He spake: and to confirm his words, out-flew There stood a hill not far, whose grisly top 667. -with grasped arms] The known custom of the Roman soldiers, when they applauded a speech of their general, was to smite their shields with their swords. Bentley. And the epithet grasped, joined to arms, determines the expression to mean swords only, which were spoken of a little before, ver. 664. Pearce. Mr. Upton is of opinion that Milton in what follows imitates both Spenser and Shakespeare, Faery Queen, b. i. cant. iv. st. 40. And clash their shields, and shake their swords on high. Julius Cæsar, act v. 665 670 Defiance, traitors, hurl we in your teeth. Milton in his imitations scarcely ever confines himself to the beauties or expressions of one author, but enriches his diction with the spoils of many, and hence surpasses any one. Letter to Mr. West on Spenser's Faery Queen, p. 23. 669. Hurling defiance toward the vault of heav'n.] Dr. Bentley reads the walls of heav'n. Heaven the habitation of God and angels being never described as vaulted; and Dr. Pearce approves the emendation; and without doubt the wall or walls of heaven is a common expression with our author. But may we not by the vault of heaven understand cœli convexa, our visible heaven, which is often described as vaulted, the sphere of the fixed stars above which God and angels inhabit? Hurling defiance toward the visible heaven is in effect hurling defiance toward the invisible heaven, the seat of God and angels. 671. Belch'd] So Virgil, Æn. Shone with a glossy scurf, undoubted sign The work of sulphur. Thither wing'd with speed 675 From heav'n, for e'en in heav'n his looks and thoughts Were always downward bent, admiring more iii. 576. says eructans of Ætna, from which, or from mount Vesuvius, or the like, our poet took the idea of this mountain. 673. That in his womb] A very great man was observing one day a little inaccuracy of expression in the poet's making this mountain a person and a male person, and at the same time attributing a womb to it: and perhaps it would have been better if he had written its womb; but womb is used in as large a sense as the Latin uterus, which Virgil applies to a stag, Æn. vii. 681 674. The work of sulphur.] For metals were supposed to consist of two essential parts or principles; mercury, as the basis or metallic matter; and sulphur as the binder or cement, fixing the fluid mercury into a coherent malleable mass. See Chambers's Dict. of Sulphur. And so Johnson in the Alchemist, act ii. sc. 3. It turns to sulphur, or to quicksilver, metals. 678. Mammon] This name is Syriac, and signifies riches. Ye cannot serve God and Mammon, says our Saviour, Matt. vi. 24. and bids us make to ourselves friends of the Mammon of unrighteousness, Luke xvi. 9. and ver. 11. If ye have not been faithful in the unrighteous Mammon, who will commit to your trust the true? Some look upon Mammon as the god of riches, and Mammon is accordingly made a person by our poet, and was so by Spenser before him, whose description of Mammon and his cave our poet seems to have had his eye upon in several places. The riches of heav'n's pavement, trodden gold, In vision beatific: by him first Men also, and by his suggestion taught, 685 Ransack'd the centre, and with impious hands For treasures better hid. Soon had his crew 690 will dig, cleanse, melt, and se- 684.] See T. Warton's note 687. Rifled the bowels of their -Itum est in viscera terræ, 688. For treasures better hid.] Aurum irrepertum, et sic meliùs Learn how their greatest monuments of fame, lude particularly to the famous Barbara Pyramidum sileat miracula 695. Learn how their greatest monuments of fame, And strength and art &c.] This passage has been misunderstood by Dr. Bentley and others. Strength and art are not to be construed in the genitive case with fame, but in the nominative with monuments. And then the meaning is plainly thus, Learn how their greatest monuments of fame, and how their strength and art are easily outdone, &c. 699. And hands innumerable] There were 360000 men employed for near twenty years upon one of the Pyramids, according to Diodorus Siculus, lib. i. and Pliny, lib. xxxvi. cap. 12. 702. -a second multitude With wondrous art founded the massy ore,] The first band dug the metal out of the mountain, a second multitude on the plain hard by 695 700 founded or melted it; for founded it should be read as in the first edition, and not found out as it is in the subsequent ones; founded from fundere, to melt, to cast metal. 704. and scumm'd the bullion dross:] Dr. Bentley supposes that the author gave it, and scumm'd from bullion dross. But I believe that the common reading may be defended. The word bullion does not signify purified ore, as the Doctor says; but ore boiled or boiling; and when the dross is taken off, then it is purified ore. Agreeably to this Milton, in his tract called Of the Reformation of England, says, -to extract heaps of gold and silver out of the drossy bullion of the people's sins. And Milton makes bullion an adjective here, though commonly it is a substantive; just as in v. 140. we have ocean brim, and in iii. 284. virgin seed. And so bullion dross may signify the dross that came from the metal, as Spenser expresses it, or the dross that swam surface of the boiling ore. Pearce. on the A third as soon had form'd within the ground To many a row of pipes the sound-board breathes. Rose like an exhalation, with the sound 708. As in an organ &c.] This simile is as exact, as it is new. And we may observe, that our author fréquently fetches his images from music more than any other English poet, as he was very fond of it, and was himself a performer upon the organ and other instruments. 711. Rose like an exhalation,] The sudden rising of Pandemonium is supposed, and with great probability, to be a hint taken from some of the moving scenes and machines invented for the stage by the famous Inigo Jones. 712. Of dulcet symphonies] This word is used likewise by Shakespeare, Midsummer Night's Dream, act ii. Uttering such dulcct and harmonious breath. 713. where pilasters round &c.] One of the greatest faults of Milton is his affectation of shewing his learning and knowledge upon every occasion. He could not so much as describe this structure without bringing in I 705 710 know not how many terms of architecture, which it will be proper for the sake of many readers to explain. to explain. Pilasters round, pillars jutting out of the wall, were set, and Doric pillars, pillars of the Doric order; as their music was to the Dorian mood, ver. 550, so their architecture was of the Doric order; overlaid with golden architrave, that part of a column above the capital; nor did there want cornice, the uppermost member of the entablature of the column, or frieze, that part of the entablature of columns between the architrave and cornice, so denominated of the Latin phrygio an embroiderer, because it is commonly adorned with sculptures in basso relievo, imitating embroidery, and therefore the poet adds, with bossy sculptures graven; the roof was fretted gold, fretwork is fillets interwoven parallel distances. This kind of work has usually flowers in the spaces, and must glitter much, especially by lamp-light, as Mr. Richardson observes. at |