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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

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Fixes instead, unmoulding reason's mintage.

The blest regent of the golden day.

Regent of day.

(Of the sun in each case.)

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.

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(But cf. Pope's Windsor Forest, 144, "The yellow carp, in scales be

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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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Where high o'er-arching trees embower.

Above th' embowering shade.

Where the Etrurian shades

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 imbower-
ing head," Horace, III. xiii. 18-20; "the curling woodbine's shade im-
bow'rs," The Hamlet, 44; “with myrtle bower'd and jessamine" and
"from bowering beech," Approach of Summer, 52, 169.)

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With hollow shriek the steep of Delphos leaving....

From haunted spring, and dale

Edged with poplar pale,

The parting Genius is with sighing sent;

With flower-inwoven tresses torn

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.

Ib. 126.

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-stolèd 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.

Hence he told

The banquet of Cambuscan bold.

Left half told

The story of Cambuscan bold.

Ib. 238.

Allegro, 55.

Ib. 253.

P. L. ii. 41.

Ib. 257.

Penseroso, 155-6.

Ib. 267-8.

P. L. ix. 115-16.

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.

Ib. 71-2.

P. L. ii. 881-2.

Grave of Arthur, 96-7.

Comus, 44-5.

Ib. 99-100.

Comus, 922-3.

Ib. 120.
Nativity, 220.

Ib. 164.
Comus, 610.

P. L. xi. 642.

through many bold emprize.")

Ode for Music, 136.

The Suicide, 39.

Lycidas, 11.

King's Birthday 1787, 9-10.

Penseroso, 109–10.

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