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Verborum sensusque vacans, numerique loquacis ?
Nec tu perge, precor, sacras contemnere Musas,
52. He alludes to the Song of Here we have, Orpheus, in Apollonius Rhodius,
Drew iron tears down Pluto's cheek. i. 277. He “sung of Chaos to
See above, at v. 22. “ the Orphean lyre,” Par. Lost, b. iii. 17. See also Onomacritus, 66. Dividuumque Deum, geni. Argon. v. 438.
torque puerque, tenemus.] The 53, -quercubus addidit aures,] topic of persuasion is happily So also of Orpheus, Par. Lost, selected. Dividuus our author b. vii. 35.
has twice Anglicised in Paradise
Lost, b. vii. 382. Where see the -Where woods and rocks had cars To rapture.
note. And again, b. xii. 85.
Milton's father was well skilled 54. --simulachraque functa) So in music. Philips says, that he of Orpheus, going down to hell, composed an In nomine of forty Ovid, Metam. x. 14.
parts, for which he was honoured Perquc leves populos, simulacraque
with a gold chain and medal by functa sepulcris, &c.
a Polish prince, to whom he
sented it. He is mentioned by Our author adds, “ Compulit in Wood in his manuscript History “ lacrymas." So Ovid, continu- of English Musicians. “ John ing the same story, ibid. 45. “ Milton, a musician livinge in Tum primum lacrymis victarum car
" the reigne of Queen Elizabeth, mine fama est
“ Jarnes I. Charles I. We have Eumenidum maduisse genas est, &c.
“some of his compositions in the
Tu tamen ut simules teneras odisse Camænas,
publick Musicke Schoole. at gave for a prize-subject to the « Oxford." MSS. Mus. Ashm. best poets and musicians, whom D. 19. 4to. Among the psalm he liberally rewarded, the beauty tunes, published by Thomas Ra- and accomplishments of his royal venscroft in 1633, are many with mistress, now a decrepit virgin the name of John Milton; more on the brink of seventy. But particularly, that common one maiden queens are in perpetual called York tune, the tenor part bloom. of which was such a favourite, Our author's father seems also as to be used by nurses for a lul- to have been a writer. For in laby, and as a chime-tune for the Register of the Stationers, churches. He has several songs John Busby enters on Dec. 15, for five voices, in “ The Tears or 1608, “ A Sixe fold Politician by “ lamentations of a sorrowfull“ John Milton.” A copy of this “ soule, composed with musical book is in the Bodleian library,
ayres and songs both for voices which appears to have belonged " and divers instruments,” con- to Burton, who wrote on Melantaining also compositions by Bird, choly. Bull, Orlando Gibbons, Dowland 66. The “ Six-fold Politicians the lutanist, Ferabosco, Copera- ought probably to be ascribed to rio, Weelks, Wilbye, and others John Milton, author of the As. the most celebrated masters of trologaster. Hayley. the times, written and published 71. He had Ovid in his head. by Sir William Leighton, knight, Amor. i. xv. 5. a gentleman-pensioner, and a
Non me verbosas leges ediscere, nec good musician, in 1614. He has a madrigal for five voices, among Ingrato vocem prostituisse foro, &c. the numerous contributions of He speaks with a like contempt the most capital performers, in for the study of the Law to the Triumphs of Oriana, pub- Hartlib, Tract. Educat. “ Some lished by Morley in 1601. (See “ allured to the Trade of Law, note on Comus, v. 495.) This “grounding their purposes not collection is said to have been on the prudent and heavenly planned by the Earl of Notting- “ contemplation of justice and ham, Lord High Admiral ; who, equity which was never taught with a view to sooth Queen Eli- “them, but on the promising zabeth's despair for the recent “ and pleasing thoughts of litiexecution of Lord Essex by flat- gious terms, fat contentions, tering her preposterous vanity, “and flowing fees."
Sed magis excultam cupiens ditescere mentem,
75. Aubrey, in Milton's manu- and that Athens with its pellucid script Life, says, that he “ was Ilissus, and Rome with its banks “ ten yeares old by his picture, of the Tiber, could not detain “ and then a poet." The picture him from the Arno of Florence, is that by Cornelius Jansen. and the hills of Fesole. Prose
83. —novus Italus, &c.] Mil- Works, ii. 570. See also Franton was so well skilled in Italian, cini's panegyric. His Italian that at Florence, the Crusca, an Sonnets shew that he was a masacademy instituted for recovering ter of the language. Dr. Johnand preserving the purity of the son is of opinion, that Milton's Florentine language, often con- acquaintance with the Italian sulted him on the critical niceties writers may be discovered in his of that language. He tells Bene- Lycidas, by the mixture of longer detto Buonmatteo, who was writ- and shorter verses, according to ing an Italian grammar, in a
the rules of the Tuscan poetry. Latin Letter dated at Florence, 84. --barbaricos testalus voce 1638, that although he had in- tumultus ;] The pure Roman landulged in copious draughts of guage was corrupted by barbaric, Roman and Grecian literature, or Gothic, invaders. He adopts yet that he came with a fresh Barbaricus, used by Virgil more eagerness and delight to the than once, into English. Par. luxuries of Dante and Petrarch, Lost, b. ii. 4. “ Barbaric pearl and the rest of the Italian poets;
“ and gold."
Per te nosse licet, per te, si nosse libebit :
I nunc, confer opes, quisquis malesanus avitas
At tibi, chare pater, postquam non æqua merenti
93. I nunc, confer opes, &c.) 107. Anguiferos rictus is cerOvid, Epist. Heroid. xii. 204. tainly an inaccurate expression. I nunc, Sisyphias, improbe, conferopes. Calumnia is, I fear, the property
106. Irvidiæque acies transverso of prose rather than of poetry. tortilis hirquo,] The best com- Many of Milton's expressions in ment on this line is the following his Latin poems are not supdescription of envy, raised to ported by high classical authority. the highest pitch, in Par. Lost, Symmons. iv. 502.
109. Perhaps Milton might be -Aside the Devil turn'd
justified in lengthening the last For envy, yet with jealous leer malign syllable of ego, as the ictus of Ey'd them askance.
the verse falls on it. Symmons.
Posse referre datur, nec dona rependere factis,
Et vos, O nostri, juvenilia carmina, lusus,
* Such productions of true “ ante lucis exortum, ad Græci genius, with a natural and noble “ carminis heroici legem, in leconsciousness anticipating its own “ ctulo fere concinnabam." He immortality, are seldom found to adds, “ It is the first and only fail.
“ thing I have ever wrote in
“ Greek, since I left your school; + Whoever will carefully com- “ for, as you know, I am now pare this Psalm with Duport's “ fond of composing in Latin or version, will find this of Milton English. They in the present far superior; for in Duport's ver- age who write in sreek, are sion are many solecisms. “ Quod singing to the deaf. Farewell,
infortunium, says Dawes very " and on Tuesday next expect candidly, in cæteros itidem “ me in London among the book
quosque, qui a sæculis recen- “ sellers.” Epist. Fam. Dec. 4, “ tioribus Græce scribere tenta- 1634. Prose Works, ii. 567.
runt, cadere dicendum est." was now therefore twenty-eight Miscellan. p. 1. Dr. J. Warton. years old. In the postscript to
Milton sent it to his friend Bucer on Divorce, he thus exAlexander Gill, in return for an presses his aversion to translation, elegant copy of hendecasyllables. « Me who never could delight “ Mitto itaque quod non plane “in long citations, much less in
meum est, sed et vatis etiam “ whole traductions; whether it “ illius vere divini, cujus hanc “ be natural disposition or edu“ oden altera ætatis septimana,
“ cation in me, or that my mo“ nullo certo animi proposito, “ther bore me a speaker of what “ sed subito nescio quo impetu,
“ God made mine own, and not