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Vestit inauratas redeunti lumine terras;

Moestaque adhuc nigri deplorans funera nati,

135

Irrigat ambrosiis montana cacumina guttis:

Cum somnos pepulit stellatae janitor aulae,

Nocturnos visus, et somnia grata revolvens.
Est locus aeterna septus caligine noctis,

Wasta ruinosi quondam fundamina tecti,

140

Nunc torvi spelunca Phoni, Prodotacque bilinguis,
Effera quos unopeperit Discordia partu.
Hic inter camenta jacent, praeruptaque saxa,
Ossa inhumata virum, et trajecta cadavera ferro;

Hic Dolus intortis semper sedet ater ocellis,

145

Jurgiaque, et stimulis armata Calumnia fauces,
Et Furor, atque viae moriendi mille videntur,
Et Timor, exanguisque locum circumvolat Horror;
Perpetuoque leves per muta silentia Manes

Exululant, tellus et sanguine conscia stagnat.

150

Ipsi etiam pavidilatitant penetralibus antri

135. Her black son Memnon. See Il Pens. v. 18. Aurora still weeps his untimely death at the siege of Troy.

138. Nocturnos visus, et somnia grata revolvens.] Doctor Newton ingeniously conjectures resolvens. But the poet means, literally, rolling back. The Janitor of the starry hall drove away slumbers, and rolled back again into darkness the visions of the night. .

141. Nunc torvispelunca Phoni, Prodotague bilinguis.] See the personifications of Phonos Murder, and Prodotes Treason, in Fletcher's Purple Island, c. vii. 69, 72. But Fletcher's poem was published in 1633. Milton's was written in 1626. This cave

with its inhabitants is finely imaged, and in the style of SpenSer. 148. —eranguisque locum circumvolat Horror;] Spenser, having described the personages that sate by the side of the high-way leading to hell, adds this image to complete the dreadful group. F. Q. ii. vii. 2. And over them sad Horror with grim hew Did alwaies soar, beating his iron winges. Horror is personified in Par. Lost, b. iv. 989. in the figure of Satan. His stature reach'd the sky, and on

his crest Sat horror plum'd.

Et Phonos, et Prodotes; nulloque sequente per antrum, Antrum horrens, scopulosum, atrum feralibus umbris, Diffugiunt sontes, et retro lumina vortunt:

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Evocat antistes Babylonius, atque ita fatur.
Finibus occiduis circumfusum incolit aequor

Gens exosa mihi; prudens natura negavit

Indignam penitus nostro conjungere mundo:

Illuc, sic jubeo, celeri contendite gressu,

160

Tartareoque leves difflentur pulvere in auras
Et rex et pariter satrapae, scelerata propago:
Et quotguot fidei caluere cupidine vera,
Consilii socios adhibete, operisque ministros.

Finierat, rigidi cupide paruere gemelli.

165

Interea longo flectens curvamine coelos Despicit atherea dominus qui fulgurat arce, Wanaque perversae ridet conamina turba, Atque sui causam populi volet ipse tueri.

Esse ferunt spatium, qua distat ab Aside terra 170 Fertilis Europe, et spectat Mareotidas undas;

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Hic turris posita est Titanidos ardua Famae
AErea, lata, sonans, rutilis vicinior astris
Quam superimpositum vel Athos vel Pelion. Ossae.
Mille fores aditusque patent, totidemdue fenestrae, 175
Amplaque per tenues translucent atria muros :
Excitat hic varios plebs agglomerata susurros;
Qualiter instrepitant circum mulctralia bombis
Agmina muscarum, aut texto per ovilia junco,

Dum Canis abstivum coeli petit ardua culmen.

180

Ipsa quidem summa sedet ultrix matris in arce,
Auribus innumeris cinctum caput eminet olli,
Queis sonitum exiguum trahit, atque levissima captat
Murmura, ab extremis patuli confinibus orbis.

Nectot, Aristoride servato inique juvencae

185

Isidos, immiti volvebas lumina vultu,

reotis is a large lake in Egypt,
connected by many small chan-
nels with the Nile. See Ovid,
Metam. ix. 772.
172. Hic turris posita est, &c.]
The general model of this Toner
of Fame is Ovid, Metam. xii. 39.
Milton has retouched and varie-
gated Ovid's imagery. In the
figure of his Fame, however,
our author adverts to Virgil. See
the next note. And notes on v.
174, 175, 177, 207.
Ibid. Titanidos] Ovid has Ti-
tanida Circen, Metam. xiv. 376.
Again, xiii. 968. Fame is the
sister of Cacus and Enceladus,
two of the Titans, AEn. iv. 179.
174. Quam superimpositum vel
Athos, &c.] Chaucer's House of
Fame stands on a rock, higher
than any in Spain. H. F. b.iii.27.
175. —totidemque fenestrae,
From Chaucer, H. F. b. iii. 101.

Imageries and tabernacles
I sawe, and full eke of Windowes
As flekis fallin in grete snowes, &c.

But Chaucer seems to have men-
tioned the numerous windows as
ornaments of the architecture of
the House, rather than with Mil-
ton's allegorical meaning.
177. Not to copy Ovid too
perceptibly, Milton adopts this
comparison from Homer, which
is here very happily and elegantly
applied. Il. ii. 469. “Hvri ovo-
“aw, &c.” See Par. Reg. iv. 15.

Or as a swarm of flies in vintage time
About the wine press, &c.

Sce also Il. xvi. 641.
Chaucer, in the same argu-

ment, has the outline of the

same comparison, H. F. iii. 431.

I heard a noise approchin blive,
That fareth as bees don in an hive
Against ther time of outflying, &c.

Lumina non unquam tacito nutantia somno,
Lumina subjectas late spectantia terras.
Istis illa solet loca luce carentia saepe

Perlustrare, etiam radianti impervia soli: ,

190

Millenisoue loquax auditaque visaque linguis

Cuilibet effundit temeraria;

veraque mendax

Nunc minuit, modo confictis sermonibus auget.
Sed tamen a nostro meruisti carmine laudes

Fama, bonum quo non aliud veracius ullum,

195

Nobis digna cani, nec te memorasse pigebit
Carmine tam longo; servatiscilicet Angli

Officiis, vaga diva, tuis, tibi reddimus aequa.
Te Deus, asternos motu qui temperat ignes,

Fulmine praemisso alloquitur, terraque tremente:

200

Fama siles 2 Ante latet impia Papistarum

Conjurata cohors in megue meosque Britannos,

Et nova sceptrigero cades meditata Iäcobo
Nec plura, illa statim sensit mandata Tonantis,

Et satis ante fugax stridentes induit alas,
Induit et variis exilia corpora plumis;

205

Dextra tubam gestat Temesaeo ex aere sonoram.
Necmora, jam pennis cedentes remigat auras,

200. The voice of God is preceded by thunders and earthquakes. This is in the style of Paradise Lost.

207. Dextra tubam gestat Temesaeo ex ære sonoram.] Her brazen trumpet is from Chaucer, which is furnished by AEolus, H. F. b. iii. 347.

. What did this AEolus, but he
Toke out his blake trompe of bras,
&c.

Temese is a city on the coast of

the Tyrrhene sea, famous for its brass. See Odyss... i. 183. And Ovid, Metam. xv. 707. Milton has the epithet from Ovid, Medicam. Fac. 41.

Et quamvis aliquis Temesapa remove

rit aera.

208. —jam pennis cedentes remigat auras,) See Ad J. Rousium, V. 45.

—Vehique superam
In Jovis aulam remige penna.

This metaphor first occurs in

Atque parum est cursu celeres praevertere nubes;

Jam ventos, jam solis equos post terga reliquit:

210

Et primo Angliacas, solito de more, per urbes
Ambiguas voces, incertaque murmura spargit:
Mox arguta dolos, et detestabile vulgat
Proditionis opus, nec non facta horrida dictu,

Authoresque addit sceleris, nec garrula caecis

215

Insidiis loca structa silet; stupuere relatis,
Et pariter juvenes, pariter tremuere puellae,
Effoetique senes pariter, tantaeque ruinae
Sensus ad aetatem subito penetraverat omnem.

Attamen interea populi miserescit ab alto

220

AEthereus pater, et crudelibus obstitit ausis

Papicolum; capti poenas raptantur ad acres:
At pia thura Deo, et grati solvuntur honores;
Compita laeta focis genialibus omnia fumant;

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