That breaks his magick chains at Curfeu time, 435 here, too, the "This is the chains, for "being suffered to wander abroad:" and superstition is from Shakspeare, K. Lear, A. iii. S. iv. foul fiend Flibbertigibbet: he begins at Curfew, and walks 'till the first cock." Compare also Cartwright, in his play of the Ordinary, where Moth the antiquary sings an old song, A. ii. S. i. p. 36. edit. 1651. He wishes that the house may remain free from wicked spirits, "From Curfew time Prospero, in the Tempest, invokes those elves, among others, that rejoice to hear the solemn Curfew." A. v. S i. That is, they rejoice at the sound of the Curfew, because at the close of day announced by the Curfew, they are permitted to leave their several confinements, and be at large 'till cock-crowing. See Macbeth, A. ii. S. iii. "Good things of day begin to droop and drowse, "While night's black agents to their prey do rouse." WARTON. V. 436-swart faery of the mine.] In the Gothick system of pneumatology, mines were supposed to be inhabited by various sorts of spirits. See Olaus Magnus's Chapter De Metallicis Dæmonibus, Hist. Gent. Septentrional, vi. x. In an old translation of Lavaterus De Spectris et Lemuritus, is the following passage: " Pioners or diggers for metall do affirme, that in many mines there appeare straunge Shapes and Spirites, who are apparelled like vnto the laborers in the pit. These wander vp and downe in caues and underminings, and seeme to besturre themselves in all kinde of labor; as, to digge after the veine, to carrie together the oare, to put it into basketts, and to turn the winding wheele to draw it vp, when in very deed they do nothing lesse, &c."" Of Ghostes and Spirites walking by night, &c." Lond. 1572. Bl. Lett. ch. xvi. p. 73. And hence we see why Milton gives this species of Fairy a swarthy or dark complexion. Georgius Agricola, in his tract De Subterraneis Animantibus, relates among other wonders of the same sort, that these Spirits sometimes assume the most terrible shapes; and that one of them, in a cave or pit in Germany, killed twelve miners with his pestilential breath. Ad calc. De Re Metall. p. 538. Basil. 1621, fol. Drayton personifies the peak in Derbyshire, which he makes a witch skilful in metallurgy. Polyolb. S. xxvii. vol. iii. p. 1176. "The Sprites that haunt the mines she should correct and tame, "And bind them as she list, &c.” WARTON. See also Polyolb. S. iii. ed. 1622, p. 63. Keysler, in his Travels, speaking of Idria in Germany, says, "As the inhabitants of all mine towns have their stories of goblins, so are the people here strongly possessed with a notion of such apparitions that haunt the mines." Vol. iii. p. 377. In certain silver and lead mines in Wales, nothing is more common, it is pretended, than these subterranean spirits, who are called knockers, and who goodnaturedly point out where there is a rich vein! They are represented as little statured, and Hath hurtful power o'er true Virginity. Hence had the huntress Dian her dread bow, 440 415 Fear'd her stern frown, and she was queen o' the woods. What was that snaky-headed Gorgon shield, That wise Minerva wore, unconquer'd virgin, Wherewith she freez'd her foes to congeal'd stone, 450 But rigid looks of chaste austerity, And noble grace, that dash'd brute violence 455 about half a yard long. See Grose's Popular Superstitions, 1787, p. 41. And the Gent. Mag. vol. 65, p. 559. The goblin is classed with the · faery of the mine by an elaborate writer on the subject. See Wierus De Præstigiis Dæmonum, lib. i. cap. 22, edit. Basil. 1583. V. 441. Hence, &c.] Milton, I fancy, took the hint of this beautiful mythological interpretation from a dialogue of Lucian betwixt Venus and Cupid, where the mother asking her son how, after having attacked all the other deities, he came to spare Minerva and Diana, Cupid replies, that THE FORMER look'd so fiercely at him, and frighten'd him so with the Gorgon Head which she wore upon her breast, that he durst not meddle with her-and that as to DIANA, she was always so employed in hunting, that he could not catch her. THYER. V. 450.-But rigid looks, &c.] Rigid looks refer to the snaky locks, and noble grace to the beautiful face, as Gorgon is represented on ancient gems. WARBURTON. V. 455-A thousand, &c.] A passage in St. Ambrose, on Virgins, might have suggested this remark. "Neque mirum si pro vobis Angeli militant quæ Angelorum moribus militatis. Meretur eorum præsidium Castitas virginalis, quorum vitam meretur. Et quid pluribus exequar laudem Castitatis? Castitas enim Angelos facit." Ambros. Opp. Tom. iv. p. 536, edit. Paris, 1586, fol. TODD. Driving far off each thing of sin and guilt; 460 And turns it by degrees to the soul's essence, 465 V. 458.---Tell her of things, &c.]. So also in Arcades, v. 72: This dialogue between the Two Brothers, is an amicable contest between fact and philosophy. The younger draws his arguments from common apprehension, and the obvious appearance of things: the elder proceeds on a profounder knowledge, and argues from abstracted principles. Here the difference of their ages is properly made subservient to a contrast of character. But this slight variety must have been insufficient to keep so prolix and learned a disputation alive upon the stage. It must have languished, however adorned with the fairest flowers of eloquence. The whole dialogue, which indeed is little more than a solitary declamation in blank verse, much resembles the manner of our author's Latin Prolusions, where philosophy is enforced by pagan fable, and poetical allusion. WARTON. V. 462.—soul's essence] This is agreeable to the system of the Materialists, of which Milton was one. WARBURTON. The same notion of body's working up to spirit Milton afterwards introduced into his Par. Lost, B. v. 469, &c. which is there, I think, liable to some objection, as he was entirely at liberty to have chosen a more rational system, and as it is also put into the mouth of an Archangel. But in this place it falls in so well with the poet's design, gives such force and strength to this encomium on Chastity, and carries in it such a dignity of sentiment, that, however repug nant it may be to our philosophical ideas, it cannot miss striking and delighting every virtuous and intelligent reader. THYER. V. 464.-By unchaste looks, &c.] "He [Christ] censures an unchaste look to be an adultery already committed: another time he passes over actual adultery with less reproof than for an unchaste Look." Divorce. B. ii. c. i. Milton's Pr. W. i. 184. See also, p. 304. Milton therefore in the expression here noted, alludes to our Saviour, “ πᾶς ὁ ΒΛΕΠΩΝ ΓΥΝΑΙΚΑ προς το ΕΠΙΘΥΜΗΣΑΙ αὐτῆς.” ~. T. λ. S. Matth. v. 28. WARTON. Lets in defilement to the inward parts, Imbodies, and imbrutes, till she quite lose The divine property of her first being. Such are those thick and gloomy shadows damp, 470 Oft seen in charnel vaults and sepulchres Lingering, and sitting by a new made grave, Sec. Br. How charming is divine Philosophy! And a perpetual feast of nectar'd sweets, Where no crude surfeit reigns. El. Br. 475 Some far-off halloo break the silent air. For certain Sec. Br. Methought so too; what should it be? Or else some neighbour woodman, or, at worst, 485 Sec. Br. Heaven keep my Sister! Again, again, and near! Best draw, and stand upon our guard. El. Br. I'll halloo: If he be friendly, he comes well; if not, [Enter the Attendant Spirit, habited like a Shepherd.] That halloo I should know; what are you? speak; 490 V. 473. As both to leave, &c.] See Sir Kenelme Digby's Observations on Religio Medici, 4th edit. p. 327. "Souls that go out of their bodies with affection to those objects they leave behind them, (which usually is as long as they can relish them) do retain still, even in their separation, a byas and a languishing towards them: which is the reason why such terrene souls appeare oftenest in cœmeteries and charnel-houses." See also Dr. Henry More's Immor tality of the Soul. B. ii. ch. xvi. And compare Homer's Il. xvii. 856. Come not too near, you fall on iron stakes else. Spir. What voice is that? my young Lord? speak again. Sec. Br. O Brother, 'tis my father's shepherd, sure.. El. Br. Thyrsis? Whose artful strains have oft delay'd The huddling brook to hear his madrigal, 495 And sweeten'd every muskrose of the dale ? How cam'st thou here, good swain ? 'hath any ram Or straggling wether the pent flock forsook ? Spir. O my lov'd master's heir, and his next joy, I came not here on such a trivial toy As a stray'd ewe, or to pursue the stealth Of pilfering wolf; not all the fleecy wealth, 500 That doth enrich these downs, is worth a thought 505 How chance she is not in your company? El. Br. To tell thee sadly, Shepherd, without blame, Or our neglect, we lost her as we came. Spir. Ay me unhappy! then my fears are true. 510 V. 494.-Thyrsis? Whose artful strains, &c.] A compliment to Lawes, who personated the Spirit. We have just such another above, V. 86. But this being spoken by another, comes with better grace and propriety. WARTON. The encomium here is classical: Compare Hor. Od. I. xii. 3. "Orphea "Arte maternâ rapidos moruntem As above, at v. 87. Well knows to still the wild winds, TODD. V. 495.-madrigal.] The Madrigal was a species of musical composition, now actually in practice, and in high vogue. Lawes, here intended, had composed madrigals. So had Milton's father. The word is not here thrown out at random. WARTON. V. 509.-sadly] Soberly, seriously, as the word is frequently used by our old authors. NEWTON |