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Filld her with thee a daughter fair,
She looks as clear
Spenser, F. Q. vii. vii. 52. the As morning roses newly wash'd with involutions of the planets. To dew.
crank, in Shakespeare's Venus
and Adonis, is to cross, rind, 23. Filld her, &c.] From double, &c. The verb crankle, Gower's song in Pericles Prince with the same sense, but its freof Tyre, act i. s. 1. See Malone's quentative, occurs more than Suppl. Sh. ii. 7.
once in Drayton. Our author This king unto him took a phear, has cranks, which his context Who died, and left a female heir explains, Pr. W. i. 165. “To So bucksome, blithe, and full of face, « Shew us the ways of the Lord.
As heav'n had lent her all his grace. " strait and faithful as they are, See note on Il Pens. 25. Bowle. « not full of cranks and contra
25. Haste thee, nymph, and « dictions." T. Warton. bring with thee, &c.] Copied from Crank, any conceit formed by Buchanan, Opp. ed. 1687. p. 337. twisting or changing the form or - Vos adeste, rursus,
meaning of a word. Johnson. Risus, Blanditiæ, Procacitates,
28. Nods and becks, and Lusus, Nequitiæ, Facetiæque,
wreathed smiles, Joci, Deliciæque, et Illecebræ, &c.
Such as hang on Hebe's cheek,
And love to live in dimple sleek.] 27. Quips and cranks, and compare a stanza in Burton's wanton wiles.] A quip is a sati. Anatomie of Melancholy, p. 449. rical joke, a smart repartee. See ed. 1628. Jonson's Cynthia's Revels, act ii. 8. 4. Shakespeare, First P. Hen.
With becks and nods he first beganne, IV. act i. s. 2. and in other places. By cranks, a word yet
And Richard Brathwayte's Shepunexplained, we are to under
heard's Tales, Lond. 1621. p. stand cross-purposes, or some
201. other similar conceit of conver
a dimpled chin sation, surprising the company
Made for Love to lodge him in. by its intricacy, or embarrassing But the same idea occurs in by its difficulty. Such were the Drummond's Poems, ed. 1616. festivities of our simple ances- p. 1. signat. D. and in Fletcher's tors! Cranks, literally taken, in Faithful Shepherdess, act i. s. I. Coriolanus, act i, s. 1. signify the vol. iii. p. 131. Shakespeare has ducts of the human body. In pursued the same idea to an un
Such as hang on Hebe's cheek,
paralleled extravagance in Venus
Trip and go and Adonis, ed. 1596. signat. A. On my toe, &c. iiij. And indeed it might be In Love's Labour Lost, is part of traced backward to Horace, and another, or the same, “ Trip and from Horace to Euripides. T. «go, my sweet." A. iv. s. 2. So Warton.
also in Nashe's Summer's Last 32. And Laughter holding both Will and Testament, 1600. “ Trip his sides.] A fine improvement « and go, heave and hoe,” &c. upon Shakespeare. A Midsum. T. Warton. mer Night's Dream, act ii. sc. 1. 36. The mountain nymph, sweet And then the whole quire hold their Liberty :) I suppose Liberty is hips, and loffe.
called the mountain nymph, be32. Ph. Fletcher's Mirth is so cause the people in mountainous attended. Purpl. Isl. cant. iv. p. countries have generally pre13. ed. 1633.
served their liberties longest, as Here sportfull Laughter dwells, here the Britons formerly in Wales, ever sitting,
and the inhabitants of the mounDefies all lumpish griefs, and wrinkled
tains of Switzerland at this day. And twenty merrie mates, mirth
36. Milton was not so political causes fitting
here. Warmed with the poetry And smiles, which Laughter's sonnes, of the Greeks, he rather thought yet infants are.
of the Oreads of their mythology, T. Warton. '
whose wild haunts among the 33. Come, and trip it as you go romantic mountains of Pisa are
On the light fantastic toe: ] so beautifully described in HoAnother imitation of Shake- mer's hymn to Pan. The alluspeare. Tempest, act iv. sc. 2. sion is general to inaccessible Ariel to the spirits,
and uncultivated scenes, such as -Come, and go,
mountainous situations afford, Each one tripping on his toe. and which were best adapted to
33. To trip on the toe in the the free and uninterrupted range dance seems to have been tech- of the nymph Liberty. So he nical. See note on Comus, v. compares Eve to an Oread, P.L. 961. There is an old ballad ix. 387. See also El. v. 127. T. with these lines,
And if I give thee honour due,
40. In unreproved pleasures 41. See an elegant little song free.] Blameless, innocent, as in in Lilly's Alexander and CamP. L. iv. 492.
paspe, presented before Queen - with eyes
Elizabeth, a. v. s. 1. Of conjugal attraction unreproved. The larke so shrill and cleare, So Spenser has “ unreproved How at heaven's gate she claps her “ truth.” Sandys “ unreproved
wings, “ kisses.” Drayton, “I may
The morne not waking till she sings, “ safely play and unreproved." See the notes on P. L. v. 198. T. Warton.
and P. R. Ü. 279. There is a 41. To hear the lark begin his peculiar propriety in starile : the flight, &c.] At the same time lark's is a sudden shrill burst of that Milton delights our imagina- song. tion with this charming scene of Both in L'Allegro and Il Perrural cheerfulness, he gives us a seroso there seem to be two parts, fine picture of the regularity of a day-piece, and a night-piece. his life, and the innocency of Here, or with three or four of his own mind. The principal the preceding lines, our author circumstances are taken from the begins to spend the day with earliest dawn of the morning, mirth. T. Warton. and prove the truth of what he 44. —the dappled dawn] The says of himself in his Apology word is used and explained in for Smectymnuus, " that he was Shakespeare. Much Ado about “ up and stirring, in winter Nothing, act v. sc. 8. “ often ere the sound of any bell
-and look the gentle day, « awake men to labour, or to Before the wheels of Phæbus, round “ devotion; in summer as oft
about “ with the bird that first rouses, Dapples the drowsy east with spots " or not much tardier, to read of gray. “ good authors, &c:" and few 44. So also Drummond, Sonminds, I believe, but such as nets, ed. 1616. signat. D. 2. are innocent and unstained with guilty pleasures have any great
Sith, winter gone, the sunne in dapled taste for these pure and genuine
Now smiles on medores, mountaines, ones which the poet describes. hills, and plaines. Thyer.
lagro and here two poeme price of
Then to come in spite of sorrow,
45. Then to come in spite of Again, ibid. p. 70. sorrow,] These two poems, L'Al But cheerful birds chirping hiin sweet legro and Il Penseroso, are cer
good morrowes. tainly the best of Milton's pro
T. Warton: ductions in rhyme, for the rhymes in Lycidas are irregular: but yet
Milton perhaps remembered we may observe that several Virgil in these descriptions of things are said, which would
the morning, and the morning not have been said but only for
sounds; the sake of the rhyme, and we Evandrum ex humili tecto lux sus. have an instance, I conceive, in
citat alma the line before us. Mr. Pope, I
Et matutini volucrum sub culmine have been informed, had re
Æn. viii. 455. marked several defects of the And Gray certainly copied both same kind in these two poems; Virgil and Milton.. and there may be some truth and justness in the observation,
The breezy call of incense-breathing
morn, which Dryden has made in the
The swallow twittring from the dedication of his Juvenal, that straw-built shed, “ rhyme was not Milton's talent, The cock's shrill clarion, and the “ he had neither the ease of doing
• No more shall rouse them from their “ it, nor the graces of it;" but
lowly bed. then it must be said, that he had
E. talents for greater things, and there is more harmony in his
47, 48. Sweet-briar and egblank verse than in all the rhym- lantine are the same plant. By ing poetry in the world.
the twisted eglantine" he there46. And at my window bid good fore means the honeysuckle. morrow, 7 Sylvester's Du Bartas, T. Warton. in the Cave of Sleep, p. 315. ed. 51. ---Rouse the slumb'ring 1621.
morn,] Compare an elegant triplet Cease, sweet chantecleere,
of an obscure poet, John HabingTo bid good morrowe.
ton, Caslara, ed. 1640. p. 8. VOL. Ill.
From the side of some hoar hill,
The nymphes with quivers shall Fairfax, cant. i. st. 72.
adorne Their active sides, and rouse the So every one in arms was quickly dighi. morne
62. Literally from a very pu. With the shrill musicke of their erile poetical description of the horne.
morning in one of his academic
T. Warton. Prolusions. Ipsa quoque tellus 57. -Not unseen.] In the in adventum solis, cultiori se inPenseroso, he walks unseen, v. 65. duit vestitu, nubesque juxta rariis Happy men love witnesses of chlamydata coloribus, pompa sotheir joy; the splenetic love lenni, longoque ordine, videntur solitude. Hurd.
ancillari surgenti Deo. Pr. W. 59. Right against the eastern gate, vol. ii. p. 586. Where the great sun begins his This morning landscape of state, &c.]
L'Allegro has served as a repoHere is an allusion to a splendid sitory of imagery for all succeed. or royal procession. Gray has ing poets on the same subject. adopted the first of these lines Much the same circumstances in his Descent of Odin. The however, amongst others, are eastern gate is a common image assembled by the author of See Milton's poem In Quintum Britannia's Pastorals, who wrote Novembris, 133. Drayton, Po- above thirty years before, b. iv. lyolb. st. xiii. Shakespeare, Mids. s. iv. p. 75. ed. 1616. Ñ. Dr. a. ii. s. 9. Compare By this bad chanticlere, the villagealso Browne, Brit. Past. b. i. s.
clocke, v. and b. ii. s. iii. And Tasso, Bidden the good wife for her maides c. xiv. 3. T. Warton.
to knocke : 62. The clouds in thousand
And the swart plowman for his break
fast staid, liveries dight,] And so in Il Pen That he might till those lands were seroso,
fallow laid :
The hills and vallies here and there And storied windows richly dight.
resound Dight, dressed, adorned ; a word With the re-ecchoes of the deepeused by Spenser, and our old mouth'd hound: writers. Faery Queen, b. i. cant.
Each sheapherd's daughter with her
cleanly peale, iv. st. 6.
Was come afield to milke the mornWith rich array and costly arras dighl. ings meale;