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“ and use it not very mach, as he that faid by way of epithete,
“ The fmoakie fighes: the trickling teares. & And such like, for such composition makes the meetre
runne away smoother, and passeth from the lippes with
more facilitie by ITERATION of a letter than by ALTE“ RATION, which alteration of a letter requires an exchange • of ministery and office in the lippes, teeth or palate, « and doth not the ITERATION.' The reader
may this affe&ted iteration in Douglas's prologue prefixed to the VIII. book of Virgil's Æneid : And in the Plowman's prologue and tale in Chaucer, p. 179. edit. Urry. Pierce Plowman is written wholly after this manner without rime which is mention'd in the preface. « He wrote altogither 66 in miter, but not after the maner of our rimers that ** wryté nowe adaies (for his verses ende not alike) but the * nature of hys miter is, to have three wordes at the leafte or in every verse which begyn with some one letter, as for “ ensample, the firste two verses of the boke renne upon S, as thus, ;
“ In a fomer season when sette was the funne
“ I hope me into fhrobbes, as I a fhepe were. • The next runeth upon H, as thus ;
“ In habite as an hermite unholy of werekes, &c. * This thing noted the metre fhall be very plefaunt to read."
Page 365. DRYDEN says that MILTON acknowledged to him, that Spencer was his original : but his original in what, Mr. DR YDEN does not tell us : certainly be was not bis original in throwing aside that Gotbic bondage of jingle at the
end of every line ; 'twas the example of our best ENGLISH TRAGEDIES bere be followed ; HIS HONOURED SHAKESPEARE.]
'Tis hardly possible, but that a reader of Shakefpeare and Milton must have observed a great resemblance both of file and sentiment in these two poets : see above page 217, 218, what is cited from the concerning the variety of the punishments of the damned : other passages may be easily pointed out ; as for example.
O for a faulkner's voice 66 To lure this taffel gentle back again.”
Sh. Romeo and Juliet, A& II. " O for that warning voice, which he who faw “ Th' Apocalyps, heard cry in heav'n aloud."
Milton, IV, 1. “ The heavenly-harness'd team “ Begins his golden progress in the east.”
K, Henry IV. A& III. " The Morn begins “ Her rosy progress smiling." “ As easy may'lt thou the intrenchant air “ With thy keen sword impress." Macbeth, A& IV. When vapours fir'd impress the air.”
Milt, IV, 558. “ And with indented glides did flip away."
As you Like it, Act IV.
Not with indented wave * Prone on the ground. &c.”'
Milt. IX, 496. os But now fits EXPECTATION in the air.
K. Henry V. Ad I.
Milt. XI, 175
In the same sublime manner EXPÉCTATion is personalized in Milton. VI, 306.
While EXPECTATION stood « In horror.” So Victory is personalized, In K. Richard III. Ad V.
• VICTORY fits on our helmsie'
Again, In Antony and Cleopatra, Act I.
« On your sword " Sit lawrell'd Victor Y."
Hence Milton. VI, 762.
" At his right hand VICTORY « Sat eage-wing'd.” In the IVth book, where Satan falls into those doubts with himself, and passions of fear and despair, Milton uses the fame image, as Shakespeare in describing the perturbed and distracted state of Macbeth. " And like a devilish engine back recoils
Upon himself : horror and doubt distract " His troubled soul." B.IV, 16.
“ Who then shall blame “ His pefter'd senses to recoyl and start « When all that is within him does condemn
• Itself for being there?” Macbeth, A& V. Milton, in the description of Eve's bower (B. IV, 703.] says,
. Other creatures here “ Beast, bird, insect or worm, durst enter none ;
66 Such was their awe of Man." So in the song, inserted in A Midsummer Night's Dream, Act II, Insects and worms are forbid to approach the
Bower of the Queen of Fairies. Callimachus has a thought
"Ένθεν ο χώρος
Ερπελον, έδε γυνή επινίσσεται. Hym. I, 11.
.“ Like that Pygmean race
« Sits arbitress, &c.”
“ Or Fairy elves
Shakespeare in A Midsummer Night's Dream, A& II.
“ And never since that middle Summer's spring
" By paved fountain, or by rushy brook, “ Or on the beached margent of the fea
“ To dance our ringlets to the whisling wind, &c.?" Again, the following in Milton. Some belated peafant fees or dreams he fees : is fiterally from Virgil, Aen. VI, 454. Aut videt aut vidiffe putat. And, 'While over bead the Moon fots arbitrefs : from Horace. L I. Od. IV.
Jom Cytherea Choros ducit Venus, IMMINENTE LUNA. Milton, B. V. *.5.
" Whịch th' only found * Of leaves, and fuming rills, (Aurora's fan) “ Lightly dispers'd, and the shrill matin fong
“ Of birds on every bough, This is partly Virgil. VIII, 456.
Evandrum ex humili težto lux fufcitat alma,'
Et MATUTINI VOLUCRUM fub culmine CANTUS. And partly Taffo (B. VII. ft. 5.) thus rendered by Fairfax, « The birds awakt her with their morning song, « Their warbling muficke pierft het tender eare, " The murmuring brooks, and whistling winds among “ The ratling boughes and leaves their parts did beare, &c." From Virgil Milton has literally the matin fong of birds : from Taffo, the found of teaves and rills : his own addition is, Aurora's fan: a pretty poetical image applied to the fanning winds among the leaves of the trees, and the cooling fumes arifing from the rills. I will add but one passage more which has already been cited.
“ Heav'n open'd wide “ Her ever-during gates, harmonious sound “ On golden hinges moving." B. VII, 205.