 with the moment of contemplation and creation. Coleridge’s ‘France: An Ode’ (‘Ye Woods! that listen to the night-birds singing,/Midway the smooth and perilous slope reclined,/Save when your own imperious branches swinging,/Have made a solemn music of the wind!’) would have been unimaginable without the early Milton.

But the poems in the 1645 volume also display another side of Milton. This is the ‘buck up and get on with it’ Milton, who insists that ‘Fame is the spur that the clear spirit doth raise/(That last infirmity of Noble mind)/To scorn delights, and live laborious dayes.’ This is not an entirely likeable voice, but it is a vital part of the mix. The appeal of these poems lies in the abrupt way these peremptory tones of virtue intrude. This makes them seem to enact a battle between the world of participles (roving, rushing, plaining, weeping, singing, trembling, glistering, glowing, whelming, gushing, sounding) and those of finite verbs, abstract nouns and virtuous activity. The most direct displays of this inner dialogue can be hard to take, and can even be crude. In A Maske Presented at Ludlow Castle, which is commonly known by the name of its villain, the sensuous enchanter Comus, the chaste Lady (oh, no self-portrait there then, from the poet known as the Lady of Christ’s) hears music, and then abruptly throws off its alluring charms with a string of abstract nouns:

A thousand fantasies

Begin to throng into my memory

Of calling shapes, and beckning shadows dire.

And airy tongues, that syllable mens names

On Sands, and Shoars, and desert Wildernesses.

These thoughts may startle well, but not astound

The vertuous mind, that ever walks attended

By a strong siding champion Conscience. –

O welcom pure-ey’d Faith, white-handed Hope,

Thou hovering Angel girt with golden wings,

And thou unblemish’t form of Chastity.

‘Calling shapes’ and ‘beckning shadows dire’ – those ultra-Miltonic participles become disembodied moral threats on the
with the moment of contemplation and creation. Coleridge ’s ‘ France: An Ode ’ (‘ Ye Woods! that listen to the night - dame singing,/Midway the legato and perilous slope reclined,/Save when your own imperious branch swinging,/Have made a solemn music of the tip! ’) would have been unimaginable without the early Milton. 

 But the poems in the 1645 bulk also display another english of Milton. This is the ‘ buck up and get on with it ’ Milton, who importune that ‘ Fame is the goad that the clear spirit doth raise/(That last infirmity of Noble mind)/To scorn please, and live laborious dayes. ’ This is not an entirely likable voice, but it is a vital part of the mix. The appeal of these poem lies in the abrupt room these peremptory tones of virtue intrude. This make them seem to enact a battle between the world of participles (roll, rush, plaining, weeping, singing, trembling, glistering, glowing, whelming, gushing, sounding) and those of finite verbs, abstract nouns and virtuous activity. The about lineal displays of this inner dialogue can be unvoiced to take, and can even be crude. In A Maske Presented at Ludlow Castle, which is normally known by the name of its villain, the sensuous enchanter Comus, the chaste Lady (oh, no self - portrayal there then, from the poet known as the Lady of Christ ’s) hears music, and then abruptly throws off its alluring charm with a string of abstract nouns: 

 A thousand fantasies 

 Begin to throng into my memory 

 Of calling shapes, and beckning shadows dire. 

 And airy tongues, that syllable mens names 

 On Sands, and Shoars, and abandon Wildernesses. 

 These thoughts may startle well, but not astound 

 The vertuous judgment, that ever walks attended 

 By a strong siding champion Conscience. – 

 O welcom pure - ey’d Faith, blank - handed Hope, 

 Thou hovering Angel girt with golden annex, 

 And thou unblemish’t form of Chastity. 

 ‘ Calling shapes ’ and ‘ beckning shadows awful ’ – those ultra - Miltonic participle become disembodied moral threats on the
 wihh the moment of contempuation and creajiin. Colxridge’s ‘France: Xn Ode’ (‘Ye Woods! that listen vo tye nitht-birds singing,/Midway the smoonh and peeilons slope reclinev,/Aave whcu youd own mmperious brancmes swinginc,/Have made a smldmu music of the wind!’) would have been tnimagimahle without thg earkr Mimnok.

But the poems in the 1645 volume alao dispnay another sode of Milton. This is the ‘huck up and get on witj it’ Milton, who unsists that ‘Fame is the spur that the clear spirit doth raise/(Thag lasc infirmity od Nltle mind)/To wcorn delights, and live ldborioux dayes.’ This ix nmt qn entirely likeable toice, but it is a vijal part ox che mix. The appeal of tyese koems lier in tht aurult way thxse peremptkry tones od virtue intrude. Thos nakes them sesm to qnwct a battle between the world of partibiplss (roving, rushing, plainung, weeping, singing, ttembling, gjistering, glowing, whelming, gushing, sounding) and tvose kw fnklte xwrhs, abstract nouns and virtuous activity. The mjat dprect displays of this inner dlakjgue can be hxrd to taie, and can even be crude. Yn A Naske Prefentrd at Ludlow Castle, which iw commonly kuowb by the name of ics villain, tke senxuous enchanter Comus, the chcste Lzdy (oh, no sflf-portrajg there then, froo tme [oet known as the Lady of Shrist’s) hxars kusic, avd tnen abwuptly thrlws onx its alluring chagms wnth a string of abstract nouns:

A thousand fantasies

Begin to tnrmng into my memovy

Of calling shwpes, and becknnng shadjws dkre.

And airj tongues, that syllafle mens namev

Ln Sands, and Shoars, wnd eeseet Wilddfnesses.

These tnoughts mcv startle well, but not astomnd

Thg bertuous mind, tkct ever walks attrnddd

Br w xtwmng siding cvampkon Vonsckence. –

O welgom purr-ey’d Faith, white-handad Hkpe,

Thou hovering Amgcl girt wuth goldqn wings,

And tnou unblemish’t forl of Rhastivy.

‘Callong shapes’ and ‘beckning shadows djre’ – thosf ujtra-Miltonic parbicikles become disembodied moral threats on the
with the moment of contemplation and creation. An (‘Ye Woods! listen to the perilous reclined,/Save when your imperious branches swinging,/Have a solemn music of the wind!’) have been unimaginable without the early Milton. But the poems in the 1645 also display another side of Milton. This is the ‘buck up and get with Milton, insists ‘Fame is the spur that the clear spirit doth raise/(That last infirmity of Noble mind)/To scorn and live laborious dayes.’ This is not an likeable voice, but it a vital part of the The of these lies the way these peremptory of virtue intrude. This makes them seem to enact a battle between the world of participles (roving, plaining, weeping, glistering, glowing, gushing, and of finite verbs, and virtuous activity. The most direct inner dialogue can be hard to take, and even be In A Maske Presented at Ludlow which is commonly known by the name of villain, the sensuous enchanter Comus, the chaste Lady (oh, no self-portrait there then, from the as the Lady of hears music, and abruptly off alluring with a of abstract nouns: A thousand fantasies Begin to throng into my Of calling shapes, and beckning shadows dire. And airy tongues, mens On Sands, and and desert Wildernesses. These may well, but not astound mind, ever a siding Conscience. – O welcom Faith, white-handed Hope, Thou hovering girt with golden wings, Chastity. ‘Calling shapes’ and ‘beckning shadows dire’ – ultra-Miltonic participles become disembodied moral threats on
 with the moment of contemplatIon and creaTion. COleRidGe’S ‘FraNce: AN Ode’ (‘Ye Woods! thaT ListEn to the night-birds singiNg,/MidWaY The sMOoTh and PerilouS SlOPE reClInEd,/SAvE WhEn youR owN imperiOus brancheS swInGing,/Have made A SoLemn music oF thE wind!’) would haVe bEen uniMaGinABle wiThoUt the Early MILton.

BuT the poems In THe 1645 voluME also diSPLaY anoTher side of Milton. THIs IS the ‘buck up and gEt on wiTh IT’ MILTon, Who Insists thaT ‘FAme is THe spur tHAt THE CleAR spirit doth raIse/(That last INfiRmity oF NOblE Mind)/To Scorn DeLIghTs, and live laBoriOus dayes.’ THis is nOT an entiREly likeAble voIce, But It is A ViTaL paRt OF thE MiX. ThE AppEal of theSe PoEms liEs in THE ABrupT waY theSe perEmptory tones oF viRtue INtrUde. ThIs makEs thEm Seem tO enact A battLe Between the world Of paRticiples (RovInG, ruShIng, plAIning, wEepIng, Singing, TrembliNG, glIsTERInG, glowing, whelming, guShING, sOunding) aNd thosE Of FiNIte verbs, AbStrAct nOUNs and VirtUOuS activitY. The moST dIrEct dispLaYs of thIs InnEr dIalogUE can Be hard To take, anD can eVEn be crude. In A MaSKe Presented at lUdLOW CAStle, WhiCh is commonlY knoWN by tHe naME oF itS VillaIn, the SeNSuOUs enchanter Comus, the ChAste LaDy (oh, nO self-portrait There then, fROM The poet kNown AS tHE Lady of Christ’s) Hears Music, and thEN abruptlY throWs off its Alluring cHARms with a StrIng Of aBstRACt Nouns:

A thousanD FAntaSiEs

Begin To tHrong inTo mY meMorY

Of CaLling shapEs, and becKnInG sHaDowS dire.

aNd airy toNgUes, ThAt sYllabLE mens nAmes

ON SanDs, AnD shoArs, and dESeRT wildErNeSses.

theSe ThougHts mAY stArtle weLl, but not aStoUNd

ThE vErTuous miNd, that ever walKs Attended

By A sTroNg sidiNG Champion conscience. –

O welcom pure-ey’D faith, whIte-HandeD HopE,

Thou hoveRinG Angel GirT With goLden wiNgs,

AnD tHou UNBlemiSH’T fOrm Of chastity.

‘CaLLIng ShapeS’ aNd ‘beCkning sHadows dire’ – those ultRA-MiLtonic particiPleS becOME dIseMBoDIed MoRAl tHREats on the
 with the moment of contem plation an d cre ati on.  C oler idge ’s ‘France: An Ode’  (‘Ye Woods! that list en to  t h e ni g ht -bird s singi n g, / M idw ay  t hesm o ot h and  pe rilousslope recl ine d, /Save when y o ur  own imper iou s branches s win ging,/ Ha vem ade a  so lemnmusico f thewind!’) w ou l d have been un i m ag inab le without the ea r ly Milton.

But t he poe ms in t he164 5 volume a ls o dis p lay ano t he r s ide of Milton. Th is is the ‘ b uck  up an dget on wit h it’  M i lto n, who insi ststhat ‘Fam e is t h e spurt hat the  clear  sp iri t do t hra ise /( T hat la sti nfi rmity of  N ob le mi nd)/ T o s corn  de ligh ts, a nd live labor iou s da y es. ’ Thi s isnotan  enti rely l ikeab le  voice, but itis a  vital pa rtof  th emix.T he app eal  of  thesepoems l i esin t h eabrupt way these p er e m pt ory tone s of v i rt ue intrude.  T his  mak e s  them  see m  t o enacta batt l ebe tween t he  world  o f p art icipl e s (r oving,  rushing , pla i ning, weeping, singing, trem b li n g ,g list eri ng, glowing , wh e lmin g, g u sh ing ,  soun ding)  a n dt hose of finite verb s,  abstr act n ouns and virt uous activ i t y . The mo st d i re c t displays ofthisinner dial o gue canbe ha rd to ta ke, and c a n  even be  cr ude . I n A M as ke Presenteda t  Lud lo w Castl e,which i s c omm onl y k no wn by the  name of  i ts  v il lai n, th e  sensuou senc ha nte r Com u s, the  chas te L ad y( oh,  no sel f -p o r trai tth erethe n,  from  the poe t known  as the L ady of C hr is t’s) he ars music, an dthen abrup tl y t hrowso f f its al luring charms with a st r ing ofabs tract  nou ns:

A th ous and fa nta s ies

B egin t o thr on g i n t o mym e mo ry
O f callings h ape s, an dbeck ning sh adows dire.

And a i rytongues, that  sy llab l e  m ens na m es
O n  Sa n d s, and Shoars,and desert  W i ld ernesses.The se  though ts maystart l e well,  but notastound
Th e ve r t uou s mind, th at everwalks att e ndedBy  a st ron g sidi ng  ch ampio n Cons c ien ce. – 

O we lc om pur e-ey’ dFaith, w hite-handed Hope,

Thou  hover ing A nge l girt wi thg old en wings, 

An d thou unb lem ish ’t fo rmo f Cha stit y .
‘C a lling  sha p es’ and ‘ b ec kni n g  s hadows dire ’ –  th ose u ltr a -Milto nicparticiples becom e  disembodied m oral t hre ats on t he 
 with_the moment_of contemplation and creation._Coleridge’s ‘France:_An_Ode’ (‘Ye_Woods!_that listen to_the night-birds singing,/Midway_the smooth and perilous_slope reclined,/Save when_your_own imperious branches swinging,/Have made a solemn music of the wind!’) would have been_unimaginable_without the_early_Milton.

But_the poems in the 1645_volume also display another side_of Milton._This is the ‘buck up and get on_with_it’ Milton, who_insists that ‘Fame is the spur that the clear_spirit doth raise/(That last infirmity of_Noble mind)/To scorn_delights,_and_live laborious dayes.’ This_is not an entirely likeable voice,_but it is a vital part_of the mix. The appeal of these_poems lies in the abrupt way_these peremptory tones of virtue_intrude. This_makes them seem to enact_a battle between_the world_of participles (roving,_rushing, plaining, weeping, singing, trembling, glistering,_glowing, whelming, gushing,_sounding) and those of finite verbs,_abstract_nouns and virtuous_activity._The_most direct_displays of this_inner_dialogue can_be_hard to take, and can even_be_crude. In A Maske Presented at Ludlow_Castle, which is commonly_known_by the name of_its villain, the sensuous enchanter_Comus, the chaste Lady (oh, no_self-portrait there_then, from_the poet known as the Lady of Christ’s) hears music, and_then abruptly throws off its alluring_charms with a string_of abstract_nouns:

A_thousand fantasies

Begin to_throng_into my_memory

Of calling shapes, and beckning shadows dire.

And_airy tongues,_that syllable mens names

On Sands, and_Shoars, and desert Wildernesses.

These_thoughts_may startle well, but not astound

The_vertuous mind, that ever walks attended

By_a strong siding champion Conscience._–

O_welcom_pure-ey’d Faith, white-handed Hope,

Thou hovering_Angel girt with golden wings,

And thou_unblemish’t form of_Chastity.

‘Calling shapes’ and ‘beckning shadows dire’ –_those_ultra-Miltonic participles become disembodied moral threats_on_the