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Culling their potent herbs, and baleful drugs, 255
256. — would take the prison'd See Paradise Lost, ii. 660. and soul,
1019. and the notes there. And lap it in Elysium ;]
257. Silius Italicus, of a SiciSublimely expressed to imply lian shepherd tuning his reed, the binding up its rational fa- Bell. Pun. xiv. 467. culties, and is opposed to the
Scyllæi tacuere canes, stetit atra sober certainty of waking bliss.
Charybdis. But the imagery is taken from Shakespeare, who has employed The same situation and circum. it, in praise of music, on twenty stances dictated a similar fiction occasions. Warburton.
or mode of expression to either In the old play, the Return poet. But Silius avoided the from Parnassus, 1606, act i. s. 2. boldness, perhaps impropriety, Sweet Constable doth take the won.
of the last image in Milton. T.
Warton. dering ear, And lays it up in willing prisonment.
265. Hail, foreign wonder,
Whom certain these rough shades In L'Allegro, 136. Lap me in
did never breed, soft Lydian aires. We have
Unless the goddess, &c.] “ lapped in delight” in Spenser,
penser, Thus Fletcher, Faith. Shep. act
Thi Faery Q. v. vi. 6. Prisoned was
as V. s. 1. vol. iii. p. 188. more common than imprisoned. See B. and Fletcher's Philaster,
Whate'er she be;
Be'st thou her spirit, or some divinity, and Shakespeare, passim. 1.
That in her shape thinks good to Warton.
walk this grove. 257. — Scylla wept, · And chid &c.]
But perhaps our author had an He had first writen,
unperceived retrospect to the
Tempest, act i. s. 2. - Scylla wonld weep And chide, then chiding her barking Ferd. Most sure the goddess *Waves &c.
On whom these aires attend.
Whom certain these rough shades did never breed,
--My prime request,
268. Dwell'st here with Pan, Which I do last pronounce, is, O you &c.] In the Manuscript he had wonder,
written at first Liv'st here with If you be maid or no ?
Pan, &c. and see what he says Where muid is crealed being, a of the Genius of the wood in woman in opposition to goddess. Arcades, and compare it with Comus is universally allowed to this passage. have taken some of its tints 270. To touch the prosp'rous from the Tempest. Compare the growth of this tall wood. We see Faerie Q. iii. v. 36. ii. iii. 33. and by the Manuscript with what B. and Fletcher's Sea-voyage, judgment Milton corrected. And act ii. s. 1. And Ovid, where in this view the publication of it Salmacis first sees the boy Her- by the learned and ingenious maphroditus, Meinm. iv. 320. Mr. Birch was very useful. In * -Puer, O dignissime credi
this line the Manuscript had prosEsse Deus; seu tu deus es, potes esse pering, which Milton with judgCupido, &c.
ment altered to prosperous; for And Browne's Britannia's Pus- tall wood implies full grown, to "torals, b. i. s. 4. p. 70. Homer, which prosperous agrees, but prosin the address of Ulysses to Nau- pering implies it not to be full sicaa, the father of true elegance grown. Warburton. as well as of true poetry, is the 277, &c. Here is an imioriginal author of this piece of tation of those scenes in the gallantry, which could not escape Greek Tragedies, where the diathe vigilance of Virgil. See Ar- logue proceeds by question and cades, v. 44. T. Warlon. answer, a single verse being
allotted to each. The Greeks, 282. To seek i' th' valley some doubtless, found a grace in this cool friendly spring.) This is a sort of dialogue. As it was one different reason from what she of the characteristics of the Greek had assigned before, ver. 186. drama, it was natural enough for our young poet, passionately
To bring me berries, or such cooling
fruit, &c. fond of the Greek tragedies, to affect this peculiarity. But he They might have left her on judged better in his riper years; both accounts. there being no instance of this 285. Perhaps forestalling night dialogue, I think, in his Samson prevented them.] So in ShakeAgonistes. Hurd.
speare, Cymbal, act iii. s. 4. 279. — from near-ushering guides ?] He had written at first
This night forestall him of the com. from their ushering hands; and
ing day. in the next verse, They left me wearied. The first alteration See the notes, P. L. X. 1024. T. seems to be better than the last. Warton.
289. Were they of manly prime, Aspice, aratra jugo referunt suspensa or youthful bloom 7] Were they juvenci: young men or striplings? Prime and in Horace, Od. iii. vi. 41. is perfection.
-sol ubi montium Nature here wanton'd as in her prime. Mutaret umbras, et juga demeret P. L. v. 295. and xi. 245.
Bobus fatigatis. His starry helm unbuckled shew'd
The Greeks have a single word him prime
that expresses the whole very In manhood, where youth ended. happily, Boudutos tempus quo boSee the notes on PL : 636. ves solvuntur, as in Homer, Iliad T. Warton.
. xvi. 779. 290. As smooth as Hebe's their Ημος δ' ηελίες μεσενεισσιτο βούλυτουδί. unrazor'd lips.] Virgil, Æn. ix.
291. - the labour'd ox 181.
In his loose traces from the fur. Ora puer prima signans intonsa ju
row came.] venta.
Richardson. This is classical. But the return
'of oxen or horses from the The unpleasant epithet un- plough, is not a natural circumrazor'd has one much like it in stance of an English evening. the Tempest, act ii. s. 5.
In England the ploughman al- Till new-born chins .. ways quits his work at noon. Are rough and razorable."
Gray, therefore, with Milton,
T. Wartoit. painted from books and not from 291. Two such I saw, what time a
the life, where in describing the the labour'd ox &c.] In the Ma. "
departing day-light he says, nuscript it is Such two: and the
The ploughman homeward plods his notation of time is in the pastoral
weary way. manner, as in Virgil, Ecl. ii. 66. The swink'd hedger's supper, in
And the swink'd hedger at his supper sat;
300 And play i'thplighted clouds. I was awe-struck,
the next line, is from nature; and hedger, a word new in po. etry, although of common use, has a good effect. T. Warton.
“ and stood, and said unto me, “ &c.",
Comus thus describes to the Lady the striking appearance of
The swink'd hedger is the same manner, in the Iphigenia in Tau.
To swink is to work, to labour, tragedian Euripides, a shepherd as in Spenser's Faery Queen, b. describes Pylades and Orestes to ii. cant. vii. st. 8.
Iphigenia the sister of the latter, For which men swink and swent in- as preternatural beings and obcessantly.
jects of adoration, v. 246. 297. Their port was more than humàn, as they stood :] We have Βουφορβος ημων, καταχωρησεν παλιν, followed the pointing of Milton's
Ακροισι δακτυλοισι πορθμενων ιχνος:
Eniğe d'• Oux épats ; daípegyss TIVES two editions in 1645 and 1673,
Θασσουσιν οιδε. Θεοσεβης δ' ημων τις ων which indeed we generally fol Ανασχε χειρα, και προσαυξατ' εισιδων: low. The edition of 1637 points roytias Has Asuxadías, yowy Quick, it otherwise,
Εις' ουν επ' ακταις βασσετον Διοσκορω, Their port was more than human;
&c. as they stood, &c.
T. and this is followed by Dr. Dal. Compare note on v. 265.
Warton. ton.' Milton's Manuscript has no pointing here to direct us.
299. Of some gay creatures of 297. We have much the same
the element,] In the north of form of expression in the Epitaph
England this term is still made on the Marchioness of Winchester,
use of for the sky. Thyer. v. 21.
301. And play i' th plighted
clouds.] By using plighted here, And in his garland, as he stood, . instead of the more common Ye might discern a cypress bud.
word plaited, an unpleasant conSee Acts Apost. xxii. 13, 14. sonance was avoided--and play “One Ananias came unto me, i' th plaited clouds. Spenser