...Marilyn L. Williamson Copyright © 1971 by Duke University Press 1971 THE MYTH OF ORPHEUS IN “L’ALLEGRO’’ AND “IL PENSEROSO” By MARILYNL. WILLIAMSON Though scholars have become increasingly aware that “L’Allegro” and “I1...

... Poetry (Baltimore: Johns Hopkins Press, 1960), pp. 143-44 (“the experiences of ‘L’Allegro’ and ‘I1 Penseroso’ are being repeated in Nunappleton’s forest J. B. Leishman, The Art of Maruell’s Poetry (London: Hutchinson, 1966), pp. 252 ff. (a dis- cussion of the trope of the “garden of delights...

... in finding the proper elegiac tone in his earlier poems are obviated. The clarified modesty of the poet’s role achieved in the “Epitaph” seems to me to have contributed to the success of the “Companion Poems,” “L’Allegro” and “I1 Penseroso,” written we may conclude, within the next year. In so...

... poems “L’Allegro” and “Il Penseroso,” titled L’Allegro, il Penseroso ed il Moderato (1740). It is not too much to say that “Il Penseroso” in particular, in its popular Handelian setting, served as the compass point of Seward’s taste and her poetic career. Miltonic pastorale was Seward’s chief...

.... Princeton: I’rinceton University Press, 1970. xiii -I- 243 pp. $7.50. Ann Berthoff is an enthusiast, especially when Akirvell is concerned. She calls “Upon Appleton House” an “incomparable poem,” keeping no epithet in reserve for “L’Allegro” 01- “I1 Penseroso.” And while she loves klarvell’s...

... poems, like L’Allegro and I1 Pcnseroso. For the rest, two related features of the book especially invite respect. One is Stein’s control of primary sources, the other his management of the scholarly and critical literature. As a single example of the former, one may remark that Stein has...

... and garland at the Marchioness’s wedding. In “L’Allegro” (1631 the poet went so far as to proclaim pageants and masques featuring Hymen as a source of poetic inspiration. Speaking of the delights of “Tow’red Cit- ies” (1 17), Milton adds, 6 Hughes begins his introduction to Paradise Lost under...

... engendered drama, we find Stein’s reconstruction of that drama of ideas easier to grasp. And we applaud the insight of his suggestion that Paradise Regaiiacd and Samson Agoit- istes are twin poems, like L’Allegro and I1 Pcnseroso. For the rest, two related features of the book especially invite...

... in sympathetic initiation” (88). In tracking down the literary references in John Milton’s L’Allegro and Il Penseroso , for instance, Warton finds a kindred spirit—a lover of romance hidden within the Calvinist poet and pamphleteer. Similarly, William Henry Ireland’s claim in 1796 to have found...

.... Princeton: I’rinceton University Press, 1970. xiii -I- 243 pp. $7.50. Ann Berthoff is an enthusiast, especially when Akirvell is concerned. She calls “Upon Appleton House” an “incomparable poem,” keeping no epithet in reserve for “L’Allegro” 01- “I1 Penseroso.” And while she loves klarvell’s...

... by similarities-not similarities of structure and of rhythmic effects as in L’Allegro and I1 Penseroso, but by the heaping of paradox upon paradox. Tormenting Fires describes a sick poet’s frenzy because of a lady’s presence; To EZZinda in similar fashion dwells upon a healthy poet’s torment because...

... protago- nistsp.184)-without feeling that there is an incipient tendency here to sim- plify, to flatten, to distort. Innocence and Experience are, after all, pastoral themes, as prominent in “L’Allegro,” “I1 Penseroso,” and “Lycidas” as in Para- dise Lost, perhaps even more so, given...

... he seems Erom the start, in his Romantic mis- reading of “L’Allegro” and “I1 Penseroso” and its forced distinction between sublimation and repression, to introduce the kind of harsh antithesis he otherwise rejects. For Ende, despite the logic of homon- ymy, it is repression that creates...

... of the dire possibility that the muse will not look after her son. The volume that so ambitiously sought to house “immor- tal verse” (“L’Allegro,” l. and promised on its title page a “future poet” is all too vulnerable to destruction. The book that walks may...

..., not determined by personal qualities, but it appears somehow to contradict them. In John Milton’s anoma- lous exercise in characteristic writing, “L’Allegro” and “Il Penseroso,” the pensive one prefers solitude to company, but curiously he is never alone; like the happy one, he is accompanied by a “crew...

... poetry-one of progression, the other of regression-and he has some suggestive remarks on the clashing perspectives revealed in the “Na- tivity Ode” and in the relations between two sets of poems: “L’Allegro” and “I1 Penseroso” on the one hand and Paradise Regained and Samson on the other...

.... The production, a tribute to the dead Duke of York, was probably inspired by George Frideric Handel’s setting of “L’Allegro” and “Il Penseroso” in 1740 from an adaptation by James Harris. The script, though generally faithful to Milton’s poem, makes its meter uniform and divides the monody into recitative...

... but also with individual autonomy and solitude in nature, as in the writing of mid- to late eighteenth-century poets such as Joseph Warton, Thomas Gray, William Collins, and James Beattie. Shakespeare “warbl[ing] his native wood-notes wild” (as Milton put it in “L’Allegro”) became a touchstone...

... departure from Horatian symposiastic poetry (237–41) still stands.1 But often Scodel builds on an allusion; sometimes the allusion is dubious, and the building totters. Following Annabel Patterson, Scodel takes lines 83–88 of Milton’s “L’Allegro” as an allusion to Virgil’s Eclogue 2.10 – 13 (102).2 He...

... departure from Horatian symposiastic poetry (237–41) still stands.1 But often Scodel builds on an allusion; sometimes the allusion is dubious, and the building totters. Following Annabel Patterson, Scodel takes lines 83–88 of Milton’s “L’Allegro” as an allusion to Virgil’s Eclogue 2.10 – 13 (102).2 He...