« السابقةمتابعة »
Culling their potent herbs, and baleful drugs,
256. -would take the prison'd See Paradise Lost, ii. 660. and
1019. and the notes there. And lap it in Elysium ;]
257. Silius Italicus, of a Sici. Sublimely expressed to imply lian shepherd tuning his reed, the binding up its rational fa- Bell. Půn. 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,
of the last image in Milton. T. Sweet Constable doth take the won
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, Lydian aires. We have
Unless the goddess, &c.] “ lapped in delight" in Spenser, Thus Fletcher, Faith. Shep. act Faery Q. v. vi. 6. Prisoned was
V. s. 1. vol. iii. p. 188. more common than imprisoned. See B. and Fletcher's Philaster,
-Whate'er she be; and Shakespeare, passim. 7.
Be'st thou her spirit, or some divinity,
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.
On whom these aires attend.
Whom certain these rough shades did never breed,
Nay, gentle shepherd, ill is lost that praise
275 To give me answer from her mossy couch.
-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 Cumus 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, Metam. iv. 320.
Mr. Birch was very useful. In -Puer, 0 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' the 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
-may guides ?] He had written at first
This night forestall him of the comfrom 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. VOL. IV.
289. Were they of manly prime, , Aspice, aratra jugo referunt suspensa or youthful bloom?] 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
Bobus fatigatis. P. L. V. 295. and xi. 245.
The Greeks have a single word His starry helm unbuckled shew'd him prime
that expresses the whole very In manhood, where youth ended. happily, βουλντος tempus quo boSee the notes on P. L. iii. 636.
ves solvuntur, as in Homer, Iliad T. Warton.
xvi. 779. 290. As smooth as Hebe's their Ημος δ ηελιος μετενεισσιτο βούλντενδί. unrazor'd lips.] Virgil, Æn. ix.
291. -the labour'd Ox 181.
In his loose traces from the furOra puer primå signans intonsa ju
row came.] venta.
This is classical. But the return Richardson.
or horses from the The unpleasant epithet un- plough, is not a natural circumrazor'd has one much like it instance of an English evening. the Tempest, act ii. s. 5.
In England the ploughman alTill new-born chins
ways quits his work at noon. Are rough and razorable.
Gray, therefore, with Milton, T. Warton. painted from books and not from
the life, where in describing the 291. Two such I saw, what time the labour'd ox &c.] In the Mas departing day-light he says, nuscript it is such two: and the The ploughman homeward plo 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;
the next line, is from nature; “ and stood, and said unto me, and hedger, a word new in poetry, although of common use, Comus thus describes to the has a good effect. T. Warton. Lady the striking appearance of
293. And the swink'd hedger]. her Brothers; and after the same The swink'd hedger is the same manner, in the Iphigenia in Tau, as the labour'd ox, tired, fatigued.
ris of Milton's favourite Greek 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 sweat in
as preternatural beings and obcessantly.
jects of adoration, v. 246. 297. Their port was more than Ενταύθα διστους ειδε τις νεανιας humàn, as they stood :] We have Βουφορβος ημων, καπεχώρησεν παλιν, followed the pointing of Milton's
Ακροισι δακτυλοισι πορθμενων ιχνος"
Ελεξι δ'. Ουκ ορατε ; δαίμονες σινες two editions in 1645 and 1673,
Θασσουσιν οιδε. Θεοσεβης δ' ημων τις ων which indeed we generally fol
Ανασχε χειρα, και προσαυξατ' ισιδων: low. The edition of 1637 points Ω ποντιας και Λευκοθέας, νεων φυλαξ, it otherwise,
Εισ' ουν επ' ακταις Ρασσετον 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. T'hyer,
301. And play i' th' plighted v. 21.
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