Strive to keep up a frail and feverish being, 10 fax's Tasso, c. xiii. 20. Shake- if he had said just before speare, K. Lear, act ii. s. 2. Two Gent. Verona, act i. s. 1. It is a pound in Hudibras. A pinner is a shepherd in some parts of England, one who pins the fold. In old deeds, among manorial rights, the privilege of a pinfold for pound is claimed. T. Warton. 8. Strive to keep up a frail and feverish being, This endeavour is in itself no fault; it becomes so only as it is circumstanced: and the Trinity manuscript gives this circumstance, which was therefore necessary to the justness of the thought, Beyond the written date of mortal By the written date is meant I am still inclined to think that this line is better omitted. For though it may not be a fault in itself to Strive to keep up a frail and feverish being, yet it certainly is so to strive to keep it up Unmindful of the crown that virtue gives: and he could not have added -the crown that virtue gives After this mortal change Beyond the written date of mortal change: and therefore I cannot but think that he blotted out this line not without reason. 8. Besides, an allusion to the written date of Scripture would be improper in the person of the attendant spirit. For the same reason there seems to be an im propriety in supposing an allusion to St. Peter's golden key in v. 13, where see the note. Ε. 11. Amongst the enthron'd Gods on sainted seats.] So this verse stands in Milton's manuscript as well as in all his editions: and yet I cannot but prefer the reading of Mr. Fenton's editions, Amongst the enthroned Gods on sainted seats. 11. Shakespeare, Anton. Cleop. act i. s. 3. Though you in swearing shake the See note on Par. L. v. 535. Τ. 13. that golden key, &c.] This seems to be said in allusion to Peter's golden key, mentioned likewise in Lycidas, 110. Two massy keys he bore of metals twain, (The golden opes, the iron shuts amain.) And this verse, which was first That opes the palace of eternity : written That shows &c. after- That opes the palace of eternity, 15 20 22. That like to rich and various gems inlay The unadorned bosom of the deep,] The first hint of this beautiful passage seems to have been taken from Shakespeare's Rich. II. act Her priestess Muse forbids the good ii. sc. 1. where John of Gaunt to die, And opes the temple of eternity. 13. Jonson, Hymen, v. p. 296. of Truth. Her left [holds] a curious bunch of golden keys, With which heaven's gate she lock- Where displays is opens. 18. But to my task &c.] These four lines were thus in the manuscript before they were altered. calls this island by the same sort of metaphor, -this little world, This precious stone set in the silver sea. 22. But Milton has heightened the comparison, omitting ShakeTspeares petty conceit of the silver sea, the conception of a jeweller, and substituting another and a more striking piece of imagery. This rich inlay, to use an expression in the Paradise Lost, gives beauty to the bosom of the deep, else unadorned. It has its effect on a simple ground. Thus the bare earth, before the creation, was " desert and bare, unsightly, unadorned." P. L. vii. 314. But to my business now. Neptune, Of every salt flood, and each ebbing Jove The rule and title of each sea-girt isle. And they were altered with great reason, no verb following the nominative case, Neptune. Eve's tresses are unadorned, By course commits to several government, 25 30 A noble Peer of mickle trust and power 28. -the best of all the main, So altered in the manuscript from -the best of all his empire. 29. He quarters] That is, Neptune: with which name he honours the king, as sovereign of the four seas; for from the British Neptune alone this noble Peer derives his authority. Warburton. 32.-With temper'd awe to guide An old and haughty nation, proud in arms.] That is, the Cambro-Britons, who were to be governed by respect mixed with awe. The Earl of Bridgewater, "A noble Peer of "mickle trust and power," was now governor of the Welch as lord-president of the principality. "Proud in arms," is Virgil's "belloque superbi." Æn. i. 21. T. Warton. 34. Where his fair offspring, nurs'd in princely lore, &c.] I have been informed from a manuscript of Oldys, that Lord Bridgewater entered upon his official residence 35 at Ludlow castle with great so- Lies through the perplex'd paths of this drear wood, 40 4 What never yet was heard in tale or song, Bacchus, that first from out the purple grape Virginibus puerisque canto. Milton might justly enough say this, since Comus is a deity of his own making: but the same allegory has been introduced by most of the principal epic poets under other personages. Such are Homer's Circe, Ariosto's Alcina, Tasso's Armida, and Spenser's Acrasia. From old or modern bard, in hall or bower. Alluding to the ancient custom of poets repeating their own verses at public entertainments. Thyer. 45. From old or modern bard, It was at first in the manuscript, By old or modern bard 45. -in hall or bower.] That is, literally, in hall or chamber. The two words are often thus joined in the old metrical romances. And thus in Spenser's Astrophel. Merrily masking both in lowre and hall. And his Colin Clouts come home again. And purchase highest roome in borore or hall. Where room is place, as in St. Luke xiv. 8, 9, 10. Shakespeare has bower for chamber, Coriolan. act iii. s. 2. So Chaucer, Mill. T. 259. And Spenser, Prothalam. st. viii. T. Warton. 46. Bacchus, that first &c.] Though he builds his fable on classic mythology, yet his materials of magic have more the air of inchantments in the Gothic romances. Warburton. 48. After the Tuscan mariners transform'd,] They were changed by Bacchus into ships and dolphins, the story of which metamorphosis the reader may see in Ovid. Met. iii. Fab. 8. Coasting the Tyrrhene shore, as the winds listed, 50 55 48. This story is alluded to in Homer's fine hymn to Bacchus; the punishments he inflicted on the Tyrrhene pirates are the subjects of the beautiful frieze on the Lantern of Demosthenes, described by Mr. Stuart, in his Antiq. of Athens, p. 33. Dr. J. Warton. Lilius Gyraldus relates, that this history was most beautifully represented in Mosaic work, in the church of St. Agna at Rome, originally a temple of Bacchus. And it is one of the pictures in Philostratus. T. Warton. 50. -who knows not Circe, &c.] See Boethius, l. iv. m. iii. and Virgil, Æn. vii. 11. 17. Alcina has an enchanted cup in Ariosto, с. х. 45. T. Warton. 54. -clustring] See the notes, Par. L. iv. 303. Ε. 55. With ivy-berries wreath'd, Nonnus calls Bacchus κορυμβο Φορος, b. xiv. See also Ovid, Fast. i. 393. and our author, El. vi. 15. T. Warton. 57. Much like his father, but his mother more.] This is said, because Milton's Comus, like Homer's Circe, represents all sensual pleasures; and Bacchus, in the heathen mythology, only presides over that of drinking. Thyer. 58. Whom therefore she brought up, and Comus nam'd,] This line was at first in the Manuscript, Which therefore she brought up, and nam'd him Comus. 58. -and Comus nam'd.] Doctor Newton observes, that Comus is a deity of Milton's own making. But if not a natural and easy personification, by our author, of the Greek ΚΩΜΟΣ, Comessatio, it should be remembered, that Comus is distinctly and most sublimely personified in the Agamemnon of Æschylus, edit. Stanl. p. 376. v. 1195. Where says Cassandra, "That horrid band, "who sing of evil things, will "never forsake this house. Be"hold, Comus, the drinker of "human blood, and fired with "new rage, still remains within "the house, being sent forward " in an unlucky hour by the |