'Il Penseroso' by John Milton
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HENCE, vain deluding Joys,
............The brood of Folly without father bred!
How little you bested
............Or fill the fixed mind with all your toys!
Dwell in some idle brain,
............And fancies fond with gaudy shapes possess,
As thick and numberless
............As the gay motes that people the sun-beams,
Or likest hovering dreams,
............The fickle pensioners of Morpheus' train.
But, hail! thou Goddess sage and holy!
Hail, divinest Melancholy!
Whose saintly visage is too bright
To hit the sense of human sight,
And therefore to our weaker view
O'erlaid with black, staid Wisdom's hue;
Black, but such as in esteem
Prince Memnon's sister might beseem,
Or that starred Ethiop queen that strove
To set her beauty's praise above
The Sea-Nymphs, and their powers offended.
Yet thou art higher far descended:
Thee bright-haired Vesta long of yore
To solitary Saturn bore;
His daughter she; in Saturn's reign
Such mixture was not held a stain.
Oft in glimmering bowers and glades
He met her, and in secret shades
Of woody Ida's inmost grove,
Whilst yet there was no fear of Jove.
Come, pensive Nun, devout and pure,
Sober, steadfast, and demure,
All in a robe of darkest grain,
Flowing with majestic train,
And sable stole of cypress lawn
Over thy decent shoulders drawn.
Come; but keep thy wonted state,
With even step, and musing gait,
And looks commercing with the skies,
Thy rapt soul sitting in thine eyes:
There, held in holy passion still,
Forget thyself to marble, till
With a sad leaden downward cast
Thou fix them on the earth as fast.
And join with thee calm Peace and Quiet,
Spare Fast, that oft with gods doth diet,
And hears the Muses in a ring
Aye round about Jove's altar sing;
And add to these retired Leisure,
That in trim gardens takes his pleasure;
But, first and chiefest, with thee bring
Him that yon soars on golden wing,
Guiding the fiery-wheeled throne,
The Cherub Contemplation;
And the mute Silence hist along,
'Less Philomel will deign a song,
In her sweetest saddest plight,
Smoothing the rugged brow of Night,
While Cynthia checks her dragon yoke
Gently o'er the accustomed oak.
Sweet bird, that shunn'st the noise of folly,
Most musical, most melancholy!
Thee, chauntress, oft the woods among
I woo, to hear thy even-song;
And, missing thee,I walk unseen
On the dry smooth-shaven green,
To behold the wandering moon,
Riding near her highest noon,
Like one that had been led astray
Through the heaven's wide pathless way,
And oft, as if her head she bowed,
Stooping through a fleecy cloud.
Oft, on a plat of rising ground,
I hear the far-off curfew sound,
Over some wide-watered shore,
Swinging slow with sullen roar;
Or, if the air will not permit,
Some still removed place will fit,
Where glowing embers through the room
Teach light to counterfeit a gloom,
Far from all resort of mirth,
Save the cricket on the hearth,
Or the bellman's drowsy charm
To bless the doors from nightly harm.
Or let my lamp, at midnight hour,
Be seen in some high lonely tower,
Where I may oft outwatch the Bear,
With thrice great Hermes, or unsphere
The spirit of Plato, to unfold
What worlds or what vast regions hold
The immortal mind that hath forsook
Her mansion in this fleshly nook;
And of those demons that are found
In fire, air, flood, or underground,
Whose power hath a true consent
With planet or with element.
Sometime let gorgeous Tragedy
In sceptred pall come sweeping by,
Presenting Thebes, or Pelops' line,
Or the tale of Troy divine,
Or what (though rare) of later age
Ennobled hath the buskined stage.
But, O sad Virgin! that thy power
Might raise Musaeus from his bower;
Or bid the soul of Orpheus sing
Such notes as, warbled to the string,
Drew iron tears down Pluto's cheek,
And made Hell grant what love did seek;
Or call up him that left half-told
The story of Cambuscan bold,
Of Camball, and of Algarsife,
And who had Canace to wife,
That owned the virtuous ring and glass,
And of the wondrous horse of brass
On which the Tartar king did ride;
And if aught else great bards beside
In sage and solemn tunes have sung,
Of turneys, and of trophies hung,
Of forests, and enchantments drear,
Where more is meant than meets the ear.
Thus, Night, oft see me in thy pale career,
Till civil-suited Morn appear,
Not tricked and frounced, as she was wont
With the Attic boy to hunt,
But kerchieft in a comely cloud
While rocking winds are piping loud,
Or ushered with a shower still,
When the gust hath blown his fill,
Ending on the rustling leaves,
With minute-drops from off the eaves.
And, when the sun begins to fling
His flaring beams, me, Goddess, bring
To arched walks of twilight groves,
And shadows brown, that Sylvan loves,
Of pine, or monumental oak,
Where the rude axe with heaved stroke
Was never heard the nymphs to daunt,
Or fright them from their hallowed haunt.
There, in close covert, by some brook,
Where no profaner eye may look,
Hide me from day's garish eye,
While the bee with honeyed thigh,
That at her flowery work doth sing,
And the waters murmuring,
With such consort as they keep,
Entice the dewy-feathered Sleep.
And let some strange mysterious dream
Wave at his wings, in airy stream
Of lively portraiture displayed,
Softly on my eyelids laid;
And, as I wake, sweet music breathe
Above, about, or underneath,
Sent by some Spirit to mortals good,
Or the unseen Genius of the wood.
But let my due feet never fail
To walk the studious cloister's pale,
And love the high embowed roof,
With antique pillars massy proof,
And storied windows richly dight,
Casting a dim religious light.
There let the pealing organ blow,
To the full-voiced quire below,
In service high and anthems clear,
As may with sweetness, through mine ear,
Dissolve me into ecstasies,
And bring all Heaven before mine eyes.
And may at last my weary age
Find out the peaceful hermitage,
The hairy gown and mossy cell,
Where I may sit and rightly spell
Of every star that heaven doth shew,
And every herb that sips the dew,
Till old experience do attain
To something like prophetic strain.
These pleasures, Melancholy, give;
And I with thee will choose to live.
Editor 1 Interpretation
Il Penseroso: A Poetic Journey Through Melancholy
John Milton's Il Penseroso is a poem that dives into the depths of the human mind and examines the relationship between melancholy and creativity. With its vivid imagery and eloquent language, the poem captures the essence of the melancholic mood, portraying it not as a negative emotion but rather as a source of inspiration for the artist.
The Melancholic Mood
The poem begins with a description of the melancholic mood, which is depicted as a state of mind that is both introspective and contemplative. The speaker describes how the melancholic individual withdraws from the world and seeks solitude in order to reflect on their thoughts and emotions:
Hence, vain deluding Joys,
The brood of Folly without father bred,
How little you bested,
Or fill the fixed mind with all your toys;
Dwell in some idle brain,
And fancies fond with gaudy shapes possess,
As thick and numberless
As the gay motes that people the sunbeams,
Or likest hovering dreams
The fickle Pensioners of Morpheus' train.
These lines paint a vivid picture of the melancholic mind, which is preoccupied with deep thoughts and introspection. The imagery of "thick and numberless" fancies and "hovering dreams" suggests a sense of restlessness and uncertainty, as if the melancholic individual is constantly searching for meaning in their thoughts and emotions.
The Power of Imagination
Despite the melancholic mood, the poem is not entirely negative in its outlook. In fact, the speaker suggests that melancholy can be a source of inspiration for the artist, allowing them to tap into the power of their imagination and create works of great beauty:
Hail, thou Goddess sage and holy!
Hail, divinest Melancholy!
Whose saintly visage is too bright
To hit the sense of human sight,
And therefore to our weaker view
O'erlaid with black, staid Wisdom's hue;
Black, but such as in esteem
Prince Memnon's marble-veined limb,
When daylight sickens, and the last
In the rearward of the morning cast.
Here, the speaker addresses Melancholy as a "Goddess" and a source of inspiration for the artist. The imagery of the "saintly visage" that is "too bright" suggests that melancholy is not entirely negative, but rather a complex emotion that can inspire great works of art. The comparison to Prince Memnon's marble-veined limb further suggests that melancholy has a certain beauty that can be appreciated even in the midst of sadness.
The Contemplative Life
Throughout the poem, the speaker emphasizes the importance of contemplation and solitude in the artistic process. He suggests that the artist must withdraw from the world and seek solitude in order to reflect on their thoughts and emotions:
But let my due feet never fail
To walk the studious cloister's pale,
And love the high embowed roof,
With antique pillars massy proof,
And storied windows richly dight,
Casting a dim religious light.
These lines suggest that the artist must seek out places of quiet contemplation, such as the "studious cloister's pale," in order to access the deeper aspects of their own psyche. The imagery of the "high embowed roof" and the "storied windows richly dight" further suggests that the artist must seek out beauty and inspiration in order to create works of lasting value.
Conclusion
In conclusion, John Milton's Il Penseroso is a powerful exploration of the relationship between melancholy and creativity. Through its vivid imagery and eloquent language, the poem captures the essence of the melancholic mood and suggests that it can be a source of inspiration for the artist. By emphasizing the importance of contemplation and solitude in the artistic process, the poem suggests that the artist must seek out beauty and inspiration in order to create works of lasting value. Overall, Il Penseroso is a testament to the power of the human imagination and the beauty that can be found in even the darkest of moods.
Editor 2 Analysis and Explanation
Il Penseroso: A Masterpiece of Miltonian Poetry
John Milton, the celebrated English poet, is known for his epic works such as Paradise Lost and Paradise Regained. However, his lesser-known poem, Il Penseroso, is a masterpiece in its own right. Written in 1631, Il Penseroso is a reflective and introspective poem that explores the themes of melancholy, solitude, and the pursuit of knowledge. In this article, we will delve into the intricacies of this classic poem and analyze its various elements.
The poem is divided into two parts, the first being L'Allegro, which is a celebration of mirth and cheerfulness, and the second being Il Penseroso, which is a contemplation of melancholy and solitude. The two poems are often read together, as they represent two opposing states of mind. While L'Allegro celebrates the joys of life, Il Penseroso explores the beauty of melancholy and the pleasures of solitude.
The poem begins with an invocation to Melancholy, the goddess of sadness and contemplation. The speaker asks her to come and "sooth the woes of restless love" and "charm the air with solemn spells." The speaker then goes on to describe the various aspects of melancholy, such as the "pensive nun" and the "moping owl." The imagery used in the poem is vivid and evocative, creating a sense of melancholy and introspection.
The speaker then goes on to describe the pleasures of solitude. He talks about the "hermit's cell" and the "deserted shore," where one can be alone with one's thoughts. The speaker also talks about the pleasures of reading and learning, which can be enjoyed in solitude. He says, "And storied windows richly dight, / Casting a dim religious light."
The poem then takes a turn towards the spiritual, as the speaker talks about the pleasures of contemplation and prayer. He says, "And lead the mind through nature's works, / To nature's God." The speaker sees God in the beauty of nature and finds solace in prayer and contemplation.
The poem then takes a darker turn, as the speaker talks about the dangers of melancholy. He says, "But oh, sad Virgin, that thy power / Might raise Musaeus from his bower!" The speaker is referring to the Greek poet Musaeus, who was said to have died of melancholy. The speaker warns that too much melancholy can lead to madness and death.
The poem ends with a call to action, as the speaker urges the reader to "come, pensive Nun, devout and pure, / Sober, steadfast, and demure." The speaker is calling on the reader to embrace the pleasures of melancholy and solitude, but to do so in moderation.
Il Penseroso is a complex and multi-layered poem that explores the themes of melancholy, solitude, and the pursuit of knowledge. The poem is full of vivid imagery and evocative language, creating a sense of melancholy and introspection. The poem is also spiritual in nature, as the speaker finds solace in prayer and contemplation.
One of the most striking aspects of the poem is its use of contrast. The poem contrasts the pleasures of mirth and cheerfulness with the pleasures of melancholy and solitude. The poem also contrasts the dangers of melancholy with the benefits of contemplation and prayer. The use of contrast creates a sense of tension and complexity in the poem, making it a rich and rewarding read.
Another notable aspect of the poem is its use of allusion. The poem references various works of literature and mythology, such as the Greek poet Musaeus and the Roman goddess Pomona. The use of allusion adds depth and richness to the poem, as it connects the themes of the poem to a broader cultural context.
In conclusion, Il Penseroso is a masterpiece of Miltonian poetry that explores the themes of melancholy, solitude, and the pursuit of knowledge. The poem is full of vivid imagery and evocative language, creating a sense of melancholy and introspection. The poem is also spiritual in nature, as the speaker finds solace in prayer and contemplation. The use of contrast and allusion adds depth and richness to the poem, making it a timeless work of art.
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