Bear his mild yoke, they serve him best. His state
Is kingly thousands at his bidding speed,

And post o'er land and ocean without rest;
They also serve who only stand and wait."

XVI.

ON THE LATE MASSACRE IN PIEDMONT.

AVENGE, O Lord, thy slaughtered saints, whose bones
Lie scattered on the Alpine mountains cold;
Even them who kept thy truth so pure of old,
When all our fathers worshipped stocks and stones,
Forget not in thy book record their groans
Who were thy sheep, and in their ancient fold
Slain by the bloody Piemontese that rolled
Mother with infant down the rocks.
The vales redoubled to the hills, and they
To heaven. Their martyred blood and ashes sow
O'er all the Italian fields, where still doth sway
The triple Tyrant; that from these may grow
A hundredfold, who having learnt thy way
Early may fly the Babylonian woe.

XVII.

Their moans

TO CYRIAC SKINNER, ON HIS BLINDNESS.

CYRIAC, this three years' day these eyes, though clear

To outward view of blemish or of spot,

Bereft of light, their seeing have forgot;
Nor to their idle orbs doth sight appear

Of sun or moon or star, throughout the year,

5

ΤΟ

5

Or man or woman. Yet I argue not

Against Heaven's hand or will, nor bate a jot
Of heart or hope, but still bear up and steer

Right onward. What supports me, dost thou ask?
The conscience, friend, to have lost them overplied
In Liberty's defence, my noble task,

Of which all Europe rings from side to side.

ΙΟ

This thought might lead me through the world's vain mask Content, though blind, had I no better guide.

XVIII.

ON HIS DECEASED WIFE.

METHOUGHT I saw my late espoused saint
Brought to me like Alcestis from the grave,
Whom Jove's great son to her glad husband gave,
Rescued from death by force though pale and faint.
Mine, as whom washed from spot of child-bed taint
Purification in the old Law did save,
And such as yet once more I trust to have
Full sight of her in Heaven without restraint,
Came vested all in white, pure as her mind.
Her face was veiled, yet to my fancied sight
Love, sweetness, goodness, in her person shined
So clear as in no face with more delight.

But O, as to embrace me she inclined,

I waked, she fled, and day brought back my night!

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NOTES ON THE MINOR POEMS.

These notes and questions aim to call attention to the literary art of the compositions. It is assumed that the pupil will employ the glossary and the introduction in elucidating the meaning of the poems, without repeated injunctions to do so.

HYMN ON THE NATIVITY.

Introduction. Note the direct announcement of the subject of the poem. 2. What gain in poetic suggestiveness through the use of this title instead of the phrase Son of God? 8, 9. Are these lines tautological, or do "light" and "blaze" suggest two distinct attributes of deity? 19. Is the mixture of heathen with Christian conceptions in good taste? Note other examples in the poem. What change in the character and meaning of the words "wizards" (23), "prevent" (24), "quire" (27), since the time of Milton? Note how in the Introduction many of the leading conceptions to be developed in the poem are briefly indicated, the humble circumstances of Christ's birth, his mission of redemption and peace to man, his glory, and his heavenly attendants.

The Hymn, 29-124. These lines contain a word-painting of the aspect of Nature at Christ's advent. What materials in the picture does Milton draw from history? What from classic traditions? What from his poetic invention? Note how prosaic facts (e.g. that the season was winter, that there were no international wars in progress at the time) are transmuted into poetry through the exercise of the imagination, snow becoming a veil," kings being conceived as refraining from aggression through an unaccountable "awe" in the presence of a power that they do not comprehend, etc. Note the gain in effectiveness through the use of concrete images ("the heaven-born child all meanly wrapped," "the rude manger," "the hooked chariot," "unstained with hostile blood”). Note the sym

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bolic meaning of "olive green," "turtle wing," "myrtle wand." Why is the selection of Lucifer (74) to warn the stars appropriate? In what sense is Christ called "Pan" (89), and why is the title expressive in this connection? Why is "Nature" limited by Milton to the space "beneath the hollow round of Cynthia's seat"? In these eleven stanzas, does Milton exhibit more powers of original creation or of adaptation of preëxisting materials ?

125-164. This passage sets forth in prophetic strain the import of the Advent to man. What two emotions does the thought of the Advent, in its immediate (149+) and its remote (135+) aspects, awaken in the poet's mind? Note how the first-mentioned subject of the poem, “the Heaven-born Child,” is employed (151) to effect the transition from one to the other emotional state. Note the impressive effect of the abrupt transition from a picture of peace to one of awe and terror, and how it suggests the shock of the first blast of the trump of doom. Why is Vanity described (136) as being speckled? What is the symbolism of the “age of gold" (135)? Of the "rainbow" (143)? What is the force of "return" in line 142? Note the onomatopoetic effect of the consonant and vowel sounds in lines 156 and 164. Note the harmony between the extra length of the line and the character of the scene described.

165-236. These stanzas rehearse the blessings wrought through Christ's advent, in the shape of the overthrow of evil religions, which thenceforth will be discredited among mankind. What change in man's conception of his relations to the Deity is referred to in stanza XIX? Of what religion is the Old Dragon (168) a symbol? The Delphic oracle (180)? The Lars and Lemures (191)? Peor and Baalim (197)? Isis and Orus (212)? Ghosts and fays (234-235)? Is the order in which they are mentioned a studied one? Compare this order with that employed in the list of gods in Paradise Lost, 381 +, and note the reason given for that order. Compare the treatment of the deities in the two poems, and state Milton's theory of the origin of the heathen gods. These descriptions are full of expressive epithets, by which the imagination is stimulated. Why, for example, is the noise in the temples of the

oracles hideous (174)? What historical facts does the phrase "words deceiving” (175) recall? Why is Apollo's shriek (178) hollow? Why is the priest (180) pale-eyed? Why does Milton describe the mountains (181) as lonely?

Conclusion, 236, 244.

fiction of direct vision.

Note how much force is gained by the Also note how the effect of unity is given to the entire poem by leading the mind back to the point of departure, the new-born Christ. But note that now the aspect of the scene is greatly changed by the introduction of different accessories. The stable with its "rude manger" is now perceived to be "courtly." The warmth of mother-love, not the chill of winter, encircles the babe. For the adoration of the earth-born wizards is substituted the homage of a body-guard of "bright-harnessed angels."

L'ALLEGRO AND IL PENSEROSO.

L'Allegro, 1-10. Because of which of Venus' attributes does Milton select her (14) to be the parent of Euphrosyne ? Contrast the kind of mirth that springs from the union of Venus and Bacchus, with the kind that is born of Zephyr and Aurora. Which genealogy would Milton probably prefer? Lines 25-34 are celebrated for their use of clear-cut consonant sounds to express light, springy movement. In what sense does Milton use the expression "Wanton wiles"? "Wreathed smiles?" "Wrinkled care?" Why is Liberty called a mountain nymph? With line 41 begins Milton's description of the series of pleasures consonant with the mood of L'Allegro. The failure of the untrained reader to appreciate these charming pictures is largely due to the fact that his mind does not actively coöperate with the poet and visualize in definite images the scenes presented. The pupil should constantly stimulate his own imagination by questions. E.g. "Where is L'Allegro when the lark startles the dull night? Who is really startled? Why is the word 'startle' singularly well chosen? With what is the Dawn dappled? Who comes to the window? Why does L'Allegro prefer to be 'not unseen'?" Note the lively enthusiasm expressed by the massing of details in lines 64 to 68. What suggestion is conveyed by the