Great Relatives Poetry Schoolbook

114 Song of the Emigrants in Bermuda The one-hundred and fourteenth poem in the collection. (* additional details below) NOTES FROM THE BACK OF THE BOOK: Emigrants supposed to be driven towards America by the government of Charles I. But apples, etc.: A fine example of Marvell's imaginative hyperbole.

113 IL Penseroso The one-hundred and thirteenth poem in the collection. (* additional details below; after my initial, un-schooled, interpretation) NOTES FROM THE BACK OF THE BOOK: Poems 112&113. L'Allegro and Il Penseroso. It is a striking proof of Milton's astonishing power, that these, the earliest pure Descriptive Lyrics in our language, should still remain the best in a style which so many great poets have since attempted. The Bright and the Thoughtful aspects of Nature are their subjects: but each is preceded by a mythological introduction in a mixed Classical and Italian manner. The meaning of the first is that Gaiety is the child of Nature; of the second, that Pensiveness is the daughter of Sorrow and Genius. 113: bestead: avail. starr'd Ethiop queen: Cassiopeia, the legendary Queen of Ethiopia, and thence translated amongst the constellations. Cynthia: the Moon: her chariot is drawn by dragons in ancient representations. Hermes: called Trismegistus, a mystical writer of the Neo-Platonist school; Thebes, etc.: subjects of Athenian Tragedy; Buskin'd: tragic; Musaeus: a poet in Mythology. him that left half told: Chaucer, in his incomplete "Squire's Tale." great bards: Ariosto, Tasso, and Spenser, are here intended. frounced: curled; The Attic Boy: Cephalus.

112 L' Allegro The one-hundred and twelfth poem in the collection. (* additional details below; after my initial, un-schooled, interpretation) NOTES FROM THE BACK OF THE BOOK: Poems 112&113. L'Allegro and Il Penseroso. It is a striking proof of Milton's astonishing power, that these, the earliest pure Descriptive Lyrics in our language, should still remain the best in a style which so many great poets have since attempted. The Bright and the Thoughtful aspects of Nature are their subjects: but each is preceded by a mythological introduction in a mixed Classical and Italian manner. The meaning of the first is that Gaiety is the child of Nature; of the second, that Pensiveness is the daughter of Sorrow and Genius. 112: Perverse ingenuity has conjectured that for Cerberus we should read Erebus, who in the Mythology is brother at once and husband of Night. But the issue of this union is not Sadness, but Day and Aether:—completing the circle of primary creation, as the parents are both children of Chaos, the first-begotten of all things. (Hesiod.) the mountain nymph: compare Wordsworth's Sonnet, No. 210. The clouds in thousand liveries dight: is in apposition to the preceding, by a grammatical license not uncommon with Milton. tells his tale: counts his flock; Cynosure: the Pole Star; Corydon, Thyrsis, etc.: Shepherd names from the old Idylls; Jonson's learned sock: the gaiety of our age would find little pleasure in his elaborate comedies; Lydian airs: a light and festive style of ancient music.

111 Thoughts in a Garden The one-hundred and eleventh poem in the collection. (* additional details below) *NOTES FROM THE BACK OF THE BOOK: The remark quoted in the note to No. 47 applies equally to these truly wonderful verses, which, like "Lycidas," may be regarded as a test of any reader's insight into the most poetical aspects of Poetry. The general differences between them are vast: but in imaginative intensity Marvell and Shelley are closely related. This poem is printed as a translation in Marvell's works: but the original Latin is obviously his own. The most striking verses in it, here quoted as the book is rare, answer more or less to stanzas 2 and 6: Alma Quies, teneo te! et te, germana Quietis, Simplicitas! vos ergo diu per templa, per urbes Quaesivi, regum perque alta palatia, frustra: Sed vos hortorum per opaca silentia, longe Celarunt plantae virides, et concolor umbra.

110 To Daffodils The one-hundred and tenth poem in the collection.

109 To Blossoms The one-hundred and ninth poem in the collection.

108 The Twa Corbies The one-hundred and eighth poem in the collection. (* additional details below) *NOTES FROM THE BACK OF THE BOOK: corbies, crows; fail, turf; hause, neck; theek, thatch. If not in their origin, in their present form this and the two preceding poems appear due to the Seventeenth Century, and have therefore been placed in Book II.

The book I'm using, for my interest and edification, to interpret some Classical Lyrical poetry. It is out of fashion, but, interesting to see what may, or may not, be relevant today. PS: Please excuse my gardener's fingernails, at times.

107 Fair Helen The one-hundred and seventh poem in the collection. (* additional details below ) *NOTES FROM THE BACK OF THE BOOK: burd: maiden.

106 The Forsaken Bride The one-hundred and sixth poem in the collection. (* additional details below ) *NOTES FROM THE BACK OF THE BOOK: Waly waly: an exclamation of sorrow, the root and the pronunciation of which are preserved in the word caterwaul. Brae: hillside; burn: brook; busk: adorn. Saint Anton's Well: at the foot of Arthur's Seat by Edinburgh. Cramasie: crimson.

105 To A Lock of Hair The one-hundred and fifth poem in the collection. (* additional details below ) *NOTES FROM THE BACK OF THE BOOK: Inserted in Book II. as written in the character of a Soldier of Fortune in the Seventeenth Century.

104 Melancholy The one-hundred and fourth poem in the collection.

103 The Manly Heart The one-hundred and third poem in the collection.

102 A Supplication The one-hundred and second poem in the collection.

101 Encouragements to a Lover The one-hundred and first poem in the collection.

100 To Lucasta On Going Beyond the Seas The one-hundredth poem of the collection.

99 To Althea From Prison The ninety-ninth poem in the collection. (* additional details below ) *NOTES FROM THE BACK OF THE BOOK: From Prison: to which his active support of Charles I. twice brought the high-spirited writer.

98 Not, Celia, that I juster am The ninety-eighth poem in the collection.

97 Love not me for comely grace The ninety-seventh poem in the collection.

96 To Anthea Who May Command Him Any Thing The ninety-sixth poem in the collection.

95 On A Girdle The ninety-fifth poem in the collection.

94 The Poetry of Dress III The ninety-fourth poem in the collection.

93 The Poetry of Dress II The ninety-third poem in the collection. (* additional details below ) *NOTES FROM THE BACK OF THE BOOK: Poems 92, 93. These are quite a Painter's poems.

92 The Poetry of Dress The ninety-second poem in the collection. (* additional details below ) *NOTES FROM THE BACK OF THE BOOK: Poems 92, 93. These are quite a Painter's poems.

91 Cherry Ripe The ninety-first poem in the collection.