P. 101. _Blind Thamyris_. "Paradise Lost," III, 35.
P. 102. _with darkness_. VII, 27.
_piling up every stone_. XI, 324.
_For after I had from my first years_. "The Reason of Church Government,"
Book II, Introduction.
P. 103. _The noble heart_. "Faerie Queene," I, v, 1.
P. 104. _makes Ossa like a wart_. "Hamlet," v, 1, 306.
_Him followed Rimmon_. "Paradise Lost," I, 467.
_As when a vulture_. III, 431.
P. 105. _the pilot_. I, 204.
_It has been indeed objected to Milton_. Cf. Coleridge (Works, ed. Shedd,
IV, 304): "Milton is not a picturesque, but a musical, poet"; also
Coleridge's "Table Talk," August 7, 1832: "It is very remarkable that in
no part of his writings does Milton take any notice of the great painters
of Italy, nor, indeed, of painting as an art; while every other page
breathes his love and taste for music.... Adam bending over the sleeping
Eve, in Paradise Lost, and Dalilah approaching Samson, in the Agonistes,
are the only two proper pictures I remember in Milton."
_Like a steam_. "Comus," 556.
P. 106. _He soon saw_. "Paradise Lost," III, 621.
P. 107. _With Atlantean shoulders_. II, 306.
_Lay floating_. I, 296.
_Dr. Johnson condemns the Paradise Lost._ See the conclusion of his "Life
of Milton."
P. 108. _His hand was known_. "Paradise Lost," I, 732.
_But chief the spacious hall_. I, 762.
P. 109. _Round he surveys_. III, 555.
_Such as the meeting soul_. "L'Allegro."
_the hidden soul_. Ibid.
P. 110. _as Pope justly observes_. "First Epistle of the Second Book of
Horace," 102.
P. 111. _As when Heaven's fire_. "Paradise Lost," I, 612.
_All is not lost_. I, 206.
_that intellectual being_. II, 147.
_being swallowed up_. II, 149.
P. 112. _Fallen cherub_. I, 157.
_rising aloft_. I, 225.
_the mystic German critics_. Cf. p. 344.
P. 113. _Is this the region_. "Paradise Lost," I, 242.
P. 114. _Salmasius_. At the request of Charles II, Claude de Saumaise
(Claudius Salmasius), professor at Leyden, had written a vindication of
Charles I, "Defensio pro Carolo I" (1649), to which Milton replied with
the "Defensio pro Populo Anglicano" (1651). The controversy between the
two is noted for the virulency of the personal invective.
_with hideous ruin_. "Paradise Lost," I, 46.
_retreated in a silent valley_. II, 547.
_a noted political writer_. Dr. Stoddart, editor of the Times and
brother-in-law of Hazlitt, whom the critic bitterly hated, and Napoleon
are here referred to. Cf. "Political Essays," III, 158-159.
P. 115. _Longinus preferred the Iliad._ "Whereas in the _Iliad_, which was
written when his genius was in its prime, the whole structure of the poem
is founded on action and struggle, in the _Odyssey_ he generally prefers
the narrative style, which is proper to old age. Hence Homer in his
_Odyssey_ may be compared to the setting sun; he is still as great as
ever, but he has lost his fervent heat. The strain is now pitched in a
lower key than in the 'Tale of Troy Divine': we begin to miss that high
and equable sublimity which never flags or sinks, that continuous current
of moving incidents, those rapid transitions, that force of eloquence,
that opulence of imagery which is ever true to Nature. Like the sea when
it retires upon itself and leaves its shores waste and bare, henceforth
the tide of sublimity begins to ebb, and draws us away into the dim region
of myth and legend. In saying this I am not forgetting the fine
storm-pieces in the _Odyssey_, the story of the Cyclops, and other
striking passages. It is Homer grown old I am discussing, but still it is
Homer." On the Sublime, IX, trans. Havell.
_no kind of traffic_. Cf. "Tempest," ii, 1, 148.
_The generations were prepared_. Wordsworth's "Excursion," VI, 554.
_the unapparent deep_. "Paradise Lost," VII, 103.
P. 116. _know to know no more_. Cowper's "Truth," 327.
_They toiled not_. Matthew, vi, 28.
_In them the burthen_. Wordsworth's "Lines Composed above Tintern Abbey."
_such as angels weep_. "Paradise Lost," I, 620.
P. 117. _In either hand_. XII, 637.