Finierat, rigidi cupide paruere gemelli. Effe ferunt fpatium, qua distat ab Afide terra 165 171 cially from a youth of feventeen. But Milton might fairly defend himself, by reading u as the confonant, for which there are authorities. 166.-Longo flectens curvamine cælos.] See CoмUS, V. 1015. Where the BOW'D welkin flow doth BEND. But Ovid has a like contexture, with a different idea. METAM. vi. 64. Of a rainbow. Inficere ingenti longum curvamine cœlum. 171. -Mareotidas undas.] Mareotis is a large lake in Egypt, connected by many small channels with the Nile. See Ovid, METAM. ix. 772. 172. Hic turris pofita eft, &c.] The general model of this TOWER OF FAME is Ovid, METAM. xii. 39. Milton has retouched and variegated Ovid's imagery. The reader fhall compare both poets at large. ORBE locus MEDIO eft, inter terrasque fretumque, Nocte dieque patent: tota eft ex ÆRE SONANTI! Nec tamen eft clamor, fed PARVÆ MURMURA VOCIS, Atria turba tenent; veniunt leve vulgus, euntque. Erea, lata, fonans, rutilis vicinior aftris Hi narrata ferunt alio; menfuraque ficti In the figure of his Fame, however, our author adverts to Virgil. Ibid. Titanidos.-] Ovid has TITANIDA Circen, METAM. xiv. 376. Again, xiii. 968. FAME is the fifter of Cacus and Enceladus, two of the Titans, ÆN. . iv. 179. 174. Quam fuperimpofitum vel Athos, &c.] Chaucer's HOUSE OF FAME ftands on a rock, higher than any in Spain. H. F. B. iii. 27. 175.-Totidemque feneftræ.] From Chaucer, H. F. B. iii. 101. Imageries and tabernacles I fawe, and FULL EKE OF WINDOWES As flekis fallin in grete fnowes, &c. But Chaucer feems to have mentioned the numerous windows as . ornaments of the architecture of the Houfe, rather than with Milton's allegorical meaning. 177. Not to copy Ovid too perceptibly, Milton adopts this comparifon from Homer, which is here very happily and elegantly applied. IL. ii. 469. "HUTE μviάwv, &c." See PARAD. L. ii. 770. Much the fame comparison is in PARAD. REG. IV. 15, Or as a fwarm of flies in vintage time About the wine prefs, &c. See alfo IL. xvi. 641. I must however obferve, that Chaucer, in the fame argument, has the outline of the fame comparison, H. F. iii. 431. I heard a noise approchin blive, Ss $ 2 Dum 180 Dum Canis æftivum cœli petit ardua culmen. Lumina non unquam tacito nuntantia fomno, Iftis illa folet loca luce carentia fæpe Perluftrare, etiam radianti impervia foli : Sed tamen a noftro meruifti carmine laudes 185 190 195 201 205 Nec plura, illa ftatim fenfit mandata Tonantis, 200. The voice of God is preceded by thunders and earthquakes. This is in the ftyle of PARADISE LOST. 207. Dextra tubam geftat Temefæo ex ære fonoram.] Her brazen trumpet is from Chaucer, which is furnished by Æolus, H. F. B. iii. 347. What Nec mora, jam pennis cedentes remigat auras, What did this Eolus, but he Toke out his blake trompe of bras, &c. 211 215 Temese is a city on the coaft of the Tyrrhene fea, famous for its brafs. See ODYSS. i. 183. 'E, TEMEZHN perà XAAKON, &c.” And Ovid, METAM. XV. 707. Themefefque metalla." And, ib. 52. Milton has the epithet from Ovid, MEDICAM. FAC. 41. Et quamvis aliquis TEMESA A removerit ÆRA, Nunquam Luna fuis excutietur equis. Again, FAST. L. v. 441. -TEMES EAQUE Concrepat ÆRA. And METAM. vii. 207. 208. Te quoque, Luna, traho, quamvis TEMESA A labores Jam pennis cedentes remigat auras. ROUSIUM, v. 45. -Vehique fuperum In Jovis aulam REMIGE PENNA. This metaphor firft occurs in Æfchylus, AGAMEMN. V. 53. Of vulturs. Πτερύγων ἐρεμοῖσι ἐρεσσόμενοι. Alarum remigiis remigantes. For claffical inftances of the Remigium alarum, see Heinfius on Ovid, ART. AMATOR. ii. 45, Drakenborch on Sil. Ital. xii. 98. Dante turns Oars into Wings.. INFERN. C. xxvi. 121. “De re"mi facemo al." Attamen 220 Attamen interea populi miserefcit ab alto Æthereus pater, et crudelibus obftitit aufis Papicolum; capti pœnas raptantur ad acres ; At pia thura Deo, et grati folvuntur honores; Compita læta focis genialibus omnia fumant; Turba choros juvenilis agit: Quintoque Novembris Nulla dies toto occurrit celebratior anno. In obitum Præfulis Elienfis.* Anno Ætatis 17. A DHUC madentes rore fqualebant genæ, Adhuc liquentis imbre turgebant falis, Quem nuper effudi pius, Dum mæsta charo jufta perfolvi rogo Wintonienfis Præfulis. Cum centilinguis Fama, proh! femper mali Cladifque vera nuntia, Spargit per urbes divitis Britanniæ, Populofque Neptuno fatos, Ceffiffe morti, et ferreis fororibus, Te, generis humani decus, Qui rex facrorum illa fuifti in infula 226 220. Attamen interea, &c.] We are difappointed at this abrupt ending, after curiofity and attention had been excited by the introduction of the goddess Fame with so much pomp. But young compofers are eager to dispatch their work. Fame is again exhibited in the next poem, written alfo at seventeen. * Nicholas Felton, bishop of Ely, died Octob. 5, 1626, not many days after bishop Andrewes, before celebrated. Felton had been alfo master of Pembroke Hall. 14. Qua nomen Anguilla tenet.] Ely, fo called from its abundance of eels. Mr. Bowle cites Capgrave, "Locus ille five cæno |