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155

Sent by some Spirit to mortals good,
Or th' unseen Genius of the wood.
But let my due feet never fail
To walk the studious cloister's pale,
And love the high embowed roof,
With antic pillars massy proof,

· And, frequent, in the middle watch printed, highly-vaulted. Emof night,

bowed is arcuatus, arched. It is Or, all day long, in deserts still, áre heard,

the same word in Comus, v. 1015., Now here, now there, now wheeling where the bow'd welkin slow doth in mid sky,

bend. Around, or underneath, aerial sounds, Sent from angelic harps, and voices See Gascoigne's Jocasta, act i. s. I join'd;

2. fol. 78. a. edit. 1587. A happiness bestow'd by us alone, On contemplation, or the hallow'd The gilted roofes emboro'd wyth curious. ear

worke. * Of poet, swelling to seraphic strain. Dr. J. Warton. That is, vaulted with curious

« work." See more instances in Adam speaks, with transport, Observ

transport: Observ, F. Qu. ü. 134. And Sylof the “aereal music of cherubic

vester, edit. 1605. p. 70. 246. “songs, heard by night from the

Old Saint Paul's cathedral, “ neighbouring hills.” Par. Lost, from Hollar's valuable plates in b. v. 547. See Tempest, act i.

Dugdale, appears to have been S. 2.

a most stately and venerable patWhere should this music be, i' th' air, tern of the Gothic style. Milton or th' earth?

was educated at Saint Paul's It sounds no more!

school, contiguous to the church; I hear it now above me.

Warton and thus became impressed with

an early reverence for the so156. To walk the studious cloin lemnities of the ancient ecclester's pale,) Perhaps, “the stu- siastical architecture, its vaults, “ dious cloister's pale." Pale, shrines, isles, pillars, and painted inclosure. Milton is fond of the glass, rendered yet more awful singular number. In the next by the accompaniment of the line follows as in apposition, choral service. Does the prethe high-embowed roof. T. sent modern church convey these

feelings? Certainly not. We This conjecture is ridiculed by justly admire and approve Sir Dr. Symmons in his Life of Mil- Christopher Wren's Grecian proton, p. 121. note; but approved portions. Truth and propriety by Johnson, Dict. voc. pale. E. gratify the judgment, but they

157. And love the high-embowed do not affect the imagination. roof.] So the line should be T. Warlon.

VOL. III.

Warlon.

160

And storied windows richly dight,
Casting a dim religious light.
There let the pealing organ blow,
To the full voic'd quire below,

Inducti.

159. And storied windows richly the rooms were hung with storia, dight,] Storied, or painted with or histories, and painted tapestories, that is, histories. That stries. Poemata, Rostoch. 1579. this is precisely the meaning of p. 171. a. 12mo. the word storied, we may learn Totius ast urbis quam sit pretiosa from Harrison's Description of supellex; England, written about the year Parietibus quam sint storia, pictique 1580, and prefixed to the first tapetes, volume of 'Hollinshead. " As “ for our churches, all images, [Unless the true reading be stoshrines, tabernacles, roodlofts, reæ, i, e, mats, or carpets.] “ and monuments of idolatry; In barbarous Latinity, storia “ are removed, taken downe, is sometimes used for historia. " and defaced : onelie the stories “ Item volo et ordino, quod liber " in the glass-windowes ex- “meus Chronicarum et Storiarum “ cepted, which for want of suf-“ Franciæ, scriptarum in Gallico, “ ficient store of new stuffe, and “&c." Prolog. ad Chron. Franc. “ by reason of extream charge tom. iii. Collect. Historic. Fraac. " that should grow by the alter- p. 152. Again, of a benefactor “ ation of the same into white to a monastery, « Fecit aliam punes throughout the realme, “ vestem cum storiis crucifixi “ are not altogether abolished in “ Domini.” S. Anastas. in S. “ most places at once, but by Leon. iii. Apud Murator. p. 200. a little and little suffered to de- tom. iii. To this extract many a caie, that white glasse may be others from monastic records " provided and set up in their might be easily added, which «« roomes." B. ii. c. 1. p. 138. prove the frequent use of the col. 2. 30. In Comus we find the word storia for scriptural history. verb story, v. 516.

T. Warton. What the sage poets, taught by th'

160. Casting a dim religious heavenly Muse,

light.] Mr. Pope has imitated Storied of old in high immortal verse. this in his Eloisa to Abelard, ver. In Chaucer, storial occurs for

143. historical. Leg. Cleopatr. v. 123. Where awful arches make a noonp. 343. edit. Urr.

day night,

And the dim windows shed a solemn And this is storial sothe, it is no fable. Nathan. Chytraeus, a German, 161. There let the pealing organ not an inelegant Latin poet, in blow, &c.] This shews that Mil. his Iler Anglicum, describing the ton, however mistaken in other costly furniture of the houses in respects, did not run into the enLondon, says that the walls of thusiastic madness of that fas

light,

In service high, and anthems clear,
As may with sweetness, through mine ear,
Dissolve me into ecstasies,
And bring all heav'n before mine eyes,
And may at last my weary age
Find out the peaceful hermitage,
The hairy gown and mossy cell,
Where I may sit and rightly spell
Of every star that heav'n doth shew,
And every herb that sips the dew;

natic age against Church music. conducting the Penseroso so Thyer.

happily to the last scene of life, • Of this species of pensive plea- as leaves the reader's mind fully sure, he speaks in a very differ satisfied: and if preferring the ent tone in the Answer to the one would not look like cenEikon Bas. s. xxiv. In his prayer suring the other, I would say he“ (the king) remembered what that in this respect this poem “ voices of joy and gladness there claims a superiority over the Al“ were in his chapel, God's house legro, which, although designed “ in his opinion, between the with equal judgment, and exe" singing men and the organs: cuted with no less spirit, yet ends “ - the vanity, superstition, and as if something more might still “misdevotion of which place, have been added. Thyer. “ was a scandal far and near; It should be remarked, that “ wherein so many things were Milton wishes to die in the cha“ sung and prayed in those songs racter of the melancholy man. “which were not understood, T. Warton.

: &c.” Again, with similar con- 172. And every herb that sips tempt, s. XXV. “His glory in the the dew.] It seems probable that “ gaudy copes, and painted win- Milton was a student in botany. « dows, and chaunted service. For he speaks with great plea“ book, &c.” Pr. W. i. 429. 531. sure of the hopes he had formed T. Warton.

of being assisted in this study by 167. And may at last my weary his friend Charles Deodate, who age &c.] There is something ex- was a physician. Epitaph. Datremely pleasing and proper in mon. 150. this last circumstance, not merely Tu mihi percurres medicos, tua graas it varies and enlarges the pic

mina, succos, &c. ture but as it adds such a perfec

T. Warton. tion and completeness to it, by

Till old experience do attain
To something like prophetic strain.

173. Till old experience do at- the English stage, he wrote six tain

cantatas, composed by Pepusch, To something like prophetic which were designed as an essay strain.]

or specimen, the first in its kind, This resembles what Cornelius for compositions in English after Nepos says of Cicero, that his the Italian manner. He was also prudence seemed to be a kind of employed in fitting old pieces divination, for he foretold every for music. In the year 1711, thing that happened afterwards Sir Richard Steele, and Mr. like a prophet. -et facile exis- Clayton a composer, established timari possit, prudentiam quo- concerts in York-buildings; and dammodo esse divinationem. there is a letter dated that year, Non enim Cicero ea solum, quæ written by Steele to Hughes, in vivo se acciderunt, futura præ- which they desire him to “ alter dixit, sed etiam quæ nunc usu “ this poem [Dryden's Aleranveniunt, cecinit, ut vates. Vita “ der's Feast] for music, preAttici, cap. 16. This ending is “serving as many of Dryden's certainly very fine, but though “ verses as you can. It is to be Mr. Thyer thinks it perfect and “ performed by a voice well complete, yet others have been of “ skilled in recitative: but you opinion that something more “ understand all these matters might still be added, and I have “ much better than Yours, &e." seen in Mr. Richardson's book (See ibid. p. xv. xvii. and p. 197. some lines of Mr. John Hughes. and vol. ii. p. 71.] The two pro

jectors, we may probably supThere let Time's creeping winter pose, were busy in examining

shed His reverend snow around my head;

collections of published poetry And while I feel by fast degrees

for words to be set to music, for My sluggard blood wax chill and their concerts, and stumbled in

their search on one or both of Let thought unveil to iny fix'd eye

Milton's two poems. These they A scene of deep eternity, Till life dissolving at the view,

requested Hughes, an old and . I wake and find the vision true.

skilful practitioner in that sort

of business, to alter and adapt 179. But this addition was not for musical composition. What made by Hughes, as I appré- he had done for Dryden, he hend, from any peculiar predis might be desired to do for Millection for Milton's poem. ton. This seems to be the hisHughes was a frequent and pro- tory of Haghes's supplemental fessed writer of cantatas, masks, lines. Hughes, however, has an operas, odes, and songs for mu, expression from Comus, in his sic. In particular, before the in. Thought on a Garden, written troduction of Italian operas on 1704. Poems, vol. i. p. 171. v. 3.

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175

These pleasures Melancholy give,
And I with thee will choose to live.

Here Contemplation prunes her When I build castles in the ayre, wings.

Voide of sorrow, voide of feare : See Com. v. 377. 378. and the Pleasing myselfe with phantasmes

sweet, note. T. Warton,

Methinkes the time runnes very fleet. Of these two exquisite little All my joyes to this are folly, poems, I think it clear that this Nought so sweet as Melancholy ! last is the most taking; which is

When to myself I act and smile, owing to the subject. The mind

With pleasing thoughts the time be

guile, delights most in these solemn

By a brooke side, or wood so greene, images, and genius delights most Unheard, unsought for, and unseene; to paint them. Hurd.

A thousand pleasures do me blesse, It will be no detraction from

&c. the powers of Milton's original

Methinkes I hear, methinkes I see,

Sweet musicke, wondrous melodie ; genius and invention to remark,

Townes, palaces, and cities fine, that he seems to have borrowed Rare beauties, gallant ladies shine : the subject of L'Allegro and Il Whatever is lovely or divine : Penseroso, together with some

All other joyes to this are folly,

Nought so sweet as Melancholy ! particular thoughts, expressions, Methinkes I heare, methinkes I see and rhymes, more especially the Ghostes, goblins, fiendes: my phanidea of a contrast between these tasie two dispositions, from a forgotten

Presents a thousand ugly shapes, poem prefixed to the first edition

Dolefull outcries, fearefull sightes,

My sad and dismall soule aftrightes: of Burton's Anatomie of Melan

All my griefes to this are folly, choly, entitled, “ The Author's Noughte so damnde as Melancholy ! Abstract of Melancholy, or a

&c. &c. “ Dialogue between Pleasure and “ Pain." Here Pain is Melan

As to the very elaborate work choly. It was written, as I con. to which these visionary verses jecture, about the year 1600. I are no unsuitable introduction, will make no apology for ab

for ab: the writer's variety of learning, stracting and citing as much of his quotations from scarce and this poem, as will be sufficient to curious books, his pedantry prove to a discerning reader, how sparkling with rude wit and far it had taken possession of

shapeless elegance, miscellaneMilton's mind. The measure

reous matter, intermixture of agreewill appear to be the same; and able tales and illustrations, and that our author was at least an

perhaps, above all, the singu. attentive reader of Burton's book,

larities of his feelings clothed in may be already concluded from an uncommon quaintness of style, the traces of resemblance which have contributed to render it, I have incidentally noticed in

even to modern readers, a valu. passing through the L'Allegro

able repository of amusement and Il Penseroso.

and information. When I goe musing all alone,

But I am here tempted to add Thinking of diverse thinges fore.

a part of Burton's prose, for the known;

sake of shewing, at one view,

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