1. 395. unenchanted, not to be enchanted, as unfellowed,' that cannot be fellowed (Hamlet, v. 2), and ‘unparalleled.' Cp. note on L'Allegro 40.

1. 398. unsunn'd, kept in the dark. Mammon is said to sun his gold when he counts it. (Faery Queene, ii. 8. 4.)

1. 401. wink on is used by Shakespeare as= 'give a signal to a confederate,' or 'shut the eye,' 'refuse to see.' Either sense will fit here. The whole passage is enlarged from Rosalind's single line,

'Beauty provoketh thieves sooner than gold.'

(As You Like It, i. 3.)

1. 404. It recks me not, I take no account of (from A.S. recan, to take care, to reckon).

1. 405. To dog, to follow like a dog.

1. 413. Spenser makes Suspicion always look 'ascaunce' (Faery Queene, iii. 12. 15) or asquint. See Glossary to Book ii.

1. 421. cómplete steel is thus accented in Hamlet, i. 1.

1. 422. Thyer notices the resemblance of this description to Spenser's Belphoebe.

1. 423. to trace, to track. See Glossary to Faery Queene, Bk. i. Oberon would breed his changeling henchman to trace the forests wild. (Midsummer Night's Dream, ii. 1). Cp.

'Your tender lambs that by you trace.'

unbarbour'd, unsheltered.

(Shepherd's Calendar, June.)

1. 424. Infamous, ill spoken of. Horace applies the word to the Acroceraunian promontory on the coast of Epirus, dangerous to ships. Perilous is dissyllabic; the form parlous is frequent in Shakespeare, e. g. Richard III, iii. 1, 'O 'tis a parlous boy!'

1. 430. unblench't, unblinded, unconfounded, according to Warton. But in Hamlet blench' apparently means 'blanch, turn pale,' and unblenched is unblanched,' ' fearless.' Cp. Macbeth, iii. 4:

'Keep the natural ruby of your cheeks,

While mine are blanch'd with fear.'

1. 434. Ghost unlaid forbear thee!' sings Guiderius over Imogen (Cymbeline, iv. 2). The foul fiend Flibbertigibbet begins at curfew and walks till the first cock.' (Lear, iii. 4.) In the Tempest, (v. 1) the

elves rejoice to hear 'the solemn curfew.' The old custom of ringing curfew at eight o'clock every night is still observed in some parts of England, as at Canterbury.

1. 439. The previous instances had been from medieval legend.

1. 441. In one of Lucian's dialogues, Cupid expresses his fear of Minerva and the Gorgon on her breast, and adds that Diana was so swift in the chase that he could not overtake her.

1. 445. Cp. Oberon's speech (Midsummer Night's Dream, ii. 2) beginning, 'My gentle Puck, come hither.'

1. 451. dasht, confounded, cast down.

This hath a little dash'd your spirits.' (Othello, iii. 3.)
To dash it like a Christmas comedy.'

(Love's Labour's Lost, v. 2.)

1. 453. Spenser (Faery Queene, iii. 8. 29) speaks of Heaven's

'Voluntary grace,

And soveraine favour towards chastity.'

1. 455. lackey, accompany as a servant. The discourteous Knight (Faery Queene, vi. 2. 15) drives a lady on foot,

'Unfit to tread

And lackey by him, 'gainst all womanhead.'

1. 457. Visions are a clearer revelation of God than dreams' is the Rabbinical opinion quoted in Bacon's Essay on Youth and Age. Cp. Paradise Lost, xii. 611.

1. 459. oft, used as an adj. = frequent, as thine often infirmities' (1 Tim. v. 23).

1. 460. This opinion Plato expounded in a passage of the Phædo. Spenser, in his Hymn of Beauty, maintains that

'Of the soul the bodie form doth take;

1. 478. Cp.

For soul is form, and doth the body make.'
'As sweet and musical,

As bright Apollo's lute, strung with his hair.'

(Love's Labour's Lost, iv. 3.)

1. 483. night-founder'd. Cp. Paradise Lost, i. 204; whereon see note. 1. 495. buddling. Cp.

'Et properantes aquae per amoenos ambitus agros.' (Horace, De Arte Poetica, 17.) Both Lawes and the elder Milton composed madrigals.

1. 508. bow chance, how happens it that-a frequent phrase in Shakespeare.

1. 509. sadly, seriously. The conference was sadly borne' (Much Ado about Nothing, ii. 3); 'Sadly tell me who' (Romeo and Juliet, i. 1). See Glossary to Faery Queene, Bk. i.

1. 515. Cp. Paradise Lost, iii. 19; L'Allegro 17; Il Penseroso 117.

1. 517. Cp. Paradise Lost, ii. 628. The Chimæra, a monster with a lion's head, a goat's body, and a dragon's tail, is placed by Virgil (with the Hydra, the Centaurs, &c.) at the gates of Hell. (Æneid, vi. 288.) 1. 518. rifted, riven, cleft. Cp.

'Rifted Jove's stout oak

With his own bolt.' (Tempest, v. 1.)

1. 520. navel, for centre. So Delphi was called the navel of the earth. 1. 526. Tasso's enchanter murmurs at his spells. Cp. Arcades 60, note. 1. 530. character'd. Julia (Two Gentlemen of Verona, ii. 7) speaks of the table

'Wherein all my thoughts,

Are visibly character'd and engrav'd.'

The word is similarly accented in Polonius' advice to Laertes (Hamlet, i. 3), but generally in Shakespeare has the modern pronunciation. Yet Wotton, writing at least ten years after Shakespeare's death, speaks of character as 'a word which hath gotten already some entertainment among us.' (Quoted by Marsh.)

1. 531. croft, 'a small home-close in a farm' (Nares); an enclosure adjoining a house;' A. S. croft (Wedgwood). Keightley gives the meaning as a small enclosed field near a town or village, and adds that its use here is not strictly correct.

1. 534. stabl'd wolves. Cp. ' triste lupus stabulis.' Virgil, Eclogue iii. 80. 1. 541. Cp. Faery Queene, i. I. 23.

1. 542. dew-besprent, besprinkled with dew. Besprent' is Spenserian. 1. 547. Cp. Virgil, Eclogue i. 2; Lycidas 66.

1. 548. close, final cadence of a piece of music. Cp.

'The setting sun, and music at the close,

As the last taste of sweets, is sweetest last.'

(Richard II, ii. 1.) 1.551. So Macbeth (ii. 2) stands listening the fear' of Duncan's grooms.

1. 555. Cp. opening lines of Twelfth Night. Bacon (Essay on Gardens) had compared the scent of flowers in the air to the 'warbling of music.' The nightingale is called 'solemn' in Paradise Lost, iv. 648, and vii. 435. 1. 557. Cp. Paradise Lost, iv. 604.

1. 558. took. Cp. note on Vacation Exercise 20.

1. 560. Prospero, enjoining silence while the mystic masque proceeds, says, 'No tongues; all eyes; be silent' (Tempest, iv. 1.) Drummond, in his Sonnet to the Nightingale speaks of her

'Sad lamenting strains that Night attends

Become all ear.'

still, for 'always'; frequent in Shakespeare, as in Florizel's speech beginning

'What you do

Still betters what is done.' (Winter's Tale, iv. 2.)

1. 561. An allusion is here supposed to an illustration of the old ed. of Quarles' Emblems, the picture of an infant within the ribs of a skeleton, with the motto Rom. vii. 24.

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1. 565. To barrow is to subdue,' as in the old miracle-play entitled the Harrowing of Hell. Horatio says of the Ghost (Hamlet, i. 1), 'It harrows me with fear and wonder.'

For another interpretation see Glossary to Faery Queene, ii. Harrow. 1. 590. enthrall'd, enslaved; from thrall, a slave (frequent in Spenser). 1. 603. grisly, horrible. See Agrise in Glossary to Faery Queene, Bk. ii. legions is here trisyllabic.

1. 604. All hell run out and sooty flags display' is a line in Phineas Fletcher's Locusts (1627).

1. 607. Purchase, what is stolen (from Fr. pourchasser). The word is thus used in I Henry IV, ii. 1, but generally in the modern sense by Shakespeare. The former meaning is given in Henry V, iii. 2, ‘Steal anything and call it purchase.' So Spenser, Faery Queene, i. 3. 16. Cp. Paradise Lost, x. 579.

1. 620. To see to is an old phrase = 'to behold.'

1. 621. virtuous, of magic virtue. Il Penseroso 113.

1. 635. Cade tells his followers to 'spare none but such as go in clouted shoon' (2 Henry VI, iv. 2); clouted = patched.

1. 637. In Browne's Inner Temple Mask, Circe uses 'moly' for a charm. But Milton here follows Homer (Odyssey, x. 305) and Ovid (Met. xiv. 292) in representing it as the gift of Hermes to Ulysses, by which the latter escaped the charms of Circe.

1. 638. bæmony. This plant seems of Milton's own creation. He probably derived its name from Hæmonia, Thessaly, the land of magic. 1. 640. Cp. 'Like a mildew'd ear,

Blasting his wholesome brother.' (Hamlet, iii. 4.) 1.651. Thus Ulysses attacks Circe with a drawn sword, and Guyon breaks the goblet of Acrasia (Faery Queene, ii. 12. 57). 1. 655. Cp. Æneid, viii. 252.

1. 660. Cp. monumental alabaster.' (Othello, v. 2.) is the old (but incorrect) form, Faery Queene, ii. 9. 44. Paradise Regained, iv. 548.

'Alablaster'

Cp. note on

1. 661. Mark the inverted construction here- Or root bound, turned to a laurel, as was Daphne, who fled from Apollo.'

1. 669. Cp. the line in Tennyson's Locksley Hall,

In the spring a young man's fancy lightly turns to thoughts of love.' 1. 675. Cp. Odyssey, iv. 221. Nepenthes was the care-dispelling drug that Helen (daughter of Jupiter by Leda) infused into the wine of her

husband Menelaus. It had been given her by Polydamna, wife of Thone. Its effects are commemorated by Spenser (Faery Queene, iv. 3. 43.) With him it is the cup of eternal happiness reserved for the sober and sage, not (as in Homer) of mere indifference to suffering, even to that of the nearest and dearest to the drinker.

1. 679. Cp. Shakespeare, Sonnet i.

'Thyself thy foe, to thy sweet self so cruel.'

1. 680. dainty limbs, a phrase frequent in Spenser. Cp. Shakespeare, Sonnet iv.

'Nature's bequest gives nothing, but doth lend.'

1. 700. lickerish, dainty. Fr. lecher, Germ. lecken, to lick (Wedgwood). Cp. Ingrateful man, with liquorish draughts,

And morsels unctuous, greases his pure mind.'

(Timon of Athens, iv. 3.)

1. 702. The gift of a bad man profiteth not' is the sentiment of Medea in Euripides (Medea 618). Cp. Paradise Regained, ii. 391.

1. 707. Warton says that 'budge means "fur" (a kind of miniver). The passage is tautological.' Wedgwood gives the dressed fur of lambs' as the meaning of the word. But Todd adduces instances from Ellwood's Life to shew that budge meant 'surly.' Landor remarks, 'It is the first time that Cynic or Stoic ever put on fur.'

1. 708. The tub of Diogenes the Cynic.

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1. 719. butch't, shut in. The word is still used in rabbit-hutch,' and a ship's 'hatches.' Fr. buche, chest, bin (Wedgwood).

1. 729. strangle is used in Shakespeare to denote suffocation. When hanging is meant, with a cord,' or some similar phrase, is added. Desdemona is strangled; Juliet fears to be strangled (stifled) in the vault.

1. 737. coy, Fr. coi, Ital. cheto, Sp. quedo, Lat. quietus (Wedgwood). Drayton uses it for 'rare,' 'curious'; Shakespeare for 'shy' (Much Ado about Nothing, iii. 1), or for ‘reserved,' 'averse' (Taming of the Shrew, ii. I; Two Gentlemen of Verona, iii. 1). The latter is its meaning here. Elsewhere in Milton it means 'modest' (Lycidas 18; Paradise Lost, iv. 310).

1. 743. Cp. Theseus' speech to Hermia (Midsummer Night's Dream, i. 1) and Herrick's

'Gather ye rose-buds while ye may,'

as far as the general statement, and harmless part of the argument. The temptation lurking beneath is more amply, and more beautifully set forth in the song of Acrasia's bower (Faery Queene, ii. 12. 74). See note on Paradise Lost, i. 178.

1. 750. grain, here for colour.' See note on Il Penseroso 33. In a sonnet, Drummond speaks of