his prose works Milton calls the soul 'that
divine particle of God's breathing': comp. Horace, _Sat._ ii. 2. 79,
"affigit humo _divinae particulam aurae_"; and Plato's _Phaedo_, "The
soul resembles the divine, and the body the mortal."

470. ~gloomy shadows damp~: see note, l. 207.

471. ~charnel-vaults~, burial vaults. 'Charnel' (O.F. _charnel_, Lat.
_carnalis_; _caro_, flesh): comp. 'carnal,' l. 474.

473. ~As loth~, etc. The construction is: 'As (being) loth to leave the
body that it loved, and (as having) linked itself to a degenerate and
degraded state.' ~it~: by syntax this pronoun refers to 'shadows,' or (in
thought) '_such_ shadow.' It seems best, however, to connect it with
'soul,' line 467.

474. ~sensualty~. The modern form of the word is _sensuality_.

475. ~degenerate and degraded~: the former because 'imbodied,' the latter
because 'imbruted.'

476. ~divine Philosophy~, _i.e._ such philosophy as is to be found in "the
divine volume of Plato" (as Milton has called it).

477. ~crabbed~, sour or bitter: comp. crab-apple. _Crab_ (a shell-fish)
and _crab_ (a kind of apple) are radically connected, both conveying the
idea of scratching or pinching (Skeat).

478. ~Apollo's lute~: Apollo being the god of song and music. Comp. _Par.
Reg._ i. 478-480; _L. L. L._ iv. 3. 342, "as sweet and musical As bright
_Apollo's lute_, strung with his hair."

479. ~nectared sweets~. Nectar (Gk. +nektar+, the drink of the gods) is
repeatedly used by Milton to express the greatest sweetness: see l. 838;
_Par. Lost_, iv. 333, "Nectarine fruits"; v. 306, 426.

482. ~Methought~: see note, l. 171. ~what should it be?~ This is a direct
question about a past event, and means 'What was it likely to be?' "It
seems to increase the emphasis of the interrogation, since a doubt about
the past (time having been given for investigation) implies more
perplexity than a doubt about the future" (Abbott, Sec. 325). ~For certain~,
_i.e._ for certain truth, certainly.

483. ~night-foundered~; benighted, lost in the darkness. Radically, 'to
founder' is to go to the bottom (Fr. _fondrer_; Lat. _fundus_, the
bottom), hence applied to ships; it is also applied to horses sinking in
a slough. The compound is Miltonic (see _Par. Lost_, i. 204), and is
sometimes stigmatised as meaningless; on the contrary, it is very
expressive, implying that the brothers are swallowed up in night and
have lost their way. 'Founder' is here used in the secondary sens