of the Titan Iapetus and Clymene, for having carried down fire from heaven and bestowed it upon mortals.

1. 9. Alcestis, daughter of Pelias and wife of Admetus who gave up her life to save her husband from death.

1. 13. allegory of Sin and Death, told in P. L. ii. 648-814. 11. 22, 3. no less local, not less defined as to position.

11. 26, 7. a mole... asphaltus, "The aggregated soil Death with his mace petrific, cold and dry, As with a trident smote, and fixed as firm As Delos, floating once; the rest his look Bound with Gorgonian rigour not to move, And with asphaltic slime," P. L. x. 293-8. The true reading is aggregated not aggravated. 1. 33. with great expectation, with such detailed description that we are led to suppose that some result of importance is at hand; see P. L. iv. 877-1015.

P. 70, 1. 1. rife in heaven, "Space may produce new Worlds; whereof so rife There went a fame in Heaven that He ere long Intended to create," P. L. i. 650-2 (Satan's speech); "There is a place (If ancient and prophetic fame in Heaven Err not)another World, the happy seat Of some new race, called Man,” P. L. ii. 345-8 (Beelzebub's speech).

1. 4. something of anticipation, some anticipation of a state of things which so far has no existence.

1. 5. Adam's discourse of dreams, P. L. viii. 287, etc.

1. 7. his answer, P. L. viii. 179, etc.

11. 12, 3. before Adam... comparison, deer not as yet having been created and Adam not as yet having experienced the idea of fear. This seems a very minute exception to be taken considering the variety of knowledge which "Adam's converse with the angels presupposes.

1. 14. Dryden remarks, "Milton's Paradise Lost is admirable; but am I therefore bound to maintain, that there are no flats among his elevations, when it is evident he creeps along sometimes far above an hundred lines together?" (Preface to the Second Miscellany).

1. 22. expatiated, in fancy wandered at large.

11. 29, 30. the Paradise of Fools, "all these, upwhirled aloft Fly o'er the backside of the World far off Into a Limbo large and broad, since called The Paradise of Fools," P. L. iii. 493-6.

1. 33. equivocations, see note, p. 52, 1. 28.

11. 34, 5. his unnecessary... art, "The last fault I shall take notice of in Milton's style is the frequent use of what the learned call technical words or terms of art" (Addison, The Spectator, No. 297).

P. 71, 1. 5. not as nice but as dull, remarkable rather for his dulness of ideas than for his accuracy of observation.

1. 9. elegant, gracefully written.

1. 11. effusions, pourings forth.

1. 16. it would... praise, sc. which its inferiority to Paradise Lost makes us refuse.

11. 20, 1. with their encumbrance of a chorus, the Greek drama originated in the choric dances in honour of Dionysus (Bacchus), and in its fuller form the chorus still retained a place, its function being principally to moralize upon the purport of the play and to interpret its movement.

1. 24. the intermediate parts, such as the dispute between Samson and his wife, Dalila, the conversations of Samson and his father, Manoah, and the reflections of the Chorus.

1. 31. in the gross, as a whole, not by study of individuality. P. 72, 1. 10. sunk under him, was not adequate to the sublimity of his subject. The Spectator, No. 297, "Our language sunk under him, and was unequal to that greatness of soul which furnished him with such glorious conceptions."

1. 13. discovered, seen.

1. 23. the Tuscan poets, Tasso, Dante, Ariosto, etc.

...

11. 25, 6. Jonson language, Spenser, in affecting the ancients, writ no language; yet would I have him read for his matter, but as Virgil read Ennius" (Jonson, Discoveries, cxxv.).

1. 27. Butler, author of Hudibras, in which poem, iii. 93, he speaks of "A Babylonish dialect, which learned pedants much affect"; Babylonish, babel-like, confused in language. Cp. P. L. xii. 343.

1. 31. he cannot want, he cannot be denied.

P. 73, 11. 1, 2. The measure... rhyme, in his prefatory note to Paradise Lost.

1. 3. The Earl of Surrey, who translated the Second Book of Virgil's Eneid into blank verse, and first introduced that form of verse into English poetry.

1. 7. Raleigh's... Guiana, in 1616 Raleigh was liberated from prison in order that he might discover the gold mine in Guiana of which in his previous voyage he had heard rumours.

11. 10, 1. Trisino's Italia Liberata, Trisino, or Trissino, an Italian poet of the first half of the sixteenth century, and the father of blank verse in that country, wrote a poem on the liberation of Italy from the Goths by Belisarius.

11. 13, 4. Rhyme ... poetry, in his preface to Paradise Lost,

where he speaks of "rime" as being "but the invention of a barbarous age, to set off wretched matter and lame metre."

11. 14, 5. But perhaps... adjunct, Isaiah, for instance, or the Psalms, though not in their English translation metrical in form, are none the less poetry to our understanding.

11. 22, 3. unless all... together, unless the syllables of each line are so adjusted to each other as to produce a harmony of sound.

...

1. 25. a distinct sounds, a structure of sounds complete in itself and independent for its effect upon our ear of what goes before or comes after.

1. 29. happy, skilful, felicitous.

1. 31. Blank verse

eye, only to be distinguished from prose by being written or printed in lines which do not run on in unbroken continuation.

1. 36. lapidary style, see note, p. 6, 1. 35.

P. 74, 11. 2, 3. the Italian writers... precedents, Milton does not specify any particular poets, though he speaks of them as poets of prime note."

66

11. 14, 5. cannot be said... poem, that having been already "contrived" by Homer.

11. 22-4. he did not refuse

them, see Introduction.

1. 29. under discountenance, i.e. when, even though his life was safe, he was still under the cloud of the king's ill-favour.