10. Cimmeʼrian, relating to the Cim- | 16. Bacchus (in Greek mythology Die

merii, a mythical people, who,

according to Homer, lived in

a land where the sun never
shone.

12. yeleped, called.

12-16. Euphros'ynē... bore.

"Eu

phrosyne," one of the three

ny'sus) was the youthful and beautiful god of wine. He was

reputed the son of Jupiter and Sem'ele.

19. Quips, smart, sarcastic jests; cranks,
turns or conceits of speech;
wanton, free and easy.

Graces that attended on Venus, 21. He'be, the goddess of youth, and
the goddess of love. The "two
daughter of Jupiter and Juno.
sister graces" were Agla'ia 22. love to live: that is, are wont to
(grace) and Thali'a (favor).
live (Latin idiom).

LITERARY ANALYSIS.-10. dark Cimmerian. Is there any tautology here? 16. ivy-crowned. Why is this an appropriate epithet?

20. wreathéd. What epithet contrasting with "wreathed" is applied to "Care" in line 23?

23, 24. Sport... sides. Give three examples of personification (see Def. 22) in this passage.

25, 26. What expression in this passage is now a familiar quotation? And compare with Shakespeare (Tempest, iv. 2):

"Come and go,

Each one tripping on his toe."

TO

25

20

25

And in thy right hand lead with thee
The mountain nymph, sweet Liberty.
And, if I give thee honor due,
'Mirth, admit me of thy crew

To live with her, and live with thee,
In unreprovéd* pleasures free;
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,
And at my window bid good-morrow,
Through the sweet-brier, or the vine,
Or the twisted eglantine,

While the cock, with lively din,

Scatters the rear of darkness thin,

30. crew, set or company. The word | 39, 40. sweet-brier . . . eglantine. Eglan

is not here used in its deroga-
tory sense.

32. unreprovéd, unreprovable, blame

less.

37. in spite of sorrow out of a spirit

tine and sweet-brier being the same plant, it is conjectured that by "twisted eglantine" Milton has reference to the honey-suckle.

of spite against sorrow; that is, 41. lively din. Compare with Grey's
to spite sorrow.
"shrill clarion."

LITERARY ANALYSIS.-28. mountain nymph. Can you think of any reason why "Liberty" is styled a "mountain nymph?"

32. unreprovéd pleasures free. Note that the order of words here is adjective +noun+adjective. This is a favorite arrangement with Milton. Are there any other examples of this order in the present poem? What would be the prose arrangement?

33-60. To hear the lark... dale. In this fine piece of description, enumerate the various sights and sounds that address the senses of L'Allegro. Select the most picturesque touches.

35. his. Whose? and why the masculine form?

37. to come. On what does "to come" depend-on "admit" or on "to hear?" On the answer to this question rests whether it is L'Allegro or the lark that comes to "bid good-morrow."

42. Scatters... darkness. What figure of speech in this? (See Def. 20.) From what is the metaphor taken? Expand it into a simile. (See Def. 20, ii.)

ງາ

35

40

And to the stack or the barn door
Stoutly struts his dames before;
Oft list'ning how the hounds and horn
Cheerly rouse the slumb'ring morn,.
From the side of some hoar hill,
Through the high wood echoing shrill;
Sometime walking, not unseen,
By hedge-row elms, on hillocks green,
Right against the eastern gate,
Where the great sun begins his state,
Robed in flames and amber light,
The clouds in thousand liveries dight,*
While the ploughman near at hand
Whistles o'er the furrowed land,
And the milkmaid singeth blithe,
And the mower whets his scythe,
And every shepherd tells his tale*
Under the hawthorn in the dale.

Straight mine eye hath caught new pleasures
While the landscape round it measures—

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,*
Shallow brooks and rivers wide.
Towers and battlements it sees
Bosomed high in tufted trees,

46. Cheerly cheerily. 47. hoar, rime-white. 51. against, towards.

54. in thousand liveries dight: that is, arrayed in a thousand suits of color.

59. tells his tale = = tells or counts the
tale, or number of his flock.
61. Straight, straightway, immediately.
63. lawns, open grassy spaces, pastures;
gray, light-brown.

67. pied, variegated in color.

LITERARY ANALYSIS.-59. Give the etymology of the word "tale."

65-67. What epithets are applied to "breast," "clouds," and "meadows?" Are these literal or metaphorical?

75. Corydon and Thyr'sis, names of 84. upland hamlets. Upland

shepherds, used by Virgil.

77. messes, dishes of food.

78. Phyllis, the name of a country girl

that figures in Virgil's Eclogues;
hence meant to typify any rus-
tic maiden.

80. Thes'tylis, a female slave mentioned

is

LITERARY ANALYSIS.—72. The cynosure, etc. What figure of speech is this? (See Def. 20.)-What is the derivation of "cynosure?"

73-82. Hard by... mead. Is this a period or a loose sentence? (See Defs. 57, 58.)-Change this sentence into the prose order.

75-80. Contrast the allusions in these lines with those in lines 92 – 106. Which are classical? Which are derived from old English folk-lore?

83. secure. How does the meaning here differ from the modern sense? 83-108, and 109-116. In the former passage we have a picture of rustic pleasures in the upland hamlets: what contrasting pictures have we in the latter passage?

And young and old come forth to play
On a sunshine holiday,

Till the livelong daylight fail;
Then to the spicy nut-brown ale,
With stories told of many a feat:
How fairy Mab the junkets* eat;
She was pinched and pulled, she said;
And he, by friar's lantern* led;
Tells how the drudging goblin sweat
To earn his cream-bowl duly set,
When in one night, ere glimpse of morn,
His shadowy flail hath threshed the corn
That ten day-laborers could not end;
Then lies him down the lubbar* fiend,
And, stretched 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,

By whispering winds soon lulled asleep.
Towered cities please us then,

And the busy hum of men,

Where throngs of knights and barons bold,
In weeds of peace, high triumphs hold,

*

94. Mab, the queen of the fairies; junkets, sweetmeats, dainties.

95, 96. She... he: that is, some of the story-tellers.

96. And he... led: that is, he (one of the story-tellers) recounts that "he was led by," etc. There is said to be here an error in

97. Tells... drudging goblin. Supply
he (that is, the last story-teller)
as subject of "tells." By
"drudging goblin" is meant a
Robin Goodfellow, a domestic
fairy that would do any kind of
drudging work for a bowl of
milk.

Milton's folklore: "Friar, 105. he flings: that is, he flings him-
Rush haunted houses, not

self; he rushes.

fields," and the sprite that 109. then: that is, at some other time.
played the prank referred to 112. weeds, garments; triumphs, pub-
must have been Jack-o'-the-
lic shows or spectacles, as pag-
Lanthorn, or Will-o'-the-Wisp.
eants, tournaments, etc.

LITERARY ANALYSIS.-107, 108. Thus done... asleep. Analyze this sentence.