__ likes.

390. weeds, as in line 84.

__A_TAG_PLACEHOLDER_0__ as in __A_TAG_PLACEHOLDER_1__.

393. the fair Hesperian tree. See line 983.

__A_TAG_PLACEHOLDER_0__ See __A_TAG_PLACEHOLDER_1__.

394. had need the guard. An elliptical expression. Need is a noun, but is treated as if it were a verb.

394. had need the guard. An elliptical expression. Need is a noun, but it’s treated like a verb.

395. The dragon Ladon was not able to defend the apples of Hesperides against Hercules.

395. The dragon Ladon couldn't protect the apples of the Hesperides from Hercules.

401. will wink on Opportunity: will fail to see its chance.

__A_TAG_PLACEHOLDER_0__ will miss its chance.

404. it recks me not. The verb is thus used, impersonally, also in Lycidas 122.

404. it recks me not. The verb is used in an impersonal way, also in Lycidas 122.

407. The line has two hypermetric syllables, one after the third foot, and one at the end.

407. The line has two extra syllables, one after the third foot and one at the end.

413. squint suspicion. An epithet applicable only to a physical infirmity is applied to a mental act.

413. squint suspicion. A term that usually describes a physical weakness is being used to describe a mental action.

422. quivered: bearing a quiver.

__A_TAG_PLACEHOLDER_0__ with a quiver.

423. unharbored: furnishing no shelter.

__A_TAG_PLACEHOLDER_0__ providing no shelter.

424. Infamous hills. Accent infamous as we do now and as Milton does elsewhere. Verses thus beginning with trochees are common.

424. Infamous hills. Accent infamous as we do now and as Milton does elsewhere. Lines that start with trochees like this are common.

[107]

429. Look up the origin of the word grots.

429. Check the origin of the word grots.

430. unblenched: unstartled.

__A_TAG_PLACEHOLDER_0__ unfazed.

434. Blue meagre hag. The hag has the livid hue of hunger.

434. Blue meagre hag. The hag has a pale, sickly color from hunger.

436. swart faery of the mine. A malignant demon dwelling under ground,—a gnome.

436. swart faery of the mine. A wicked demon living underground—a gnome.

441. the huntress Dian. The powerful goddess Diana, or Artemis, twin sister of Apollo, was figured bearing a bow and arrows.

441. the huntress Dian. The mighty goddess Diana, also known as Artemis, twin sister of Apollo, was depicted holding a bow and arrows.

448. wise Minerva. Minerva, or Pallas Athene, is usually represented as wearing on her breast the ægis with a border of snakes and the Gorgon’s head in the centre.

448. wise Minerva. Minerva, or Pallas Athene, is typically shown wearing the ægis with a snake border and the Gorgon’s head in the middle.

460-462. Note the different modes in begin and turns, where we should look for similar constructions.

460-462. Take note of the different styles in begin and turns, where we should search for similar structures.

487. The ellipsis of we had is readily supplied. Draw and stand are infinitives.

487. The omission of we had can be easily filled in. Draw and stand are in their infinitive forms.

494. Thyrsis, a stock shepherd-name. The spirit henceforth appears to his fellow-actors in the mask as the shepherd with whom they are familiar.

494. Thyrsis, a common shepherd name. From now on, the spirit shows up to his fellow actors in the disguise of the shepherd they know.

495-512. These lines express sudden emotion, and approximate lyric in character. Hence the rhyme.

495-512. These lines show sudden emotion and have a somewhat lyrical quality. That's why there's rhyme.

508. How chance she is not. Supply the ellipsis.

__A_TAG_PLACEHOLDER_0__ Add the ellipsis.

517. Chimeras is here used vaguely in the plural to mean dangerous monsters.

517. Chimeras is used here in a broad sense to refer to dangerous monsters.

526. With many murmurs mixed. The enchanter spoke or sang forms of incantation over his mixing and brewing. Recall Macbeth.

526. With many murmurs mixed. The magician spoke or sang spells while he mixed and brewed. Recall Macbeth.

529. The word mintage has an interesting history. The human countenance is conceived as an imprint, like the characters on a coin.

529. The word mintage has a fascinating background. The human face is seen as a mark, similar to the designs on a coin.

530. Charactered in the face. The noun character Milton pronounces with accent on the first syllable, as does Shakespeare. Probably he also agrees with Shakespeare in pronouncing the verb with the accent on the second syllable, as this verse suggests.

530. Charactered in the face. The noun character Milton emphasizes on the first syllable, just like Shakespeare. He likely also shares Shakespeare's view on stressing the verb on the second syllable, as this line suggests.

531. crofts. The word is still in use in England, meaning a small farm.

531. crofts. The word is still used in England to mean a small farm.

540. by then the chewing flocks: by the time when, etc.

__A_TAG_PLACEHOLDER_0__ by the time, etc.

547. To meditate my rural minstrelsy: to play on my shepherd-pipe and to sing. To meditate the muse is a standard expression of the pastoral poets. See Lycidas 66.

547. To meditate my rural minstrelsy: to play on my shepherd's pipe and to sing. Reflecting on inspiration is a common theme among pastoral poets. See Lycidas 66.

552. What do we know was the cause of this unusual stop of sudden silence?

552. What do we know was the reason for this strange sudden silence?

[108]

553-554. The cessation of the din gave to the steeds of sleep, and to people who were trying to sleep, relief from annoyance.

553-554. The noise stopped, bringing relief to the sleeping horses and to people trying to sleep from the disturbance.

557-560. Be sure you understand the figure.

557-560. Make sure you get the figure.

560. Still, in its very frequent sense, always.

__A_TAG_PLACEHOLDER_0__ in its most common meaning, always.

562. Under the ribs of Death: in a skeleton.

__A_TAG_PLACEHOLDER_0__ in a skeleton.

575. such two; describing them.

__A_TAG_PLACEHOLDER_0__ describing them.

586. Shall be unsaid for me: it is not necessary for me to make any change in my opinion to make it harmonize with this new aspect of affairs.

586. Shall be unsaid for me: I don’t need to change my opinion to fit this new situation.

595. Gathered like scum, and settled to itself. The two metaphors thus combined make a rather strange mixture.

595. Gathered like scum, and settled to itself. The two metaphors combined create a pretty unusual mix.

598. The pillared firmament. By the firmament is usually understood the sphere of the fixed stars. How to introduce the conception of pillars is not clear.

598. The pillared firmament. By the sky is usually understood the area of the fixed stars. It's unclear how to incorporate the idea of pillars.

604. Acheron. See Par. Lost II 578.

__A_TAG_PLACEHOLDER_0__ See Paradise Lost II 578.

605. The Harpies were monstrous birds with women’s heads. Their doings are described Æneid III. The Hydra was a monster serpent with a hundred heads.

605. The Harpies were terrifying birds with women's heads. You can find their actions described in Æneid III. The Hydra was a monstrous serpent with a hundred heads.

607. his purchase: his acquisition.

__A_TAG_PLACEHOLDER_0__ his purchase.

610. I love thy courage yet, though thou hast spoken most unwisely.

610. I love thy courage yet, though you have spoken very foolishly.

611. can do thee little stead: can avail thee but little.

__A_TAG_PLACEHOLDER_0__ can offer you barely anything.

617. utmost shifts: most carefully devised precautions.

__A_TAG_PLACEHOLDER_0__ well-thought-out precautions.

620. Of small regard to see to: of very insignificant appearance.

__A_TAG_PLACEHOLDER_0__ of minimal appearance.

621. A virtuous plant is a plant which has virtues, i.e. powers or qualities.

621. A virtuous plant is a plant that has positive qualities or abilities.

624. Which when I did. The modern English has lost the power of beginning a sentence thus, with two relatives.

624. Which when I did. Modern English has lost the ability to start a sentence this way, with two relatives.

626. scrip, a word in no way connected with script.

626. scrip, a word that is not related to script.

627. And show me simples of a thousand names. Compare Hamlet IV 7 145, “no cataplasm so rare, Collected from all simples that have virtue Under the moon.”

627. And show me simples of a thousand names. Compare Hamlet IV 7 145, “no poultice so unique, gathered from all herbs that have power under the moon.”

634. Unknown and like esteemed: neither known nor esteemed.

__A_TAG_PLACEHOLDER_0__ neither recognized nor valued.

635. Treads on it daily with his clouted shoon. See 2 Henry VI. IV 2 195,—“Spare none but such as go in clouted shoon,” and Hamlet IV 5 26,—“By his cockle hat and staff, And his sandal shoon.”

635. Treads on it daily with his clouted shoon. See 2 Henry VI. IV 2 195,—“Don’t spare anyone except those wearing patched shoes,” and Hamlet IV 5 26,—“By his cockle hat and staff, and his sandal shoes.”

636. The story of Hermes’ giving Ulysses the Moly read in Odyssey X. “Therewith the slayer of Argos gave me the plant that he had plucked from the ground, and he showed me the growth thereof. It was black at the root, but the flower was like to milk. Moly the gods [109] call it, but it is hard for mortal men to dig; howbeit with the gods all things are possible.”

636. The story of Hermes giving Ulysses the Moly can be found in Odyssey X. “With that, the slayer of Argos handed me the plant he had picked from the ground and showed me how it grew. Its roots were black, but the flower looked like milk. The gods call it Moly, but it's tough for mortal men to dig up; however, with the gods, anything is possible.”

638. He called it Hæmony. Hæmony is a nonce-word of Milton’s own coining. He may have derived it from a Greek word meaning skilful or from another meaning blood.

638. He called it Hæmony. Hæmony is a made-up word created by Milton. He might have taken it from a Greek word that means skilful or from another that means blood.

640. mildew blast, or damp. Blast is defined by Dr. Murray: “A sudden infection destructive to vegetable or animal life (formerly attributed to the blowing or breath of some malignant power, foul air, etc.)”; and damp: “An exhalation, a vapor or gas, of a noxious kind.”

640. mildew blast, or damp. Blast is defined by Dr. Murray: “A sudden infection that is harmful to plant or animal life (previously thought to be caused by the breath of some evil force, polluted air, etc.)”; and damp: “A release, vapor, or gas that is harmful.”

641. Or ghastly Furies’ apparition: or the appearance of terrifying ghosts.

641. Or ghastly Furies’ apparition: or the sight of frightening ghosts.

646. Entered the very lime-twigs of his spells. Lime was a viscous substance, spread upon the twigs of trees and bushes to entangle the feet of birds. The figure is frequent in Shakespeare. See Hamlet III 3 68, “O limed soul, that, struggling to be free, Art more engaged.”

646. Entered the very lime-twigs of his spells. Lime was a sticky substance, spread on the twigs of trees and bushes to catch the feet of birds. This image appears often in Shakespeare. See Hamlet III 3 68, “O limed soul, that, struggling to be free, Art more engaged.”

657. apace: quickly.

__A_TAG_PLACEHOLDER_0__ fast.

In the stage directions, goes about means, makes a movement.

In the stage directions, goes about indicates, makes a movement.

661. as Daphne was, Root-bound, that fled Apollo. The great god, Apollo, pursuing the nymph Daphne, Diana saved her by transforming her into a laurel tree.

661. as Daphne was, Root-bound, that fled Apollo. The great god, Apollo, chasing the nymph Daphne, was saved by Diana, who transformed her into a laurel tree.

672. this cordial julep. Julep is a word of Persian origin, meaning rose-water. Note the poet’s skill in culling words of delicious sound.

672. this cordial julep. Julep comes from Persian and means rose-water. Notice how the poet expertly chooses words that sound so pleasing.

675. Not that Nepenthes which the wife of Thone In Egypt gave to Jove-born Helena. See Odyssey IV: “Then Helen, daughter of Zeus, cast a drug into the wine whereof they drank, a drug to lull all pain and anger, and bring forgetfulness of every sorrow.... Medicines of such virtue and so helpful had the daughter of Zeus, which Polydamna, the wife of Thon, had given her, a woman of Egypt.”

675. Not that Nepenthes which the wife of Thone In Egypt gave to Jove-born Helena. See Odyssey IV: “Then Helen, daughter of Zeus, added a potion to the wine they were drinking, a potion to soothe all pain and anger, and make them forget every sorrow.... Medicines with such power and usefulness had the daughter of Zeus, which Polydamna, the wife of Thon, had given her, a woman from Egypt.”

685. the unexempt condition: the condition from which no one is exempt.

685. the unexempt condition: the situation that no one can escape.

695. These oughly-headed monsters. Perhaps by this peculiar spelling, oughly, Milton meant to add to the word ugly a higher degree of ugliness.

695. These oughly-headed monsters. Maybe by this unusual spelling, oughly, Milton intended to make the word ugly convey a greater level of ugliness.

698. With vizored falsehood: falsehood with its vizor, or face-piece, down, to conceal its identity.

698. With vizored falsehood: lies with its mask on, to hide its true identity.

700. With liquorish baits. Liquorish, now usually spelled lickerish, [110] is allied to lecherous, and has no connection with liquor or with liquorice.

700. With liquorish baits. Liquorish, now typically spelled lickerish, [110] is related to lecherous, and has no connection to liquor or with licorice.

703. The goodness of the gift lies in the intention of the giver.

703. The value of a gift comes from the giver's intention.

707. those budge doctors of the stoic fur. Budge is defined by Dr. Murray: “Solemn in demeanor, important-looking, pompous, stiff, formal.” Cowper, in his poem Conversation, has the couplet: “The solemn fop; significant and budge; A fool with judges, amongst fools a judge.” A doctor of the Stoic fur is a teacher of the Stoic philosophy, who wears a gown of the fur to which his degree of doctor entitles him.

707. those budge doctors of the stoic fur. Budge is defined by Dr. Murray: “Serious in demeanor, looking important, pompous, stiff, and formal.” Cowper, in his poem Conversation, has the couplet: “The serious fop; significant and budge; A fool with judges, among fools a judge.” A doctor of the Stoic fur is a teacher of Stoic philosophy who wears a gown made of the fur that corresponds to his doctoral degree.

708. fetch their precepts from the Cynic tub: teach doctrines learned from the Cynic Diogenes, who is reputed to have lived in a tub.

708. fetch their precepts from the Cynic tub: teach beliefs learned from the Cynic Diogenes, who is said to have lived in a tub.

719. hutched: stowed or laid away, as in a chest or hutch.

719. hutched: packed away or stored, like in a chest or cabinet.

721. pulse; conceived as the simplest kind of food.

721. pulse; conceived as the most basic type of food.

722. frieze; to be pronounced freeze.

__A_TAG_PLACEHOLDER_0__ to be pronounced freeze.

724. and yet: and what is yet more.

__A_TAG_PLACEHOLDER_0__ and what's even better.

728. Who refers back to Nature.

__A_TAG_PLACEHOLDER_0__ refers back to nature.

734. they below: the people of the lower world.

737. coy. See Lycidas 18. cozened. See Merchant of Venice II 9 38.

737. coy. See Lycidas 18. tricked. See Merchant of Venice II 9 38.

744. It refers back to beauty.

__A_TAG_PLACEHOLDER_0__ refers back to beauty.

748. homely; in the modern disparaging sense.

__A_TAG_PLACEHOLDER_0__ in the current bad sense.

750. grain: color.

__A_TAG_PLACEHOLDER_0__ color.

751. To ply, or make, a sampler, as a proof of her skill with the needle, was, until very modern times, the duty of every young girl. The old samplers are now precious heirlooms in families. to tease the huswife’s wool. To tease wool, or to card it, was to use the teasle, or a card, to prepare it for spinning. Carding and spinning were common duties of the huswife and her daughters.

751. To ply, or create a sampler to showcase her needlework skills, was the expected responsibility of every young girl until relatively recently. The old samplers have now become cherished family heirlooms. to tease the huswife’s wool. To tease wool, or card it, meant using teasels or cards to get it ready for spinning. Carding and spinning were typical tasks for the huswife and her daughters.

753. In what respect can tresses be said to be like the morn?

753. In what way can tresses be compared to the morning?

760. when vice can bolt her arguments. There are two verbs, spelled alike, bolt. One means to sift, and is used often of arguments and reasonings. To bolt arguments is to construct them with logical care and precision. The other bolt means to shoot forth or blurt out. We may take our choice of the two words.

760. when vice can bolt her arguments. There are two verbs, spelled the same, bolt. One means to sift and is often used for arguments and reasoning. To bolt arguments means to build them with logical care and precision. The other bolt means to shoot forth or blurt out. We can choose between the two words.

773. How is the line to be scanned?

773. How should the line be scanned?

780. Or have I said enow? In the edition of Comus published in 1645 this passage reads, Or have I said enough? In the edition of 1673, the latest that he revised, Milton changed enough to enow. [111] Grammatically, enough is the better form, as the Elizabethan usage favored enough for the form of the adjective with singular nouns and for the adverb, and enow as the adjective with plurals. It would seem that the poet must have had some motive of euphony for the change he made.

780. Or have I said enow? In the 1645 edition of Comus, this passage says, Or have I said enough? In the 1673 edition, which was the last one he revised, Milton changed enough to enow. [111] From a grammatical standpoint, enough is the better choice, as Elizabethan usage preferred enough for adjectives with singular nouns and for adverbs, and enow for adjectives with plural nouns. It seems that the poet must have had a reason related to sound for the change he made.

788. thou art worthy that thou shouldst not know. A Latinism: dignus es qui non cognoscas.

788. thou art worthy that thou shouldst not know. A Latin phrase: you are worthy of not knowing.

793. the uncontrolled worth Of this pure cause: the invincible power inherent in the cause by virtue of its nature.

793. the uncontrolled worth Of this pure cause: the unbeatable power that comes from the cause simply because of what it is.

804. Speaks thunder and the chains of Erebus To some of Saturn’s crew: pronounces sentence upon his foes, condemning them to the punishments named. Erebus—Darkness—is one of the numerous names of the lower world, the kingdom of Pluto.

804. Speaks thunder and the chains of Erebus To some of Saturn’s crew: pronounces judgment on his enemies, sentencing them to the penalties specified. Erebus—Darkness—is one of the many names for the underworld, the realm of Pluto.

808. the canon laws: the fundamental laws, or the Constitution. Canon law, generally speaking, is ecclesiastical law, or the law governing the church.

808. the canon laws: the fundamental laws, or the Constitution. Canon law, broadly speaking, is church law, or the rules that govern the church.

817. And backward mutters of dissevering power. The “many murmurs” with which his incantations have been mixed must be spoken backward in order to undo their effect. This backward repetition of the charm has the power to break the spell which the charm has wrought.

817. And backward mutters of dissevering power. The “many murmurs” mixed with his spells need to be recited backward to reverse their effect. This backward repetition of the incantation can break the spell that the charm has created.

822. Melibœus is yet another of the stock names of pastoral poetry.

822. Melibœus is just another common name in pastoral poetry.

823. The soothest shepherd. The ancient adjective sooth means essentially nothing more than true.

823. The soothest shepherd. The old adjective sooth basically means nothing more than true.

826. Sabrina is her name. The story of Sabrina is told by Geoffrey of Monmouth, whose history is included in the volume of Bohn’s Antiquarian Library, entitled Six Old English Chronicles. The book is easily accessible.

826. Sabrina is her name. The story of Sabrina is narrated by Geoffrey of Monmouth, and his account is found in the volume of Bohn’s Antiquarian Library titled Six Old English Chronicles. The book is readily available.

827. Whilom is derived from the dative plural hwílum of the Old English noun hwíl, and originally meant at times.

831. What does Sabrina do in this line?

831. What does Sabrina do in this sentence?

835. aged Nereus was one of the numerous Greek deities of the water. He and his wife Doris had fifty or a hundred daughters, who are called Nereids.

835. aged Nereus was one of the many Greek gods of the water. He and his wife Doris had fifty or a hundred daughters, known as the Nereids.

838. In nectared lavers strewed with asphodel. The nectar of the gods, which we usually think of as their drink, was also applied to other purposes, as when Thetis anoints with it the body of Patroclus, to prevent decay. Asphodel is a flower in our actual flora; but in the [112] poets Asphodel is an immortal flower growing abundantly in the meadows of Elysium.

838. In nectared lavers strewed with asphodel. The nectar of the gods, which we usually think of as their drink, was also used for other purposes, like when Thetis uses it to anoint Patroclus's body to keep it from decaying. Asphodel is a flower in our real world, but in the poets' works, Asphodel is an immortal flower growing abundantly in the meadows of Elysium.

840. ambrosial here means, conferring immortality.

__A_TAG_PLACEHOLDER_0__ here means, granting immortality.

845. Helping all urchin blasts; i.e. helping the victims of the blasts against their baleful influence. See note on line 640. See Merry Wives of Windsor IV 4 49.

845. Helping all urchin blasts; i.e. assisting the victims of the blasts against their negative impact. See note on line 640. See Merry Wives of Windsor IV 4 49.

851. The word daffodil is directly derived from asphodel, with a d unaccountably prefixed. The English daffodil is the narcissus.

851. The word daffodil comes directly from asphodel, with a d added for no clear reason. The English daffodil is the narcissus.

858. adjuring: charging or entreating solemnly and earnestly, as if under oath.

858. adjuring: asking or pleading seriously and earnestly, as if sworn to it.

868. Oceănus is the personified Ocean, a broad, flowing stream encircling the earth.

868. Oceănus is the personified Ocean, a vast, flowing body of water that surrounds the planet.

869. Earth-shaking is a Homeric epithet of Neptune. The mace of Neptune must be his trident.

869. Earth-shaking is a Homeric nickname for Neptune. The mace of Neptune has to be his trident.

870. Tethys is wife of Oceanus and mother of the Oceanids. She reared the great goddess Juno, wife of Jupiter. Her pace is suitable to her dignity.

870. Tethys is the wife of Oceanus and the mother of the Oceanids. She raised the great goddess Juno, who is the wife of Jupiter. Her pace matches her dignity.

871. hoary Nereus. See note on line 835.

__A_TAG_PLACEHOLDER_0__ See __A_TAG_PLACEHOLDER_1__.

872. the Carpathian wizard’s hook. Proteus, son of Oceanus and Tethys, herded the sea-calves of Neptune on the island of Carpathus. As a herdsman he bore a crook, or hook. He had the gift of prophecy, and so is called a wizard.

872. the Carpathian wizard’s hook. Proteus, the son of Oceanus and Tethys, tended the sea calves of Neptune on the island of Carpathus. As a herdsman, he carried a crook or hook. He had the ability to see the future, which is why he's known as a wizard.

873. Scaly Triton’s winding shell. Triton was herald of Neptune and so carried a shell, which he was wont to wind as a horn. His body was in part covered with scales like those of a fish.

873. Scaly Triton’s winding shell. Triton was the messenger of Neptune and carried a shell, which he would blow like a horn. His body was partly covered in scales like a fish.

874. The soothsaying Glaucus was a prophet, and gave oracles at Delos. He is represented as a man whose hair and beard are dripping with water, with bristly eyebrows, his breast covered with sea-weeds, and the lower part of his body ending in the tail of a fish.

874. The soothsaying Glaucus was a prophet who gave messages at Delos. He's depicted as a man with hair and a beard dripping with water, rough eyebrows, a chest covered in seaweed, and the lower half of his body ending in a fish tail.

875. By Leucothĕa’s lovely hands,

And her son that rules the strands.

And her son who controls the strands.

Ino, after she had slain herself and her son Melicertes, by leaping with him into the sea, became a protecting deity of mariners under the name Leucothea, or the white goddess. So she came to the aid of Ulysses when he was passing on his raft from Calypso’s isle to Phæacia. She there appears “with fair ankles,” and when she receives back from him her veil, which she had lent him, she does it with “lovely hands.”

Ino, after she took her own life along with her son Melicertes by jumping into the sea, became a protective goddess for sailors known as Leucothea, or the white goddess. She helped Ulysses when he was traveling on his raft from Calypso's island to Phæacia. There, she appears “with fair ankles,” and when she takes back her veil, which she had lent him, she does it with “lovely hands.”

Melicertes becomes a protecting deity of shores, under the name Palæmon. The Romans identified him with their god Portunus.

Melicertes becomes a guardian deity of the shores, known as Palæmon. The Romans associated him with their god Portunus.

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877. By Thetis’ tinsel-slippered feet. Thetis was the wife of Peleus, and the mother of Achilles. In Homer she has the epithet silver-footed.

877. By Thetis’ tinsel-slippered feet. Thetis was the wife of Peleus and the mother of Achilles. In Homer's work, she is referred to as silver-footed.

878. the songs of Sirens. See note on line 253.

__A_TAG_PLACEHOLDER_0__ See __A_TAG_PLACEHOLDER_1__.

879. By dead Parthenope’s dear tomb. Parthenope was one of the Sirens. At Naples her tomb was shown.

879. By dead Parthenope’s dear tomb. Parthenope was one of the Sirens. Her tomb was displayed in Naples.

880. And fair Ligea’s golden comb. Ligea was probably also a siren. In Virgil, Georgics IV 336, we find a nymph of this name, spinning wool with other nymphs, “their bright locks floating over their snowy necks.” The name Ligea means shrill-voiced.

880. And fair Ligea’s golden comb. Ligea was likely a siren as well. In Virgil's Georgics IV 336, there’s a nymph with this name, spinning wool alongside other nymphs, “their bright hair flowing over their beautiful necks.” The name Ligea means high-pitched or shrill-voiced.

887. In the reading make in an adverb.

887. In the reading, use in as an adverb.

892. My sliding chariot stays. Compare this use of stay with that found in lines 134, 577, 820.

892. My sliding chariot stays. Compare this use of stay with the one found in lines 134, 577, 820.

893. the azurn sheen. With azurn compare cedarn, line 990.

__A_TAG_PLACEHOLDER_0__ With azurn compare cedarn, line 990.

908-909. Be careful what inflection you give these lines in the reading.

908-909. Be careful how you emphasize these lines when you read them.

913. of precious cure: of precious power to cure.

__A_TAG_PLACEHOLDER_0__ of valuable energy to heal.

921. To wait in Amphitrite’s bower. Amphitrite was a daughter of Oceanus and Tethys. She was goddess of the sea, had the care of its creatures, and could stir up the waves in storm.

921. To wait in Amphitrite’s bower. Amphitrite was the daughter of Oceanus and Tethys. She was the goddess of the sea, responsible for its creatures, and had the power to whip up the waves during a storm.

923. Sprung of old Anchises’ line. According to Geoffrey of Monmouth, Brutus the Trojan was the grandson of Æneas and founder of London. Anchises, in the Homeric story, is the father of Æneas. This fable plays an important part in the ancient British myth.

923. Sprung of old Anchises’ line. According to Geoffrey of Monmouth, Brutus the Trojan was the grandson of Æneas and the founder of London. Anchises, in the Homeric tale, is the father of Æneas. This legend is significant in ancient British mythology.

924. thy brimmed waves. A river is happiest when full to its brim.

924. thy brimmed waves. A river is at its best when it’s filled to the top.

930. Of what parts of speech are torrent and flood?

__A_TAG_PLACEHOLDER_0__ What parts of speech are torrent and flood?

933. It is very curious that our word beryl and the German Brille come directly from the same source.

933. It’s interesting that our word beryl and the German Brille both come from the same origin.

937. And yet this river is the English Severn!

957. Note the impressive effect of the five-foot line ending the scene.

957. Notice the powerful impact of the five-foot line that concludes the scene.

The shepherds have their dance in rustic fashion. The words describing this dance are the familiar peasant words, jig, duck, nod. The playful tone in which the spirit calls upon the swains to give place to their betters is charming.

The shepherds have their dance in a simple, country style. The words describing this dance are the familiar peasant terms, jig, duck, nod. The playful tone in which the spirit invites the young men to step aside for those of higher status is delightful.

964. With the mincing Dryades. “The Dryades were nymphs of woods and trees, dwelling in groves, ravines, and wooded valleys, and were fond of making merry with Apollo, Mercury, and Pan.”

964. With the mincing Dryades. “The Dryades were tree nymphs who lived in groves, canyons, and forested valleys, and they enjoyed having fun with Apollo, Mercury, and Pan.”

980. I suck the liquid air: I inhale the upper air,—the æther [114] liquidus of the poets. So Ariel, Tempest V 1 102, “I drink the air before me.”

980. I suck the liquid air: I breathe in the fresh air—the æther [114] liquidus of the poets. Just like Ariel, Tempest V 1 102, “I drink the air in front of me.”

981. the gardens fair Of Hesperus and his daughters three. The number of the Hesperides and their parentage are differently given in various legends. The story of their garden in some mysterious place in the far west, where they guarded the tree that bore the golden apples, assisted by the dragon Ladon, is one of the best known in the classic mythology.

981. the gardens fair Of Hesperus and his daughters three. The number of the Hesperides and their parents differ across various legends. The tale of their garden located in some mysterious place in the far west, where they protected the tree that grew the golden apples with the help of the dragon Ladon, is one of the most well-known stories in classic mythology.

984. Along the crisped shades and bowers. Milton applies crisped to brooks, Par. Lost IV 237. Herrick has,—“the crisped yew,” and the American Thoreau,—“A million crisped waves.”

984. Along the crisped shades and bowers. Milton uses crisped to describe brooks, Par. Lost IV 237. Herrick says,—“the crisped yew,” and the American Thoreau mentions,—“A million crisped waves.”

985. spruce. A very interesting account of the origin of this word is given by Skeat in his Etymological Dictionary.

985. spruce. Skeat provides a fascinating explanation of the origin of this word in his Etymological Dictionary.

986. The Graces and the rosy-bosomed Hours. See note on L’Allegro 15. “The Graces were guardians of the vernal sweetness and beauty of nature, friends and protectors of everything graceful and beautiful.” The Hours were goddesses of the seasons, daughters of Zeus and Themis. They were the door-keepers of Olympus, whose cloud-gate they open and shut: thus they preside over the weather.

986. The Graces and the rosy-bosomed Hours. See note on L’Allegro 15. “The Graces were the protectors of the fresh beauty and sweetness of nature, friends and defenders of all things elegant and lovely.” The Hours were goddesses of the seasons, daughters of Zeus and Themis. They were the gatekeepers of Olympus, controlling the cloud gate that they open and close: hence, they oversee the weather.

990. About the cedarn alleys: about the pathways through cedar groves. Coleridge, in Kubla Khan, has the line, “Down the green hill athwart a cedarn cover”; and Tennyson, Geraint and Enid, the line,—“And moving toward a cedarn cabinet.” So also William Barnes, in his Rural Poems, uses the expression, “stonen jugs.”

990. About the cedarn alleys: about the paths through cedar forests. Coleridge, in Kubla Khan, writes, “Down the green hill across a cedar cover”; and Tennyson, in Geraint and Enid, includes the line, “And moving toward a cedar cabinet.” Similarly, William Barnes, in his Rural Poems, uses the phrase, “stone jugs.”

992. Iris is the messenger of the gods: her path is the rainbow.

993. Dr. Murray gives other instances of blow as a transitive verb.

993. Dr. Murray provides additional examples of blow used as a transitive verb.

999. Adonis was a young shepherd, the special favorite of Venus. His death was caused by a wild boar. The story is told in various forms. Observe that Milton makes him wax well of his deep wound.

999. Adonis was a young shepherd, the special favorite of Venus. His death was caused by a wild boar. The story is told in various forms. Observe that Milton makes him heal well from his deep wound.

1002. the Assyrian queen. The worship of Aphrodite (Venus) was brought into Greece from Assyria.

1002. the Assyrian queen. The worship of Aphrodite (Venus) was introduced to Greece from Assyria.

1005. Holds his dear Psyche. Psyche—the personification of the human soul—was a mortal maiden, beloved of Cupid. Venus, in her jealousy of Psyche, compelled her to pass through a long series of hardships and toils. Cupid at last succeeded in reconciling his mother and his beloved, and in having Psyche advanced to the dignity of an immortal.

1005. Holds his dear Psyche. Psyche—the embodiment of the human soul—was a mortal girl, cherished by Cupid. Venus, jealous of Psyche, forced her to endure a long series of struggles and challenges. Eventually, Cupid managed to reconcile his mother and his love, and had Psyche elevated to the status of an immortal.

1015. Where the bowed welkin slow doth bend: where the curvature of the vault of the sky seems less than higher up toward the zenith.

1015. Where the bowed welkin slow doth bend: where the curve of the sky looks flatter than it does higher up toward the zenith.

[115]

1021. the sphery chime. See notes, Hymn on the Nativity 48 and 125.

LYCIDAS.

Lycidas is Milton’s contribution to a volume of elegiac verses, in Greek, Latin, and English, composed by many college friends of Edward King, who was drowned in the wreck of the vessel in which he was crossing the Irish Channel.

Lycidas is Milton's contribution to a collection of elegiac poems in Greek, Latin, and English, written by many college friends of Edward King, who drowned in the shipwreck while crossing the Irish Channel.

In its main intention, Lycidas is an elegy, because it professes to mourn one who is dead and extols his virtues. In its form it is almost wholly pastoral, because it feigns an environment of shepherds, allegorizing college life as the life of men tending flocks, and the occupations of earnest students as the careless diversions of rustic swains.

In its main purpose, Lycidas is an elegy since it claims to mourn someone who has died and praises his virtues. Its structure is almost entirely pastoral because it pretends to be set among shepherds, representing college life as the life of men looking after flocks, and the serious work of dedicated students as the carefree pastimes of country shepherds.

Four times the pastoral note is rudely interrupted by the intervention of majestic beings who speak in awful tones from another world, and whose voices instantly check all familiar rustic speech, compelling it to wait till they have announced their messages from above. The supernal powers who thus descend to take their parts in the office of mourning are Phœbus, Apollo, Hippotades, god of the winds, Camus, god of the river Cam, and St. Peter. This mingling of classic, Hebrew, and Christian conceptions is a marked characteristic of all Milton’s poetry.

Four times the peaceful vibe is sharply interrupted by the arrival of majestic beings who speak in terrifying tones from another realm, and their voices immediately silence all familiar country chatter, making it wait until they’ve delivered their messages from above. The heavenly powers who come down to participate in the mourning are Phœbus, Apollo, Hippotades, the god of the winds, Camus, the god of the river Cam, and St. Peter. This blending of classical, Hebrew, and Christian ideas is a distinct feature of all of Milton’s poetry.

Thus Lycidas is neither wholly elegiac nor wholly pastoral. From the lips of St. Peter, typifying the church, comes a speech of violent denunciation, in the true later Miltonic manner. In strange contrast to this grim invective is the famous flower-passage, the sweetest and loveliest thing of its kind in our literature.

Thus, Lycidas is neither completely elegiac nor completely pastoral. From the lips of St. Peter, representing the church, comes a speech of harsh condemnation, in the true later Miltonic style. In stark contrast to this severe attack is the famous flower-passage, the sweetest and most beautiful example of its kind in our literature.

1-5. To pluck once more the berries of the evergreens, or to gather laurels,—is to make a new venture as a poet,—to compose a poem. The berries are harsh and crude,—he shatters their leaves before the mellowing year, either because he is to mourn the death of a young man, or because he feels in himself a lack of “inward ripeness” to treat his theme worthily,—perhaps for both reasons. He shatters the leaves with forced fingers rude, in the sense that his subject is not of his own choosing.

1-5. To pick the berries from the evergreens again or to gather laurels is to embark on a new journey as a poet—to write a poem. The berries are sharp and raw—he destroys their leaves before the season softens them, either because he’s grieving the loss of a young man or because he feels he lacks the “inner maturity” to approach his topic properly—maybe for both reasons. He tears apart the leaves with clumsy hands, as his subject isn’t one of his own choosing.

[116]

6-7. A sad duty is imposed upon him, forbidding further delay on any personal grounds.

6-7. He has a difficult obligation that doesn't allow for any more personal delays.

8. Lycidas is one of the stock names of pastoral poetry. The poem, though most serious in its main motive and intention, is to have a pastoral coloring throughout. Note the impressive repetitions, dead, dead, and the recurrences of the name Lycidas in the next two lines.

8. Lycidas is one of the traditional titles of pastoral poetry. The poem, while serious in its main theme and purpose, maintains a pastoral tone throughout. Pay attention to the striking repetitions, dead, dead, and the mentions of the name Lycidas in the following two lines.

11. he knew Himself to sing and build the lofty rhyme. Edward King had, in accordance with the college custom of his time, written verses, apparently all in Latin. Of these verses Masson, in his life of Milton, gives specimens. They seem to be commonplace.

11. he knew Himself to sing and build the lofty rhyme. Edward King had, following the college tradition of his time, written poetry, seemingly all in Latin. Masson includes examples of these poems in his biography of Milton. They appear to be quite ordinary.

13. and welter to the parching wind. See Par. Lost II 594, I 78.

15. Sisters of the sacred well. Ancient tradition connects the origin of the Muses with Pieria, a district of Macedonia at the foot of Olympus. But the springs with which we associate the Muses are Aganippe and Hippocrene on Mount Helicon.

15. Sisters of the sacred well. Ancient tradition links the origin of the Muses to Pieria, a region in Macedonia located at the base of Olympus. However, the springs we usually associate with the Muses are Aganippe and Hippocrene on Mount Helicon.

19. So may some gentle muse. A peculiar use of the word muse as masculine, and meaning poet.

19. So may some gentle muse. An unusual use of the word muse as male, meaning poet.

23-31. We pursued the same studies, at the same college, and we studied from early morning sometimes till after midnight. The metaphors are all pastoral.

23-31. We studied the same subjects at the same college, often from early morning until after midnight. The metaphors are all rural.

32-36. We wrote merry verse, bringing in the college jollities, in wanton student-fashion, and the good-natured old don who was our tutor affected to be pleased with our work.

32-36. We wrote cheerful poetry, capturing the fun of college life, in a playful student style, and the cheerful old professor who was our tutor pretended to be pleased with our work.

34. Rough Satyrs danced, and Fauns with cloven heel. The Satyrs, represented as having human forms, with small goat’s horns and a small tail, had for their occupation to play on the flute for their master, Bacchus, or to pour his wine. The Fauns were sylvan deities, attendants of Pan, and are represented, like their master, with the ears, horns, and legs of a goat.

34. Rough Satyrs danced, and Fauns with cloven heel. The Satyrs are depicted as human-like figures with small goat horns and a little tail, and they typically entertain their master, Bacchus, by playing the flute or serving his wine. The Fauns are woodland spirits who serve Pan, and they are shown, similar to their master, with goat ears, horns, and legs.

37-49. Nature herself sympathizes with men, and mourns thy loss.

37-49. Nature itself feels for humanity and shares in your sorrow.

50. Nymphs: deities of the forests and streams.

50. Nymphs: gods of the woods and rivers.

52. on the steep Where your old bards, the famous Druids, lie. The shipwreck in which King was lost took place off the coast of Wales. Any one of the Welsh mountains will serve to make good this allusion.

52. on the steep Where your old bards, the famous Druids, lie. The shipwreck that caused the king to go missing happened off the coast of Wales. Any of the Welsh mountains can illustrate this reference.

54. Nor on the shaggy top of Mona high. Mona is the ancient and poetical name of the island of Anglesea.

54. Nor on the shaggy top of Mona high. Mona is the historic and poetic name for the island of Anglesea.

55. Nor yet where Deva spreads her wizard stream. The Dee (Deva) below Chester expands into a broad estuary. In his lines [117] spoken At a Vacation Exercise, Milton, characterizing many rivers, mentions the “ancient hallowed Dee.” The country about the Dee had been specially famous as the seat of the old Druidical religion. In the eleventh Song of his Polyolbion, Drayton eulogizes the medicinal virtues of the salt springs in the valley of the river Weever, which attract Thetis and the Nereids:—

55. Nor yet where Deva spreads her wizard stream. The Dee (Deva) below Chester widens into a large estuary. In his lines [117] spoken during a vacation exercise, Milton refers to many rivers and mentions the “ancient hallowed Dee.” The area around the Dee was notably recognized as the center of the old Druid religion. In the eleventh Song of his Polyolbion, Drayton praises the healing properties of the salt springs in the valley of the River Weever, which attract Thetis and the Nereids:—

And Amphitrite oft this Wizard River led

And Amphitrite often led this Wizard River

Into her secret walks (the depths profound and dread)

Into her secret walks (the deep, dark depths)

Of him (supposed so wise) the hid events to know

Of him (thought to be so wise) to know the hidden events

Of things that were to come, as things done long ago.

Of things that were about to happen, just like things that happened long ago.

In which he had been proved most exquisite to be;

In which he had been shown to be the most remarkable;

And bare his fame so far, that oft twixt him and Dee,

And make his reputation so well-known that often between him and Dee,

Much strife there hath arose in their prophetic skill.

Much conflict has arisen in their prophetic skill.

56-63. Even the Muse Calliope could do nothing for her son Orpheus, whom the Thracian women tore to pieces under the excitement of their Bacchanalian orgies. The gory visage floated down the Hebrus and through the Ægean Sea to the island of Lesbos.

56-63. Even the Muse Calliope couldn't help her son Orpheus, who was ripped apart by the Thracian women in the frenzy of their wild parties. His bloody face washed down the Hebrus and through the Aegean Sea to the island of Lesbos.

64. what boots it: of what use is it?

__A_TAG_PLACEHOLDER_0__ what's the purpose?

64-66. What good are we going to derive from this unremitting devotion to study?

64-66. What benefit are we going to get from this constant dedication to studying?

67-69. Would it not be better to abandon ourselves to social enjoyment, and to lives of frivolous trifling? Amaryllis and Neæra are stock names of shepherdesses.

67-69. Wouldn’t it be better to give in to social fun and to lives of frivolous distractions? Amaryllis and Neæra are common names for shepherdesses.

70-72. Understand clear, as applied to spirit, to mean “pure, guileless, unsophisticated.” Sir Henry Wotton, in his Panegyric to King Charles, says of King James I.,—“I will not deny his appetite of glory, which generous minds do ever latest part from.” Love of fame, according to the poet, is the motive that prompts the scholar to live as an ascetic and to persevere in toilsome labor. This love of fame is an infirmity, but not a debasing one: it leaves the mind noble. Remember, however, that the author of the Imitation of Christ prayed, Da mihi nesciri.

70-72. Understand clear, as it relates to spirit, to mean “pure, genuine, unpretentious.” Sir Henry Wotton, in his Panegyric to King Charles, remarks about King James I.,—“I won’t deny his desire for glory, which generous minds always hold onto the longest.” According to the poet, the love of fame drives the scholar to live like a hermit and to continue with hard work. This desire for fame is a weakness, but not a degrading one: it keeps the mind noble. Still, remember that the author of the Imitation of Christ prayed, Da mihi nesciri.

75. the blind Fury with the abhorred shears. Milton here seems to ascribe to the Furies (Erinyes) the function belonging to the Fates (Parcæ, Moiræ). The three Fates were Klotho, the Spinner; Lachĕsis, the Assigner of lots; and Atrŏpos, the Unchanging. It was the duty of Atropos to cut the thread of life at the appointed time.

75. the blind Fury with the abhorred shears. Milton here seems to assign to the Furies (Erinyes) the role that belongs to the Fates (Parcæ, Moiræ). The three Fates were Clotho, the Spinner; Lachesis, the Assigner of lots; and Atropos, the Unchanging. It was Atropos's responsibility to cut the thread of life at the designated time.

A querulous thought comes to the poet’s mind. Our lives are obscure and laborious, sustained only by the hope of future fame; [118] but before we attain our reward, comes death, and our ambition is brought to naught.

A complaining thought crosses the poet's mind. Our lives are unclear and filled with hard work, driven only by the hope of future fame; [118] but before we achieve our reward, death arrives, and our ambition amounts to nothing.

76-77. But not the praise, Phœbus replied, and touched my trembling ears. The Fury cannot destroy the praise, which necessarily belongs to doing well. Praise here means the essential praise, which naturally inheres in excellence, and not the being talked about by men.

76-77. But not the praise, Phœbus replied, and touched my trembling ears. The Fury can't take away the praise that comes from doing a good job. Praise, in this context, refers to the genuine recognition that comes from excellence, and not just the gossip of others.

The speaker is now Phœbus, the august god Apollo, the pure one, who protects law and order, and promotes whatever is good and beautiful; who reveals the will of Zeus, and presides over prophecy.

The speaker is now Phoebus, the revered god Apollo, the pure one, who upholds law and order and encourages all that is good and beautiful; who shows the will of Zeus and oversees prophecy.

Phœbus has now an admonition to give and he touches the poet’s ears; as in Virgil, Eclogue IV 3,—Cynthius aurem vellit et admonuit, “The Cynthian twitched my ear and warned me.”

Phœbus now has a warning to give, and he touches the poet’s ears; as in Virgil, Eclogue IV 3,—Cynthius aurem vellit et admonuit, “The Cynthian twitched my ear and warned me.”

79. in the glistering foil Set off. See Shakespeare, Richard III. V 3 250,—“A base foul stone, made precious by the foil of England’s chair.”

79. in the glistering foil Set off. See Shakespeare, Richard III. V 3 250,—“A cheap, ugly stone, made valuable by the setting of England’s throne.”

85-86. O fountain Arethuse, and thou honored flood, Smooth-sliding Mincius. Arethusa was a fresh-water fountain at Syracuse in Sicily, and the Mincius is a river in north Italy, on which is situated Mantua, the birthplace of the poet Virgil. The great pastoral poet Theocritus is said to have been born at Syracuse. Thus Arethusa and the Mincius typify the pastoral tone in which Milton conceives and constructs his poem. But the intervention of the great god Apollo has frighted the bucolic muses, to whom therefore the poet explains it, line 87.

85-86. O fountain Arethuse, and thou honored flood, Smooth-sliding Mincius. Arethusa was a fresh-water spring in Syracuse, Sicily, and the Mincius is a river in northern Italy, where Mantua, the birthplace of the poet Virgil, is located. The famous pastoral poet Theocritus is said to have been born in Syracuse. So, Arethusa and the Mincius represent the pastoral tone that Milton uses in his poem. However, the powerful god Apollo has scared away the rustic muses, so the poet clarifies this for them in line 87.

88. Now I am on good terms again with the deities of lower rank. Oat is a common designation of the shepherd’s pipe, or syrinx.

88. Now I'm back on good terms with the lower-ranked deities. Oat is a common term for the shepherd’s pipe or syrinx.

89-90. Neptune, through his herald, Triton, pleads his freedom from all complicity in the drowning of Lycidas. Triton sends to Æolus, god of the winds, requesting him to cross-question all his subjects as to what they were doing on the day of the wreck.

89-90. Neptune, through his messenger Triton, asks to be released from any involvement in the drowning of Lycidas. Triton reaches out to Æolus, the god of the winds, asking him to question all his subjects about what they were doing on the day of the shipwreck.

95-99. The winds prove their innocence, and Æŏlus himself comes to report to Triton that at the time of the disaster they were all at home and the air was perfectly calm. Even Panope and all her sisters were out playing on the tranquil water.

95-99. The winds clear their name, and Æolus himself comes to tell Triton that during the disaster, they were all at home and the air was completely still. Even Panope and all her sisters were out playing on the peaceful water.

96. sage Hippotădes. Æolus was the son of Hippotes. See all about him in Odyssey, book X. Read also Ruskin, Queen of the Air, section 19.

96. sage Hippotădes. Aeolus was the son of Hippotes. Read all about him in the Odyssey, book X. Also check out Ruskin, Queen of the Air, section 19.

99. Panope was a Nereid, one of the numerous daughters of Nereus.

99. Panope was a Nereid, one of the many daughters of Nereus.

[119]

103. Now comes another grand personage to make inquiry about the death of Lycidas. Camus, the deity of the river Cam, stands for the University of Cambridge.

103. Now comes another important figure to ask about the death of Lycidas. Camus, the god of the river Cam, represents the University of Cambridge.

104. His mantle hairy, and his bonnet sedge. The river god is represented as wearing a mantle made of water-grasses and reeds.

104. His mantle hairy, and his bonnet sedge. The river god is depicted as wearing a cloak made of water plants and reeds.

105-106. These lines refer to certain markings on the water-plants of the Cam, said to be correctly described here by the poet. The dimness of the figures may suggest the great age of the university, and the tokens of woe belong to the present occasion.

105-106. These lines talk about specific markings on the water-plants of the Cam, which the poet is said to have accurately described. The faintness of the images might indicate the university's long history, and the signs of sorrow relate to the current event.

106. that sanguine flower inscribed with woe. This is the hyacinth, the flower that sprang up on the spot where the youth Hyacinthus had been accidentally slain by Apollo. The petals of the hyacinth are said to be marked with the Greek letters AI AI, which form an interjection expressing grief.

106. that sanguine flower inscribed with woe. This is the hyacinth, the flower that grew where the young man Hyacinthus was accidentally killed by Apollo. The petals of the hyacinth are said to be marked with the Greek letters AI AI, which represent an expression of sorrow.

107. Lycidas was one of those collegians whose scholarship, character, and piety promise to make them the pride of their Alma Mater.

107. Lycidas was one of those college students whose intelligence, character, and devotion are sure to make them the pride of their school.

109. The Pilot of the Galilean Lake. See Matthew XIV.

__A_TAG_PLACEHOLDER_0__ See Matthew 14.

110. Two massy keys he bore of metals twain. See Matthew XVI 19. See also Comus 13 and Par. Lost III 485. The idea of two keys, one of gold and one of iron, is not in the Bible.

110. Two massy keys he bore of metals twain. See Matthew XVI 19. See also Comus 13 and Par. Lost III 485. The concept of two keys, one made of gold and the other of iron, isn't found in the Bible.

112. He shook his mitred locks. St. Peter wears the mitre as bishop.

112. He shook his mitred locks. St. Peter wears the bishop's miter.

113-131. St. Peter makes but little reference to Lycidas, and his words add almost nothing to the elegiac character of the poem. His speech is one of stern and bitter satire. The second period of Milton’s life, which is to be given up to intense and uncompromising partisanship in religion and politics, foreshadows itself in these lines.

113-131. St. Peter barely mentions Lycidas, and his words hardly contribute to the poem's elegiac tone. His speech is filled with harsh and bitter satire. The second phase of Milton's life, which will focus on intense and unwavering loyalty to his religious and political beliefs, is hinted at in these lines.

114. Enow is here used in its proper plural sense. See note on Comus 780.

114. Enow is used here in its correct plural form. See note on Comus 780.

115. climb into the fold. See John X 1. The metaphor of sheep and herdsmen is continued throughout the speech.

115. climb into the fold. See John X 1. The comparison of sheep and shepherds is carried on throughout the speech.

119. Blind mouths! As the relative pronoun beginning the next clause refers to this exclamation, mouths must be taken as a bold metaphor meaning men who are all mouth, or are supremely greedy and selfish. Moreover, they are blind.

119. Blind mouths! The relative pronoun at the start of the next clause refers to this exclamation, so "mouths" should be understood as a strong metaphor for men who talk a lot, or who are extremely greedy and selfish. Additionally, they are blind.

122. What recks it them? See note on Comus 404. They are sped: they have succeeded in their purpose. See Antony and Cleopatra II 3 35. Note also the phrase of greeting, bid God speed, as in 2 John I 10, 11, King James version.

122. What recks it them? See note on Comus 404. They are sped: they have achieved their goal. See Antony and Cleopatra II 3 35. Also note the greeting phrase, bid God speed, as in 2 John I 10, 11, King James version.

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123. their lean and flashy songs: their sermons.

__A_TAG_PLACEHOLDER_0__ their talks.

Evidently Milton can cull words of extreme disparagement and vilification as well as words of unapproachable poetic beauty.

Clearly, Milton can choose words that are highly critical and insulting, as well as words of unmatched poetic beauty.

125-127. The congregations are not edified. The miserable preaching they listen to fails to keep them sound in doctrine. They grow lax in their faith, and heretical opinions become fashionable.

125-127. The congregations aren’t being uplifted. The terrible sermons they hear don’t help them stay firm in their beliefs. They become careless in their faith, and unorthodox views start to gain popularity.

128. the grim wolf with privy paw is undoubtedly the Roman church.

__A_TAG_PLACEHOLDER_0__ is definitely the Catholic Church.

130-131. These lines evidently denounce some terrible retribution that is sure ere long to overtake the corrupt clergy described in the preceding passage. The two-handed engine at the door, that stands ready to smite once and smite no more, has never been definitely explained. We naturally think of the headsman’s axe, which, however, does not become applicable till the execution of Archbishop Laud, an event not to take place till eight years after the composition of the poem. It has been suggested that Milton had in mind the two houses of Parliament, or the Parliament and the Army, as the agency through which reform was to be effected. We must remember that Milton in 1637 could not foresee the Civil War. He may have meant to combine certain scriptural expressions into a mysteriously suggestive and oracular prediction, without having in view any single and definite possibility.

130-131. These lines clearly condemn a terrible punishment that will soon come for the corrupt clergy mentioned in the previous passage. The two-handed engine at the door, that stands ready to strike once and strike no more, has never been clearly explained. We naturally think of the executioner's axe, which, however, doesn’t apply until the execution of Archbishop Laud, an event that won’t happen until eight years after this poem was written. It's been suggested that Milton was thinking of the two houses of Parliament, or the Parliament and the Army, as the means through which reform would occur. We must remember that Milton in 1637 couldn’t foresee the Civil War. He may have intended to combine certain biblical phrases into a mysteriously suggestive and prophetic statement, without targeting any specific possibility.

132. Return, Alphēus. The Alpheus was a river of the Peloponnesus, said to sink underground and to flow beneath the sea to Ortygia, near Syracuse, where it attempted to mingle its waters with those of the fountain Arethusa. See note on lines 85, 86. See also Shelley’s poem, Arethusa.

132. Return, Alphēus. The Alpheus was a river in the Peloponnesus, said to go underground and flow beneath the sea to Ortygia, near Syracuse, where it tried to mix its waters with those of the fountain Arethusa. See note on lines 85, 86. See also Shelley’s poem, Arethusa.

The pastoral tone of lightness and simplicity could not be maintained while St. Peter spoke. But now the Sicilian Muse returns, all the more lovely for the contrast with the stern malediction that has gone before.

The light and simple pastoral tone couldn't be kept up while St. Peter spoke. But now the Sicilian Muse comes back, even more beautiful because of the contrast with the harsh curse that came before.

134-151. Milton is fond of thus collecting names of persons, places, and things, choosing them as well for their effect on the ear as for their significance. The botany of this passage is of little consequence: it matters not whether all these flowers could, or could not, be collected at the same season, or whether they could be found at the time of the year when Lycidas died. The passage offers a picture of exquisite beauty to the eye, and to the ear a strain of perfect melody.

134-151. Milton enjoys gathering names of people, places, and things, selecting them for their sound as much as for their meaning. The details of the plants mentioned here don't really matter: it doesn't change anything whether all these flowers could be picked at the same time or if they were available when Lycidas died. The passage creates a stunning image for the eyes and a beautiful melody for the ears.

136. where the mild whispers use. The verb use, in this intransitive [121] sense, with only adverbial complement, and meaning dwell, is now obsolete.

136. where the mild whispers use. The verb use, in this intransitive [121] sense, with only an adverbial complement, meaning dwell, is now outdated.

138. the swart star: the star that makes swart, or swarthy; i.e. the sun.

138. the swart star: the star that makes dark, or tan; i.e. the sun.

139. enamelled eyes are the flowers generally, which are to be specified. Scattered over the turf, the flowers seem to be looking upward, like eyes.

139. enamelled eyes are the flowers in general, which are to be specified. Scattered across the grass, the flowers appear to be gazing upward, like eyes.

142. rathe is the adjective whose comparative is our rather.

149. amaranthus, by its etymology, means unfading.

__A_TAG_PLACEHOLDER_0__, means unfading.

150. Daffadil is derived from asphodel, with a curious, and altogether unusual, prefixed d.

150. Daffadil is derived from asphodel, with a curious and altogether unusual prefix d.

153. dally with false surmise. King’s body was not found. There was no actual strewing of the laureate hearse with flowers.

153. dally with false surmise. King’s body was never discovered. There was no real scattering of flowers on the funeral hearse.

156. the stormy Hebrides: islands off the northwest coast of Scotland.

160. Sleep’st by the fable of Bellerus old. The fable of Bellerus is the fabled Bellerus, or Bellerus of the fable. He was a mythical giant of Cornwall in old British legend. Bellerium was the name given to Land’s End, where he was supposed to live.

160. Sleep’st by the fable of Bellerus old. The tale of Bellerus is the legendary Bellerus, or Bellerus from the tale. He was a mythical giant from Cornwall in old British folklore. Bellerium was the name given to Land's End, where he was said to live.

161. the great Vision of the guarded mount. St. Michael’s Mount is a pyramidal rock in Mounts Bay on the coast of Cornwall. This was guarded by the angel, St. Michael, whose gaze was directed seaward, toward Namancos and Bayona, in northwestern Spain. In some unknown place between these widely sundered limits, the body of Lycidas is tossed.

161. the great Vision of the guarded mount. St. Michael’s Mount is a pyramid-shaped rock in Mounts Bay on the coast of Cornwall. It was protected by the angel, St. Michael, who looked out to the sea toward Namancos and Bayona in northwestern Spain. Somewhere between these two distant points, the body of Lycidas washes ashore.

170. with new-spangled ore. Ore, from its original meaning of metal in the natural state, comes to signify metallic lustre generally. See Comus 719, 933.

170. with new-spangled ore. Ore, originally meaning metal in its natural state, has come to refer to all metals with a shiny appearance. See Comus 719, 933.

173. See Matthew XIV 25.

__A_TAG_PLACEHOLDER_0__ See Matthew 14:25.

175. Compare Comus 838.

__A_TAG_PLACEHOLDER_0__ Compare __A_TAG_PLACEHOLDER_1__.

176. the unexpressive nuptial song. See Hymn on the Nativity 116. See also Revelation XIX 7-9.

__A_TAG_PLACEHOLDER_0__ See __A_TAG_PLACEHOLDER_1__. See also Revelation XIX 7-9.

181. And wipe the tears forever from his eyes. See Revelation XXI 4.

__A_TAG_PLACEHOLDER_0__ See Revelation 21:4.

183. Henceforth thou art the genius of the shore. This is the same promotion that was accorded to Melicertes, son of Ino, who on his death became the genius of the shore under the name of Palæmon.

183. Henceforth thou art the genius of the shore. This is the same honor given to Melicertes, the son of Ino, who, upon his death, became the spirit of the coast known as Palæmon.

186. uncouth; a self-depreciating expression meaning unknown or obscure.

__A_TAG_PLACEHOLDER_0__ a self-deprecating expression meaning unknown or obscure.

[122]

187. Milton applies the epithet gray both to evening and to morning.

187. Milton uses the term gray to describe both evening and morning.

188. various quills are the tubes of the shepherd pipe.

188. various quills are the tubes of the shepherd's pipe.

189. Doric means simply pastoral, because the idylls of the first pastoral poets were written in the Doric dialect of Greek.

189. Doric means simply pastoral, because the idealized scenes of the first pastoral poets were written in the Doric dialect of Greek.

190. had stretched out all the hills: had caused the shadows of the hills to prolong themselves eastward on the plain.

190. had stretched out all the hills: had made the shadows of the hills stretch out toward the east across the plain.

The poet seems to feign that he spent a day in the composition of Lycidas.

The poet pretends that he spent a day writing Lycidas.

SONNETS.

Of poems in strict sonnet form, that is, containing neither more nor less than fourteen decasyllable iambic lines, interlocked by some scheme of symmetrical rhyme, not in couplets, Milton left twenty-three, of which five are in Italian. Of the three sonnets in English omitted from this edition, two have reference to the violent controversy occasioned by Milton’s publications in advocacy of greater freedom of divorce, and are rough and polemic in style; the third is omitted on account of its unimportance and lack of distinction.

Of poems in strict sonnet form, meaning they have exactly fourteen ten-syllable iambic lines, connected by some kind of balanced rhyme scheme, and not in couplets, Milton wrote twenty-three, five of which are in Italian. Of the three English sonnets not included in this edition, two relate to the intense debate caused by Milton’s works supporting greater freedom of divorce, and they have a rough, argumentative style; the third is left out because it’s unimportant and lacks distinction.

In their dates the twenty-three sonnets range from the poet’s twenty-third to his fiftieth year. They are the only form of verse in which he indulges during that middle period of his life which was abandoned to political partisanship on the side of the Parliament in the Civil War, and to the service of the government during the Commonwealth and the Protectorate. If, as is now widely believed, Shakespeare’s sonnets are artificial and tell us little or nothing about their author, those of Milton are purely natural and subjective and tell us nothing else but what their writer was thinking and feeling. Their themes are his veritable moods and passions. The mood is now friendly, amiable, and serene, now bitter, strenuous, indignant, vindictive.

In the twenty-three sonnets, the dates range from the poet’s twenty-third to his fiftieth year. They are the only type of poetry he engages in during that middle period of his life, which was devoted to political loyalty on the side of Parliament during the Civil War, and to serving the government during the Commonwealth and the Protectorate. If, as is now commonly believed, Shakespeare’s sonnets are artificial and reveal little or nothing about him, Milton’s sonnets are completely genuine and personal, showing exactly what he was thinking and feeling. Their themes reflect his true moods and passions. Sometimes the mood is friendly, pleasant, and calm; other times it’s bitter, intense, indignant, and vengeful.

Wordsworth, in his sonnet, Scorn not the Sonnet, thus refers to Milton’s sparing use of this poetic form:—

Wordsworth, in his sonnet, Scorn not the Sonnet, refers to Milton’s limited use of this poetic form:—

and when a damp

and when it's damp

Fell round the path of Milton, in his hand

Fell around Milton's path, in his hand

The Thing became a trumpet; whence he blew

The Thing turned into a trumpet; from which he blew

Soul-animating strains,—alas too few.

Soul-energizing tunes—sadly too few.

[123]

The Shakespearean sonnet consists of three quatrains followed by a couplet,—the usual English form up to the seventeenth century. Milton adopted the Italian, or Petrarchian model, which has continued to be the standard sonnet form in our modern poetry. In the Miltonic, or Italian, sonnet a group of eight lines, linked by two rhymes each occurring four times, is followed by a group of six lines linked by three rhymes each occurring twice. The octave and the sextet are severed from each other by the non-continuance of the rhymes of the former into the latter. At the end of the octave, or near it, is usually a pause, marking the culmination of the thought, and the sextet makes an inference or rounds out the sense to an artistic whole.

The Shakespearean sonnet has three quatrains followed by a couplet, which was the standard English form until the seventeenth century. Milton used the Italian, or Petrarchan model, which has become the standard sonnet form in modern poetry. In the Miltonic, or Italian, sonnet, there’s a group of eight lines with two rhymes each repeated four times, followed by a group of six lines with three rhymes each repeated twice. The octave and the sestet are separated by the lack of continuity in the rhymes from the first part to the second. There’s usually a pause at the end of the octave, or close to it, indicating the peak of the thought, and the sestet draws a conclusion or completes the idea into a cohesive whole.

Read Wordsworth’s sonnets, Happy the feeling from the bosom thrown, and Nuns fret not at their convent’s narrow room.

I.

The date of this sonnet is unknown. From the fact that it comes first in the series as arranged by the poet, it is inferred that it is the earliest sonnet he chose to publish.

The date of this sonnet is unknown. Since it appears first in the series organized by the poet, it suggests that it's the earliest sonnet he decided to publish.

4. the jolly Hours. See note on Comus 986.

__A_TAG_PLACEHOLDER_0__ See __A_TAG_PLACEHOLDER_1__.

5-6. To hear the nightingale before the cuckoo was for lovers a good sign. This superstition is a motive in the Cuckoo and the Nightingale, a poem formerly attributed to Chaucer, and as such “modernized” by Wordsworth, but now known to be the work of Sir Thomas Clanvowe. Stanza X of this poem is thus given by Wordsworth:—

5-6. Hearing the nightingale before the cuckoo is a good omen for lovers. This belief is a theme in the Cuckoo and the Nightingale, a poem once thought to be written by Chaucer, later "modernized" by Wordsworth, but now recognized as the creation of Sir Thomas Clanvowe. Stanza X of this poem is presented by Wordsworth:—

But tossing lately on a sleepless bed,

But lately, tossing and turning on a sleepless bed,

I of a token thought which Lovers heed;

I have a fleeting thought that lovers pay attention to;

How among them it was a common tale,

How it was a common story among them,

That it was good to hear the Nightingale

That it was nice to hear the Nightingale

Ere the vile Cuckoo’s note be utterèd.

Ere the vile Cuckoo’s note be uttered.

9. the rude bird of hate. This gives to the cuckoo altogether too bad a character. The bird has on the whole a fair standing in English poetry. We must think of the very pleasing Ode to the Cuckoo,—written either by Michael Bruce or by John Logan,—as well as of the passage in which Shakespeare makes Lucrece ask (line 848),—

9. the rude bird of hate. This unfairly tarnishes the cuckoo's reputation. Overall, the bird has a fairly good presence in English poetry. We should consider the charming Ode to the Cuckoo,—written either by Michael Bruce or John Logan,—as well as the part where Shakespeare has Lucrece ask (line 848),—

Why should the worm intrude the maiden bud?

Why should the worm invade the young flower?

Or hateful cuckoos hatch in sparrows’ nests?

Or do hateful cuckoos hatch in sparrows’ nests?

[124]

Look up other nightingale and cuckoo songs; for example, Keats’s Ode to a Nightingale, and Wordsworth’s The Cuckoo at Laverna.

II (1631).

This sonnet Milton appears to have sent with a prose letter to a friend who had remonstrated with him on the life of desultory study which he was so long continuing to lead. In this letter he professes the principle of “not taking thought of being late, so it gave advantage to be more fit.” He adds, “That you may see that I am something suspicious of myself, and do take notice of a certain belatedness in me, I am the bolder to send you some of my nightward thoughts some little while ago, because they come in not altogether unfitly, made up in a Petrarchian stanza, which I told you of.”

This sonnet seems to have been sent by Milton along with a letter to a friend who had expressed concern about his long, aimless study habits. In this letter, he claims the principle of “not worrying about being late, as it allows for better preparation.” He adds, “To show you that I'm a bit doubtful about myself and recognize a certain belatedness within me, I'm encouraged to share some of my late-night thoughts from a while ago, as they fit quite well, composed in a Petrarchan stanza, which I mentioned to you.”

8. timely-happy: wise with the wisdom proportionate to one’s years. Similar compounds of two adjectives in Shakespeare are very frequent; for example, holy-cruel, heady-rash, proper-false, devilish-holy, cold-pale.

8. timely-happy: wise with the wisdom that matches one's years. Similar combinations of two adjectives in Shakespeare are quite common; for example, holy-cruel, heady-rash, proper-false, devilish-holy, cold-pale.

10. even: equal, adequate.

__A_TAG_PLACEHOLDER_0__ equal, adequate.

VIII (1642).

The occasion of this sonnet was the near approach of the royalist army to London, early in the Civil War. The people of the city had reason to fear the entrance of the cavalier troops and the sacking of the houses of citizens obnoxious to the party of the king. Milton would have been an object of special animosity to victorious royalists, and for a short time he had grounds for the acutest anxiety. It is not easy to see how, in case of actual pillage of the city, he could have made use of such an appeal as this. The sonnet is probably to be regarded as a work of art constructed when the vicissitudes which it pictures were happily past, and when the poet’s mind had regained its tranquillity.

The reason for this sonnet was the approaching royalist army to London, early in the Civil War. The city's people had good reason to fear the entrance of the cavalier troops and the looting of the homes of citizens who were disliked by the king’s supporters. Milton would have been a particular target for vengeful royalists, and for a brief period, he had valid reasons for intense worry. It’s hard to imagine how, if the city was actually looted, he could have made such an appeal. The sonnet is likely viewed as an artistic creation made after the turbulent events it describes had thankfully passed, and when the poet's mind had found peace again.

1. Note that Colonel has three syllables, according to the pronunciation prevailing in Milton’s time. Look up the etymology of this word.

1. Note that Colonel has three syllables, based on the pronunciation common in Milton’s time. Look up the origin of this word.

[125]

10. The great Emathian conqueror: Alexander the Great, called Emathian from Emathia, a district of his kingdom of Macedonia.

10. The great Emathian conqueror: Alexander the Great, known as Emathian from Emathia, a region of his kingdom of Macedonia.

11. bid spare The house of Pindarus, when temple and tower Went to the ground. Alexander destroyed the city of Thebes in 335 B.C. Pindar, the famous lyric poet, a native and resident of Thebes, had then been dead more than a century. But Pindar’s house still stood, and was left standing by the conqueror, who destroyed all other buildings of the city.

11. bid spare The house of Pindarus, when temple and tower Went to the ground. Alexander destroyed the city of Thebes in 335 B.C. Pindar, the renowned lyric poet who was born and lived in Thebes, had been dead for over a century by then. However, Pindar’s house remained intact and was spared by the conqueror, who demolished all the other buildings in the city.

12. the repeated air Of sad Electra’s poet had the power To save the Athenian walls from ruin bare. To quote from Plutarch, Life of Lysander: “The proposal was made in the congress of the allies, that the Athenians should all be sold as slaves; on which occasion Erianthus, the Theban, gave his vote to pull down the city and turn the country into sheep-pasture; yet afterwards, when there was a meeting of the captains together, a man of Phocis singing the first chorus in Euripides’ Electra, which begins,—

12. the repeated air Of sad Electra’s poet had the power To save the Athenian walls from ruin bare. To quote from Plutarch, Life of Lysander: “During a meeting of the allies, someone suggested that all Athenians should be sold into slavery. At that moment, Erianthus from Thebes voted to destroy the city and convert the land into sheep pastures. However, later, when the leaders gathered again, a man from Phocis started singing the opening chorus of Euripides’ Electra, which begins,—

“Electra, Agamemnon’s child, I come

"Electra, Agamemnon's child, I'm here"

Unto thy desert home,

To your desert home,

they were all melted with compassion, and it seemed to be a cruel deed to destroy and pull down a city which had been so famous, and produced such men.”

they were all filled with compassion, and it seemed like a cruel thing to destroy and tear down a city that had been so renowned and produced such great individuals.”

IX (1644).

Who the virtuous young lady was is not known.

Who the virtuous young lady was remains unknown.

2. See the gospel of Matthew VII 13.

__A_TAG_PLACEHOLDER_0__ See the Gospel of Matthew 7:13.

5. See Luke X 40-42; Ruth I 14.

__A_TAG_PLACEHOLDER_0__ See Luke X 40-42; Ruth I 14.

8. Note the “identical” rhyme. The effect of such a rhyme is unpleasant. Modern poets avoid it.

8. Notice the “identical” rhyme. It creates an unpleasant effect. Modern poets steer clear of it.

9-14. See Matthew XXV 1-13.

__A_TAG_PLACEHOLDER_0__ See Matthew 25:1-13.

X (1644 or 1645).

Lady Margaret’s father was the Earl of Marlborough, who had been President of the Council under Charles I. Milton attributes his death to political anxiety caused by the dissolution of Charles’s third Parliament in 1629.

Lady Margaret’s dad was the Earl of Marlborough, who had been President of the Council under Charles I. Milton blames his death on political stress from the shutdown of Charles’s third Parliament in 1629.

6-8. that dishonest victory at Chæronea. The victory of Philip over the Greeks at Chæronea, B.C. 338, is called by the poet dishonest because obtained by means of intrigue and bribery. that old man eloquent [126] is the orator and rhetorician Isocrates, who, in his grief over the defeat of his countrymen, committed suicide.

6-8. that dishonest victory at Chæronea. The victory of Philip over the Greeks at Chæronea, B.C. 338, is referred to by the poet as dishonest because it was achieved through intrigue and bribery. that old man eloquent [126] is the orator and rhetorician Isocrates, who, devastated by the defeat of his fellow countrymen, took his own life.

9. later born than to have known: too late to have known. Serius nata quam ut cognosceres.

9. later born than to have known: too late to have known. It is serious to be born than to know.

XIII (1646).

“In these lines, Milton, with a musical perception not common amongst poets, exactly indicates the great merit of Lawes, which distinguishes his compositions from those of many of his contemporaries and successors. His careful attention to the words of the poet, the manner in which his music seems to grow from those words, the perfect coincidence of the musical with the metrical accent, all put Lawes’s songs on a level with those of Schumann or Liszt.”—Encyclopædia Britannica.

“In these lines, Milton, with a musical insight that isn't usually found in poets, precisely highlights the significant quality of Lawes, which sets his works apart from those of many of his peers and later composers. His meticulous attention to the poet's words, the way his music seems to emerge from those words, and the perfect alignment of the musical with the metrical accents, all elevate Lawes’s songs to the same level as those of Schumann or Liszt.”—Encyclopædia Britannica.

See introductory notes to Comus and Arcades.

See intro notes for __A_TAG_PLACEHOLDER_0__ and __A_TAG_PLACEHOLDER_1__.

3-4. not to scan With Midas’ ears. The god Apollo, during the time of his servitude to Laomedon, had a quarrel with Pan, who insisted that the flute was a better instrument than the lyre. The decision was left to Midas, king of Lydia, who decided in favor of Pan. To punish Midas, Apollo changed his ears into those of an ass.

3-4. not to scan With Midas’ ears. The god Apollo, while serving Laomedon, had a disagreement with Pan, who claimed that the flute was a better instrument than the lyre. They let Midas, the king of Lydia, decide, and he chose Pan. To punish Midas, Apollo turned his ears into those of a donkey.

4. committing short and long: setting long syllables and short ones to fight against each other, and so destroying harmony.

4. committing short and long: putting long syllables and short ones in conflict, which ruins harmony.

5. The subject is conceived as a single idea, and so takes the verb in the singular. exempts thee: singles thee out, selects thee.

5. The subject is viewed as one idea, so it uses the verb in the singular. exempts thee: highlights you, chooses you.

8. couldst humor best our tongue: couldst best adapt or accommodate itself to our language.

8. couldst humor best our tongue: could best adapt or accommodate itself to our language.

10. Phœbus’ quire: the poets. Quire is Milton’s spelling of choir.

10. Phœbus’ quire: the poets. Quire is Milton’s way of spelling choir.

12-14. Read the story of Dante’s meeting with his friend, the musician Casella, in the second canto of Purgatory.

12-14. Read the story of Dante’s encounter with his friend, the musician Casella, in the second canto of Purgatory.

XV (1648).

The taking of Colchester by the parliamentary army under Fairfax, Aug. 28, 1648, was one of the most important events of the Civil War.

The capture of Colchester by the parliamentary army led by Fairfax on August 28, 1648, was one of the most significant events of the Civil War.

7. the false North displays Her broken league. The Scotch and the English accused each other of having violated the Solemn League and Covenant, to which the people of both countries had subscribed.

7. the false North displays Her broken league. The Scots and the English blamed each other for breaking the Solemn League and Covenant, which the people of both countries had agreed to.

[127]

8. to imp their serpent wings. To imp a wing with feathers is to attach feathers to it so as to strengthen or improve its flight. The word is originally a term of falconry. See Richard II. II 1 292. See also Murray’s New English Dictionary.

8. to imp their serpent wings. To imp a wing with feathers means to attach feathers to it to enhance or improve its flight. This term originally comes from falconry. See Richard II. II 1 292. See also Murray’s New English Dictionary.

13-14. Valor, Avarice, Rapine; personified abstracts, after the manner of our earlier poetry.

13-14. Valor, Avarice, Rapine; personified concepts, similar to our earlier poetry.

XVI.

As Secretary for Foreign Tongues to the Council of State of the Commonwealth, Milton saw much of Cromwell, and came under the influence of his voice and manner. Whether the great general had ever taken note of the poems written by the secretary who turned his despatches into Latin, or whether he gave any special heed to the man himself, with whom he must have come into some sort of personal relation, we have no means of knowing. We know, however, perfectly well what the poet thought of the victorious general. Though by no means always approving his state policy, Milton retained to the end the warm personal admiration for Cromwell which he expresses in this sonnet.

As the Secretary for Foreign Languages to the Council of State of the Commonwealth, Milton spent a lot of time with Cromwell and was influenced by his speech and demeanor. We have no way of knowing if the great general ever paid attention to the poems written by the secretary who translated his dispatches into Latin or if he specifically acknowledged the man with whom he must have had some personal connection. However, we do know exactly how the poet felt about the victorious general. Although he did not always agree with Cromwell's state policies, Milton maintained a strong personal admiration for him until the end, which he conveys in this sonnet.

7-9. Darwen stream, usually spoken of as the battle of Preston, was fought Aug. 17, 1648; Dunbar, Sept. 3, 1650; Worcester, Sept. 3, 1651.

7-9. Darwen stream, commonly referred to as the Battle of Preston, took place on August 17, 1648; Dunbar, September 3, 1650; Worcester, September 3, 1651.

12. to bind our souls with secular chains: to fetter our religious freedom with laws made by the civil power.

12. to bind our souls with secular chains: to restrict our religious freedom with laws created by the government.

14. hireling wolves. Milton applies this degrading appellation to clergymen who received pay from the state. His appeal to Cromwell was not successful. Cromwell was to become the chief supporter of a church establishment.

14. hireling wolves. Milton uses this derogatory term for clergymen who were paid by the government. His request to Cromwell didn't succeed. Cromwell would go on to be the main supporter of a state church.

XVII (1652).

Sir Henry Vane was member of a committee of the Council of State appointed in 1649 to consider alliances and relations with the European powers. Milton, as Secretary of the Council, had abundant opportunity to observe Vane’s skill in diplomacy, his ability to “unfold the drift of hollow states hard to be spelled.” Both Vane and Milton held to the doctrine, preëminently associated with the name of Roger Williams, of universal toleration, based on [128] the refusal to the civil magistrate of any authority in spiritual matters.

Sir Henry Vane was a member of a committee of the Council of State appointed in 1649 to discuss alliances and relations with European powers. Milton, as Secretary of the Council, had plenty of chances to see Vane’s skill in diplomacy and his talent for “unfolding the drift of hollow states hard to be spelled.” Both Vane and Milton believed in the principle of universal toleration, which is primarily linked to Roger Williams, based on the idea that civil magistrates have no authority over spiritual matters.

1. Vane, young in years: Vane was born in 1613.

__A_TAG_PLACEHOLDER_0__ Vane was born in 1613.

3. gowns, not arms: civilians, not soldiers. The expression is a Latinism, the gown standing for the toga.

3. gowns, not arms: civilians, not soldiers. The phrase is a Latinism, with the gown representing the toga.

4. The fierce Epirot and the African bold: Pyrrhus and Hannibal.

__A_TAG_PLACEHOLDER_0__ Pyrrhus and Hannibal.

6. hard to be spelled. Compare Il Penseroso 170.

__A_TAG_PLACEHOLDER_0__ Compare __A_TAG_PLACEHOLDER_1__.

XVIII (1655).

The historical event which furnishes the occasion of this sonnet is the persecution of the Protestant Waldenses by the Piedmontese and French governments, at the time of Cromwell’s Protectorate. Cromwell’s vigorous and successful intervention was the means of staying this horror, and gives evidence of the respect entertained for his government among the states of Europe.

The historical event that inspires this sonnet is the persecution of the Protestant Waldenses by the Piedmontese and French governments during Cromwell’s Protectorate. Cromwell’s strong and effective intervention helped put an end to this atrocity and shows the respect his government commanded among the European states.

4. when all our fathers worshiped stocks and stones. Christianity had been introduced into the Waldensian country while Britain was still pagan.

4. when all our fathers worshiped stocks and stones. Christianity was brought to the Waldensian region while Britain was still following pagan beliefs.

5. their groans Who were thy sheep: the groans of those who were.

12. The triple Tyrant. The Pope, who wore a triple crown.

12. The triple Tyrant. The Pope, who wore a three-tiered crown.

14. the Babylonian woe. The puritans interpreted the Babylon of Revelation as the church of Rome. See Revelation XVIII.

14. the Babylonian woe. The Puritans viewed the Babylon mentioned in Revelation as the Church of Rome. See Revelation 18.

XIX.

The sonnet, says Masson, may have been written any time between 1652 and 1655.

The sonnet, according to Masson, could have been written anytime between 1652 and 1655.

2. Ere half my days. Milton’s blindness is considered to have become total in 1652, when he was at the age of forty-four. How shall we understand these words?

2. Ere half my days. Milton went completely blind in 1652, when he was forty-four years old. How should we interpret these words?

3. See the Parable of the Talents, Matthew XXV.

3. See the Parable of the Talents, Matthew 25.

8. I fondly ask. See note on Il Pens. 6.

__A_TAG_PLACEHOLDER_0__ See __A_TAG_PLACEHOLDER_1__.

XX.

Probable date, 1655. Of the Mr. Lawrence to whom the sonnet is addressed nothing is certainly known.

Probable date, 1655. Nothing is definitely known about the Mr. Lawrence to whom the sonnet is addressed.

[129]

6. Favonius is the Latin name for Zephyrus, the west wind.

10. Attic: refined, delicate, poignant.

__A_TAG_PLACEHOLDER_0__ sophisticated, subtle, touching.

13. and spare To interpose them oft: refrain from too free enjoyment of them.

13. and spare To interpose them oft: avoid indulging too much in them.

XXI.

The second sonnet to Cyriac Skinner determines its own date as 1655, and this one is probably to be assigned to the same year.

The second sonnet to Cyriac Skinner marks its own date as 1655, and this one is likely from the same year.

But little is known of the person to whom this sonnet and the next one are addressed, except what we learn from the sonnets themselves,—that he was an intimate and esteemed friend of Milton. He may have been one of Milton’s pupils; and he may, when his old teacher had become blind, have rendered him important services as amanuensis or as reader.

But not much is known about the person to whom this sonnet and the next one are addressed, except what we learn from the sonnets themselves—that he was a close and valued friend of Milton. He might have been one of Milton’s students, and he may have provided significant help to his former teacher when he became blind, either as a secretary or a reader.

1-4. Cyriac Skinner’s mother was daughter of the famous lawyer and judge, Sir Edward Coke.

1-4. Cyriac Skinner’s mother was the daughter of the well-known lawyer and judge, Sir Edward Coke.

2. Themis is personified law, this being the meaning of the Greek word.

2. Themis is personified law, which is the meaning of the Greek word.

7. Let Euclid rest, and Archimedes pause: intermit for a day your severe mathematical studies.

7. Let Euclid rest, and Archimedes pause: take a break from your intense math studies for a day.

8. And what the Swede intend, and what the French: and pay no heed to foreign news.

__A_TAG_PLACEHOLDER_0__ and disregard international news.

XXII (1655).

1. this three years’ day: three years ago to-day.

__A_TAG_PLACEHOLDER_0__ three years ago today.

10. Milton’s duties as Latin secretary to the government were exceedingly arduous.

10. Milton’s role as Latin secretary to the government was extremely demanding.

XXIII.

Milton’s second wife died in February, 1658; her child lived but a short time. At the time of his second marriage Milton had been blind several years. Notice the reference in the sonnet to the sense of sight: in his dream he saw.

Milton's second wife passed away in February 1658; their child lived for only a short while. By the time of his second marriage, Milton had been blind for several years. Pay attention to the mention of sight in the sonnet: in his dream he saw.

2. like Alcestis. Read the story of the Love of Alcestis in William Morris’s Earthly Paradise; and read in Euripides, “That strangest, saddest, sweetest song of his, Alkestis.”

2. like Alcestis. Check out the story of Alcestis's love in William Morris’s Earthly Paradise; and also read Euripides, “That strangest, saddest, sweetest song of his, Alcestis.”

6. Purification in the Old Law. See Leviticus XII.

__A_TAG_PLACEHOLDER_0__ See Leviticus 12.

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MILTON MINOR POEMS

CONTENTS.

PREFACE.

OUTLINES OF THE LIFE OF MILTON.

MILTON’S MINOR POEMS.

ON THE MORNING OF CHRIST’S NATIVITY.

I.

II.

III.

IV.

The Anthem.

I.

II.

III.

IV.

V.

VI.

VII.

VIII.

IX.

X.

XI.

XII.

XIII.

XIV.

XV.

XVI.

XVII.

XVIII.

XIX.

XX.

XXI.

XXII.

XXIII.

XXIV.

XXV.

XXVI.

XXVII.

ON SHAKESPEARE. 1630.

L’ALLEGRO.

IL PENSEROSO.

ARCADES.

I. Song.

II. Song.

III. Song.

AT A SOLEMN MUSIC.

COMUS.

THE PERSONS.

The Measure.

Song.

Song.

Song.

LYCIDAS.

SONNETS.

I.

TO THE NIGHTINGALE.

II.

ON HIS HAVING ARRIVED AT THE AGE OF TWENTY-THREE.

VIII.

WHEN THE ASSAULT WAS INTENDED TO THE CITY.

IX.

TO A VIRTUOUS YOUNG LADY.

X.

TO THE LADY MARGARET LEY.

XIII.

TO MR. H. LAWES ON HIS AIRS.

XV.

ON THE LORD GENERAL FAIRFAX, AT THE SIEGE OF COLCHESTER.

XVI.

TO THE LORD GENERAL CROMWELL, MAY, 1652,

ON THE PROPOSALS OF CERTAIN MINISTERS AT THE COMMITTEE FOR PROPAGATION OF THE GOSPEL.

XVII.

TO SIR HENRY VANE THE YOUNGER.

XVIII.

ON THE LATE MASSACRE IN PIEDMONT.

XIX.

ON HIS BLINDNESS.

XX.

TO MR. LAWRENCE.

XXI.

MILTON

MINOR POEMS