85 Far from all resort of mirth, Save the cricket on the hearth, To bless the doors from nightly harm. Be seen in some high lonely tower 90 What worlds or what vast regions hold Or what (though rare) of later age But, O, sad Virgin, that thy power Might raise Musæus from his bower; 105 Or bid the soul of Orpheus sing Such notes as, warbled to the string, 110 The story of Cambuscan bold, That owned the virtuous ring and glass, 115 On which the Tartar king did ride; . Of forests and enchantments drear, 120 Where more is meant than meets the ear. Thus, Night, oft see me in thy pale career, Till civil-suited Morn appear, Not tricked and frounced as she was wont, 125 But kerchieft in a comely cloud, While rocking winds are piping loud; 130 With minute drops from off the eaves. Where the rude axe with heaved stroke 145 With such consort as they keep, And, let some strange mysterious dream Of lively portraiture displayed, 150 Softly on my eyelids laid. 155 And, as I wake, sweet music breathe Sent by some Spirit to mortals good, There let the pealing organ blow, In service high, and anthems clear, 165 Dissolve me into ecstasies, And bring all Heaven before mine eyes. And I with thee will choose to live. (1-30) Observe Milton's meaning of "melancholy"; and note the various senses in which the word has been used in ancient and modern times. Cf. Burton's "The Author's Abstract of Melancholy" and Fletcher's "Hence, all you vain delights." Observe the lines of beautiful darkness which are added by the classical legends. (31-60) By the description of Melancholy, we are reminded of what character in Book I. Canto I. of the “Faërie Queene"? How are Melancholy's attendants balanced by those of Mirth in "L'Allegro"? "Smoothing the rugged brow of Night." Cf. Milton's "Comus," 251: "smoothing the raven down | Of darkness till it smiled!" (61–96) Balance all night sounds with those of day in "L'Allegro." Note the assonance and the manipulation of consonants which are employed by Milton to make the curfew correctly meet the ear in melancholy pleasure. (97-120) Ascertain what ancient classical characters in tragedy are presented in "Thebes, or Pelops' line | Or the tale of Troy divine." In “The Squieres Tale" Chaucer has told the story of the horse of brass. Boiardo, Ariosto, Tasso, and Spenser, are the medieval writers of impure allegory. Analyse Milton's definition of allegory. (121-176) Read the close of "Westminster Abbey" where Irving uses the imagery of "Il Penseroso." In English poetry, Timon, Duke Frederick, Jaques, and Manfred, characters suffering from melancholy, have sought the hairy gown and mossy cell. Classify the finest phrases. Analyse the one great dynamic phrase. Explain the mythological allusions throughout the poem. LYCIDAS Yet once more, O ye laurels, and once more, I come to pluck your berries harsh and crude, 5 Shatter your leaves before the mellowing year. Compels me to disturb your season due; For Lycidas is dead, dead ere his prime, Young Lycidas, and hath not left his peer. 10 Who would not sing for Lycidas? he knew Himself to sing, and build the lofty rhyme. He must not float upon his watery bier Unwept, and welter to the parching wind, Without the meed of some melodious tear. 15 Begin then, Sisters of the sacred well Hence with denial vain and coy excuse: 20 With lucky words favour my destined urn, And bid fair peace be to my sable shroud! For we were nursed upon the self-same hill, Fed the same flock, by fountain, shade, and rill; 25 Together both, ere the high lawns appeared Under the opening eye-lids of the Morn, Toward heaven's descent had sloped his westering wheel. Meanwhile the rural ditties were not mute; Tempered to the oaten flute, Rough Satyrs danced, and Fauns with cloven heel 35 From the glad sound would not be absent long; And old Damoetas loved to hear our song. But, oh! the heavy change, now thou art gone, The willows, and the hazel copses green, Fanning their joyous leaves to thy soft lays. 45 As killing as the canker to the rose, 50 Or taint-worm to the weanling herds that graze, Or frost to flowers, that their gay wardrobe wear, Such, Lycidas, thy loss to shepherd's ear. Where were ye, Nymphs, when the remorseless deep |