the heart and central fire of militant Puritanism of the seventeenth century." Likewise, it may be said of this classical pastoral that we are at the heart and central fire of poetic Puritanism in the seventeenth century. (132-164) Explain "the dread voice." Here Milton artistically returns from his digression to the unity of his pastoral. Give a brief biography of the Sicilian Muse. Ascertain the reason for invoking Alpheus and Theocritus. Comment on Ruskin's classification of (142–148), in “Modern Painters” II. Pt. III. Chap. III. (165–193) Observe how religion again sways the poem. The poem ends in truly pastoral style. In what way does music referred to in "L'Allegro" and "Il Penseroso" throw light on (189)? In his second digression Milton portrays most emotional power in the elegy, and this is not surprising. Name the great monodies in English poetry, and state by whom these have been written. What elegies seem to be outpourings of genuine grief, and which is best from this point of view? What English elegiac writers have been lukewarm in expressing sorrow? In spite of Milton's contempt for the Cavalier poets, where does he seem to write in a light lyrical vein, characteristic of Herrick? Is the love of nature here depicted as strong as in "L'Allegro " and "Il Penseroso"? Where, in the monody, is the subject matter that changes for all time his poetry? Explain the metrical structure of the Ottava Rima which ends the elegy. In Samuel Johnson's "Life of Milton " read the strictures on "Lycidas." Put over against Johnson's adverse criticism this opinion of Tennyson's that "Lycidas" is "a test of any reader's poetic instinct." ON THE LATE MASSACRE IN PIEDMONT Avenge, O Lord, thy slaughtered saints, whose bones 5 Forget not in thy book record their groans ΙΟ 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 Note the enveloping action which caused the writing of this sonnet. Classify the many kinds of sonnet. Fully analyse the Miltonic form. Read Wordsworth's estimation of this variety in his extempore sonnet, composed in a short walk on the western side of Rydal Lake, entitled "Scorn not the Sonnet." How does the Miltonic differ from the Shakesperian and the modern, contemporary sonnet? In regard to the excellence of sonnet form of verse, read Rossetti's "The Sonnet and Theodore Watts' "The Sonnet's Voice." ON HIS BLINDNESS When I consider how my light is spent Ere half my days in this dark world and wide, And that one talent which is death to hide Lodged with me useless, though my soul more bent 5 To serve therewith my Maker, and present My true account, lest He returning chide, "Doth God exact day-labour, light denied?" I fondly ask. But Patience, to prevent That murmur, soon replies, "God doth not need Either man's work or his own gifts. Who best Bear his mild yoke, they serve him best. Is kingly thousands at his bidding speed, And post o'er land and ocean without rest; They also serve who only stand and wait." ΙΟ His state From the meekness of disposition in these lines, can it be imagined that Milton had been violent in quarrel with Mary Powell, that he had smitten Salmasius to death in "Pro Populo Anglicano Defensio," and that perhaps at the very moment of writing this sonnet he had abused his little children? The Restoration Period 1660-1688 JOHN DRYDEN The versification, of which he had learned the art by long practice, is excellent, but his haste has led him to fill out the measure of lines with phrases that add only to dilute, and thus the clearest, the most direct, the most manly versifier of his time became, without meaning it, the source (fons et origo malorum) of that poetic diction from which our poetry has not even yet recovered. - James Russell Lowell. Optional Poems Absalom And Achitophel. Mac Flecknoe. To The Memory Of Mrs. Anne Killigrew. A Song For St. Cecilia's Day. Under Mr. Milton's Picture Before His Paradise Lost. Phrases A fiery soul, which working out its way, Great wits are sure to madness near allied. Stiff in opinion, always in the wrong; ... – Absalom And Achitophel. Errors, like straws, upon the surface flow; He who would search for pearls, must dive below. ALEXANDER'S FEAST; OR, THE POWER OF MUSIC 5 'Twas at the royal feast, for Persia won By Philip's warlike son: Aloft, in awful state The godlike hero sate On his imperial throne; His valiant peers were placed around; Their brows with roses and with myrtles bound: (So should desert in arms be crowned.) The lovely Thais, by his side, 10 Sate like a blooming eastern bride, None but the brave, None but the brave, None but the brave deserves the fair. Timotheus placed on high Amid the tuneful quire, With flying fingers touched the lyre: The song began from Jove, A dragon's fiery form belied the god: When he to fair Olympia pressed; And while he sought her snowy breast, 30 35 40 45 50 Then round her slender waist he curled, And stamped an image of himself, a sovereign of the world. The listening crowd admire the lofty sound, A present deity, they shout around; A present deity, the vaulted roofs rebound: The monarch hears, Assumes the god, Affects to nod, And seems to shake the spheres. The praise of Bacchus then the sweet musician sung, The jolly god in triumph comes; Flushed with a purple grace He shows his honest face: Now, give the hautboys breath; he comes, he comes. Drinking joys did first ordain ; Rich the treasure, Sweet the pleasure, Sweet is pleasure after pain. Soothed with the sound, the king grew vain; Fought all his battles o'er again; And thrice he routed all his foes, and thrice he slew the slain. 55 The master saw the madness rise, His glowing cheeks, his ardent eyes; |