APPENDIX

(Adapted, and enlarged from the Manual for the Study of English Classics, by George L. Marsh)

HELPS TO STUDY

LIFE AND WORKS

For what particular reason are the writings of Milton to be studied in connection with the history of his own times (p. 11) ?

What are the dates of the periods into which his life is divided (p. 20)? What were his chief works in each period? Make summaries of the life of Milton for each period, with particular attention to the first.

Where was he educated, and what was his attitude toward his university and his record there (p. 21)? What were his reasons for giving up study for his intended profession?

Where did Milton live after leaving the university, and what were his chief occupations?

What was Milton's conception of the life of a poet (p. 24)? Did he always live up to this ideal?

What was the "Grand Tour" (p. 25)? When and why did Milton return to England? How had he been received in Italy?

Outline the religious controversies after the execution of Charles I. To which party did Milton belong (p. 29)? What position did he hold with the Commonwealth (p. 30)?

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What was the theme of his most important prose writings (p. 27)?

What was Milton's situation after the Restoration (p. 31) What is it important to remember about his domestic life (pp. 27, 32)?

Perry Picture 76 is a portrait of Milton.

Famous lines on Milton by Dryden may be found in Newcomer and Andrews, Twelve Centuries of English Poetry and Prose, page 285; also a tribute by Tennyson, page 596.

L'ALLEGRO AND IL PENSEROSO

Who is supposed to have influenced Milton in the composition of these twin poems (p. 34)?

Make a comparison of the two poems as to introduction and invocation, plan and structure, versification and use of words, dramatic background and picture painting, and conclusion.

What two different attitudes toward life are represented? Which poem do you think represents Milton's genuine attitude?

Give the rhyme schemes for the introductions and the main parts of both poems.

Scan L'Allegro, lines 4, 7, 16, 46, 48, 53, 98, 118; Il Penseroso, lines 5, 9, 17, 49, 64, 81, 83.

Work out in detail the plan and structure of both poems (see p. 33).

Visualize with care the series of pictures in L'Allegro -the morning, the noon-day, and the evening scenes. Those in Il Penseroso-the night and morning scenes.

Why does the hero of L'Allegro invoke the lark and the hero of Il Penseroso the nightingale?

Why does the series of pictures in L'Allegro begin

with the morning and that in Il Penseroso with the evening?

How do you harmonize Milton's Puritanism with his evident delight in the pleasures mentioned in lines 33, 34, 39, 40 (p. 54) or lines 95 ff. (p. 62)? (See p. 47.)

What can you say of the figures in lines 42, 43, 50 (p. 54); lines 63, 73 (p. 55)? Note the epithets on pages 57 and 59.

COMUS

What authors seem to have given Milton hints in the composition of Comus (p. 41)?

Describe the masque as a literary form. In whose hands did it first take rank as literature (p. 37)? Taking Comus as an example, point out the characteristics of the masque (p. 38). How does Milton differ in purpose from the other writers of the masque (p. 40)?

What is the moral lesson he seeks to teach? Is this didacticism characteristic of Milton (p. 49)?

Summarize the circumstances of the composition of Comus (p. 36).

Collect all the references to the Earl of Bridgewater and his family that you can find (see p. 39).

Outline with some fullness the plan of the poem, taking note of the digressions and the lyrics.

What is the purpose of the speech of the Attendant Spirit on pages 66-70?

Is the genealogy of Comus (p. 68) from classical authorities?

To whom is the reference in lines 86 ff. (p. 69)? Are there any other references to the same person (p. 39) ? Does line 15, page 67, express Milton's own poetic purpose?

Compare the sentiment in lines 210-33, 373-475, 585

608, and 663-65. Write a summary of the theme stated in these lines. Is it a Puritan conception?

Is there anything inappropriate in calling in the aid of a mythological being (Sabrina), and in the boast of the Elder Brother in line 373?

What can you say of the character of the two brothers? What reasons or persuasions does Comus use, lines 706-55 (pp. 94, 95)?

What is the answer of the Lady (p. 96)? Do her arguments seem as convincing to you as they did to Comus (p. 97)?

What do you think of the conclusion?

Note the versification of the main part of the poem, and scan lines 1-15, 730-38.

In what meter is the speech of Comus on page 70? Compare it with any like meter that you can find in L'Allegro or Il Penseroso.

What is the rhyme scheme and scansion of the song on page 75; of those on pages 100, 101, 103 (see p. 43); of lines 495-512 (see p. 85)?

LYCIDAS

What were the circumstances of the composition of this poem (p. 43)?

Note the divisions of the poem (pp. 45-46). Expand these hints and outline the poem.

Is the lament for King an expression of genuine feeling, or is it only conventional? Is this lament the main theme?

Point out the pastoral elements in Lycidas (see p. 44). Collect examples of lapses from the pastoral form. With what does Milton reproach the Muses in lines 64 ff.?

Do lines 70 ff. illustrate Milton's own spirit in taking up the poetical career (p. 45)?

Describe the procession of mourners for Lycidas (pp. 110-11). Is it too mixed a collection?

Is the attack on the corruption in the church (p. 111) appropriate? Is this an element of Puritanism (see p. 47) How is transition made to and from this passage? Contrast the conclusion with the opening.

What is the prevailing meter? Scan fifteen regular lines, twenty-five irregular ones. Pick out five lines of blank verse. What effect does this irregular meter pro

duce?

THEME SUBJECTS

1. The historical background of Milton's early life (pp. 11-19).

2. The life of Milton. (May be divided into three subjects, according to the divisions indicated on pp. 20, 26, 31.)

3. Summaries or condensed paraphrases of L'Allegro and Il Penseroso (pp. 53-65).

4. Comparison of the poems just mentioned, as to invocation, plan, versification, etc. (pp. 33, 34). Comparison of the two theories of life's purposes shown by the two poems.

5. Nature pictures in these poems (or the subject may be limited to one of them, or to some specific picture). 6. Amusements that Milton enjoyed.

7. The masque as a literary form (pp. 36 ff.).

8. The occasion for Comus-its historical background

and basis in fact (pp. 35 ff.).

9. Moral lessons from Comus. in the form of a brief sermon.

Reunite these lessons (See p. 49.)