Ib. 34.

Where high o'er-arching trees embower.

Above th' embowering shade.

Where the Etrurian shades

High over-arch'd embower.

Monody, 10.

P. L. i. 303–4; cf. ix. 1038, Comus, 62. (Warton also has "in embow'ring woods" and "cave embower'd with mournful yew," Pleasures of Melancholy, 175, 281; "embowering elms," Inscription in a Hermitage, 4; "the hanging oak... Waves his imbowering head," Horace, III. xiii. 18-20; "the curling woodbine's shade imbow'rs," The Hamlet, 44; "with myrtle bower'd and jessamine" and "from bowering beech," Approach of Summer, 52, 169.)

The Nymphs in twilight shade of tangled thickets mourn. Nativity, 178-88.

The violet's unprinted head.

Thus I set my printless feet

O'er the cowslip's velvet head.

Fair forms, in every wondrous wood,

Or lightly tripp'd, or solemn stood.

Under the trees now tripp'd, now solemn stood,
Nymphs of Diana's train, and Naiades.

While gleaming o'er the crisped bowers.
Along the crisped shades and bowers.

The pine cerulean, never sere.
Ye myrtles brown, with ivy never sere.

A thousand tumbling rills inlay
With silver veins the vale, or pass
Redundant through the sparkling grass.
From a thousand petty rills,

That tumble down the snowy hills.
Isles... inlay... the deep.

Amidst his circling spires, that on the grass
Floated redundant. [Of a serpent.]

Dim-figur'd on whose robe are shown.
His mantle hairy and his bonnet sedge,
Inwrought with figures dim.

Thee April blithe, as long of yore.
Thee bright-hair'd Vesta long of yore.
With muskie nectar-trickling wing.
And west winds with musky wing.

Ib. 68.

Comus, 897-8.

Ib. 81-2.

P. R. ii. 354-5.

Ib. 85.
Comus, 984.

First of April, 66.
Lycidas, 2.

Ib. 92-4.

Comus, 926-7.
Comus, 21-3.

P. L. ix. 502-3.

Approach of Summer, 17.

Lycidas, 104-5.

Ib. 31.
Penseroso, 23.

Ib. 33.
Comus, 989.

Where a tall citron's shade imbrown'd
The soft lap of the fragrant ground.
Where the unpierced shade

Imbrown'd the noon-tide bowers.

You bloom'd a goddess debonnair.

Thou Goddess... So buxom, blithe, and debonair.

Haste thee, nymph! and hand in hand,
With thee lead.

Haste thee, Nymph, and bring with thee.

Bring fantastic-footed Joy.

On the light fantastic toe.

His wattled cotes the shepherd plants.
The folded flocks, penn'd in their wattled cotes.

Nor mastiff's bark from bosom'd cot.
Bosom'd high in tufted trees.

Approach of Summer, 43-4

P. L. iv. 245-6.

Ib. 48.
Allegro, 11, 24.

Ib. 57-8.
Allegro, 25.
Ib. 59.
Allegro, 34.
Ib. 99.
Comus, 344.

Ib. 112.
Allegro, 78.

(In each case, of a dwelling half hidden by trees.)

Till fancy had her fill.

Penseroso, 165.

Ib. 136.

Comus, 546-8.

(Of an evening reverie in the woods in each case.)

But when the Sun, at noon-tide hour,
Sits throned in his highest tow'r.
Sometimes towards Heaven and the full-blazing sun,
Which now sat high in his meridian tower.

To the tann'd haycock in the mead.

To the tann'd haycock in the mead.

From bowering beech the mower blithe

With new-born vigour grasps the scythe.
And the milkmaid singeth blithe,

And the mower whets his sithe.

But ever against restless heat.

And ever, against eating cares.

Hangs nodding from the low-brow'd rock.
Under ebon shades and low-brow'd rocks.

Ib. 139-40.

P. L. iv. 29-30.

Ib. 142.
Allegro, 90.

Ib. 169-70.

Allegro, 65-6.

Ib. 173.
Allegro, 135.

Ib. 176.
Allegro, 8.

(But cf. Pope's Eloisa to Abelard, 244, "Low-browed rocks hang nodding

o'er the deeps.")

A rustic, wild, grotesque alcove,

Its side with mantling woodbines wove;

Cool as the cave where Clio dwells.

Whose hairy sides

With thicket overgrown, grotesque and wild. . . .

caves

Of cool recess, o'er which the mantling vine.
A bank... interwove With... honeysuckle.

Ib. 181-3.

P. L. iv. 135-6, 257-8.
Comus, 543-5.

Ib. 274.
Allegro, 134.

Ib. 283.

P. L. iv. 639.
Ib. 284.
Comus, 547.
Lycidas, 66.
Ib. 287.
Lycidas, 136.
Ib. 338.
Penseroso, 41.

The Crusade, 24.
P. L. vi. 209-10.

Flam'd in the van of many a baron bold.

To mark the mouldering halls of barons bold.
Whence Hardyknute, a baron bold.

Where throngs of knights and barons bold.

Death of George II, 54.
Reynolds's Window, 13.

Approach of Summer, 243.
Allegro, 119.

(But cf. Gray's Bard, 111, "Girt with many a Baron bold.")

(In each of these passages a colored glass window in a church is meant.
Warton also speaks of "the storied tapestry," Grave of Arthur, 15; and
"the stately-storied hall," Sonnet, Wilton-House, 10. The Epistle from
Hearn, which was probably written by Joseph Warton, has "saints in
storied windows.")

When stands th' embattled host in banner'd pride.

Birth of Prince of Wales, 54-
P. L. ii. 885.

P. L. i. 129; cf. vi. 16, etc.

Approach of Summer, 114.
P. L. vii. 321-2.

(Warton also has "th' embattled sedge," Monody, 3; "embattled clouds,"
Pleasures of Melancholy, 294; "brows, imbattled high," King's Birth-
day 1790, 59.)

The tread majestic, and the beaming eye,
That lifted speaks its commerce with the sky.
With even step, and musing gait,
And looks commercing with the skies.

There oft thou listen'st to the wild uproar.
Hell scarce holds the wild uproar.

To ruin'd seats, to twilight cells and bow'rs,
Where thoughtful Melancholy loves to muse.
That musing Meditation most affects
The pensive secrecy of desert cell.

Pours her long-levell'd rule of streaming light.
With the level-streaming rays.

With thy long levell'd rule of streaming light.

Then, when the sullen shades of ev'ning close,
Where thro' the room a blindly-glimm'ring gleam

The dying embers scatter, far remote

From Mirth's mad shouts, that thro' th' illumin'd roof
Resound with festive echo, let me sit,

Blest with the lowly cricket's drowsy dirge.

Reynolds's Window, 57–8.

Penseroso, 38-9.

Pleasures of Melancholy, 13.
P. L. ii. 541.

Ib. 19-20.

Comus, 386-7.

Ib. 31.

Approach of Summer, 121.
Comus, 340.

Pleasures of Melancholy, 74-9

Where glowing embers through the room

Teach light to counterfeit a gloom,
Far from all resort of mirth,

Save the cricket on the hearth.

That like the dazzling spells

Of wily Comus cheat th' unweeting eye
With blear illusion, and persuade to drink
That charmed cup, which Reason's mintage fair
Unmoulds, and stamps the monster on the man.
Thus I hurl

My dazzling spells into the spongy air,

Of power to cheat the eye with blear illusion....
By sly enticement gives his baneful cup,

With many murmurs mix'd, whose pleasing poison
The visage quite transforms of him that drinks,

And the inglorious likeness of a beast

Penseroso, 79-82.

Ib. 85-9.

Comus, 153-5, 525-9.
Ib. 108.
P. L. vii. 371.

Fixes instead, unmoulding reason's mintage.

Ib. 135-6.

Yet not ungrateful is the morn's approach,
When dropping wet she comes, and clad in clouds.
Till civil-suited Morn appear,

Not trick'd and frounced, as she was wont...
But kerchieft in a comely cloud...

Or usher'd with a shower still.

Rings not the high wood with enliven'd shouts

Of early hunter.

Oft listening how the hounds and horn

Cheerly rouse the slumbering Morn ...
Through the high wood echoing shrill.

By frolic Zephyr's hand.

The frolic wind that breathes the spring, Zephyr.

The taper'd choir, at the late hour of pray'r,
Oft let me tread, while to th' according voice
The many-sounding organ peals on high,

The clear slow-dittied chaunt, or varied hymn,
Till all my soul is bath'd in ecstasies,

And lapp'd in Paradise.

There let the pealing organ blow

To the full-voiced choir below,

In service high and anthems clear,

As may with sweetness, through mine ear,

Dissolve me into ecstasies,

And bring all Heaven before mine eyes.

The due clock swinging slow with sweepy sway.
But when the curfeu's measur'd roar

Duly, the darkening valleys o'er,

Has echoed from the distant town.

Oft, on a plat of rising ground,
I hear the far-off curfew sound,
Over some wide-water'd shore
Swinging slow with sullen roar.

Penseroso, 122-7.

Ib. 150-51.

Allegro, 53-6.

Ib. 190.
Allegro, 18-19.

Ib. 196-201.

Penseroso, 161-6.

Ib. 209.

The Hamlet, 27–9.

Penseroso, 73-6.