another. The poet's insight has, however, truly prophesied that result
in his last two lines.

This Ode, beyond doubt one of the finest in our language, and more in
Milton's style than has been reached by any other poet, is
occasionally obscure from imitation of the condensed Latin syntax. The
meaning of st. 5 is 'rivalry or hostility are the same to a lofty
spirit, and limitation more hateful than opposition.' The allusion in
st. 11 is to the old physical doctrines of the non-existence of a
vacuum and the impenetrability of matter:--in st. 17 to the omen
traditionally connected with the foundation of the Capitol at
Rome:--_forced_, fated. The ancient belief that certain years in life
complete natural periods and are hence peculiarly exposed to death, is
introduced in st. 26 by the word _climacteric_.

68 89 _Lycidas_: The person here lamented is Milton's college
contemporary, Edward King, drowned in 1637 whilst crossing from
Chester to Ireland.

Strict Pastoral Poetry was first written or perfected by the Dorian
Greeks settled in Sicily: but the conventional use of it, exhibited
more magnificently in _Lycidas_ than in any other pastoral, is
apparently of Roman origin. Milton, employing the noble freedom of a
great artist, has here united ancient mythology, with what may be
called the modern mythology of Camus and Saint Peter,--to direct
Christian images. Yet the poem, if it gains in historical interest,
suffers in poetry by the harsh intrusion of the writer's narrow and
violent theological politics.--The metrical structure of this glorious
elegy is partly derived from Italian models.

69 -- l. 11 _Sisters of the sacred well_: the Muses, said to frequent
the Pierian Spring at the foot of Mount Olympus.

70 -- l. 10 _Mona_: Anglesea, called by the Welsh poets, the Dark
Island, from its dense forests. _Deva_ (l. 11) the Dee: a river which
may have derived its magical character from Celtic traditions: it was
long the boundary of Briton and English.--These places are introduced,
as being near the scene of the shipwreck. _Orpheus_ (l. 14) was torn
to pieces by Thracian women. _Amaryllis_ and _Neaera_ (l. 24, 25)
names used here for the love-idols of poets: as _Damoetas_ previously
for a shepherd. L. 31 _the blind Fury_: Atropos, fabled to cut the
thread of life.

71 89 _Arethuse_ (l. 1) and _Mincius_: Sicilian and Italian waters
here alluded to as representing the pastoral poetry of Theocritus and
Vergil. L. 4 _oat_: