[PDF] Lyric and Dramatic Poems however gai n from M

View - Download Lyric and Dramatic Poems

Previous PDF

Next PDF

LYRICANDDRAMATIC

POEMS

OHNMILTON

RDIT[ED,WITHANINTRODUCTIONANDNOTES.

MARTINW.SAMPSON

HofessorofEng/eninIndianaUniversity

newYORK

HENRYHOLTANDCOMPANY

l902,1L/Harvardiversity,

Dept.ofEducationLibraly.

Z!Ja fufi(J!

TRANSFERREDTOHARVARDCOLLEGE!BRAIN

1982

COPYRIGHT,xgox,

HENRYHOLTCO.

THEunnsnouCOMPANYPRESS,

wwww,N.J.

PREFACE.

THEpurposeofthisbookistoprovideanewap

proachtoMilton,bygivingforthe^rsttimein anddramaticpoems,annotatedforschoolorcol legeuse.Totheminorpoems(includingCamus)

Miltonmaymoreappropriatelyleadthroughthe

lyricanddramaticpoemsthanthroughtheminor poemsandselectionsfromParadiseLost.The isnotreadilyfeltbyayoungstudent,whomay, tieswhichtheminorpoemssoamplyillustrate.

The6rsteditionoftheminorpoemsappearedin

1645,andwasreprintedin1673.Camusappeared

ofmemorialversebyseveralhands;andSamson

Aganistesin1671,hevolumewithParadiseRe

gained.Theseeditions,togetherwiththeCam aretheauthoritiesforanytext.Ihaveusedthe ill

IVPREPACE

MS.TheMS.contains,itmaybesaid,eitherthe

course,animmenselyvaluabledocumenttostu dentsofMilton.ThereisalsoaBridgewaterMS. ofCamus,whichisthoughttobeinLawes\shand.

ToddprintedthisMS.in1798,andinhis1801edi

tionofMiltongavethevariousMS.readings, whichmakespartoftheinvocationtoSabrina (867-889)atrioinsteadofasolo.

Todd\scompleteeditionofMilton(1801,and

tionsandhisgreatLifeofthepoethave,inthe hisnamewithMilton\s.ToProfessorMasson greatobligation.Othereditions(amongthem thoseofNewton,Keightley,Browne)Ihavecare byMr.Verity,theSamsanAqam' steseditedbyMr.

PREFACE.

Percival,andtheLycidaseditedbyMr.Jerram,

whichhavebeenofservice.

Thetextfollowsthe6rsteditionsascloselyas

mit.InpunctuationIhavetriedtobelogical ratherthanuniform.

Theproperorderofthepoemsisnotaneasy

poemsthatseemtobelongtogetherhavebeen comeintheorderinwhichtheywerewritten,so farasthatcanbeascertained.

Ihavemade(withmuchdif^dence)oneemenda

tioninthetext.Line1218ofSamsonAganistes, whichinalleditionsreads

Andhadperformeditifmyknownoffence

isalinewhichhashadnoassuredmeaning.The proposedchangeis

Andhadperformeditifmineowno_ence\

hecomposedtheline,andasmyknown\and [mineownsoundalike,therewasnoreasonfor iferroritwas.

CONTENTS.

ARCADES,

COMUS,LYCIDAS,

ToTHENIGHTINGALE,

ONHISHAVINGARRIVEDATTHEAGEOFTWENTY

ToAVIRTUOUSYOUNGLADY,

ToTHELADYMARGARETLEY,

ONTHEDETRACTIONWHICHFOLLOWEDUPONMY

WRITINGCERTAINTREATISES,

ONTHESAME,

ONTHENEWFORCERSorCONSCIENCEUNDERTHE

LONGPARLIAMENT,

ToMR.H.LAWES,

ONTHERELIGIOUSMEMORYOFMRS.CATHARINE

THOMSON,MYCHRISTIANFRIEND,DECEASED

DEC.16,1646,

ONTHELORDGENERALFAIRFAX,ATTHESIEGE

orCOLCHESTER,

ToTHELORDGENERALCROMWELL,

ToSIRHENRYVANETHEYOUNGER,

ONTHELATEMASSACREINPIEMONT,

ONHISBLINDNESS,

ToMR.LAWRENCE,

ToCYRIACKSKINNER,

ToTHESAME,

ONHISDECEASEDWIFE,

THEFIFTHODEOFHORACE,LIB.I

SAMSONAGONISTES,

NOTES,

QUESTIONSANDCOMMENTS,

APPENDIX:MILTON'SMETRES,

lNTRODUCTlON.

ThefullrangeofMilton\sgeniuscannot,of

course,appearinanyvolumethatexcludesPara oftenfoundtogether,andrarelyfoundinfull beautyandfromhissenseofthesublimeandmor allylofty.Thefeelingforbeautyisusuallya thingofdelicacyandre6nement,butmaybe outlineandform.InMilton,notmerelytheaus xINTRODUCTION. inhimanoteofloftyvisionthatsuggeststheen duringqualityofallofMilton\spoetry.

Tobemorespeci6c,Miltonhastheinstinctfor

rightwordtohimisnotmerelythewordwhich givestheexactmeaning,*butthewordWhosecon loveOfmelodiouslanguageasonemay6ndin

MarloweorSwinburneorEdgarPoe.Theintel

andsubstanceofhisthought.Butnotmerelythe instinct.Cf.Camus325,748Z9Sam.Agon.1418,

1'Cf.Camus251-2,forexample,

INTRODUCTION.It

arevivid.Ingrace,ineuphony,incertaintyof merelysensuousdelightinlovelinesscanbe.* xiiINTRODUCTION.

ThePuritanimperviousnesstobeauty(afact

frequentlycommentedupon)hasnoplacein ton\smake-up.ThePuritaninhimObviously tainshiminhisefforttowardrighteousness; notless,Ibelieve,thePuritaninhimmakes holdfasttohissenseofperfectform.Granted feelingforbeautytobeginwith,Miltoncould toitsteadfastly;not,indeed,becausehew

Puritan,butbecausethequalitiesthatmadeh

Puritanmadehimloyaltotheidealthingsof

topoetryandmusicaswellastoidealsofper conduct.HereinliesthesecretOfhisbelief truepoetrycanbewrittenonlybyonewhose atruepoem.Ameremoralistcouldnot thoughtoftheideaunderthatimage;butI thus6nelyandnoblyindicateshissenseOfti shipbetweenrightlivingandnoblethink akinshipwhichbynomereverbalprocessg ourphrase,[theartofliving.\Hispuri then,isnotantagonistictohissenseofbeat isultimatelyderivablefromacommonsou aspirationfortheidealinlife,ZbeautynoIf conduct.

Cicero,Hermagenes,Longinus.Towhichpoetry

INTRODUCTION.xiii

highthings;histhoughtmovesonahighlevel.

Thisalonedoesnotmakeapoetgreat:asmuchmay

besaidOfEmerson,whoisnotagreatpoet.Itis becauseMiltonthinksofhigherthingsimagina giftOfbringinghometoothersthemovingpower ingdelight.For,andthuswereturntoourstart ingpoint,inhislofty7ightsMilton\ssenseOf beautydoesnotdeserthim;inhisvisionOfthe fulimagesandharmoniousspeech,doI6ndthe strainsthatuniteinMilton.

Limitationsarenotdif^cultto6nd:agenialhu

mor,akindlyViewOfthedailylifeOfmenand xivINTRODUCTION. hapshewouldhavebeenthelessMiltonifthey uousinsistenceonrighttowardmananddutyto wardGod,forthepoetrythatgrowsoutofmere haustivelyeitherofthem,butmoreofboththan maybefoundinharmonyinanyotherpoet,save one,ofourEnglishrace.

THESOURCESOFCOMUS.

ThefundamentalconceptionOfCamusisthor

ofthepoet.Suchaconceptionwasboundtocome' writeamask.Butthisinvitationpresentedthe histhoughtshappenedtoturntothespeci6csub jcet,Comus,wehavenocertainmeansOfknow

INTRODUCTION.XV

ing.Wemayonlyguesswhatsenthisthoughtsto thispersonage,Comus,ratherthantoDianaor

Vestaontheonehand,ortoVenus,Silenus,or

hadfoundsuggestedtohiminthecharacterof

ComusatypeOftheinsinuatingsensualitysore

pugnanttohisowncleannature.

Atanyrate,thereisatleastoneworkwith

whichMiltonmighthavecomeintocontact,the

CamusofPuteanus,whichwasprobablywritten

in1608.Asecondeditionwasprintedin1611in

Louvain;andanothereditioncameoutinOxford

in1634. beensaid,asuggestiononly.Itis,however,at momentaliteraryworkcalledCamus,whoseap pearanceinEnglandintheyearofthepresenta byaDutchwriter,HendrikvanderPutten,apro

TheworkisinthefamiliarformOfadream.The

collectionofsatires,bearingdate165s.

INTRODUCTION.

tothepalaceOfComus,whereabanquet(Phagesi diteComus(Paucis:tatumValuptatisregnum dulyinsistedupon.AnOldman,Tabutius,seeks pound,thedreamerawakes.

Comuscamefromthiswork,whichisneitheran

Comus,themaincharacter,isreallykeptinthe

backgroundwhiletheothercharacterstalkpe dantically.Atmost,Miltonmayhavereadthe work,approveditsunderlyingidea,andhave totreatmorefully,ormoreeffectively.And whichinduetimehewouldworkoutinhisown way.SOmuchandnomoremaybeaccounted thedebtofMiltontotheCamusofPuteanus.

TherewasanotherportrayalofthegodComus

Jonson\smaskPleasureReconciledtaVirtue

ThismaskhadasoneOfitsprincipal

6guresComushimself;nottherathersubtle

goodeatingandabundantdrinkino ,abelly-god.\ xviiiINTRODUCT]01V. capturehim.Beforedoingit,however,theydis playinapigmydancetheirpigmyjoyovertheir comingtriumph.ThemusicawakensHercules, andthepigmiesruntotheirholes.Mercuryap pears:hecrownsHerculeswithagarlandOfpop ciledtoVirtue.AsongofthefollowersOfPleas ureandVirtuesucceeds,andthewiseDaedalus enterstogivethemlaws.Threesongsfromhim

ThenMercurysumsupthemeaningofthemask,

inasong,OfwhichthelinestoVirtue(quoted above)areapart.Themaskendsinanother dance.

Puttingthisintoacompacterformwillshowthe

dancingareconcerned.

Comusscene

HerculessceneDance)

MercurysceneSong(Chorus)

Speech(comic)

Antimask(Dance)

Speech(serious)

Song(Chorus)

Antimask(Dialogue

Song(Chorus)

Speech(serious)

Song(Chorus)

INTRODUCT!ON.

Dedalusscene

MercuryscenemiandChorus)

Awordastotheelaboratestage-arrangements

shouldnowbeadded.BenJonson\sownstage directionswillservebetterthanaparaphrase

TheScenewastheMountainAtlas,whohadhis

topendinginthe^gureofanOldman,hishead werecoveredwithsnow:therestwoodandrock.

Agroveofivyathisfeet.

AtthistheGroveandAntimaskvanished,and

abovethem.

Herethewholechoirofmusiccalledthetwelve

MaskerscameforthfromthetopOfthemountain,

whichthenOpened.

Afterwhich,theydancedtheirlastDance,and

returnedintothescene,whichclosed,andwasa mountainagain,asbefore.\

Thereare,however,twopiecesofworktowhich

OldWives\Tale(1595)andFletcher\sTheFaith

fulShepherdess(probablyinneitherof xxINTRODUCTIOA\ whichisComusacharacter.*Inthecaseofthe

SomeOftheimportantsituationsinCamusareto

befoundinPeele.TheactualplayOfTheOld

Wives\TaleisprecededbyanInduction(cf.The

TamingoftheShrew).Threemenarelostina

wood;tothemappearsasmith,whotakesthemto hiscottage,wherehiswifebeginstotellthema storyOfaking\sdaughterwhowasstolenawayby aconjurer,andtheprincess\sbrotherswentin searchherZatthispointinthedame\sstorythe withtheothercharactersinit,whileMadgeand herguestslookonandmakeOccasionalcom ments. thetradition.

INTRODUCTION.xxi

Theplaythatnowfollowshasmanypoeticmo

scenesareshortandchoppy(indeedthereisno

Themain6gureisSacrapant,amagicianwhohas

intheplot.Hehimselfcandieonlybythehand ofadeadman,andhischarmscanbeovercome lighthekeepsundergroundinaglasswhichcan bebrokenonlybyawomanthat\sneitherwife,

Widow,normaid.\SacrapantisthesonOfMeroe,

awitch,fromwhomhelearned

Tochangeandaltershapesofmortalmen.\

MoreoutOflovethanmalice,hehasstolenaway

thatfromhergrowallhissorrows.Insearchof

Deliacomehertwobrothers,whomthesorcerer

underthegoadofDelia,whohasbeennewly thesoresorcererandmightymagiciantowin [thislady(presumablyDelia)Sacrapantwitha

INTRODUCTION.

comesintotheplotthusZthechurchwardenand leftnomoneytodefraytheexpensesofdigginga himasaservant,6llinghispurseforhimatthe

Hostess\sinn.Sacrapanthadalsousedhisart

uponayounglover,Erestus,whomhechange: intoabearbynight,andapropheticOldmanb oftheabductionOfDelia.)WhenSacrapant widow,normaid).Duringtheplay,Erest givesoracularadvicetoanyonewhowilllisten it;andoutOfthisgrowsasub-plot:Lampriscus discontentedneighbor,wantstoknowwhatto foul.ErestusadviseshimtosendthemtotheV

OfLife,wheretheyshall[6ndtheirfortunes

lookedfor.\Thedaughters,ZantippaandCela proceedtotheWell,fromwhicharisesaH whosemysteriouspromisesarereceivedwell illbyCelantaandZantippa,respectively.Ht bango,whohasbeenbroughttotheWell,ann storedtolife,butnottohearing,iswonb[ fairbutill-spokenZantippa;andtheblindC<

1IVmoovenomxxiii

iscaptivatedbytheaffablebutuglyCelanta.

Twice,Harvestmen,whohavenothingtodowith

Itwillbeseenthatthisplay,asawhole,hasnot

verymuchincommonwithComus;butthatthere fromwhosepowersheisrescuedbymagicalas whogivesadvice,andthespiritwhogivessuper naturalaid;andanaddresstoEcho:arecommon tothetwodramas.Entirelyasidefromthenon thecommonpartshavepointsOfunlikeness:the isseekingtohelpEumenidesratherthantofree boundbythecharmisnotasupernaturaldoing; theonewhoadvisesthebrothersisnottheone notsing,toEcho. complishesmore,asissuf6cientlyshownbythe

OldWives\Tale(Bullen\sedition).

Aschemeoftheplotwillshowallofthesimi

laritiesandmanyofthedifferences xxiv

Induction.

SACRAPANT

(whoonlyhtlte semlesom us),haswork edhisspells upon

Outsideofthe

quotesdbs_dbs27.pdfusesText_33

[PDF] BI Destinations Privilège

[PDF] BI dicontinu auditeur

[PDF] bi energiesud - IRD France-Sud

[PDF] BI formule 2 2016 - Cercle Equestre de SPA

[PDF] BI formule 3 2016 - Cercle Equestre de SPA

[PDF] BI Formule à la carte 2016 - Anciens Et Réunions

[PDF] bi ioph hyt t sa a

[PDF] BI JÛUX - Standard

[PDF] Bi lingue - Parcours Bilingue (Français

[PDF] BI Lösung Lage

[PDF] BI N° 4 - L`association Autocars Anciens de France - France

[PDF] BI N° 5 - L`association Autocars Anciens de France - France

[PDF] BI N° 6 - L`association Autocars Anciens de France - Gestion De Projet

[PDF] BI N° 7 - L`association Autocars Anciens de France - France

[PDF] BI rejets facturation SSR-code FF10 - Anciens Et Réunions