fondly, in its primary meaning, foolishly. Notice that the object of 'dream' is the interrupted speech in the following line. 58-63. What . . shore. He shows that the 'nymphs' could have done nothing, had they 'been there,' by recalling the powerlessness of Calliope, chief of the Muses (Cl. D. or Cl. M., pp. 138, 185) to save her own son Orpheus from his terrible death. Read the story of this death in Cl. D. or Cl. M., pp. 187–188. 58. Orpheus. Give the syntax. 61. rout. Who composed this ‘rout,' and why did they make a 'roar'? 63. Lesbian shore, upon which, according to the story, the head of the bard at last floated.

64-84. The first digression of the poem. Does it pay, the poet asks, to strive after and attain poetic ideals, when the applause of the world is not for such effort, but rather for the superficial and trivial? Lines 65-66 refer to the true poet, while 11. 68-69 have reference to the more popular, second-rate lyric writers of the day. It is but fair to add that some critics believe that Milton is making a contrast, not between two kinds of poets, but between a life of poetic effort and one of mere pleasure. 67. use, are accustomed to do. 68-69. Amaryllis and Neæra, shepherdesses of the classic pastoral, the dalliance with whom typifies a life, frivolous, self-indulgent, uninspired by ideals. 70. Fame. . . spur. In what sense is fame a 'spur'? 71. last infirmity. After all other infirmities have been conquered by the noble minds,' a love of fame still survives. 73-76. But . . . life. Explain. Note that Fate, Atropos (Cl. D. or Cl. M., p. 72), is so merciless in this act as to seem a 'Fury.' But why 'blind'? 76-84. But... meed. Apollo, god of song and of the true poet, here speaks. 76. praise. Give the syntax. 77. trembling, a participle, modifying the substantive idea in the possessive 'my,' i.e. the ears of me trembling. 79. glistering foil, a plate of shining metal placed under a jewel to increase its brightness. Explain the metaphor as applied to fame. 81. by, here a very important word. What relation does it express?

85-102. Neptune sends his herald, Triton, to ascertain where lies the responsibility for Lycidas's death. But first the poet acknowledges to the spirit of the pastoral that, in listening to the voice of Phoebus, he has for the moment put aside the 'oat,' or pastoral pipe. The address to 'Arethuse' (Cl. D. or Cl. M., pp. 142–145), a river of Ortygia, an island off Sicily, suggests the Greek writer of pastorals, - Theocritus of Sicily; while ‘Mincius,' a stream of northern Italy, calls up the image of Virgil, who lived upon its banks. 87. higher mood, than the pastoral can express. 90. plea. Explain. 91. fellon. Why 'felon winds'? 93. of rugged wings, a descriptive phrase. Why‘rugged'? 96. Hippotades. Note the Greek patronymic for Æolus, king of the winds (son of Hippotas): see Cl. D. or Cl. M., pp. 73, 526. 99. Panope, one of the fifty Nereids: see Cl. D. or Cl. M., pp. 85, 526. IOI. Built in th' eclipse, etc., and hence ill-omened.

103-107. Really a separate stanza, although not so printed in the original. 103. Camus, the presiding deity of the river Cam, and hence representing Cambridge [with Cam + bridge, compare Ox (or Usk, a river) +ford].

The Cam is a sluggish river filled with river weeds and sedges. 104. mantle, bonnet: see note on L'Alleg. (62). 105. figures dim, markings on the sedge leaf. 106. sanguine, in its radical sense (from Lat. sanguis, blood). flower, the hyacinth. For the story of Hyacinthus, and the markings on the flower named after him, see Cl. D. or Cl. M., pp. 120-121. woe, the Greek word ål (alas), inscribed upon the petals of the hyacinth, and expressing the sorrow of Phoebus. 107. pledge, sometimes, as here, means offspring, or child, since children were once often given as hostages or pledges. See the introduction to these notes for King's close association with his university.

...

108-131. This second digression is a very remarkable passage. The young poet, with intense scorn, denounces the corruption of the Church and clergy of his day, and foreshadows the spirit of the Milton who, a few years later, was to aid the Puritan rebellion with his stern, controversial prose. 109. pilot. . . lake: see Matthew iv. 18. 110. massy (massive) keyes, carried by St. Peter as a symbol of his function: see Matthew xvi. 19. 114. Anow, enow, enough. bellies' sake, material welfare. 115. Creep, intrude, climb. Discriminate between these three ways of invading the ministry. For a very full and careful explanation of this whole passage, see Ruskin's Sesame and Lilies, toward the end of the first third of the essay. 117. scramble feast, press forward to the allotment of church endowments. What is meant by 'the worthy bidden guest'? 119. Blind mouthes. As Ruskin points out, this striking metaphor indicates the very antithesis of a true clergyman. These men are 'blind,' and are 'mouths' open for the feeding; whereas they should be spiritual overseers - bishops, and feeders of their flocks - pastors. Look up the derivation of bishop and of pastor. 119-120. that sheep-hook. What does the clause modify? 122. What sped. Explain each of these three sentences. 123. lean and flashy songs, unsatisfying and insipid sermons. What is the syntax of 'songs'? 124. scrannel, thin. 125. hungry, for what? 126. wind and rank mist they draw (draw in, inhale), the vapid and unsound teachings. 127. Rot... spread. What does this mean? 128. grim woolf. By the 'wolf,' Milton undoubtedly meant the Church of Rome, which was every day gaining new converts from the 'sheepfold' of the English Church, with no one to object; for the English archbishop, Laud, is said to have leaned toward Catholicism. 130. two-handed engine, perhaps more discussed than any other expression in Milton's works. Engine' in his time was used as in our phrase "engine of death." Accordingly, it has been taken to mean an axe (see Matthew iii. 10), a sword (see Revelation i. 16), the two houses of Parliament (the word ' engine' was sometimes used in Milton's time to mean Parliament), the Old and the New Testament, and various other things. The meaning in general is, however, plain, that the time of final retribution is at hand.

...

132-151. Though not set off in the original text, these lines really form the next stanzaic division. 132-133. Return . . . streams, another acknowledgment of a digression from the true pastoral: cf. 11. 85-87. Alpheus, poetically connected with Arethusa: see Cl. D. or Cl. M., pp. 142-145.

For this and Sicilian Muse, see note on 11. 85-102. dread voice. Whose was the voice that had shrunk his streams, and what does the latter phrase mean? 136. use, obsolete in this sense, viz., to have one's dwelling place. 137. Of shades, etc., modifies 'whispers.' 138. swart star, the Dog Star which makes vegetation brown or swarthy. Explain connection here. 139. quaint enameld eyes. Justify the adjectives. 140. honied showres. Why 'honeyed'? 142-150. Bring . . . tears. In this passage notice the aptness of Milton's adjectives. 142. rathe, an old positive, of which rather (originally meaning earlier) was the comparative. 144. jeat, jet. 151. laureat herse. "The hearse was a platform, decorated with black hangings, and containing an effigy of the deceased. Laudatory verses (‘laureate' ) were attached to it with pins, wax, or paste." (Jerram, quoting from Stanley.) Look up the derivation and history of 'hearse,' showing its growth from a harrow to a carriage for the dead.

152-164. 156. Hebrides: islands off the west coast of Scotland. 158. monstrous world, world of monsters. 159. moist vows, tears and prayers. 160. fable of Bellerus old, the land where a Cornish giant, Bellerus, was fabled to have lived. Milton seems to have coined this name from Bellerium, the Latin word for Land's End, Cornwall. 161. great Vision of the guarded mount. Tradition reports that the archangel Michael was once seen sitting on and guarding a Cornish mountain. Here he is represented with his face turned toward the strongholds of Namancos and Bayona, situated in northwestern Spain, opposite Land's End. The poet begs the archangel to withdraw his eyes from Spain and fix them upon the watery grave of Lycidas. 164. Dolphins. For their sympathy with a poet, see Cl. D. or Cl. M., p. 26. 165-185. A burst of triumph, as the poet realizes that, after all, the grave has no real sting. Like the day star,' or sun, which seems to sink into the ocean, this sinking is only to be followed by a glorious resurrection. 165. shepherds. Who is meant? 166. your sorrow. Explain. 170. newspangled ore. Explain this with reference to the sun. 173. might of Him, etc.: see Matthew xiv. 25. 174-175. Where . . . laves. Put into prose order, noting that the clause modifies mounted. 175. nectar pure. Why with nectar'? 176. unexpressive (inexpressible) nuptial song: see Revelation xix. 6-9. 177. kingdoms meek. Explain the adjective. 181. wipe the tears. Isaiah xxv 8; Revelation vii. 7. 183. Genius of the shore. According to an ancient belief the spirit of any one who was drowned would thereafter guard the place of his death as a protecting 'genius.' Note here and throughout the poem the freedom with which Milton turns from Christian to pagan imagery.

186-193. Observe the calm repose of these last lines-the same placidity that often marks the close of a stirring epic. 186. uncouth. What is the meaning here? See L'Alleg. (5) and note. Who is this 'uncouth swain'? 186-191. Thus . . . bay. He had been singing this pastoral song all day. 188. quills, reeds, or oaten pipes of the shepherd. Their stops are the vent-holes over which the fingers of the musician play. But

why 'tender'? 189. Dorick. Doric was the rural dialect used by Theocritus and other Greek writers of pastoral poetry. 190. stretch'd out all the hills. Explain this line. 192. twitch'd. We can imagine the shepherd drawing his blue mantle around him as he feels the sudden chill of evening. 193. To-morrow... new. What meaning may this line have in reference to Milton's life? Indicate best lines in this poem. (See INTRODUCTION, p. cvi.) Comment upon the metre and the tone-qualities of 11. 1-14; upon the poetic figures of ll. 103-131, and the derived or memory-images of ll. 132-151. Comment upon the charms of sound-sequence in the stanza of ll. 186–193.

COMUS

The masque, or mask, was a form of dramatic entertainment introduced from Italy into England during the early part of the sixteenth century. We find little mention of it, however, until the time of Queen Elizabeth; but from that period it rose steadily in favor with court and nobility. During the reign of James II the masque attained the summit of its excellence, noteworthy not only on account of the magnificence of its staging and the beauty of its scenic effects, but also from its genuine value as a form of literature. Its rank in this respect was largely due to the scholarly dramatist, Ben Jonson, who, by writing some thirty, firmly established his reputation as the greatest masque writer that England has produced. From his time on the music and dancing, which formed the chief attraction of the earlier productions, were made subordinate to the literary element — the beautiful expression of lofty thought. The chief points of difference between the regular drama and the masque are as follows: (1) The masque is much shorter than the ordinary drama, has much less action, fewer characters, and less character development. (2) It was produced on a very elaborate scale, thus contrasting strongly with the simple stage effects of the Elizabethan drama. The spectacular element, indeed, was not infrequently devised by Inigo Jones, the famous court architect and decorator of Jonson's time; and in many instances the play is estimated to have cost thousands of pounds for a single production. (3) The masque was almost always intended for a special occasion, and was produced as a sort of private theatrical in which the characters were frequently taken by ladies and gentlemen of the nobility. (4) The masque, unlike the drama, is véry often concerned with the working out of some hidden allegorical meaning, and therefore is filled with speeches far too long for a drama of action. (5) In the later, as well as in the early masques, music and dancing played a much more prominent part than in the regular drama. (For Drama, see INTRODUCTION, p. xcviii.)

In 1634, when Comus was produced, the masque was at its height. The circumstances which led to this particular production were as follows: the Earl of Bridgewater, whom Charles I had appointed Lord President of Wales, called upon Henry Lawes, the tutor of his children and the most accomplished musical composer of the day, to furnish a masque to celebrate his entry upon official residence at Ludlow castle. Lawes thereupon applied

For this and Sicilian Muse, see note on ll. 85-102. dread voice. Whose was the voice that had shrunk his streams, and what does the latter phrase mean? 136. use, obsolete in this sense, viz., to have one's dwelling place. 137. Of shades, etc., modifies whispers.' 138. swart star, the Dog Star which makes vegetation brown or swarthy. Explain connection here. 139. quaint enameld eyes. Justify the adjectives. 140. honied showres. Why 'honeyed'? 142-150. Bring . . . tears. In this passage notice the aptness of Milton's adjectives. 142. rathe, an old positive, of which rather (originally meaning earlier) was the comparative. 144. jeat, jet. 151. laureat herse. "The hearse was a platform, decorated with black hangings, and containing an effigy of the deceased. Laudatory verses (‘laureate') were attached to it with pins, wax, or paste." (Jerram, quoting from Stanley.) Look up the derivation and history of 'hearse,' showing its growth from a harrow to a carriage for the dead.

152-164. 156. Hebrides: islands off the west coast of Scotland. 158. monstrous world, world of monsters. 159. moist vows, tears and prayers. 160. fable of Bellerus old, the land where a Cornish giant, Bellerus, was fabled to have lived. Milton seems to have coined this name from Bellerium, the Latin word for Land's End, Cornwall. 161. great Vision of the guarded mount. Tradition reports that the archangel Michael was once seen sitting on and guarding a Cornish mountain. Here he is represented with his face turned toward the strongholds of Namancos and Bayona, situated in northwestern Spain, opposite Land's End. The poet begs the archangel to withdraw his eyes from Spain and fix them upon the watery grave of Lycidas. 164. Dolphins. For their sympathy with a poet, see Cl. D. or Cl. M., p. 26. 165-185. A burst of triumph, as the poet realizes that, after all, the grave has no real sting. Like the day star,' or sun, which seems to sink into the ocean, this sinking is only to be followed by a glorious resurrection. 165. shepherds. Who is meant ? 166. your sorrow. Explain. 170. newspangled ore. Explain this with reference to the sun. 173. might of Him, etc.: see Matthew xiv. 25. 174-175. Where ... laves. Put into prose order, noting that the clause modifies mounted. 175. nectar pure. Why with 'nectar'? 176. unexpressive (inexpressible) nuptial song: see Revelation xix. 6-9. 177. kingdoms meek. Explain the adjective. 181. wipe the tears. Isaiah xxv 8; Revelation vii. 7. 183. Genius of the shore. According to an ancient belief the spirit of any one who was drowned would thereafter guard the place of his death as a protecting 'genius.' Note here and throughout the poem the freedom with which Milton turns from Christian to pagan imagery.

186-193. Observe the calm repose of these last lines- the same placidity that often marks the close of a stirring epic. 186. uncouth. What is the meaning here? See L'Alleg. (5) and note. Who is this 'uncouth swain'? 186-191. Thus . . . bay. He had been singing this pastoral song all day. 188. quills, reeds, or oaten pipes of the shepherd. Their stops are the vent-holes over which the fingers of the musician play. But