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But come thou Goddess fair and free,
In heav'n ycleap'd Euphrosyne,
And by men, heart-easing mirth,
Whom lovely Venus at a birth
With two sister graces more
To ivy-crowned Bacchus bore;


that was now written and studied. As in Syr Eglamour. We have See Fletcher's False One, act v, also free alone, ibid. See also $. 4. Titus Andronicus, act ii. s. 3. Chaucer, March. t. v. 1855. Urr. Spenser's Teares of the Muses, And Jonson, Epigram. lxxvi. and his Virgil's Gnat. But our T. Warton. Author might have had perhaps 12. In hear'n ycleap'd Euphroan immediate allusion to the cave syne,] Cleaped is called, named; of sleep in Ovid, Met. xi. 592. or Spenser, Faery Queen, b. iii. to Homer, whom Ovid copies, cant. xii. st. 19. Odyss. xi. 14. See also Statius,

The other cleaped Cruelty by name. Theb. x. 84. And Chaucer, H.

The letter y is sometimes preFame, v. 70. p. 458. Urr. And to all or most of these authors fixed to lengthen it a syllable.

B. iii. cant. v. st. 8. Sylvester has been indebted in his prolix description of the cave And is ycleaped Florimel the fair. of sleep. Du Bart. p. 316. ed. Euphrosyne is the name of one of fol. 1621. And in that descrip- the three Graces mentioned by tion we trace Milton, both here Hesiod, Theog. 909. and in the opening of Il Pens. Mr. Bowle compares this line

Αγλαίην, και Ευφροσυνην, Θαλιηνε' εραof the text with a passage in Sydney's Arcadia, b. iii. « Let and by Spenser, Faery Queen, « Cimmerian darkness be


b. vi. cant. x. st. 22. only habitation.” The execra- The first of them hight mild Euphrotion in the text is indeed a transa lation of a passage in one of his

Next fair Aglaia, last Thalia merry., own Academic Prolusions, Dig- The poet, in saying that she was nus qui Cimmeriis occlusus tene- called Euphrosyne in heaven, and bris longam et perosam vitam Mirth by men, imitates Homer's transigat. Pr. W. vol. ii. 587. manner of speaking, where the T. Warton.

names in use among the learned 11. But come thou goddess fuir are ascribed to the gods, and and free.) Compare Drayton, Ecl. those in vulgar use are attributed iv. vol. 4. p. 1401.

to men. See Paradise Lost, y. A daughter cleped Dowsabell, 761. and the note there. A maiden fair and frec.

14. Whom lovely Venus at a In the metrical romances these birth &c.] The more ancient two words thus paired together opinion, as we find it in Hesiod's are a common epithet for a lady. Theogony, was that the Graces

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Or whether (as some sager sing)
The frolic wind that breathes the spring,
Zephyr with Aurora playing,
As he met her once a Maying,
There on beds of violets blue,
And fresh-blown roses wash'd in dew,


were the daughters of Jupiter His pretence of authority in the and Eurynome, and this Spenser parenthesis (as some suger sing) adopts in his Faery Queen, b. vi. is introduced, in my opinion, cant. X. st. 22.

only to give a more venerable They are the daughters of sky-ruling

authoritative air to his poem: Jove,

and I have often suspected, that By him begot of fair Eurynome.

that passage in the tenth book But Milton with great judgment of Paradise Lost, where the evil and a very allowable liberty fol- angels are described turned into lows the account of their being serpents, and as the poet adds, sprung from Bacchus and Venus,

ver. 575. because the mythology of it suited

Yearly injoin'd, some say, to undergo the nature of his subject better.

This annual humbling certain numThyer.

ber'd days, 17. Or whether, &c.] Compare is an instance of the same sort. Sophocles, ed. Tyr. 1098.

Thyer. τις σε, τεκνον, τις σ' ετικές

As some sager sing. It is sages των μακραιώνων και άρα Πανος ορεσσιβατα που

in Mr. Fenton's edition, but the προσπελασθεισ', η σε γε

old editions have sager.

Both τις θυγατης, Λοξιου; κ. τ. λ. these genealogies were probably and not. ibid. Schaeferi de Eurip. of the poet's own invention, but E.

he rather favours the latter. 17. Or whether (as some sager 19. Zephyr with Aurora playsing) &c.] No mythologist either ing, ancient or modern that I can As he met her once a Maying.] meet with gives this account of The rhymes and imagery are the birth of Euphrosyne ; never- from Jonson, in the Maske at theless we must do Milton the Sir William Cornwalleis's house justice to own, that he could not at Highgate, 1604. Works, ed. possibly have invented better al- fol. 1616. p. 881. legorical parents for her than

See who here is come a Maying? Zephyrus and Aurora, or the

Why left we off our playing. gentle western gales of a fine morning in the spring, which, This song is sung by Zephyrus, to use his own words in his Pa and Aurora, and Flora. T. Warradise Lost, iv. 154.

ton. to the heart inspire

22. And fresh-blown roses wash'd Vernal delight and joy, able to drive

with dew. So Shakespeare, Tan. All sadness but despair.

Shr, act ii. s. l.


Fill'd her with thee a daughter fair,
So buxom, blithe, and debonair.
Haste thee nymph, and bring with thee
Jest and youthful jollity,
Quips and cranks, and wanton wiles,
Nods and becks, and wreathed smiles,

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She looks as clear

Spenser, F. Q. vii. vii. 52. the As morning roses newly wash'd with involutions of the planets. To dew.

T. Warton.

crank, in Shakespeare's Venus

and Adonis, is to cross, wind, 23. Filld her, &c.] From double, &c. The verb cranicle, Gower's song in Pericles Prince with the same sense, but its freof Tyre, act i. s. 1. See Malone's quentative, occurs

more than Suppl. Sh. ii. 7.

once in Drayton. Our author This king unto him took a phear, has cranks, which his context Who died, and left a female heir explains, Pr. W. i. 165. To So bucksome, blithe, and full of face,

co shew

the ways of the Lord, As heav'n had lent her all bis

grace. 6 strait and faithful as they are, See note on Il Pens. 25. Bowle.

“ not full of cranks and contra. 25. Haste thee, nymph, and 6 dictions.” T. Warton. bring with thee, &c.] Copied from

Crank, any conceit formed by Buchanan, Opp. ed. 1687. p. 337. twisting or changing the form or -Vos adeste, rursus,

meaning of a word. Johnson. Risus, Blanditiæ, Procacitates,

28. Nods and becks, and Lusus, Nequitiæ, Facetiæque,

wreathed smiles, Joci, Deliciæque, et Illecebræ, &c.


Such as hang on Hebe's cheek,

And love to live in dimple sleek.] 27. Quips and cranks, and compare a stanza in Burton's wanton wiles.] A quip is a sati- Anatomie of Melancholy, p. 449. rical joke, a smart repartee. See ed. 1628. Jonson's Cynthia's Revels, act ii.

With becks and nods he first beganne, 8. 4. Shakespeare, First P. Hen.

&c. IV. act i. s. 2. and in other places. By eranks, a word yet heard's Tales, Lond. 1621. p. .

And Richard Brathwayte's Shepunexplained, we are to under- heard's Tales, Lond. 1621. p. stand cross-purposes, or

201. other similar conceit of conver

a dimpled chin sation, surprising the company

Made for Love to lodge him in. by its intricacy, or embarrassing But the same idea occurs in by its difficulty. Such were the Drummond's Poems, ed. 1616. festivities of our simple ances- p. 1. signat. D. and in Fletcher's tors! Cranks, literally taken, in Faithful Shepherdess, act i. s. 1. Coriolanus, act i. s. 1. signify the vol. iii. p. 131. Shakespeare has ducts of the human body. In pursued the same idea to an un




Such as hang on Hebe's cheek,
And love to live in dimple sleek;
Sport that wrinkled Care derides,
And Laughter holding both his sides.
Come, and trip it as you go
On the light fantastic toe,
And in thy right hand lead with thee,
The mountain nymph, sweet Liberty ;


paralleled extravagance in Venus

Trip and go
On my toe,

and Adonis, ed. 1596. signat. A.

And indeed it might be In Love's Labour Lost, is part of traced backward to Horace, and another, or the same, “ Trip and from Horace to Euripides. T.

go, my sweet." A. iv. s. 2. So Warton.

also in Nashe's Summer's Last 32. And Laughter holding both Will and Testament, 1600.“ Trip his sides.] A fine improvement" and go, heave and hoe," &c. upon Shakespeare. A Midsum- T. Warton. mer Night's Dream, act ii. sc. 1.

36. The mountain nymph, sweet And then the whole quire hold their Liberty ;] I suppose Liberty is hips, and loffe.

called the mountain nymph, be 32. Ph. Fletcher's Mirth is so

cause the people in mountainous attended. Purpl. Isl. cant. iv. p. countries have generally pre13. ed. 1633.

served their liberties longest, as Here sportfull Laughter dwells, here the Britons formerly in Wales, ever sitting,

and the inhabitants of the mounDefies all lumpish griefs, and wrinkled tains of Switzerland at this day. And twenty merrie mates, mirth

36. Milton was not so political causes fitting

here. Warmed with the poetry And smiles, which Laughter's sonnes, of the Greeks, he rather thought yet infants are.

of the Oreads of their mythology, T. Warton.

whose wild haunts among the 33. Come, and trip it as you go romantic mountains of Pisa are

On the light fantastic toe:] so beautifully described in HoAnother imitation of Shake- mer's hymn to Pan. The alluspeare. Tempest, act iv. sc. 2. sion is general to inaccessible Ariel to the spirits,

and uncultivated scenes, such as Come, and go,

mountainous situations afford, Each one tripping on his toe. and which were best adapted to

33. To trip on the toe in the the free and uninterrupted range dance seems to have been tech- of the nymph Liberty. So he nical. See note on Comus, v. compares Eve to an Oread, P. L. 961. There is an old ballad ix. 387. See also El. v. 127. T. with these lines,


care ;

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And if I give thee honour due,
Mirth, admit me of thy crew
To live with her, and live with thee,
In unreproved pleasures free;

To hear the lark begin his flight,
And singing startle the dull night,
From his watch-tow'r in the skies,
Till the dappled dawn doth rise;.

40. In unreproved pleasures 41. See an elegant little song free.] Blameless, innocent, as in in Lilly's Alexander and CamP. L. iv. 492.

paspe, presented before Queen - with eyes

Elizabeth, a. v. s. 1.
Of conjugal attraction unreproved. The larke so shrill and cleare,
So Spenser has “ unreproved

How at heaven's gate she claps her “ truth." Sandys “unreproved

wings, “ kisses." Drayton, “I may

The morne not waking till she sings. “ safely play and unreproved." See the notes on P. L. v. 198. T. Warton.

and P. R. ii. 279. There is a 41. To hear the lark begin his peculiar propriety in startle : the fight, &c.] At the same tiine lark's is a sudden shrill burst of that Milton delights our imagina- song. tion with this charming scene of Both in L'Allegro and Il Penrural cheerfulness, he gives us a

seroso there seem to be two parts, fine picture of the regularity of a day-piece, and a night-piece. his life, and the innocency of Here, or with three or four of his own mind. The principal the preceding lines, our author circumstances are taken from the begins to spend the day with earliest dawn of the morning, mirth. T. Warton. and prove the truth of what he 44. —the dappled dawn] The says of himself in his Apology word is used and explained in for Smectymnuus, “ that he was Shakespeare. Much Ado about “up and stirring, in winter Nothing, act v. sc. 8. “ often ere the sound of any bell

Land look the gentle day, “ awake men to labour, or to Before the wheels of Phoebus, round “ devotion; in summer as oft 66 with the bird that first rouses,

Dapples the drowsy east with spots or not much tardier, to read good authors, &c:” and few 44. So also Drummond, Sonia minds, I believe, but such as nets, ed. 1616. signat. D. 2. are innocent and unstained with guilty pleasures have any great

Sith, winter gone, the sunne in dapled

skie taste for these pure and genuine

Now smiles on medowes, mountaines, ones which the poet describes. hills, and plaines. Thyer.

T. Warton.


of gray.

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