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French botte. meditate the thankless Muse; a transcript from Vergil, Eclogue I. 2: ‘Silvestrem tenui Musam meditaris avena:' Thou dost practise rustic verse on the thin reed. use are accustomed. The preterite of use' retains this meaning. Amaryllis; Neæra; names of girls in Vergil's Eclogues. The names occur again in an elegy of George Buchanan's with which this passage shows Milton to have been familiar. Lovelace has closely followed the phraseology of line 69 in the first verse of his beautiful song, 'To Althea from Prison.' (Palgrave's Golden Treasury, Song 99).

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When Love with unconfinéd wings

Hovers within my gates,

And my divine Althea brings

To whisper at the grates;
When I lie tangled in her hair

And fetter'd to her eye,

The birds that wanton in the air

Know no such liberty.

pure, irreproachable, as in The Merchant of Venice, ii. 9,

'O that estates, degrees and offices

Were not derived corruptly; and that clear honor

Were purchased by the merit of the wearer.'

the light of fame. Par. Regained, III. 25-48, forms an interesting comment on this passage. Fury; the Furies (Erinyes or Eumenides) were Alecto (The Implacable), Tisiphone (The Avenger of Murder) and Megæra (The Envying One). They personified Remorse; Cl. Myths, § 51 (2). In the Hellenic Mythology, it is not one of the Furies but one of the Fates (Atropos, The Inflexible), that cuts the thread of life. The other Fates were Clotho (The Spinner) and Lachesis (The Allotter): Cl. Myths, § 43, (6); also pp. 279-80. Phœbus, or Phoebus Apollo, the god of Poetry and Music, Cl. Myths, § 38. Lines 76-7 are imitated from Vergil, Eclogue VI. 3-4; When I would sing of kings and wars, Cynthius plucked my ear and reminded me -.' The seat of memory was supposed to be in the ear. foil (Latin folium, whence ‘foliage'); in jewelry, a thin sheet of metal often put under a poor stone to add luster by reflection. 'So diamonds owe a luster to their foil.' (Pope.) With this meaning for 'foil' the interpretation will be: Fame is not like a cheap jewel displayed to the world with meretriciously heightened effect, but.

85-102. fountain Arethuse; in the little island of Ortygia lying in the harbor of Syracuse. For the story of Arethusa and Alpheus see Cl. Myths, § SS, and Shelley's Arethusa, there quoted.

Min

cius, a little river in Northern Italy, near Mantua, the birthplace of Vergil. It is often mentioned in his writings. In what consists the appropriateness of these Sicilian and Italian allusions? Herald of the sea = Triton, Cl. Myths, § 54 (1); also the sonnet from Wordsworth quoted on p. 87 of that book. in Neptune's plea = in defense of Neptune. of rugged wings, seems best taken as an adjective phrase with gust. beakéd promontory; this metaphor shows a reversal of the usual process. What is that? Hippotades. See the opening of Odyssey X.: "Soon we drew near the island of Æolia, where Æolus, the son of Hippotas, dear to immortal gods, dwelt on a floating island. All around it is a wall of bronze, not to be broken through, and smooth and steep rises the rocky shore." The suffixes — ades, - ides (Masculine) and — as, - eis (Feminine) when added to proper names form Patronymics, indicating descent or relationship; thus (as above) Hippot-ades, son of Hippotas; Tyndar-is, daughter of Tyndarus. Latin Grammar, § 164 (b).

is,

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See A. & G.

dungeon; there is a fine description of the cave of the winds in the Æneid, I. 50-63. Panope (The All-Seeing One) and her forty-nine sisters were sea-nymphs, daughters of Nereus and Doris. eclipse; eclipses were long believed to be signs of divine displeasure. Compare the still-common superstition about the moon's phases affecting the weather. 103-7. Camus; the divinity of the sluggish Cam.

mantle

hairy, etc. River-sponge and sedge grow luxuriantly in the Cam today. The figures dim' may refer to curious streaks that show on the sedge when dried. Sanguine flower; the hyacinth. For pledge (like the Latin pig

the legend, see Cl. Myths, § 74. nus)

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offspring.

108-131. Consult your English events of this exciting year, 1637.

Keys; Matthew XVI. 19.

'out of,' 'up.'

Cromwell, p. 16.

History for the memorable
Pilot; See Matthew IV. 18-19.

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is merely intensive (as in a-wake, a-rouse) and signified originally climb into the fold; compare the sonnet tc mouths; a strong metonymy for 'gluttons.'

Ruskin has an elaborate comment on this passage in Sesame and Lilies, Lecture I. Milton's phraseology throughout is forcible, if not elegant. sped. Two interpretations are possible. 1o, Mercutio when wounded exclaims, ‘I am sped,' where the meaning is evidently despatched,' 'done for.' (Romeo and Juliet, iii. 1.). 2o, sped may have its original meaning of 'prospered.' originally like 'please' an impersonal verb used with a dative object; very common in Chaucer.

this sense.

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list,

flashy insipid: obsolete in

scrawny, thin. This word is found in

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no other classic author, and nowhere in Milton save here. Like many other old words, it has survived in a dialect (Lancashire 'scrannel': a lean fellow) while it has disappeared from polite speech. The grim wolf, has never been satisfactorily explained. The following conjectures worthy of notice have been put forward. 1o, Archbishop Laud; 2o, the Devil; 3°, the grievous wolves' of Acts XX. 29; 4o, Conversion to Roman Catholicism, common at this time. Nothing said. The interpretation of this depends upon which of the four conjectures just mentioned you adopt. handed engine. This is as great a crux as the 'grim wolf.' Suggested interpretations are, 1o, The two Houses of Parliament; 2o, Death; 3°, The sword of the Archangel Michael; 4o, The sharp twoedged sword of Revelation, I. 16; 5o, 'The axe laid unto the root of the trees,' in Luke III. 9; 6o, 'The sword of the spirit,' in Ephesians VI. 17. Read this passage (108-131) again. Do you think the poem would be improved by removing it? Does the fact that King was a clergyman justify the introduction of St. Peter as representing the Christian Church?

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are accustomed of shades, depends upon

132-141. Alpheus. See notes on 85-102. use = (to dwell) = haunt. Compare line 67. whispers.' Swart-star Sirius. In Greece and southern Italy its rising coincides with the time of greatest heat, and was popularly supposed to be the cause thereof, hence swart-star = the star that browns or tans. It shines with a bright, white light, and is easily found by prolonging to the left the line of Orion's belt. Why is it sometimes called the Dog-Star? Has this epithet any real connection with dog days'? quaint; not curious,' but probably merely = 'pretty,' as in Margaret's description of Hero's weddinggown as of a fine, quaint, graceful fashion' (Much Ado, iii. 4. 20). 142-151. Ruskin has an elaborate and somewhat far-fetched criticism on this passage in Modern Painters, Part III. Sec. II. Chap. III. It may suffice for your purpose if you acquire a clear conception of the nature and appearance of each flower mentioned. Some of them you can see in conservatories or in gardens; for others you must trust to the descriptions in your Botany. A little reflection will show you that in nearly every case there is appropriateness in the introduction of the flower in this connection. Read for comparison the passage in the Winter's Tale (iv. 3) beginning

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O Proserpina,

For the flowers now that, frighted, thou let'st fall —. hearse; not a carriage' but a 'bier.' Another and an meaning is a canopy (set over the bier) to hold candles.

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152-164. monstrous world.

Methought I saw a thousand fearful wrecks;
A thousand men that fishes gnawed upon;
Wedges of gold, great anchors, heaps of pearl,
Inestimable stones, unvalued jewels,

All scattered in the bottom of the sea.

Rich. III. i. 4. 24-8.

Bellerus; a Cornish giant of Milton's invention. He coined the word from Bolerium, the Roman name for Land's End. vision.

On St. Michael's Mount, near Penzance, there was formerly a monastery of Benedictine monks. They had a tradition that the Archangel Michael had once appeared here to some of their order; on the spot where he was seen they erected a stone lantern. guarded, may refer to the ruins of a fortress that once occupied the Mount or to the guard kept by the angel. Namancos; Bayona; given

in Mercator's Atlases (1623 and 1636) as towns near Cape Finisterre in Galicia. There was an old tradition that Finisterre could be seen from Land's End. dolphins; consult the Classical Dic

tionary, article Arion; see also George Eliot's poem, Arion.
165-171. watery floor;

Look how the floor of Heaven
Is thick inlaid with patines of bright gold.
Merch. of Venice, v. 1. 57-8.

the day-star = the sun. tricks; compare Il Penseroso, 123. The simile in lines 168-171 has been used by innumerable poets; it must be confessed also that Milton's treatment, though very beautiful, is somewhat conventional. Notice Browning's more original and striking application of the same figure, at the close of his Waring. Oh, never star

Was lost here but it rose afar!

Look east, where whole new thousands are!

In Vishnu-land what Avatar ?

172-181. The imagery of this passage is drawn chiefly from the description of the New Jerusalem, Revelation XXI. and XXII. Is such imagery appropriately introduced in a poem of this kind? nectar. This is certainly an inappropriate word in this passage, associated as it is with suggestions of Olympian revelry. unexpressive = inexpressible, that is, too sweet for expression. Orlando describes his mistress as 'The fair, the chaste, the unexpressive she.' (As You Like It, iii. 2. 10).

182-185. Genius of the shore; compare Il Penseroso, 154. See also the story of Leucothea and Palæmon, Cl. Myths, § 129.

uncouth swain

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186-191. These eight lines are in ottava rima, a favorite form of versification with Byron. the poet himself, — a depreciatory touch. Perhaps also in various and eager we have a half-apology for the mixture of styles in this poem. Doric lay; Theocritus wrote in the Doric dialect. See note on Lydian airs,' L'Allegro, 135–152. blue; the conventional color for a shepherd's dress. The last line is interpreted by some to mean that Milton intended to write no more occasional verse but to return to his serious studies. Others see in it a reference to his approaching

journey to Italy.

Perhaps you have found this a difficult poem. Has it convinced you that he who would become a thorough scholar in the department of English Literature, must base his studies upon a broad foundation of Greek and Latin Literature? Would a knowledge of Old English serve your purpose as well?

ON SHAKESPEARE.

This little poem with commendatory verses by other hands, was prefixed to the 1632 folio of Shakespeare. It is there called 'An Epitaph on the Admirable Dramatick Poet, W. Shakespeare.' It is certainly an astonishing performance for a young man of twenty-two and contains at least one immortal line. Which is that?

1-6. What; for this use of what compare, Tennyson's Passing of Arthur, 418 and 420 (p. 301 of this book):

For what are men better than sheep or goats
If, knowing God, they lift not hands of prayer?

star-ypointing; see notes on L'Allegro, 11-16.
7-16. unvalued not to be valued, inestimable.

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Delphic

inspired. At Delphi, in Phocis, was a famous oracle of Apollo. Cl. Myths, p. 420. In lines 13-14, the metaphor is so far-fetched that it may fairly be called a conceit. The interpretation seems to be that Shakespeare, by the power and beauty of his thought (conceiving) exalts us to a state of wrapt and silent attention wherein the creations of the imagination (fancy) become realities to us. Such conceits were popular when Milton wrote these lines; they abound in the works of Donne (d. 1631) who was actually considered a great poet in his day.

INTRODUCTION TO THE SONNETS.

The Sonnet is an Italian form of versification that appeared for the first time in England in Tottel's Miscellany, 1557. The poems there called Sonnets are extremely crude in construction; the so-called 'Sonnets' of Shakespeare are

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