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(But cf. Pope's Windsor Forest, 144, "The yellow carp, in scales be-
dropped with gold.")

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Massy proof. Vale-Royal Abbey, 64 (of a column); New Year 1786, 60 (of a bastion); New Year 1788, 1 (of a castle).

With antic pillars massy proof.

Penseroso, 158.

(Warton also has "massy piles," Triumph of Isis, 151; “massy state,"
Birth of Prince of Wales, 28; "massy pride," Reynolds's Window, 19;
'massy cups" and "massy blade," Grave of Arthur, 11, 173; "massy
pomp," King's Birthday 1788,51; "massy maze," Sonnet, Stonehenge, 7.)

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Yet partial as she sings.

Their song was partial.

Then was loneliness to me

Best and true society.

For solitude sometimes is best society.

Saw Cupid's stately maske come sweeping by.

Sometime let gorgeous Tragedy

In sceptred pall come sweeping by.

Lost in some melancholy fit.

Wrapt in a pleasing fit of melancholy.

Vale-Royal Abbey, 77.
P. L. ii. 552.

Solitude at an Inn, 5-6.
P. L. ix. 249.

Sent to Mr. Upton, 20.

Penseroso, 97-8.

Sent to a Friend, 26.
Comus, 546.

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High over-arch'd embower.

Ib. 34.

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.)

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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.

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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

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On that hoar hill's aerial height.
From the side of some hoar hill.
What open force, or secret guile.
Whether of open war or covert guile.
Let not my due feet fail to climb.
Let my due feet never fail To walk.
O beauteous, rural interchange!
The simple spire, and elmy grange!
Sweet interchange

Of hill and valley, rivers, woods, and plains.
Canst bid me carol wood-notes wild.
Warble his native wood-notes wild.

With thee conversing, all the day.
With thee conversing I forget all time.

I meditate my lightsome lay.
To meditate my rural minstrelsy.

And strictly meditate the thankless Muse.

In valleys, where mild whispers use.

Ye valleys low, where the mild whispers use.

For ever held in holy trance.

There held in holy passion still.

Thy brazen drums hoarse discord bray.

Arms on armour clashing bray'd Horrible discord.

And, rolling in terrific state,

On giant-wheels harsh thunders grate.
And on their hinges grate Harsh thunder.

Never yet in rime enroll'd,

Nor sung nor harp'd in hall or bower.
What never yet was heard in tale or song,
From old or modern bard, in hall or bower.

A minstrel, sprung of Cornish line,
Who spoke of kings from old Locrine.
Virgin, daughter of Locrine,
Sprung of old Anchises' line.

The stoled fathers met the bier.

The sable-stoled sorcerers bear his worshipp'd ark.

He scorns awhile his bold emprise.

I love thy courage yet, and bold emprise.
Giants of mighty bone and bold emprise.

(But cf. Faerie Queene, II. iii. 35, “Renowmd

In vain to build the lofty rhyme.
Could build the genuine rime.
And build the lofty rhyme.

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Here held his pomp, and trail'd the pall
Of triumph through the trophied hall;
And War was clad awhile in gorgeous weeds;
Amid the martial pageantries,
While Beauty's glance adjudg'd the prize,
And beam'd sweet influence on heroic deeds.
Where throngs of knights and barons bold,
In weeds of peace, high triumphs hold,
With store of ladies, whose bright eyes
Rain influence, and judge the prize.
And pomp, and feast, and revelry,
With masque and antique pageantry.
Sometime let gorgeous Tragedy
In sceptred pall come sweeping by.


That, fraught with drops of precious cure.
Drops that from my fountain pure
I have kept of precious cure.

He rolls his eyes, that witness huge dismay.
Round he throws his baleful eyes,

That witness'd huge affliction and dismay.

Smit with the love of the laconic boot.
Smit with the love of sacred song.

Where no crude surfeit, or intemperate joys

Of lawless Bacchus reign.

Where no crude surfeit reigns.

Of monumental oak.

Of pine, or monumental oak.

New Year 1788, 39-44.

Allegro, 119-28.

Penseroso, 97-8.

King's Birthday 1790, 21.

Comus, 912-13.

Newmarket, 94.

P. L. i. 56-7.

Ib. 107.
P. L. iii. 29.

Oxford Ale, 9-10.

Comus, 479.

Ib. 30.

Penseroso, 135.

Quips and cranks, and wanton wiles,

That love to live within the one-curl'd Scratch,

With fun, and all the family of smiles.

Quips, and Cranks, and wanton Wiles,
Nods and Becks, and wreathèd Smiles ...
And love to live in dimple sleek.


Grizzle Wig, 18–20.

Allegro, 27-30.

Adamantine (Marriage of King, 22, Ode for Music, 36, New Year 1786, 37); cf. P. L.
i. 48, ii. 646, etc. (nine times more, including "adamant" and "adamantean").
Warton in two instances and Milton in four apply the word to arms.
Eden's amaranthine grove (Marriage of King, 58, and cf. Approach of Summer, 45,
and New Year 1786, 7); cf. P. L. xi. 78, iii. 352.

In mantle dank (Complaint of Cherwell, 42); cf. Comus, 891, P. L. ix. 179, etc.
The dimply flood (Triumph of Isis, 15); cf. Comus, 119.

Flaunting ivy (Pleasures of Melancholy, 36); cf. Comus, 545.

Ivy's gadding spray (Inscription in a Hermitage, 24); cf. Lycidas, 40.
Honied flow'rs (The Hamlet, 43); cf. Lycidas, 140, Penseroso, 142.

Listed plain (Newmarket, 70); cf. Samson, 1087.

Morning's twilight-tinctur'd beam (The Hamlet, 5); cf. P. L. v. 285.

Shapes... trick'd by Fancy's pen (Vale-Royal Abbey, 82); cf. Penseroso, 123,
Lycidas, 170.

Vi'let-woven couch (Pleasures of Melancholy, 189); cf. Comus, 233, Nativity, 187.

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