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Compels me to disturb your season due:
For Lycidas is dead, dead ere his prime,
Young Lycidas, and hath not left his peer:
Who would not sing for Lycidas? he knew
Himself to sing, and build the lofty rhime. :
He must not float upon his wat’ry bier
Unwept, and welter to the parching wind,


will not say

10. Who would not sing for giacs, in the Genethliacum Acad. Lycidas?] Virgil, Ecl. x. 3. Cantabrig. ibid. 1631. 4to. p. 39.

Of Latin iambics in Rex Redux, neget quis carmina Gallo ?

ibid. 1633. 4to. p. 14. See also He knew, in Milton's Manuscript ZYNDAIA, from Cambridge, it is he well knew.

ibid. 1637. 4to. Signat. C. 3. I * 10. - He knew

how far these perHimself to sing, &c.]

formances justify Milton's paneAt Cambridge, Mr. King was gyric on his friend's poetry. T. distinguished for his piety, and Warton. proficiency in polite literature. 11. --and build the lofty Thime.) He has no inelegant copy of A beautiful Latinism. Hor. Epist. Latin iambics prefixed to a Latin i. iii. 24. Comedy called Senile Odium,

seu condis amabilc carmen. acted at Queen's College Cambridge, by the youth of that so.

De Arte poet. 436. ciety, and written by P. Hausted, -si carmina condes. Çantab. 1633. 12mo. From which 11. Euripides says still more I select these lines, as containing boldly, because more specifically, a judicious satire on the false « Αοιδας ΕΠΥΡΓΩΣΕ.” Suppl. ν. taste, and the customary me

997. Hurd. chanical or unnatural expedients, The lofty rhyme is “ the lofty of the drama that then subsisted. verse." See P. L. b. i. 16. T. Non hic cothurni sanguine insonti

Warton. rubeat,

12. He must not float upon his Nec flagra Megæræ ferrea horrendum wai'ry bier.] So Johnson, in intonant;

Cynthia's Revells, acted by the Noverca nulla sævior Erebo furit; Venena nulla, præter illa dulcia

boys of Queen Elizabeth's Chapel, Amoris; atque his vim abstulere

1600, a. i. s. 2. noxiam

-Sing some mourning straine Casti lepores, innocua festivitas,

Over his watrie lucarse. Nativa suavitas, proba elegantia, &c.

T. Warton. He also appears with credit in 13. Unwept, and welter, &c.] the Cambridge Public Verses of Thus in our author's Epitaphium his time. He has a copy of Damonis, v. 28. Latin iambics, in the Anthologia

Indeplorato non comminuere sepul. on the King's Recovery, Cantab. cho. 1632. 4to. p. 43. Of Latin ele

T. Warton.


Without the meed of some melodious tear.

Begin then, sisters of the sacred well,
That from beneath the seat of Jove doth spring,
Begin, and somewhat loudly sweep the string.
Hence with denial vain, and coy excuse,
So may some gentle Muse
With lucky words favour my

destin'd urn, And as he passes turn,


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14. Without the meed] With- Jupiter, as Hesiod says in the out the reward. Spenser, Faery invocation for his poem on the Queen, b. ii. cant. üi. st. 10. generation of the Gods. but honour, virtue's mecd,

Μουσαων Ελικωνιαδων αρχωμιά αμδων, Doth bear the fairest flow'r in ho- Αισ Ελικώνος εχουσιν ορος μεγα σε ζαnourable seed.

Θεoντι, , 14. melodious tear.] For

Και σε σιρι κρηνην ιοειδια σοσσ αταλουsong, or plaintive elegiac strain,

Ορχουνται, και βωμον ορισθενεος Κροωthe cause of tears. Euripides in like manner, Suppl. v. 1128.

Begin we from the Muses still to sing, • Πα δακρυα φερεις φιλα-ολωλοτων." That haunt high Helicon, and the " Where do you bear the tears of

pure spring, « the dead, i. e. the remains or

And altar of great Jove, with print. “ ashes of the dead, which occa

less feet “ sion our tears ?" Or perhaps

Dancing surround

Richardson. the

passage is corrupt. See note on the place, edit. Markland. 18. Hence with denial vain, and The same use of tears, however, coy excuse,) The epithet coy is occurs, ibid. v. 454. “

Acxque at present restrained to Person. “ ετοιμαζονσι." Hurd.

Anciently, it was more generally The passage is undoubtedly combined. Thus Drayton, corrupt; He is superfluous, and

Shepherd, these things are all too coy mars the context. The late Oxford editor seems to have given Whose youth is spent in jollity and the genuine reading, “Nar daxquae

mirth. " Pigus pince," [v.1133.] T.War. That is, “This knowledge is too ton.

hard for me, &c." Eclogues, vii. 15. Begin then, sisters of the Milton has the same use of coy sacred well,

in the Apology for Smectymnuus. That from beneath the seat of Thus lie at the mercy of a Jove doth spring,]

coy flurting style, &c." Pr. W. He means Hippocrené, a foun- i. 105. ed. 1738. T. Warton. tain consecrated to the Muses on 21. And as he passes turn,) He mount Helicon, on the side of for the muse seems extraordinary. which was an altar of Heliconian See Mr. Jortin's note on ver. 973,

for me,

And bid fair peace be to my sable shroud.
For we were nurst upon the self-same hill,
Fed the same flock by fountain, shade, and rill.

Together both, ere the high lawns appear'd
Under the opening eyelids of the morn,
We drove a field, and both together heard



of Samson Agonistes, where this present place is from Job, the change of the gender is consi- most poetical of all books. Job dered.

curses the day in which he was 21. It is probably a corrupt born. Let the stars of the twilight reading. The muse is feminine thereof be dark, lei it look for further on at ver. 58 and 59. light but have none, neither let it And the mistake may have been see the dawning of the day. The caused by the concluding letter Hebrew (that

Milton always folof the preceding word as being lows) hath neither let it see the the same as the first of the word

eyelids of the morning, iii. 9. she. E.

Richardson. 22. And bid] So altered in the The opening eyelids was alManuscript from To bid &c. tered in the Manuscript from the

23. For we were nurst &c.] glimmering eyelids. This is assigned as a reason for 26. Perhaps from Thomas Midwhat he had said before,

dleton's Game at Chesse, an old Hence with denial vain, and coy ex. forgotten play, published about

the end of the reign of James the

First, 1625. 25. Together both, &c.] Here a new paragraph begins in the -Like a pearl, edition of 1645, and in all that

Dropp'd from the opening eyelids of

the morn followed. But in the edition of

Upon the bashful rose. 1638, the whole context is thus pointed and arranged.

Shakespeare has “the morning's

eye," Rom. and Jul. act iii. s. 5. For we were nurst upon the selfsame hill,

Again, act ii. s. 3. Fed the same flock, by fountain,

The grey-eyed morn smiles on the shade, and rill;

frowning night. Together both, ere the high lawns

T. Warton. appear’d, &c. T. Warton.

27. “We continued together 25. Probably the new para- “ till noon, and from thence, &c.* graph should begin at ver. 23. The gray-fly is called by the naFor we &c." E.

turalists, the gray-fly or trumpet26. --the opening eyelids of the fly. Here we have Milton's horn, morn,) This personizing every and sultry horn is the sharp hum thing that is the subject of ima- of this insect at noon, or the hotgination is a great part of the test part of the day. But by some merit of ancient poetry. The this has been thought the chaffer, What time the gray-fly winds her sultry horn, Batt’ning our flocks with the fresh dews of night, Oft till the star that rose, at evening, bright, 30 which begins its flight in the commonly known by the name evening. T. Warton

of the cock-chaffer or dor-fly. 27. We drove afield,] That is, These in the hot summer months “we drove our flocks afield." I lie quiet all the day feeding upon mention this, that Gray's echo the leaves of the oaks and wil. of the passage in the Church- lows, but about sunset fly about yard Elegy, yet with another with just such a sort of noise as meaning, may not mislead many answers the poet's description. careless readers.

The author could not possibly

have chosen a circumstance more How joyous did they drive the team afield.

proper and natural for a shep

herd to describe a summer's evenSee the note, P. R. ii. 365. on ing by, nor have expressed it in Milton's delight in painting the a more poetical manner. Thyer. beauties of the morning. In the Shakespeare has an image of Apology for Smectymnuus he de- the same kind in his Macbeth, clares, " Those morning haunts but he has expressed it with

are where they should be, at greater horror suitable to the “ home: not sleeping or con- occasion, act iii. s. 3, cocting the surfeits of an irre

ere to black Hecate's summons gular feast, but up and

stirring, « in winter often before the

The shard-born beetle with his drowsy

hums " sound of any bell awakens

Hath rung night's yawning peal, &c. “ men to labour or devotion; in “ summer, as oft as the bird that 29. Battning our flocks with “ first rouses, or not much tar. the fresh dews of night,] To batten ** dier, to read good authors, is both neutral and active, to &c." Prose Works, i. 109. In grow or to make fat. The neutral L'Allegro, one of the first de- is most common. Shakespeare, lights of his cheerful man, is to

Haml. act iii. 8. 4. hear the “ lark begin her flight." Could you on this fair mountain His lovely landscape of Eden al- leave to feed, ways wears its most attractive

And batten on this moor? charms at sun-rising. In the And Drayton, Ecl. ix. vol. iv, ut present instance, he more particularly alludes to the stated

supr. p. 1431. early hours of a collegiate life,

Their battening flocks on grassie leas which he shared, on the self-same

to hold, hill, with his friend Lycidas at Milton had this line in his eye. Cambridge. T. Warton. Batfull, that is plentiful, is a

28. What time the gray-fly frequent epithet in Drayton, eoinds her sultry horn,] By the especially in his Polyolbion. gray-fly in this place is meant no T. Warton. doubt a brownish kind of beetle 30. Oft till the star &c.] These powdered with a little white, two lines were thus in the Manu

Toward heav'n's descent had slop'd his west'ring wheel.
Mean while the rural ditties were not mute,
Temper'd to th’oaten flute,
Rough Satyrs danc'd, and Fauns with cloven heel
From the glad sound would not be absent long, 35
And old Damætas lov’d to hear our song.

But O the heavy change, now thou art gone, Now thou art gone, and never must return! Thee, Shepherd, thee the woods, and desert caves With wild thyme and the gadding vine o’ergrown, 40 script before Milton altered To th' waters fall their tunes attemper them,

right, Oft till the ev'n-star bright

So P. L. vii. 598. Toward heav'n's descent had slop'd

Temper'd soft tunings. his burnish'd wheel.

T. Warton. 31. —his west'ring wheel] 34. Rough Satyrs danc'd, and Drawing toward the

west. Fauns &c.]

Fauns &c.] Virg. Ecl. vi. 27. Chaucer, Troilus and Creseide,

Tum vero in numerum Faunosque b. ii. ver. 905.

ferasque videres the sonne

Ludere Gan wcstrin fast, and dounward for Mr. Thyer adds another instance.

to wrie. 31.] And Spenser has to west.

Ye sylvans, Fauns, and Satyrs, that

emong F. Q. v. Introd. S.

These thickets oft have daunc'd after And twice hath risen where he now

his pipe ; &c. doth west

Past. Ecl. on the death of Sir P. And wested twice where he ought rise aright.


T. Warton. 36. And old Damætas lov'd to 33. Temper’d to th' oaten flute,] bably Dr.

William Chappel, who

hear our song. ] He means proBoethius III. Metr. 12.

had been tutor to them both at Illic blanda sonantibus

Cambridge, and was afterwards Chordis carmina temperans.


Bishop of Cork and Ross in Ire

land. So Phineas Fletcher, a popular

39. Thee, Shepherd, thee the author in Milton's days, Purpl. woods, &c.] This line was thus Isl. c. ix. st. 3.

given in the edition of 1638. Tempering their sweetest notes unto

Thee shepherds, thee the woods, and thy lay.

desert caves. And again, Poeticall Miscel.

T. Warton. Camb. 1638. p. 55, Spenser also 40. With wild thyme, and the has, of birds.

gadding vine o'ergrown,) Tully,

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