... (2005). His current project, from which this article is derived, is a study of intersections between literature and music culture in late Georgian Britain. The Female Penseroso: Anna Seward, Sociable Poetry, and the Handelian Consensus Gillen D’Arcy Wood hey called it “Handelomania...

...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...

..., even specifically a Christian, answer to “the burden of the Mystery.” Let us now turn directly to the Miltonic presence in Keats’s poem. Of the four passages in Milton that have particular bearing on Keats’s “Ode,” three involve nightingale images. In “I1 Penseroso,” the “Sweet Bird...

... of Spenser as the carefree boy who matured into a cheerful man despite moods of melancholy-a poet with poise, sanity, and patience in whom the Allegro outshone the Penseroso-is neat but it is not enough. (Did Spenser appreciate the humor of his master Chaucer, or have a sense of humor of his...

... who matured into a cheerful man despite moods of melancholy-a poet with poise, sanity, and patience in whom the Allegro outshone the Penseroso-is neat but it is not enough. (Did Spenser appreciate the humor of his master Chaucer, or have a sense of humor of his own? Nowhere does Jud...

.... 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...

... schema- Armstrong, John Brown, Hill, Jenyns, Johnson, Mason, Moore, Smart, Smollett, Paul Whitehead-do not appear in his book. We get virtually no exploration of the choice of models on which the lyrics drew, like “I1 Penseroso,” or of the political change, tied to Wal- pole’s overthrow and death...

... 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...

... succeeded. He has also managed to 6 Milton’s “forget thyself to marble” (I! Penseroso, 42) may have been sug- gestive to Keats, but Keats’s fancy vaults heavenward as well as marble-ward. 256 Keats’s Saturn-Person or Statw ? weld a “vision” (The Fall) on to a directly presented...

.... 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...

..., 19591, pp. 110-1 I). In John IMarston’s Scotcrge of Yil- lanie (1598). the satirical narrator who begins by invoking “Ingenuous Melancholy” in the prologue ends by commanding “Dirll sprightecl Melancholy” to leave his brain and thus be- comes a Penseroso- t 11 r necl -AI legro. hl a rs ton ’s...

... 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...

..., to “Il Penseroso,” not just to Paradise Lost, as Goldthwait’s note indicates. 19 This German Miltonism was apparently inaugurated by Jakob Bodmer’s discov- ery—for German use—of Milton’s sublime poetry. Bodmer used Milton to pry German...

.... 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...

... of the formal Pindaric ode (as he did earlier, in the “Ode on the Death of a Fair Infant,” the “Nativ- ity Ode,” “Lycidas,” “L’Allegro,” and “Il Penseroso Milton marks the classical strophe, antistrophe, and epode and so breaks the ction of spontaneity that is so characteristic of that form. Rather than...