THE PLAIN TEXT POETS MILTON'S IORTER POEMS 6LACKIE AND SON LIMITED LONDON 11 JOHN MILTON From a portrait in the Bruckmann Collection MILTON'S SHORTER POEMS EDITED BY G. B. SELLON Second Mistress, Francis Holland School, Clarence Gate, London BLACKIE & SON LIMITED LONDON AND GLASGOW BLACKIE & SON LIMITED 50 Old Bailey* London 17 Stanhope Street, Glasgow BLACKIE & SON (INDIA) LIMITED Warwick House, Fort Street, Bombay BLACKIE & SON (CANADA) LIMITED 1118 Bay Street, Toronto The Plain-Text Poets BROWNING (R.) Shorter Poems. Introduction by Miss Edith Fry, M.A.(Lond.). ROBERT BURNS Select Poems. Arranged in kindred groups. CHAUCER The Knightes Tale. Introduction and Glossary by R. J. Cunliffe, M.A., LL.B. OLIVER GOLDSMITH Select Poems. Introduction by Miss E. Margery Fox. THOMAS GRAY Select Poems. Introduction by the Rev. W. C. Eppstein, M.A., D.D. LONGFELLOW Evangeline, and other Poems. Introduction by Miss Clay, B.A. LONGFELLOW The Song of Hiawatha. Introduction by Miss Amy F. Edwards (Hist. Tripos, Cambridge). MACAULAY Lays of Ancient Rome, &c. Introduction by W. M. L. Hutchinson. MILTON Shorter Poems. Introduction by Miss G. B. Sellon. SCOTT Marmion. Introduction by R. F. Cholmeley, M.A. SCOTT Lady of the Lake. Introduction by J. V. Saunders, M.A. SCOTT Lay of the Last Minstrel. Introduction by Miss A. B. Covernton. TENNYSON Earlier Poems. Introduction by the Rev. H. Buchanan Ryley, M.A. TENNYSON The Princess. Introduction by J. Hubert Jagger, M.A., D.Litt. WORDSWORTH Select Poems. Historical Lyrics and Ballads. Edited by S. E. Winbolt, M.A., Christ's Hospital. Book I Before 1485. Book II After 1485. Scottish Ballads. Edited by Robert Stewart, M.A. Scottish Vernacular Poetry. From Barbour to Burns. Edited by T. D. Robb, M.A. Printed in Great Britain by Blaekie &* Son, Ltd., Glasgow fl o&'i INTRODUCTORY NOTE Milton's life is divided into three clearly marked periods, which makes it very easy to remember the chronological order of his works. It is worth while to study Milton's life at the same time as his poetry, because the one helps to explain the other. Milton was born on December 9, 1608, in Bread Street, Cheapside, went to St. Paul's School in 1620, and to Cambridge in 1625. After leaving Cambridge, in 1632, he lived with his father at Horton in Buckinghamshire, and began that course of " industrious and select reading " which was to prepare him for his future work. While at College, Milton wrote the Hymn on the Nativity in 1629; and at Horton, L Allegro and // Penseroso in 1633, Comus in 1634, and Lycidas in 1637. The Hymn on the Nativity is a beautiful poem which shows Milton's early mastery of style and command of language, his imagination, his love of the classics, the curious way he has of mix- r "095 4 INTRODUCTION ing classical and Biblical allusions, and his re- ligious and devout mind. L Allegro and // Penseroso, written in his time of peace and literary leisure, give us glimpses of Milton himself. We can see him both in the cheerful austerity of // Penseroso, which means the thoughtful, not the melancholy, man, and in the austere joyousness of L' Allegro. They show Milton to be an observer of Nature, although not with the wonderful all-embracing grasp of Shake- speare, nor with the loving and reverent worship of Wordsworth. Milton's wide reading is shown in the allusions to the classics, to Ben Jonson, to Shakespeare, also to Chaucer and Spenser. Conius is the most famous example of a masque which has come down to us. These masques were generally allegorical, and were written for some particular occasion, such as a marriage or Court festival. The performers wore masks, the dresses were very gay, and the story was diversified with songs and dances and stately processions, until the masque became a very costly and elaborate performance. Milton's Comus was written for the festivities which were held when the Earl of Bridgewater went to Ludlow Castle in 1634 to take up his duties as President of the Council of Wales, The INTRODUCTION 5 music was composed by Henry Lawes, a well- known musician, whom Milton has praised in one of the sonnets included in this book. The play was acted on the night of Michaelmas, 1634, in the Great Hall of Ludlow Castle. Lawes took the part of Thyrsis, and Lord Bridgewater's daughter, Lady Alice Egerton, and her brothers, Viscount Brackley and Mr. Thomas Egerton, played the parts of the Lady and the two Brothers. Considered as a drama, Comus has certain faults, but no one who reads it can fail to be moved by the stately charm of the words, the glamour of romance and mystery, and the passionate sense of moral beauty. It is difficult to choose passages for quotation, as the poem is such a complete and perfect whole, but the following lines give the keynote to the whole poem: ( So dear to heaVn is saintly chastity, That when a soul is found sincerely so, A thousand liveried angels lackey her, Driving far off each thing of sin and guilt, And in clear dream, and solemn vision, Tell her of things that no gross ear can hear, Till oft converse with heav'nly habitants Begin to cast a beam on th' outward shape, The unpolluted temple of mind, And turns it by degrees to the soul's essence, Till all be made immortal '. 6 INTRODUCTION Lycidas is also a poem written for a special occa- sion; it is one of a collection of memorial verses published by the college friends of Edward King, Fellow of Christ's College, Cambridge, who was drowned while on a voyage from Chester to Ireland. It is impossible to praise adequately the ex- traordinary perfection of this poem, the wonderful effect which is gained by the irregularity of the rhyme, the variety of rhythm, the skilful use of alliteration, and the imaginative force, which make the charm of such lines as: ' While the still morn went out with sandals grey ', or 4 Bid Amaranthus all his beauty shed ', or 6 The pilot of the Galilean Lake ', or again * . . . or whether thou . . , Sleepst by the fable of Bellerus old Where the great vision of the guarded mount Looks towards Namancos and Bayona's hold'. Mark Pattison has given Lycidas high praise: " This piece, unmatched in the whole range of English poetry, and never again equalled by Milton himself, leaves all criticism behind. Indeed, so high is the poetic note here reached that the common ear fails to catch it. Lycidas^ is the touchstone of taste." INTRODUCTION 7 In 1638 Milton travelled through France and Italy, where he saw many famous places and met many interesting people, including Galileo. When the news of the beginnings of the Civil War reached him, he decided that it was his duty to return, and this brings the happy and fortunate part of his life to a close. Milton began to earn his living by turning schoolmaster, but soon devoted himself entirely to politics, and took a strenuous part in the troubled events of the next twenty years. He became Latin Secretary to the Council of State, and wrote many prose pamphlets, of which Areopagitica is the best. Most of the Sonnets belong to this period, and they are the only poetic work which he produced until after the Restoration. They are of great interest, both from their severe per- fection of form and from the fact that, as Hazlitt points out in his Table Talk, "they are a kind of pensive record of past achievements, loves, and friendships, and a noble exhortation to himself to bear up with cheerful hope and confidence to the last". A careful reading of the Sonnets will justify this statement, and give fresh insight into Milton's character. The Sonnet on his blind- ness is too well known to quote, but the second on the same subject, dedicated to Cyriack Skirmer> 8 INTRODUCTION is not so well known as it deserves to be. It contains the brave words: ' . . . 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 '. When the Restoration took place, Milton was considered to be in some danger, owing to the prominent part he had taken in defending the execution of Charles I; he therefore lived in re- tirement until the Act of Indemnity was passed. Afterwards he moved to a house in Artillery Walk, Bunhill Fields, where he remained until his death, only leaving London once to go to a house in Chalfont St. Giles, during the Plague. He had now married his third wife, who "kept her house and her husband excellently well". It was during this third period of his life that Milton published Paradise Lost, in 1667; and Paradise Regained and Samson Agonistes, in 1671. On reading Samson Agonistes certain obvious criticisms suggest themselves it is lacking in some dramatic qualities, there is great diffuseness, the plot drags, the incidents of Dalila and Har- apha are not essential to the unfolding of the plot, and there are signs in it that Milton was now growing old. But, for all that, the poem INTRODUCTION 9 is a great and magnificent one, none the less great because of the strong personal element in it. The personal element is felt nowhere more poignantly than in Samson's lament over his blindness. 1 ... But chief of all, O loss of sight, of thee I most complain ! Blind among enemies ! O worse than chains, In power of others, never in my own. O dark, dark, dark, amid the blaze of noon.' Throughout the whole poem, Milton makes us feel the personal point of view; it is he who is blind and old and poor, who sees the death and captivity of his friends, and the triumph of that cause which meant, in his eyes, all that was evil and corrupt. If there is not quite all the former beauty and sureness, yet there is quite enough to make us feel the power and stateliness of the most stately of all poets, and he rises to his old power in such lines as the following, which describe Milton quite as much as Samson: * Nothing is here for tears, nothing to wail Or knock the breast; no weakness, no contempt, Dispraise or blame ; nothing but well and fair, And what may quiet us in a death so noble '. 10 INTRODUCTION It should also be remembered that Milton has planned his drama on the Greek model, and, as he points out in the preface, " they only will bes judge (his drama) who are not unacquainted with Aeschylus, Sophocles, and Euripides, the three tragic poets unequalled yet by any, and the best rule to all who endeavour to write tragedy". Those of us who are unacquainted with the work of these three great poets may take this for our consolation that in Samson Agonistes we get the nearest approach possible to Athenian drama, and that it is, according to Matthew Arnold, " through the original poetry of Milton ", that those who do not know Greek are "to gain any sense of the power and charm of the great poets of antiquity " for Milton alone has the " like power to charm because he has the like great style". The poetry of Milton is difficult because it is so severe and stately, but it is well worth the trouble it demands of us. The power to read Milton will be a source of never-ending pleasure it will also be a touchstone by which other poetry may be tested, for you may be sure that after you have learned to love and appreciate Milton, you will never afterwards be able to tolerate any- thing common or unclean. CONTENTS Page V ON THE MORNING OF CHRIST'S NATIVITY . . .13 L J ALLEGRO 24 IL PENSEROSO 29 , COMUS . 35 X LYCIDAS 70 ENGLISH SONNETS 77 SAMSON AGONISTES ...*.., 88 ON THE MORNING OF CHRIST'S NATIVITY This is the month, and this the happy morn, Wherein the Son of Heaven's Eternal King, Of wedded Maid and Virgin Mother born, Our great redemption from above did bring; For so the holy sages once did sing, That he our deadly forfeit should release, And with his Father work us a perpetual peace. That glorious form, that light unsufferable, And that far-beaming blaze of majesty, Wherewith he wont, at Heaven's high council-table To sit the midst of Trinal Unity, n He laid aside; and, here with us to be, Forsook the courts of everlasting day, And chose with us a darksome house of mortal clay. 3 Say, Heavenly Muse, shall not thy sacred vein 15 Afford a present to the Infant-God? Hast thou no verse, no hymn, or solemn strain, To welcome him to this his new abode, 13 14 ON THE MORNING Now while the Heaven, by the sun's team untrod, Hath took no print of the approaching light, 20 And all the spangled host keep watch in squadrons bright? 4 See how from far upon the eastern road The star-led wizards haste with odours sweet! O run, prevent them with thy humble ode, And lay it lowly at his blessed feet; 26 Have thou the honour first thy Lord to greet, And join thy voice unto the Angel Quire; From out his secret altar touched with hallow'd fire, OF CHRIST'S NATIVITY"' 15 THE HYMN 7\ It was the winter wild, While the Heav'n-born child, sr All meanly wrapt, in the rude manger lies; Nature, in awe to him, Had doff 'd her gaudy trim, With her great Master so to sympathise: it was no season then for her *t To wanton with the Sun, her lusty paramour. Only with speeches fair She woos the gentle Air, To hide her guilty front with innocent snow; And on her naked shame, Pollute with sinful blame, The saintly veil of maiden white to throw; Confounded, that her Maker's eyes Should look so near upon her foul deformities. 3 But he, her fears to cease, Sent down the meek-eyed Peace; She, crown'd with olive green, came softly sliding Down through the turning sphere, His ready harbinger, l6 ON THE MORNING With turtle wing the amorous clouds dividing; 50 And, waving wide her myrtle wand, She strikes a universal peace through sea and land 4 No war, or battle's sound, Was heard the world around; The idle spear and shield were high uphung; 55 The hooked chariot stood, Unstain'd with hostile blood, The trumpet spake not to the armed throng; And kings sat still, with awful eye, As if they surely knew their sovran Lord was by. 60 y 5 But peaceful was the night, Wherein the Prince of Light His reign of peace upon the earth began: The winds, with wonder whist, Smoothly the waters kiss'd, 65 Whispering new joys to the mild Ocean ; Who now hath quite forgot to rave, While birds of calm sit brooding on the charmed wave. 6 y The stars, with deep amaze, Stand fix'd in stedfast gaze, 70 Bending one way their precious influence; And will not take their flight, For all the morning light, Or Lucifer that often warned them thence; But in their glimmering orbs did glow, 75 Until their Lord himself bespake, and bid them go. (C134) OF CHRIST'S NATIVITY 17 7 And, though the shady gloom Had given day her room, The Sun himself withheld his wonted speed And hid his head for shame, BO As his inferior flame The new enlightened world no more should need : He saw a greater Sun appear Than his bright throne or burning axle-tree could bear. 8 The shepherds on the lawn, % Or ere the point of dawn, Sat simply chatting in a rustic row; Full little thought they than That the mighty Pan Was kindly come to live with them below: 90 Perhaps their loves, or else their sheep, Was all that did their silly thoughts so busy keep. 9 When such music sweet Their hearts and ears did greet, As never was by mortal finger strook, 95 Divinely warbled voice Answering the stringed noise, As all their souls in blissful rapture tooks The air, such pleasure loth to lose, With thousand echoes still prolongs each heavenly close. 100 CC134) 2 ON THE MORNIN- IO Nature, that heard such sound Beneath the hollow round Of Cynthia's seat, the aery region thrilling, Now was almost won To think her part was done, 105 And that her reign had here its last fulfilling: She knew such harmony alone Could hold all Heaven and Earth in happier union. ii At last surrounds their sight A globe of circular light, no That with long beams the shamefaced Night array'd; The helmed cherubim, And sworded seraphim, Are seen in glittering ranks with wings displayed, Harping in loud and solemn quire, 115 With unexpressive notes, to Heaven's new-born Heir. 12 Such music, as 't is said, Before was never made, But when of old the sons of morning sung; While the Creator great 120 His constellations set, And the well-balanced World on hinges hung; And cast the dark foundations deep, . And bid the weltering waves their oozy channel keep. OF CHRIST'S NATIVITY 13 Ring out, ye crystal spheres ! Once bless our human ears, If ye have power to touch our senses so; And let your silver chime Move in melodious time, And let the bass of Heaven's deep organ blow; And, with your nine-fold harmony, Make up full consort to the angelic symphony. 14 For if such holy song Enwrap our fancy long, Time will run back, and fetch the Age of Gold; ^35 And speckled Vanity Will sicken soon and die, And leprous Sin will melt from earthly mould, And Hell itself will pass away, And leave her dolorous mansions to the peering day. MO Yea, Truth and Justice then Will down return to men, Orb'd in a rainbow; and, like glories wearing, Mercy will sit between, Throned in celestial ;,heen, 146 With radiant feet the tissued clouds down steering, And Heaven, as at some festival, Will open wide the gates of her high palace hall. 20 ON THE MORNING 16 But wisest Fate says no, This must not yet be so; 150 The Babe lies yet in smiling infancy, That on the bitter cross Must redeem our loss; So both himself and us to glorify: Yet first to those ychain'd in sleep 155 The wakeful trump of doom must thunder through the deep, 17 With such a horrid clang As on Mount Sinai rang, While the red fire and smouldering clouds out brake-. The aged Earth, aghast 160 With terror of the blast, Shall from the surface to the centre shake; When, at the world's last sessi6n, The dreadful Judge in middle air shall spread his throne. N 18 And then at last our bliss 105 Full and perfect is, But now begins; for, from this happy day, The old Dragon under ground, In straiter limits bound, Not half so far casts his usurped sway; no And, wroth to see his kingdom fail, Swindges the scaly horror of his folded tail. OF CHRIST'S NATIVITY 19 The Oracles are dumb; No voice or hideous hum Runs through the arched roof in words deceiving. 175 Apollo from his shrine Can no more divine, With hollow shriek the steep of Delphos leaving. No nightly trance, or breathed spell, Inspires the pale-eyed priest from the prophetic cell, iso 20 The lonely mountains o'er, And the resounding shore, A voice of weeping heard, and loud lament; From haunted spring, and dale Edged with poplar pale, 185 The parting Genius is with sighing sent; With flower-inwoven tresses torn, The Nymphs in twilight shade of tangled thickets mourn. 21 In consecrated earth, And on the hply hearth, The Lars Imd Lemures'moan with midnight plaint; In urns and altars round, A drear and dying sound Affrights the Flamens at their service quaint; And the chill marble seems to sweat, While each peculiar Power forgoes his wonted seat. 22 ON THE MORNING Ji ><^ 22 Peor and Baalim < (? h (TCIO* Forsake their temples dim, With that twice-batter'd God of Palestine And mooned Ashtarotl), Heaven's queen and mother both, Now sits not girt with tapers/ holy shine; The Libyc Hammon shrinks his horn ; In vain the Tyrian maids their wounded Thammuz mourn. {0 ^ -i ~-~-, --_., e**A Not Typhon huge, ending in snaky twine: Our Babe, to show his Godhead true, Can in his swaddling bands control the damned crew. 26 \/ So, when the Sun in bed, Curtain'd with cloudy red, 280 Pillows his chin upon an orient wave^ The flocking shadows pale, Troop to the infernal jail; Each fetter'd ghost slips to his several grave, And the yellow-skirted Fays 235 Fly after the night-steeds, leaving their moon-loved maze. -4 v 27 But see! the Virgin blest Hath laid her Babe to rest; Time is our tedious song should here have ending; Heaven's youngest-teemed star 2*0 Hath fix'd her polish'd car, Her sleeping Lord with handmaid lamp attending; And all about the courtly stable Bright-harness'd Angels sit, in order serviceable. L'ALLEGRO /\ HENCE, loathed Melancholy, Of Cerberus and blackest Midnight born, In Stygian cave forlorn, 'Mongst horrid shapes, and shrieks, and sights unholy \ Find out some uncouth cell, 5 Where brooding Darkness spreads his jealous wings, And the night-raven sings : There, under ebon shades, and low-brow'd rocks, As ragged as thy locks, In dark Cimmerian desert ever dwell. 10 V But come, thou goddess fair and free, In Heaven yclep'd Euphrosyne, 4rv-Cjer{0*4^(jrT*. And by men, heart-easing Mirth; Whom lovely Venus, at a birth, With two sister Graces more, 15 To ivy-crowned Bacchus bore: Or whether, as some sager sing, The frolick wind, that breathes the spring, Zephyr, with Aurora playing, As he met her once a-Maying; 20 There on beds of violet blue, And fresh-blown roses wash'd in dew, Fill'd her with thee a daughter fair, So buxom, blithe, and debonair. Haste thee, nymph, and bring with thee 25 Jest, and youthful jollity, Quips, and cranks, and wanton wiles, Nods, and becks, and wreathed smiles, 24 L ALLEGRO. Such as hang on Hebe's cheek, And love to live in dimple sleek; 30 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 35 The mountain-nymph, sweet Liberty; 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; v + 40 The Pleasures of a Morning in the Country, To hear the lark begin his flight, And singing, startle the dull night, From his watch-tower in the skies, Till the dappled dawn doth rise; Then to come, in spite of sorrow, 45 And at my window bid good morrow, Through the sweet-briar, or the vine, Or the twisted eglantine : While the cock, with lively din, Scatters the rear of darkness thin; 50 And to the stack, or the barn-door, Stoutly struts his dames before : Oft listening how the hounds and horn Cheerly rouse the slumb'ring morn, From the side of some hoar hill, 55 Through the high wood echoing shrill: Some time walking, not unseen, By hedge-row elms, on hillocks green, Right against the eastern gate, 26 L'ALLEGRO. Where the great sun begins his state, 60 Robed in flames, and amber light, The clouds in thousand liveries dight; While the plowman, near at hand, Whistles o'er the furrow'd land, And the milkmaid singeth blithe, 65 And the mowfer whets his sithe, And every shepherd tells his tale Under the hawthorn in the dale. , >f* Country Life and Scenery. Straight mine eye hath caught new pleasures, Whilst the landskip round it measures; 70 Russet lawns, and fallows gray, Where the nibbling flocks do stray: Mountains, on whose barren breast The laboring clouds do often rest; Meadows trim with daisies pied, 75 Shallow brooks, and rivers wide: Towers and battlements it sees Bosom'd high in tufted trees, Where perjiaps some beauty lies, The Cyhosure^of neighbouring eyes. 80 Hard by, a cottage chimney smoaks From betwixt two aged oaks, Where Corydon and Thyrsis, met, Are at their savoury dinner set Of herbs, and other country messes, 85 Which the neat-handed Phillis dresses ; And then in haste her bower she leaves, With Thestylis to bind the sheaves; Or, if the earlier season lead, To the tann'd haycock in the mead 90 L'ALLEGRO. 37 The Villagt Festival. Sometimes with secure delight The upland hamlets will invite, When the merry bells ring round, And the jocund rebecks sound To many a youth, and many a maid. 95 Dancing in the chequer'd shade; And young and old come forth to play On a sunshine holyday, Till the livelong daylight fail: Then to the spicy nut-brown ale, 100 With stories told of many a feat, How faery Mab the junkets ate : She was pinch'd and pull'd, she sed; And he, by friar's lantern led, Tells how the drudging goblin swet, 105 To earn his cream-bowl duly set, When in one night, ere glimpse of morn, His shadowy flail hath thresh'd the corn, That ten day-labourers could not end : Then lies him down the lubbar fiend, no And, stretch'd out all the chimney's length, Basks at the fire his hairy strength; And crop-full out of doors he flings, Ere the first cock his matin rings. Thus done the tales, to bed they creep, 115 By whispering winds soon lulPd asleep. The Pleasures of the Town the Tournament, the Masque, the Stage. Tower'd cities please us then, And the busy hum of men, Where throngs of knights and barons bold, In weeds of peace, high triumphs hold, zao With store of ladies, whose bright eyes 28 L'ALLEGRO. Rain influence, and judge the prize Of wit or arms, while both contend To win her grace, whom all commend. There let Hymen oft appear