« AnteriorContinuar »
To scorn delights, and live laborious days;
Lib. ii. p. 210. ed. Ven. 1604. Milton here has made the Fates Bowle.
the same with the Furies; which Την κενοδοξιαν, ώς τελευταιον χιτωνα, is not quite destitute of authoin yugio TEQUXEV AFOTidelai, says rity, for so Orpheus in his hymns, Plato. And Tacitus, Hist. iv. 5. two of which are addressed to “etiam sapientibus cupido gloriæ these Goddesses, styles them, “ novissima exuitur." See the
Αλλα θιαι μοιραι οφιοπλοκαμοι πολυμορnote on P. R. iii. 47. Jortin.
pos. 73. But the fair guerdon] Prize,
Sympson. reward, recompense. A word from the French, often used by of Destiny, with more propriety.
In Shakespeare are the shears our old writers, and particularly k. John, a. iv. s. 2. Spenser. Faery Queen, b. i. cant. vii. st. 15.
I bear the shears of destiny? To gain so goodly guerdon.
Milton, however, does not here Cant. X. st. 59.
confound the Fates and the That glory does to them for guerdon Furies. He only calls Destiny grant,
a Fury. In Spenser, we have 74. And think to burst out into blind Fury. Ruins of Rome, st. sudden blaze,] He is speaking
xxiv. of fame. So in P. R. iii. 47.
If the blinde Furie which warres For what is glory but the Blaze of
And in Sackville's Gordobucke,
a, V. S. 3. 75. Comes the blind Fury &c.] Of the three fatal sisters, the
Jove, how are these people's hearts
abus'd, first prepared the flax upon the
And what blind Fury headlong carries distaff, the stamen of human life;
them? the second spun it; and the third cut it off with her shears, See Observations on Spenser's when the destined hour was Faery Queen, vol. ii. p. 255. come. These were distinct from edit. 2. T Warton. the Furies, but Milton calls the 77. Phæbus replied, and touch'd last a blind Fury in his indigna- my trembling ears;] Virgil, Ecl. tion for her cutting his friend's
vi. 3. thread of life untimely and un- -Cynthius auren. deserved. Richardson.
Vellit et admonuit.
Fame is no plant that grows on mortal soil,
O fountain Arethuse, and thou honour'd flood,
79. Nor in the glist'ring foil] tain, Milton closely and learnedly Spenser, Faery Queen, b. iv. attends to the ancient Greek cant. v. st. 15.
writers. See more particularly
the scholiast on Theocritus, As guileful goldsmith that by secret skill
Idyll. i. 117. And Servius on With golden foil doth finely over. Virgil, Æn. iii. 694. Ecl. x. 4. spread
Homer says, Odyss. xiii. 408. Some baser metal, &c.
Επι τε ΚΡΗΝΗ Αρεθουση. Compare 85. O fountain Arethuse, &c.] Hesychius, and his annotators, v. Now Phæbus, whose strain was ΚΟΡΑΚΟΣ, ΑΛΦΕΙΟΣ ΑΡΕΘΟΥ. of a higher mood, has done EA. And Stephanus Byzant. speaking, he invokes the foun- Berkel. p. 162. T. Warton. tain Arethuse of Sicily the country
85. — and thou honour'd flood, of Theocritus, and Mincius, the
Smooth-sliding Mincius, river of Mantua, Virgil's country, It was at first, which river he calls honoured
and thou smooth flood, flood to shew his respect to that Soft-sliding Mincius ; poet, and describes much in the and then smooth was altered to same manner as Virgil himself famed, and then to honoured in has done, Georg. ii. 14.
the Manuscript; as soft-sliding -tardis ingens ubi flexibus errat was to smooth-sliding. Mincius, et tenera prætexit arundine 89. —the herald of the sea &c.] ripas.
Triton. Hippotades, Æolus the It was the more necessary for son of Hippotas, called sage him to call to mind these two from foreknowing the weather. famous pastoral poets, as now Panope, a sea-nymph: the word his own baten pipe proceeds. itself signifies that pure calm
85. In giving Arethusathe and tranquillity that gives an distinctive appellation of Foun- unbounded prospect over the
That came in Neptune's plea ;
smooth and level brine; there- enchantments in Macbeth, a. iv. fore sleek Panope. Richardson. s. 1.
94.-euch beaked promontory ;] -Slips of yew Drayton has “ The utmost end Silver'd in the moon's eclipse. “ of Cornwall's furrowing beak." Polyolb. s. i. vol ii. p. 657. Again, in the same incantation, T. Warton.
Root of hemlock digg'd i' th' dark. 101. Built in th' eclipse, &c.] Horace speaks much in the same
The shipwreck was occasioned spirit concerning the tree by not by a storm, but the bad conwhose fall he was in danger of dition of the ship, unfit for so being killed. Od. ii. xiii. 1.
dangerous a navigation. T. War.
ion. Ille et nefasto te posuit die &c.
101. Mr. Warton adds, that And so of a ship, Epod. x. 1. “ the ship, a very crazy vessel,
“struck on a rock, and suddenly Mala soluta navis exit alite.
« sunk to the bottom with all And the misfortune is ascribed " that were on board, not one to the ship according to the Latin “escaping.” A more correct inscription at the beginning of account of this disaster, given the poem, -navi in scopulum by Hogg, who in 1694 published allisa, et rimis et ictu fatiscente. a Latin translation of Lycidas,
101. Although Horace has two informs us, that several escaped passages similar to this, yet how in the boat from the sinking much more poetical and striking vessel; but that Mr. King and is the imagery of Milton, that some others, fatally unmoved the ship was built in the eclipse, by the importunities of their and rigged with curses. Dr. J. associates, continued on board Warton.
and perished. Dr. Symmons, Evidently with a view to the Life of Millon, p. 108.
That sunk so low that sacred head of thine.
Next Camus, reverend sire, went footing slow,
103. Next Camus, reverend 105. Inwrought with figures sire, &c.] The river Cam is fitly dim,] In the Manuscript it was introduced upon this occasion, first written Scrawlid o'er : Inand is called reverend sire, as wrought is the marginal reading both Mr. King and Milton were there. educated at Cambridge; and is 105. - figures dim,] Alluding described according to the nature to the fabulous traditions of the of that river. Went footing slow, high antiquity of Cambridge. as it is a gentle winding stream, But how Cam was distinguished according to Camden, who says by a hairy mantle from other the British word Cam signifies rivers, I know not. Warburton. crooked. It abounds too with It is very probable, that the reeds and sedge, for which hairy mantle, being joined with reason his mantle is hairy, and the sedge-bonnet, may mean his his bonnet sedge, which as a tes- rushy or reedy banks. See Notes timony of his grief and mourning on Él. i. 89. It would be diffiwas inwrought with figures dim, cult to ascertain the meaning of and on the edge like to a hyacinth, figures dim. Perhaps the poet that sanguine flower, as it sprung himself had no very
clear or according to the poets from the determinate idea: but, in obblood of the boy Hyacinthus or scure and mysterious expresof Ajax, inscribed with woe as the sions, leaves something to be leaves were imagined to be supplied or explained by the marked with the mournful let- reader's imagination. T. Warters At Al. For these particulars. ton. you may consult the poets, and 107. Ah! Who hath reft, quoth especially Ovid, Met. X. 210. he, my dearest pledge?) Mr. Bowle Ecce cruor, qui fusus humi signave. compares this line with one in rat herbam,
the Rime spirituali of Angelo Desinit esse cruor; Tyrioque niten. Grillo, fol. 7. a. It is a part of tior ostro
the Virgin's lamentation on the Flos oritur, formamque capit, quam Passion of Christ.
lilia, si non Purpureus color huic, argenteus esset Deh, disse, ove ne vai mio caro in illis.
pegno ? Non satis hoc Phæbo est; is enim fuit auctor honoris ;
“Alas, quoth she, where goest Ipse suos gemitus foliis inscribit; et Ai Ai
thou, my dear pledge?” And he Flos habet inscriptum ; funestaque cites also Spenser's Daphnaida, littera ducta est.
where the subject is the same.
Last came, and last did go,
And reft from me my sweet com. And hence perhaps the two
panion, And refi from me my love, my life,
keys, although with a different
application, which Nature, in T. Warton. Gray's Ode on the Power of Poe
try, presents to the infant Shake107. --my dearest pledge ?] My speare. In Comus, an admired dearest child, as children were poetical image was perhaps sugsimply called by the Latins gested by Saint Peter's golden pignora, pledges. Richardson.
key, v. 13. Where he mentions 109. The pilot of the Galilean lake, &c.) Milton finely raises
-That golden key
That opes the palace of eternity, the character of St. Peter by
T. Warion. making him the pilot of the lake of Genesareth in Galilee. See
112. He shook his miter'd locks,] how artfully he takes this hint It is much that this inveterate from Luke v. The two keys (which enemy of prelacy would allow he hath likewise painted poeti- Peter to be a bishop. But the cally) Christ himself gave him. whole circumstance is taken from Matt. xvi. 19. But the mitre, the Italian satirists. Besides I which has so fine an effect in this suppose he thought it sharpened picture, Milton would not have his satire to have the prelacy allowed him a very few years condemned by one of their own afterwards. See his treatise of order. Warburton. Prelatical Episcopacy. Richardson. King was intended for the
It seems somewhat extraordi- church. T. Warton. nary to introduce St. Peter after 114. Enow of such &c.] As Apollo, Triton, &c. a Christian Milton has frequently imitated bishop among heathen deities; his master Spenser in this poem, but here Milton's imagination so in this place particularly he was dazzled, his taste corrupted, has had an eye to Spenser's inand his judgment perverted by vectives against the corruptions reading the Italian poets. of the clergy in his fifth, seventh,
110. The golden opes,] Saint and ninth Eclogues. Peter's two keys in the Gospel,
114. Thus in P. L. b. iv. 193. seem to have supplied modern So clomb this first grand theif into poetry with the allegoric ma- God's fold : chinery of two keys, which are
So since into his church lewd hirevariously used. See Dante's In- lings climb. ferno, cant. xiii. and c. xxvii. Where lewd signifies ignorant.