MILTON
[P. 101.] Blind Thamyris. “Paradise Lost,” III, 35.
[P. 102.] with darkness. VII, 27.
piling up every stone. XI, 324.
For after I had from my first years. “The Reason of Church Government,” Book II, Introduction.
[P. 103.] The noble heart. “Faërie Queene,” I, v, 1.
[P. 104.] makes Ossa like a wart. “Hamlet,” v, 1, 306.
Him followed Rimmon. “Paradise Lost,” I, 467.
As when a vulture. III, 431.
[P. 105.] the pilot. I, 204.
It has been indeed objected to Milton. Cf. Coleridge (Works, ed. Shedd, IV, 304): “Milton is not a picturesque, but a musical, poet”; also Coleridge’s “Table Talk,” August 7, 1832: “It is very remarkable that in no part of his writings does Milton take any notice of the great painters of Italy, nor, indeed, of painting as an art; while every other page breathes his love and taste for music.... Adam bending over the sleeping Eve, in Paradise Lost, and Dalilah approaching Samson, in the Agonistes, are the only two proper pictures I remember in Milton.”
Like a steam. “Comus,” 556.
[P. 106.] He soon saw. “Paradise Lost,” III, 621.
[P. 107.] With Atlantean shoulders. II, 306.
Lay floating. I, 296.
Dr. Johnson condemns the Paradise Lost. See the conclusion of his “Life of Milton.”
[P. 108.] His hand was known. “Paradise Lost,” I, 732.
But chief the spacious hall. I, 762.
[P. 109.] Round he surveys. III, 555.
Such as the meeting soul. “L’Allegro.”
the hidden soul. Ibid.
[P. 110.] as Pope justly observes. “First Epistle of the Second Book of Horace,” 102.
[P. 111.] As when Heaven’s fire. “Paradise Lost,” I, 612.
All is not lost. I, 206.
that intellectual being. II, 147.
being swallowed up. II, 149.
[P. 112.] Fallen cherub. I, 157.
rising aloft. I, 225.
the mystic German critics. Cf. p. 344.
[P. 113.] Is this the region. “Paradise Lost,” I, 242.
[P. 114.] Salmasius. At the request of Charles II, Claude de Saumaise (Claudius Salmasius), professor at Leyden, had written a vindication of Charles I, “Defensio pro Carolo I” (1649), to which Milton replied with the “Defensio pro Populo Anglicano” (1651). The controversy between the two is noted for the virulency of the personal invective.
with hideous ruin. “Paradise Lost,” I, 46.
retreated in a silent valley. II, 547.
a noted political writer. Dr. Stoddart, editor of the Times and brother-in-law of Hazlitt, whom the critic bitterly hated, and Napoleon are here referred to. Cf. “Political Essays,” III, 158-159.
[P. 115.] Longinus preferred the Iliad. “Whereas in the Iliad, which was written when his genius was in its prime, the whole structure of the poem is founded on action and struggle, in the Odyssey he generally prefers the narrative style, which is proper to old age. Hence Homer in his Odyssey may be compared to the setting sun; he is still as great as ever, but he has lost his fervent heat. The strain is now pitched in a lower key than in the ‘Tale of Troy Divine’: we begin to miss that high and equable sublimity which never flags or sinks, that continuous current of moving incidents, those rapid transitions, that force of eloquence, that opulence of imagery which is ever true to Nature. Like the sea when it retires upon itself and leaves its shores waste and bare, henceforth the tide of sublimity begins to ebb, and draws us away into the dim region of myth and legend. In saying this I am not forgetting the fine storm-pieces in the Odyssey, the story of the Cyclops, and other striking passages. It is Homer grown old I am discussing, but still it is Homer.” On the Sublime, IX, trans. Havell.
no kind of traffic. Cf. “Tempest,” ii, 1, 148.
The generations were prepared. Wordsworth’s “Excursion,” VI, 554.
the unapparent deep. “Paradise Lost,” VII, 103.
[P. 116.] know to know no more. Cowper’s “Truth,” 327.
They toiled not. Matthew, vi, 28.
In them the burthen. Wordsworth’s “Lines Composed above Tintern Abbey.”
such as angels weep. “Paradise Lost,” I, 620.
[P. 117.] In either hand. XII, 637.