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And the mute Silence hist along, 55
65 On the dry smooth-shaven green,
56. I apprehend Philomel, or the nightingale, (here) to allude to the same prototype as that of the lark in l’Allegro, mentioned in the note on line 45 there, as being composed of Hudibras's hand. Vide that note.
59. Cynthia, or the moon, alludes I imagine' to the crescent-shape of the bird on Ralph's person (fig. 12) which is situate directly fronting the view of Il Penseroso.
65. Walk, as of the planetary wandering of
To behold the wand'ring moon,
the moon; unscen, as of that part of the moon. where Il Penseroso is situate, being obscured.
67. The moon here mentioned I conceive to allude to what was just now noticed as the explo. sion of light; in the center of which is a round spot of strong light which may be fancied to be the moon itself, and around it, numerous streaks and spaces of somewhat paler light, which may be the fleecy cloud of line 72.
74. The Curfew is referable to the shape of a Bell on the person of Talgol (fig. 17).
78. It is not difficult to conceive Il Penseroso
Where glowing embers through the room .
in a sitting posture with embers of a fire at his feet, formed out of the resemblance of a “smoking faggot” which is mentioned in Hudibras's Epistle to the Widow, as the device of his seal. The cricket (82) may be referable to the shadow which formed Shylock's shoe: and the bellman (83) tó the prototype of Polonius in Hamlet (fig. 56). with the bell (visible on Talgol's person) in his hand.
85. The Lamp is to be considered as formed out of the streaks of light on Talgol's person just
to: and the Bear (872 is the Bear of Hudibras, fig. 13. 27. Tragedy. This is no unfit occasion to
VOL. IV. : DD.
The spirit of Plato to unfold
offer a few short remarks on the ancient tragedy and comedy. The latter, as devoted to mirth and gaiety, seems to have had for a sort of presiding deity the prototype of Ralph or l’Allegro in the moon, and its name with relation to that prototype is derivable from Maidaw, to smile, (there being more of light on that side of the moon than on the other) and it has a further reference perhaps to the conical shape of the prototype; while the distinctive symbol of comedy, the sock, is clearly referable to the plain resemblance of a slipper or sock (namely, the shadow that formed the foot of @dipus and the shoe of Shylock) situate on that side of the moon. Tragedy, on the other hand, is ascribable in the same way to the prototype of Hudibras or Il Penseroso, whose figure is made up entirely of dark shadows, and who has a goat's head (TPayos, tragedy; vide fig. 103,) immediately behind his back; while the distinctive symbol of tragedy, the buskin, is made up, as I apprehend. of the whole of the shadows that constitute the person of Il Penseroso or Hudibras ; the leg or ankle-part being at the top of his head, and the shoe, extending from the goat's head as its heel, to the
The immortal mind that hath forsook
belly of Hudibras as its toe ; the cross-lacings of the buskin being formed of the streaks of light that cross Hudibras's breast. Under this view of those subjects, we may understand the contrast which Horace seems to raise between the largeness of the buskin when compared with the size of the sock, Hunc socci cepere pedem, grandesque cothurni.
Aro, Poet, 80.