And the swink'd hedger at his supper sat; Of some gay creatures of the element, the next line, is from nature; and hedger, a word new in poetry, although of common use, has a good effect. T. Warton. 293. And the swink'd hedger] The swink'd hedger is the same as the labour'd ox, tired, fatigued. To swink is to work, to labour, as in Spenser's Faery Queen, b. ii. cant. vii. st. 8. For which men swink and sweat incessantly. 297. Their port was more than human, as they stood:] We have followed the pointing of Milton's two editions in 1645 and 1673, which indeed we generally follow. The edition of 1637 points it otherwise, Their port was more than human; as they stood, &c. and this is followed by Dr. Dal. ton. Milton's Manuscript has no pointing here to direct us. 297. We have much the same I was awe-struck, 295 300 " and stood, and said unto me, " &c." Comus thus describes to the Lady the striking appearance of her Brothers; and after the same manner, in the Iphigenia in Tauris of Milton's favourite Greek tragedian Euripides, a shepherd describes Pylades and Orestes to Iphigenia the sister of the latter, as preternatural beings and objects of adoration, v. 246. Ενταυθα δισσους είδε τις νεανιας Ειτ' ουν επ' ακταις θασσέτον Διοσκορω, &c. 299. Of some gay creatures of the element,] In the north of form of expression in the Epitaph England this term is still made use of for the sky. Thyer. on the Marchioness of Winchester, And in his garland, as he stood, 301. And play i' th' plighted clouds.] By using plighted here, instead of the more common word plaited, an unpleasant consonance was avoided and play i' th plaited clouds. Spenser And as I past, I worshipp'd; if those you seek, It were a journey like the path to heaven, To help you find them. LADY. Gentle villager, What readiest way would bring me to that place? 305 Due west it rises from this shrubby point. To find out that, good shepherd, I suppose, hath plight for plait or plaight. All in a silken camus lilly white, plight: Chaucer, in the Testament of Love, And bid her steal into the pleached sun, Forbid the sun to enter. And in Antony and Cleopatra. ton. ✓ 304. To help you find them.] In the Manuscript he had written at first, find them out. 309. -overtask] So Sonn. xxii. 10. "overply'd in liberty's "defence." Milton is fond of the compound with over. Various instances occur in Par. Lost; many, as here, of his own Without the sure guess of well-practis'd feet. COMUS. I know each lane, and every alley green, Dingle, or bushy dell of this wild wood, And every bosky bourn from side to side, coinage. See over-multitude, below, v. 731. and Sonn. ix. 6. over-ween. Where see the note. T. Warton. 310. Without the sure guess of] He altered the Manuscript, but he had written at first Without sure steerage of 312. Dingle, or bushy dell of this wild wood, &c.] It was at first in the Manuscript wide wood. Here Mr. Seward imagines that Milton imitated Fletcher, Faithful Shepherdess, act iv. and since have crost All these woods over, ne'er a nook or dell, Where any little bird or beast doth dwell, But I have sought him, ne'er a bending brow Fell headlong into a dell. 31.0 It plainly signifies a steep place or valley, and is much the same as dale. And every bosky bourn. Bosky is woody, from the Belgian bosche and the Italian bosco a wood, says Skinner. It is used by Shakespeare, Tempest, act iv. s. 3. My bosky acres, and my unshrubb'd down: and 1 Hen. IV. act v. s. 1. How bloodily the sun begins to peer Bourn is bound or limit, from the Bourn, bound of land, tilth, vineyard, none. Of any hill, or glade the wind sings Antony and Cleopatra, act i. s. 1. through &c. Nor the shrill pleasing sound of merry And by Spenser in his Shepherd's I'll set a bourn how far to be belov'd. Hamlet, act iii. s. 2. That undiscover'd country, from whose bourn No traveller returns And in Lear, Dover cliff is called chalky bourn, act iv. s. 6. From the dread summit of this chalky bourn. 312. Drayton has dingle in his Muses Elys. Nymph. ii. vol. iv. p. 1455. In ding'es deep, and mountains hore. 313. And every bosky bourn from side to side, A bourn, the My daily walks and ancient neighbourhood; LADY. Shepherd, I take thy word, And trust thy honest offer'd courtesy, Which oft is sooner found in lowly sheds 315 320 sense of which in this passage has never been explained with precision, properly signifies here, a winding, deep, and narrow valley, with a rivulet at the bottom. In the present instance, the declivities are interspersed with trees and bushes. This sort of valley Comus knew from side to side. He knew both the opposite sides or ridges, and had consequently traversed the intermediate space. Such situations have no other name in the west of England at this day. In the waste and open countries, bourns are the grand separations or divisions of one part of the country ✓ from another, and are natural limits,] He had written at first limits of districts and parishes. For bourn is simply nothing more than a boundary. As in the instances cited by Dr. Newton. aboriginal separations or divisions of property, might not the Saxon word gives rise to the French borne? There is a passage in the Faerie Queene, where a river, or rather strait, is called a bourne, ii. vi. 10. My little boate can safely passe this perilous bourne. But seemingly also with the sense of division or separation. For afterwards this bourn is styled a shard. See Furetiere in borne, and Du Cange in borna, Lat. Gloss. In Saxon, burn, or burna, is a stream of water, as is bourn at present in some counties: and as rivers were the most distinguishable -When late he far'd In Phedria's flitt barck over the perlous shard. T. Warton. 316. Or shroud within these Within these shroudie limits 321. Till further quest.] He had added in the Manuscript be made, but afterwards blotted it out, Till further quest be made. 321. See note on Arcades, 34. T. Warton. With smoky rafters, than in tap'stry halls THE TWO BROTHERS. ELDER BROTHER. Unmuffle ye faint stars, and thou fair moon, 324. With smoky rafters,] It was at first And smoky rafters. The sentiment here is the same as in Ariosto's Orlando Furioso, cant. 14. st. 62. of the original, and 52 of Harrington's translation, As courtesy ofttimes in simple bow'rs Is found as great as in the stately tow'rs. 324.in tap'stry halls] The mode of furnishing halls or stateapartments with tapestry, had not ceased in Milton's time. Palaces, as adorned with tapestry, are here contrasted with lowly sheds, and smoky rafters. A modern poet would have written stuccoed halls. Shakespeare says of Lord Salisbury, Second P. K. Henry VI. act v. s. 3. And like rich hangings in a homely house, So was his will in his old feeble body. Compare Browne Brit. Past. b. i. s. ii. p. 60. To the false forest of a well-hung room For honour and preferment come. That is, "a room in the houses " of the great, hung with tape"stry, the subject of which is "some romantic story, and the "scene a forest." And Shakespeare in Cymbel. act iii. s. 4. -I am richer than to hang by the walls. And B. and Fletcher, Sea-voyage, act i. s. 1. You must not look for down beds here, nor hangings. T. Warton. 325. And courts of princes, where it first was nam'd,] This is plainly taken from Spenser, Faery Queen, b. vi. cant. 1. st. 1. Of court, it seems, men courtesy do call, For that it there most useth to abound, 329. and square my trial] The Manuscript had at first --and square this trial: and at the end of the speech is Exeunt, and at the begining of the next scene, The two brothers enter: and in the Manuscript the two brothers are all along distinguished by 1 Bro. and 2 Bro. 331. Unmuffle ye faint stars,] |