“Ode to Duty” by William Wordsworth: A Critical Analysis

“Ode to Duty” by William Wordsworth first appeared in 1807 in his Poems in Two Volumes collection, marking a solemn exploration of morality and human responsibility.

"Ode to Duty" by William Wordsworth: A Critical Analysis
Introduction: Ode to Duty by William Wordsworth

“Ode to Duty” by William Wordsworth first appeared in 1807 in his Poems in Two Volumes collection, marking a solemn exploration of morality and human responsibility. This reflective work epitomizes Wordsworth’s shift from youthful romantic idealism to mature contemplation, embracing “Duty” as a moral compass and divine guide. Often described as the “stern Daughter of the Voice of God,” Duty is portrayed as both a “light to guide” and a “rod to check the erring,” embodying justice, discipline, and spiritual enlightenment. The poem’s enduring popularity as a textbook selection lies in its eloquent language, universal themes of ethical striving, and its alignment with classical moral philosophy, as echoed in Seneca’s reflection: “I am not only able to do right, but am unable to do anything but what is right.” Wordsworth’s plea for inner stability—“Give unto me, made lowly wise, / The spirit of self-sacrifice”—resonates with readers across generations, blending a yearning for freedom with the profound realization of the necessity of self-discipline. This synthesis of Romantic individuality and moral universality ensures the poem’s timeless relevance.

Text: Ode to Duty by William Wordsworth

Jam non consilio bonus, sed more eo perductus, ut non tantum recte facere possim, sed nisi recte facere non possim”

“I am no longer good through deliberate intent, but by long habit have reached a point where I am not only able to do right, but am unable to do anything but what is right.”
(Seneca, Letters 120.10)

Stern Daughter of the Voice of God!

O Duty! if that name thou love

Who art a light to guide, a rod

To check the erring, and reprove;

Thou, who art victory and law

When empty terrors overawe;

From vain temptations dost set free;

And calm’st the weary strife of frail humanity!

There are who ask not if thine eye

Be on them; who, in love and truth,

Where no misgiving is, rely

Upon the genial sense of youth:

Glad Hearts! without reproach or blot;

Who do thy work, and know it not:

Oh! if through confidence misplaced

They fail, thy saving arms, dread Power! around them cast.

Serene will be our days and bright,

And happy will our nature be,

When love is an unerring light,

And joy its own security.

And they a blissful course may hold

Even now, who, not unwisely bold,

Live in the spirit of this creed;

Yet seek thy firm support, according to their need.

I, loving freedom, and untried;

No sport of every random gust,

Yet being to myself a guide,

Too blindly have reposed my trust:

And oft, when in my heart was heard

Thy timely mandate, I deferred

The task, in smoother walks to stray;

But thee I now would serve more strictly, if I may.

Through no disturbance of my soul,

Or strong compunction in me wrought,

I supplicate for thy control;

But in the quietness of thought:

Me this unchartered freedom tires;

I feel the weight of chance-desires:

My hopes no more must change their name,

I long for a repose that ever is the same.

Stern Lawgiver! yet thou dost wear

The Godhead’s most benignant grace;

Nor know we anything so fair

As is the smile upon thy face:

Flowers laugh before thee on their beds

And fragrance in thy footing treads;

Thou dost preserve the stars from wrong;

And the most ancient heavens, through Thee, are fresh and strong.

To humbler functions, awful Power!

I call thee: I myself commend

Unto thy guidance from this hour;

Oh, let my weakness have an end!

Give unto me, made lowly wise,

The spirit of self-sacrifice;

The confidence of reason give;

And in the light of truth thy Bondman let me live!

Annotations: “Ode to Duty” by William Wordsworth

LineAnnotation
“Stern Daughter of the Voice of God!”Wordsworth addresses Duty as a divine and authoritative force, equating it to a voice from God, emphasizing its unyielding and moral nature.
“O Duty! if that name thou love”A direct invocation to Duty, acknowledging its importance and personifying it as an entity capable of love or recognition.
“Who art a light to guide, a rod / To check the erring, and reprove;”Duty is described as both a guiding light (symbolizing moral clarity) and a disciplinary rod (symbolizing correction and justice).
“Thou, who art victory and law / When empty terrors overawe;”Duty brings triumph and establishes order, even when baseless fears attempt to dominate human emotions.
“From vain temptations dost set free; / And calm’st the weary strife of frail humanity!”Duty liberates individuals from futile desires and provides peace amidst the struggles of human weakness.
“There are who ask not if thine eye / Be on them;”Some people act virtuously without the conscious awareness of Duty observing or guiding them, indicating innate morality or habit.
“Who, in love and truth, / Where no misgiving is, rely / Upon the genial sense of youth:”Such individuals, driven by pure love and truth, trust their youthful instincts without hesitation or fear of error.
“Glad Hearts! without reproach or blot; / Who do thy work, and know it not:”These innocent, joyful souls fulfill Duty’s mandates unconsciously, living a virtuous life without recognizing it as such.
“Oh! if through confidence misplaced / They fail, thy saving arms, dread Power! around them cast.”Wordsworth prays that Duty, as a merciful power, would protect and guide these individuals if their misplaced confidence leads to failure.
“Serene will be our days and bright, / And happy will our nature be,”When Duty aligns with love and joy, it results in peace, happiness, and harmony in human lives.
“When love is an unerring light, / And joy its own security.”Wordsworth imagines an ideal state where love and joy serve as unwavering guides and safeguards.
“And they a blissful course may hold / Even now, who, not unwisely bold,”Even in the present, those who wisely balance boldness with caution can lead a life aligned with Duty’s principles.
“Live in the spirit of this creed; / Yet seek thy firm support, according to their need.”These individuals embrace the values of Duty but still seek its support to navigate the complexities of life.
“I, loving freedom, and untried; / No sport of every random gust,”Wordsworth reflects on his youthful desire for freedom, acknowledging that he has yet to endure or overcome life’s trials.
“Yet being to myself a guide, / Too blindly have reposed my trust:”He admits to overly trusting his own judgment, which has often led him astray.
“And oft, when in my heart was heard / Thy timely mandate, I deferred”Despite recognizing Duty’s call, he confesses to procrastinating or avoiding its demands.
“The task, in smoother walks to stray;”He avoided difficult obligations by choosing easier paths, avoiding challenges that Duty demanded he face.
“But thee I now would serve more strictly, if I may.”Wordsworth resolves to commit himself fully to serving Duty with greater diligence and sincerity.
“Through no disturbance of my soul, / Or strong compunction in me wrought,”His plea to Duty does not arise from turmoil or guilt but from a calm and thoughtful realization of its importance.
“I supplicate for thy control; / But in the quietness of thought:”Wordsworth asks for Duty’s guidance, stemming from an inner peace and a contemplative state rather than external pressures.
“Me this unchartered freedom tires; / I feel the weight of chance-desires:”He acknowledges the exhaustion of living without the boundaries of Duty, recognizing the burden of unpredictable whims.
“My hopes no more must change their name, / I long for a repose that ever is the same.”Wordsworth desires stability and consistency, seeking refuge in the unwavering and guiding nature of Duty.
“Stern Lawgiver! yet thou dost wear / The Godhead’s most benignant grace;”Although strict, Duty is also benevolent, embodying divine kindness and grace alongside its stern nature.
“Nor know we anything so fair / As is the smile upon thy face:”Duty’s balance of sternness and benevolence is depicted as the most beautiful and admirable aspect of existence.
“Flowers laugh before thee on their beds / And fragrance in thy footing treads;”Duty’s presence brings harmony and vitality to the natural world, symbolizing its role in maintaining universal order.
“Thou dost preserve the stars from wrong; / And the most ancient heavens, through Thee, are fresh and strong.”Duty governs cosmic laws, ensuring the stability and renewal of the heavens, reflecting its universal and eternal significance.
“To humbler functions, awful Power! / I call thee:”Wordsworth seeks Duty’s intervention in his personal and mundane struggles, recognizing its grandeur yet its accessibility to all.
“I myself commend / Unto thy guidance from this hour;”He surrenders himself entirely to Duty, seeking its guidance to lead a disciplined and virtuous life.
“Oh, let my weakness have an end!”He pleads for an end to his human frailties and the strength to align fully with Duty’s principles.
“Give unto me, made lowly wise, / The spirit of self-sacrifice;”Wordsworth aspires to wisdom through humility and a willingness to sacrifice personal desires for higher ideals.
“The confidence of reason give; / And in the light of truth thy Bondman let me live!”He seeks rational confidence and truth, offering himself as a devoted servant to Duty’s eternal and illuminating guidance.
Literary And Poetic Devices: “Ode to Duty” by William Wordsworth
Literary/Poetic DeviceExampleExplanation
Alliteration“Flowers laugh before thee on their beds”The repetition of the “th” sound emphasizes the vitality and harmony associated with Duty.
Allusion“Stern Daughter of the Voice of God!”Allusion to divine authority, suggesting that Duty is a moral force akin to God’s will.
Apostrophe“O Duty! if that name thou love”The poem directly addresses Duty as though it were a person or deity.
Assonance“When love is an unerring light, / And joy its own security.”The repetition of vowel sounds (e.g., “o” in “joy,” “own”) creates a harmonious effect.
Contrast“I, loving freedom, and untried; / No sport of every random gust”Contrasts freedom and impulsiveness with the stability that Duty provides.
Enjambment“To humbler functions, awful Power! / I call thee: I myself commend”The continuation of a sentence across lines emphasizes the speaker’s flow of thought.
EpigraphJam non consilio bonus… (Seneca’s quote)The opening epigraph frames the poem’s philosophical meditation on virtue and habit.
Hyperbole“Thou dost preserve the stars from wrong”Exaggeration to highlight Duty’s universal role in maintaining order.
Imagery“Flowers laugh before thee on their beds / And fragrance in thy footing treads”Vivid imagery of nature portrays the harmony brought by Duty.
Metaphor“Who art a light to guide, a rod / To check the erring”Duty is metaphorically described as a guiding light and a disciplinary rod.
Parallelism“Serene will be our days and bright, / And happy will our nature be”The repeated structure reinforces the ideal life aligned with Duty.
Personification“Stern Daughter of the Voice of God!”Duty is personified as a stern daughter, capable of guiding and reproving humanity.
Philosophical Tone“My hopes no more must change their name, / I long for a repose that ever is the same.”Reflects the philosophical exploration of moral and spiritual discipline.
Repetition“Give unto me, made lowly wise, / The spirit of self-sacrifice;”Repetition of “give” emphasizes the speaker’s plea for moral and spiritual strength.
Rhetorical Question“Oh! if through confidence misplaced / They fail, thy saving arms, dread Power! around them cast.”The question implies the necessity of Duty’s intervention and guidance.
Symbolism“A light to guide, a rod / To check the erring”Light symbolizes moral clarity, and the rod symbolizes discipline and correction.
Tone“Through no disturbance of my soul, / Or strong compunction in me wrought”The calm and contemplative tone underlines the speaker’s thoughtful submission to Duty.
Visual Imagery“Flowers laugh before thee on their beds”Visual imagery creates a picture of joyful nature, symbolizing the order Duty brings to life.
Wordplay“Me this unchartered freedom tires”The phrase “unchartered freedom” plays with the idea of freedom without limits being exhausting.
Zeugma“I supplicate for thy control; / But in the quietness of thought:”Combines a literal plea for control with a metaphysical state of thought, blending different ideas.
Themes: “Ode to Duty” by William Wordsworth

1. Moral Responsibility and Discipline: The central theme of “Ode to Duty” is the moral responsibility and discipline required to lead a virtuous life. Wordsworth personifies Duty as a “Stern Daughter of the Voice of God,” portraying it as a divine and authoritative force that guides human behavior. The speaker acknowledges the importance of adhering to moral laws that transcend personal desires, stating, “Who art a light to guide, a rod / To check the erring, and reprove.” This dual role of Duty—as both a guide and a disciplinarian—illustrates its essential function in regulating human actions and correcting errors. Wordsworth contrasts the unrestrained pursuit of freedom with the stability that comes from living under the principles of Duty, concluding that such adherence leads to “serene…days and bright” and “happy…nature.” The poem ultimately positions Duty as the cornerstone of a balanced and meaningful life.


2. Human Weakness and the Need for Guidance: Wordsworth explores the theme of human weakness and the necessity of external guidance to overcome moral frailty. He reflects on his own shortcomings, admitting, “I, loving freedom, and untried; / No sport of every random gust, / Yet being to myself a guide, / Too blindly have reposed my trust.” These lines reveal the limitations of relying solely on personal judgment, as untested freedom often leads to error. Wordsworth appeals to Duty to provide the structure and strength needed to navigate life’s challenges: “Oh, let my weakness have an end! / Give unto me, made lowly wise, / The spirit of self-sacrifice.” By invoking Duty as a source of strength and wisdom, Wordsworth underscores humanity’s dependence on moral principles to rise above their imperfections and find inner stability.


3. Harmony Between Duty and Joy: Another prominent theme in the poem is the potential harmony between Duty and joy when individuals align their actions with higher principles. Wordsworth envisions an ideal state where “love is an unerring light, / And joy its own security.” He suggests that true happiness arises when joy and love are guided by moral clarity, resulting in a balanced life. The speaker contrasts this harmonious state with the chaos of unchecked desires, expressing a longing for “a repose that ever is the same.” By presenting Duty as both a stern lawgiver and a benevolent force—”Thou dost wear / The Godhead’s most benignant grace”—Wordsworth conveys that discipline, far from suppressing joy, enhances it by fostering a deeper sense of purpose and fulfillment.


4. Duty as a Universal Force: Wordsworth elevates Duty as a universal principle that governs not only human life but also the natural and cosmic order. He writes, “Thou dost preserve the stars from wrong; / And the most ancient heavens, through Thee, are fresh and strong.” These lines attribute the stability of the universe to the guiding power of Duty, likening it to a cosmic law that ensures harmony and renewal. This universal application of Duty reinforces its timeless and omnipresent nature, transcending individual circumstances. Moreover, the imagery of “flowers laugh before thee on their beds” symbolizes the vitality and balance Duty brings to all aspects of existence. Wordsworth’s portrayal of Duty as a force that governs both the microcosm of individual lives and the macrocosm of the universe underscores its essential role in maintaining order and purpose in creation.

Literary Theories and “Ode to Duty” by William Wordsworth
Literary TheoryExplanationReferences from the Poem
Moral CriticismThis theory evaluates literature based on its ethical and moral content. “Ode to Duty” is a reflection on the role of moral principles and discipline in human life, emphasizing the virtue of self-sacrifice and adherence to Duty.“Give unto me, made lowly wise, / The spirit of self-sacrifice;” highlights the ethical aspiration to rise above personal desires for the greater good.
RomanticismAs a Romantic poet, Wordsworth integrates individual emotions with universal truths. The poem balances the Romantic ideal of freedom with the necessity of moral restraint, portraying Duty as both a liberating and guiding force.“I, loving freedom, and untried; / No sport of every random gust” illustrates the tension between the Romantic ideal of freedom and the need for guidance from Duty.
Psychoanalytic TheoryThis theory explores the internal conflicts and desires within the human psyche. Wordsworth’s personal struggle between unrestrained freedom and the longing for structure reflects an inner conflict resolved by surrendering to Duty.“Through no disturbance of my soul, / Or strong compunction in me wrought, / I supplicate for thy control;” reveals a conscious decision to overcome impulsive desires.
StructuralismStructuralism examines the underlying structures and binaries in a text. “Ode to Duty” uses oppositions such as freedom vs. discipline, light vs. darkness, and joy vs. sorrow to construct its exploration of morality and human experience.“Who art a light to guide, a rod / To check the erring, and reprove;” employs binary oppositions of guidance (light) and correction (rod) to present Duty as a multifaceted force.
Critical Questions about “Ode to Duty” by William Wordsworth

1. How does Wordsworth personify Duty, and what is the significance of this personification?

Wordsworth personifies Duty as a divine and moral force, addressing it as the “Stern Daughter of the Voice of God.” This personification elevates Duty beyond a mere abstract concept, imbuing it with authority and spiritual significance. By describing Duty as a “light to guide, a rod / To check the erring, and reprove,” Wordsworth conveys its dual role as a compassionate guide and a strict disciplinarian. This personification makes Duty relatable and emotionally resonant, helping readers view it as a nurturing yet firm presence in their lives. The imagery of Duty “preserving the stars from wrong” symbolizes its universal relevance and role in maintaining cosmic and moral order. Through this portrayal, Wordsworth underscores that Duty is essential not only for individual growth but also for the stability of the universe.


2. What tension exists between freedom and discipline in the poem, and how is it resolved?

Wordsworth explores a tension between the allure of freedom and the necessity of discipline, reflecting his personal struggle with unrestrained desires. He admits, “I, loving freedom, and untried; / No sport of every random gust,” revealing his youthful inclination toward autonomy without accountability. However, this unchecked freedom becomes burdensome: “Me this unchartered freedom tires; / I feel the weight of chance-desires.” The resolution lies in the speaker’s conscious submission to Duty, which brings stability and purpose to his life. By seeking “the spirit of self-sacrifice” and the “confidence of reason,” Wordsworth reconciles the desire for freedom with the discipline of moral responsibility. Duty emerges as the ultimate liberator, providing the framework within which true freedom and fulfillment can coexist.


3. What role does nature play in Wordsworth’s portrayal of Duty?

Nature is a recurring motif in “Ode to Duty” and serves to illustrate Duty’s harmonious influence on the world. Wordsworth writes, “Flowers laugh before thee on their beds / And fragrance in thy footing treads,” using imagery of joyful and fragrant flowers to symbolize the vitality and order that Duty brings to life. Furthermore, he describes how Duty “dost preserve the stars from wrong,” attributing cosmic stability to its guiding power. This connection between Duty and nature reflects Wordsworth’s Romantic belief in the interconnectedness of the natural and moral orders. By linking Duty to the beauty and balance of nature, Wordsworth emphasizes its universal presence and its role in fostering harmony in both the physical and spiritual realms.


4. How does Wordsworth define an ideal relationship between humans and Duty?

Wordsworth envisions an ideal relationship with Duty as one of willing submission and integration into daily life. He contrasts those who unknowingly follow Duty with those who actively seek its guidance. For the latter, he writes, “Serene will be our days and bright, / And happy will our nature be, / When love is an unerring light, / And joy its own security.” This harmonious relationship is built on self-awareness and the conscious alignment of one’s actions with moral principles. Wordsworth’s plea, “Give unto me, made lowly wise, / The spirit of self-sacrifice,” reflects his belief that humility and reason are key to achieving this balance. The ideal is not one of oppressive control but of a partnership where Duty elevates human existence by fostering stability, purpose, and joy.


Literary Works Similar to “Ode to Duty” by William Wordsworth
  1. The Prelude” by William Wordsworth: Shares themes of self-reflection, personal growth, and the tension between freedom and moral responsibility, central to “Ode to Duty.”
  2. “If—” by Rudyard Kipling: Explores the virtues of discipline, humility, and steadfastness, much like Wordsworth’s celebration of moral strength and Duty.
  3. “Invictus” by William Ernest Henley: Celebrates the human spirit’s resilience and its ability to triumph through adherence to inner moral codes, resonating with Wordsworth’s view of Duty as a guiding force.
  4. “To a Skylark” by Percy Bysshe Shelley: Reflects on idealized values and the aspiration to live a life guided by higher principles, paralleling the lofty ideals of Duty in Wordsworth’s poem.
  5. “The Deserted Village” by Oliver Goldsmith: While focusing on societal decay, it invokes themes of responsibility and the moral obligations individuals and societies owe to maintain harmony and virtue, akin to the universal role of Duty.
Representative Quotations of “Ode to Duty” by William Wordsworth
QuotationContextTheoretical Perspective
“Stern Daughter of the Voice of God!”Opens the poem with an invocation to Duty as a divine, authoritative force.Moral Criticism: Highlights Duty as a moral lawgiver rooted in divine authority.
“Who art a light to guide, a rod / To check the erring, and reprove;”Describes Duty as both a guiding light and a corrective force.Structuralism: Explores the binary opposition of guidance (light) and discipline (rod).
“When love is an unerring light, / And joy its own security.”Imagines an ideal state where love and joy are harmonized by Duty’s clarity.Romanticism: Aligns with Romantic ideals of harmony between emotions and moral order.
“Me this unchartered freedom tires; / I feel the weight of chance-desires.”Expresses the speaker’s exhaustion from living without the boundaries provided by Duty.Psychoanalytic Theory: Reveals internal conflict and the need for structure to overcome chaotic desires.
“Oh, let my weakness have an end! / Give unto me, made lowly wise, / The spirit of self-sacrifice;”A plea for humility and the strength to embrace Duty over personal desires.Moral Criticism: Emphasizes self-sacrifice as a virtue essential for moral growth.
“Flowers laugh before thee on their beds / And fragrance in thy footing treads;”Uses imagery to show Duty’s harmonious influence on nature.Eco-Criticism: Highlights the interconnectedness of nature and moral order.
“Thou dost preserve the stars from wrong; / And the most ancient heavens, through Thee, are fresh and strong.”Attributes the stability of the cosmos to Duty’s governance.Structuralism: Interprets Duty as a universal principle maintaining cosmic balance.
“I, loving freedom, and untried; / No sport of every random gust”Reflects on youthful naivety and the misguidance of unchecked freedom.Romanticism: Contrasts individual freedom with the need for moral guidance.
“Through no disturbance of my soul, / Or strong compunction in me wrought, / I supplicate for thy control;”Highlights the speaker’s calm and reasoned decision to embrace Duty.Psychoanalytic Theory: Shows rational resolution of inner conflict to seek moral structure.
“Nor know we anything so fair / As is the smile upon thy face:”Portrays Duty as beautiful and benevolent despite its sternness.Aesthetic Criticism: Frames Duty’s beauty in its balance of authority and grace.
Suggested Readings: “Ode to Duty” by William Wordsworth
  1. Manning, Peter J. “Wordsworth’s Intimations Ode and Its Epigraphs.” The Journal of English and Germanic Philology, vol. 82, no. 4, 1983, pp. 526–40. JSTOR, http://www.jstor.org/stable/27709236. Accessed 9 Jan. 2025.
  2. Mathison, John K. “Wordsworth’s Ode: ‘Intimations of Immortality from Recollections of Early Childhood.’” Studies in Philology, vol. 46, no. 3, 1949, pp. 419–39. JSTOR, http://www.jstor.org/stable/4172896. Accessed 9 Jan. 2025.
  3. Jones, Richard E. “Romanticism Reconsidered: Humanism and Romantic Poetry.” The Sewanee Review, vol. 41, no. 4, 1933, pp. 396–418. JSTOR, http://www.jstor.org/stable/27534918. Accessed 9 Jan. 2025.
  4. Esterhammer, Angela. “Wordsworth’s” Ode to Duty”: Miltonic Influence and Verbal Performance.” The Wordsworth Circle 24.1 (1993): 34-37.

“Lycidas” by John Milton: A Critical Analysis

“Lycidas” by John Milton first appeared in 1638 in the anthology Justa Edouardo King Naufrago, a collection of elegies commemorating Edward King, a fellow student at Cambridge who drowned at sea.

"Lycidas" by John Milton: A Critical Analysis
Introduction: “Lycidas” by John Milton

“Lycidas” by John Milton first appeared in 1638 in the anthology Justa Edouardo King Naufrago, a collection of elegies commemorating Edward King, a fellow student at Cambridge who drowned at sea. This pastoral elegy intertwines personal grief with broader meditations on mortality, fame, and divine justice. Its enduring appeal as a textbook poem lies in its intricate structure, profound themes, and rich imagery. The poem opens with Milton’s lament, “Yet once more, O ye laurels, and once more / Ye myrtles brown,” signaling his reluctant return to poetic mourning. Milton invokes the Muse to honor Lycidas, lamenting the untimely death of the shepherd who “knew / Himself to sing, and build the lofty rhyme.” The poem’s profound reflections on fleeting earthly fame, encapsulated in “Fame is no plant that grows on mortal soil,” and its eventual spiritual transcendence make it a masterpiece. Its themes of pastoral beauty, divine intervention, and poetic purpose resonate deeply, cementing its place in literary education.

Text: “Lycidas” by John Milton

Yet once more, O ye laurels, and once more

Ye myrtles brown, with ivy never sere,

I come to pluck your berries harsh and crude,

And with forc’d fingers rude

Shatter your leaves before the mellowing year.

Bitter constraint and sad occasion dear

Compels me to disturb your season due;

For Lycidas is dead, dead ere his prime,

Young Lycidas, and hath not left his peer.

Who would not sing for Lycidas? he knew

Himself to sing, and build the lofty rhyme.

He must not float upon his wat’ry bier

Unwept, and welter to the parching wind,

Without the meed of some melodious tear.

      Begin then, Sisters of the sacred well

That from beneath the seat of Jove doth spring;

Begin, and somewhat loudly sweep the string.

Hence with denial vain and coy excuse!

So may some gentle muse

With lucky words favour my destin’d urn,

And as he passes turn

And bid fair peace be to my sable shroud!

      For we were nurs’d upon the self-same hill,

Fed the same flock, by fountain, shade, and rill;

Together both, ere the high lawns appear’d

Under the opening eyelids of the morn,

We drove afield, and both together heard

What time the gray-fly winds her sultry horn,

Batt’ning our flocks with the fresh dews of night,

Oft till the star that rose at ev’ning bright

Toward heav’n’s descent had slop’d his westering wheel.

Meanwhile the rural ditties were not mute,

Temper’d to th’oaten flute;

Rough Satyrs danc’d, and Fauns with clov’n heel,

From the glad sound would not be absent long;

And old Damætas lov’d to hear our song.

      But O the heavy change now thou art gone,

Now thou art gone, and never must return!

Thee, Shepherd, thee the woods and desert caves,

With wild thyme and the gadding vine o’ergrown,

And all their echoes mourn.

The willows and the hazel copses green

Shall now no more be seen

Fanning their joyous leaves to thy soft lays.

As killing as the canker to the rose,

Or taint-worm to the weanling herds that graze,

Or frost to flowers that their gay wardrobe wear

When first the white thorn blows:

Such, Lycidas, thy loss to shepherd’s ear.

      Where were ye, Nymphs, when the remorseless deep

Clos’d o’er the head of your lov’d Lycidas?

For neither were ye playing on the steep

Where your old bards, the famous Druids, lie,

Nor on the shaggy top of Mona high,

Nor yet where Deva spreads her wizard stream.

Ay me! I fondly dream

Had ye bin there’—for what could that have done?

What could the Muse herself that Orpheus bore,

The Muse herself, for her enchanting son,

Whom universal nature did lament,

When by the rout that made the hideous roar

His gory visage down the stream was sent,

Down the swift Hebrus to the Lesbian shore?

      Alas! what boots it with incessant care

To tend the homely, slighted shepherd’s trade,

And strictly meditate the thankless Muse?

Were it not better done, as others use,

To sport with Amaryllis in the shade,

Or with the tangles of Neæra’s hair?

Fame is the spur that the clear spirit doth raise

(That last infirmity of noble mind)

To scorn delights and live laborious days;

But the fair guerdon when we hope to find,

And think to burst out into sudden blaze,

Comes the blind Fury with th’abhorred shears,

And slits the thin-spun life. “But not the praise,”

Phoebus replied, and touch’d my trembling ears;

“Fame is no plant that grows on mortal soil,

Nor in the glistering foil

Set off to th’world, nor in broad rumour lies,

But lives and spreads aloft by those pure eyes

And perfect witness of all-judging Jove;

As he pronounces lastly on each deed,

Of so much fame in Heav’n expect thy meed.”

      O fountain Arethuse, and thou honour’d flood,

Smooth-sliding Mincius, crown’d with vocal reeds,

That strain I heard was of a higher mood.

But now my oat proceeds,

And listens to the Herald of the Sea,

That came in Neptune’s plea.

He ask’d the waves, and ask’d the felon winds,

“What hard mishap hath doom’d this gentle swain?”

And question’d every gust of rugged wings

That blows from off each beaked promontory.

They knew not of his story;

And sage Hippotades their answer brings,

That not a blast was from his dungeon stray’d;

The air was calm, and on the level brine

Sleek Panope with all her sisters play’d.

It was that fatal and perfidious bark,

Built in th’eclipse, and rigg’d with curses dark,

That sunk so low that sacred head of thine.

      Next Camus, reverend sire, went footing slow,

His mantle hairy, and his bonnet sedge,

Inwrought with figures dim, and on the edge

Like to that sanguine flower inscrib’d with woe.

“Ah! who hath reft,” quoth he, “my dearest pledge?”

Last came, and last did go,

The Pilot of the Galilean lake;

Two massy keys he bore of metals twain

(The golden opes, the iron shuts amain).

He shook his mitred locks, and stern bespake:

“How well could I have spar’d for thee, young swain,

Enow of such as for their bellies’ sake

Creep and intrude, and climb into the fold?

Of other care they little reck’ning make

Than how to scramble at the shearers’ feast

And shove away the worthy bidden guest.

Blind mouths! that scarce themselves know how to hold

A sheep-hook, or have learn’d aught else the least

That to the faithful herdman’s art belongs!

What recks it them? What need they? They are sped;

And when they list their lean and flashy songs

Grate on their scrannel pipes of wretched straw,

The hungry sheep look up, and are not fed,

But, swoll’n with wind and the rank mist they draw,

Rot inwardly, and foul contagion spread;

Besides what the grim wolf with privy paw

Daily devours apace, and nothing said,

But that two-handed engine at the door

Stands ready to smite once, and smite no more”.

      Return, Alpheus: the dread voice is past

That shrunk thy streams; return, Sicilian Muse,

And call the vales and bid them hither cast

Their bells and flow’rets of a thousand hues.

Ye valleys low, where the mild whispers use

Of shades and wanton winds, and gushing brooks,

On whose fresh lap the swart star sparely looks,

Throw hither all your quaint enamel’d eyes,

That on the green turf suck the honied showers

And purple all the ground with vernal flowers.

Bring the rathe primrose that forsaken dies,

The tufted crow-toe, and pale jessamine,

The white pink, and the pansy freak’d with jet,

The glowing violet,

The musk-rose, and the well attir’d woodbine,

With cowslips wan that hang the pensive head,

And every flower that sad embroidery wears;

Bid amaranthus all his beauty shed,

And daffadillies fill their cups with tears,

To strew the laureate hearse where Lycid lies.

For so to interpose a little ease,

Let our frail thoughts dally with false surmise.

Ay me! Whilst thee the shores and sounding seas

Wash far away, where’er thy bones are hurl’d;

Whether beyond the stormy Hebrides,

Where thou perhaps under the whelming tide

Visit’st the bottom of the monstrous world,

Or whether thou, to our moist vows denied,

Sleep’st by the fable of Bellerus old,

Where the great vision of the guarded mount

Looks toward Namancos and Bayona’s hold:

Look homeward Angel now, and melt with ruth;

And, O ye dolphins, waft the hapless youth.

      Weep no more, woeful shepherds, weep no more,

For Lycidas, your sorrow, is not dead,

Sunk though he be beneath the wat’ry floor;

So sinks the day-star in the ocean bed,

And yet anon repairs his drooping head,

And tricks his beams, and with new spangled ore

Flames in the forehead of the morning sky:

So Lycidas sunk low, but mounted high

Through the dear might of him that walk’d the waves;

Where, other groves and other streams along,

With nectar pure his oozy locks he laves,

And hears the unexpressive nuptial song,

In the blest kingdoms meek of joy and love.

There entertain him all the Saints above,

In solemn troops, and sweet societies,

That sing, and singing in their glory move,

And wipe the tears for ever from his eyes.

Now, Lycidas, the shepherds weep no more:

Henceforth thou art the Genius of the shore,

In thy large recompense, and shalt be good

To all that wander in that perilous flood.

      Thus sang the uncouth swain to th’oaks and rills,

While the still morn went out with sandals gray;

He touch’d the tender stops of various quills,

With eager thought warbling his Doric lay;

And now the sun had stretch’d out all the hills,

And now was dropp’d into the western bay;

At last he rose, and twitch’d his mantle blue:

To-morrow to fresh woods, and pastures new.

Annotations: “Lycidas” by John Milton
LineAnnotation
Yet once more, O ye laurels, and once more / Ye myrtles brown…The poet invokes nature (laurels and myrtles symbolizing poetic inspiration) to mourn Lycidas. This sets the elegiac tone of the poem, blending grief with literary tradition.
I come to pluck your berries harsh and crude…Milton acknowledges his lack of readiness or maturity for this poetic task, suggesting the “berries” (ideas) are not fully ripened.
Bitter constraint and sad occasion dear…Refers to the untimely death of Lycidas (Edward King), compelling the poet to compose this lamentation.
For Lycidas is dead, dead ere his prime…The central event: Lycidas’s premature death is presented with an emotional and emphatic repetition.
Who would not sing for Lycidas? he knew / Himself to sing…Lycidas is portrayed as a talented poet (“build the lofty rhyme”), deserving of memorialization.
He must not float upon his wat’ry bier…Imagery of Lycidas’s body floating unburied; Milton insists that he deserves poetic remembrance (“melodious tear”).
Begin then, Sisters of the sacred well…The Muses, daughters of Zeus, are invoked for divine inspiration to sing about Lycidas.
For we were nurs’d upon the self-same hill…Milton reminisces about their shared childhood, symbolizing their bond through pastoral imagery (flocks, fountains, and rills).
But O the heavy change now thou art gone…Contrasts the idyllic past with the sorrowful present after Lycidas’s death. Nature mourns his loss.
The willows and the hazel copses green…Vivid imagery of nature’s grief reflects the poet’s own sorrow.
Where were ye, Nymphs, when the remorseless deep…The poet accuses the sea nymphs of failing to protect Lycidas, echoing classical mythology where deities are often blamed for mortal tragedies.
What could the Muse herself that Orpheus bore…Milton references Orpheus, whose divine musical abilities could not prevent his death, drawing a parallel to Lycidas’s fate.
Alas! what boots it with incessant care…Questions the value of pursuing poetry and pastoral life when such tragic ends occur.
Fame is the spur that the clear spirit doth raise…Reflects on the pursuit of fame and its limitations, calling it “the last infirmity of noble mind.”
Phoebus replied, and touch’d my trembling ears…Apollo, god of poetry, comforts Milton by asserting that true fame exists in divine judgment, not earthly recognition.
O fountain Arethuse, and thou honour’d flood…The poet transitions from pastoral imagery (Arethusa) to higher themes, signaling the rising tone of the elegy.
It was that fatal and perfidious bark…Milton criticizes the ship’s construction, implying it was cursed or doomed, a metaphor for the fragility of human endeavors.
Next Camus, reverend sire, went footing slow…Camus, personifying the river Cam (associated with Cambridge), mourns Lycidas, connecting personal grief to the academic community.
The Pilot of the Galilean lake…References St. Peter, who critiques corrupt clergy (“blind mouths”) for neglecting their pastoral duties, adding a religious and moral dimension to the elegy.
Return, Alpheus: the dread voice is past…The poet calls for a return to pastoral themes after the stern religious warnings, using Alpheus (a river god) to transition back to nature.
Bring the rathe primrose that forsaken dies…The poet lists flowers symbolizing grief and mourning, with each flower adding to the emotional intensity.
For Lycidas, your sorrow, is not dead…A turning point in the poem, offering consolation by suggesting that Lycidas’s soul has ascended to heaven.
So Lycidas sunk low, but mounted high…Contrasts physical death (“sunk low”) with spiritual redemption and eternal life (“mounted high”).
There entertain him all the Saints above…Depicts Lycidas in heaven, joining saints and angels, offering closure to the pastoral elegy.
Thus sang the uncouth swain to th’oaks and rills…The poet refers to himself as the “uncouth swain,” humbly concluding the elegy.
To-morrow to fresh woods, and pastures new.Ends on a note of renewal and hope, suggesting a return to life and creative endeavors despite grief.
Literary And Poetic Devices: “Lycidas” by John Milton
DeviceExamplesExplanation
Alliteration1. “And with forc’d fingers rude”
2. “For Lycidas is dead, dead ere his prime
Repetition of initial consonant sounds enhances rhythm and musicality. Milton uses alliteration to create emphasis and fluidity in the elegiac tone.
Allusion1. “The Muse herself that Orpheus bore”
2. “The Pilot of the Galilean lake”
3. “Built in th’eclipse”
References to mythology (Orpheus), Christianity (St. Peter), and astrology (“eclipse”) provide depth and connect Lycidas’s death to universal themes of destiny and divine intervention.
Apostrophe1. “Yet once more, O ye laurels”
2. “Return, Sicilian Muse”
3. “O fountain Arethuse”
Directly addressing inanimate objects (laurels, Muse, fountain), Milton gives them life and emotional resonance, enhancing the personal and reflective tone of the poem.
Assonance1. “Bitter constraint and sad occasion dear”
2. “The willows and the hazel copses green”
3. “Young Lycidas, and hath not left his peer”
Repetition of vowel sounds creates a mournful and melodic effect, reinforcing the elegy’s emotional tone.
Classical Mythology1. “O fountain Arethuse, and thou honour’d flood”
2. “What could the Muse herself that Orpheus bore”
3. “Camus, reverend sire”
References to Arethusa, Orpheus, and Camus (River Cam) root the poem in classical traditions, blending mythological and contemporary elements.
Consonance1. “Creep and intrude, and climb into the fold”
2. “To tend the homely, slighted shepherd’s trade”
3. “Blind mouths”
Repetition of consonant sounds within close proximity emphasizes key ideas and enhances the musical quality of the lines.
Elegiac Tone1. “For Lycidas is dead, dead ere his prime”
2. “Now thou art gone, and never must return!”
3. “Such, Lycidas, thy loss to shepherd’s ear”
The tone of mourning and lamentation pervades the poem, expressing personal and collective grief while celebrating the subject’s virtues.
Enjambment1. “To-morrow to fresh woods, and pastures new”
2. “Together both, ere the high lawns appear’d / Under the opening eyelids of the morn”
3. “Alas! what boots it with incessant care / To tend the homely, slighted shepherd’s trade”
The continuation of thoughts across lines mirrors the natural flow of grief and meditation, maintaining rhythm and a sense of continuity.
Epithets1. “Blind mouths!”
2. “Reverend sire”
3. “Sacred well”
Descriptive phrases add vividness and emphasize key ideas, such as corrupt clergy (“blind mouths”) or reverence for nature (“sacred well”).
Foreshadowing1. “Built in th’eclipse, and rigg’d with curses dark”
2. “The blind Fury with th’abhorred shears”
3. “It was that fatal and perfidious bark”
Indicates the inevitability of Lycidas’s tragic death and connects it to themes of destiny and cosmic forces.
Hyperbole1. “For Lycidas is dead, dead ere his prime”
2. “With forc’d fingers rude / Shatter your leaves before the mellowing year”
3. “Fame is no plant that grows on mortal soil”
Exaggeration emphasizes the depth of grief and the poet’s frustration with human limitations.
Imagery1. “Throw hither all your quaint enamel’d eyes”
2. “With nectar pure his oozy locks he laves”
3. “Wash far away, where’er thy bones are hurl’d”
Vivid sensory descriptions evoke emotional responses, linking nature, death, and spiritual transcendence.
Irony1. “The hungry sheep look up, and are not fed”
2. “Ay me! I fondly dream”
3. “Blind mouths!”
Critiques clergy and human frailty by highlighting contradictions (e.g., sheep seeking nourishment but left hungry by those meant to feed them).
Juxtaposition1. “So Lycidas sunk low, but mounted high”
2. “Through the dear might of him that walk’d the waves”
3. “For we were nurs’d upon the self-same hill / But O the heavy change now thou art gone”
Contrasts ideas (life and death, sorrow and redemption) to highlight key themes.
Metaphor1. “The blind Fury with th’abhorred shears”
2. “Fame is the spur that the clear spirit doth raise”
3. “The laurels, myrtles, and ivy”
Abstract ideas (death, fame, grief) are represented through vivid and symbolic imagery.
Personification1. “The willows and the hazel copses green… mourn”
2. “The hungry sheep look up, and are not fed”
3. “The parching wind”
Nature and abstract concepts are given human qualities to emphasize their emotional or moral significance.
Repetition1. “For Lycidas is dead, dead ere his prime”
2. “Weep no more, woeful shepherds, weep no more”
3. “Nor”
Repetition reinforces emotional intensity and draws attention to key ideas, such as grief and consolation.
Rhetorical Question1. “Where were ye, Nymphs, when the remorseless deep / Clos’d o’er the head of your lov’d Lycidas?”
2. “What could the Muse herself that Orpheus bore?”
3. “What boots it with incessant care?”
Highlights the helplessness and inevitability of fate while engaging the reader in reflection.
Symbolism1. “The laurels, myrtles, and ivy”
2. “The two-handed engine at the door”
3. “The day-star in the ocean bed”
Symbols of poetic immortality (laurels), divine judgment (engine), and hope (day-star) enrich the themes of life, death, and redemption.
Tone Shift1. “Weep no more, woeful shepherds, weep no more”
2. “So Lycidas sunk low, but mounted high”
3. “To-morrow to fresh woods, and pastures new”
Moves from mourning to spiritual consolation and hope, reflecting the journey from despair to redemption.
Themes: “Lycidas” by John Milton

1. Grief and Mourning: At its core, “Lycidas” is an elegy that mourns the untimely death of Lycidas, symbolizing Edward King, Milton’s friend and fellow Cambridge student. The grief is evident from the opening lines, where Milton laments, “Yet once more, O ye laurels, and once more / Ye myrtles brown” (lines 1-2), invoking nature to share in his sorrow. The repeated declaration, “For Lycidas is dead, dead ere his prime” (line 8), underscores the depth of Milton’s mourning, emphasizing the tragedy of a life cut short. This theme is reinforced through the imagery of nature grieving: “The willows and the hazel copses green / Shall now no more be seen” (lines 41-42). However, Milton’s exploration of grief extends beyond personal loss to a reflection on mortality and the human condition, transforming sorrow into an inquiry into life’s purpose and divine justice.


2. The Transience of Life and Fame: Milton explores the fleeting nature of earthly life and fame, questioning the value of worldly achievements in the face of mortality. This is poignantly captured in the line, “Comes the blind Fury with th’abhorred shears, / And slits the thin-spun life” (lines 75-76), a metaphor for death’s inevitability. He critiques the ephemeral nature of fame, asserting, “Fame is no plant that grows on mortal soil” (line 78). Instead, true fame lies in divine judgment, as expressed through Apollo’s counsel: “As he pronounces lastly on each deed, / Of so much fame in Heav’n expect thy meed” (lines 82-83). This theme is central to the pastoral elegy’s tradition, where the death of a shepherd (or poet) becomes a reflection on the fragile beauty of human existence.


3. Divine Justice and Redemption: The poem transitions from mourning to an exploration of divine justice, offering spiritual consolation for Lycidas’s death. Milton raises doubts about the fairness of life, asking the nymphs, “Where were ye, Nymphs, when the remorseless deep / Clos’d o’er the head of your lov’d Lycidas?” (lines 50-51). However, the poem eventually reconciles this grief by affirming the divine order. The turning point comes when Milton envisions Lycidas in heaven, where he “hears the unexpressive nuptial song, / In the blest kingdoms meek of joy and love” (lines 176-177). Lycidas’s physical death is portrayed as a spiritual ascent, where he achieves eternal life and divine recognition, symbolizing ultimate justice and redemption.


4. Critique of Clerical Corruption: In a significant departure from traditional pastoral elegies, “Lycidas” includes a sharp critique of the corrupt clergy of Milton’s time. This theme emerges in St. Peter’s speech, where he condemns, “Blind mouths! that scarce themselves know how to hold / A sheep-hook” (lines 119-120). These lines highlight the neglect and greed of spiritual leaders, who fail to nourish their flock (the congregation) and instead exploit their position for personal gain. Milton uses imagery of decay and destruction, such as “The hungry sheep look up, and are not fed, / But swoll’n with wind and the rank mist they draw” (lines 125-126), to emphasize the consequences of this moral failure. This critique ties Lycidas’s death to broader societal and religious issues, elevating the elegy to a commentary on spiritual decay.

Literary Theories and “Lycidas” by John Milton
Literary TheoryApplication to “Lycidas”References from the Poem
Pastoral Theory“Lycidas” embodies the traditions of pastoral poetry, idealizing rural life and using the figure of the shepherd to explore themes of mortality and loss.References to shepherds (“Fed the same flock, by fountain, shade, and rill” – line 24) and nature mourning (“The willows and the hazel copses green / Shall now no more be seen” – lines 41-42).
Religious/Christian TheoryMilton incorporates Christian theology, reflecting on divine justice, the immortality of the soul, and the critique of corrupt clergy.The spiritual ascent of Lycidas (“So Lycidas sunk low, but mounted high” – line 172) and St. Peter’s condemnation of corrupt clergy (“Blind mouths!” – line 119).
Marxist TheoryThe poem critiques institutional power structures, particularly the exploitation of religious authority by the clergy, reflecting social and economic inequalities.St. Peter’s rebuke of materialistic clergy (“Creep and intrude, and climb into the fold” – line 114) and the image of neglected sheep (“The hungry sheep look up, and are not fed” – line 125).
Psychoanalytic TheoryExplores the poet’s inner conflict with mortality, fame, and creative legacy, as well as his subconscious grief for his friend.Milton’s contemplation of death (“Comes the blind Fury with th’abhorred shears” – line 75) and the desire for artistic immortality (“Fame is no plant that grows on mortal soil” – line 78).
Critical Questions about “Lycidas” by John Milton

1. How does Milton use pastoral imagery to frame themes of loss and mourning?

Milton employs pastoral imagery as a vehicle to explore and express his grief over the death of Lycidas (Edward King). The setting of shepherds tending their flocks, as seen in “For we were nurs’d upon the self-same hill, / Fed the same flock, by fountain, shade, and rill” (lines 23-24), evokes an idyllic, natural world that contrasts with the disruption caused by Lycidas’s untimely death. This pastoral tradition idealizes rural life, allowing Milton to create an emotional and symbolic backdrop for his lamentation. Nature itself is personified in mourning, as in “The willows and the hazel copses green / Shall now no more be seen” (lines 41-42), where the environment reflects the depth of the poet’s sorrow. The pastoral imagery, while rooted in simplicity, also serves as a metaphor for Milton’s deeper reflections on the fragility of human life and the universality of loss.


2. How does Milton reconcile grief with divine justice in the poem?

Milton transitions from mourning Lycidas to reconciling his death through faith in divine justice and the promise of eternal life. Initially, the poet struggles with the fairness of Lycidas’s premature death, questioning, “Where were ye, Nymphs, when the remorseless deep / Clos’d o’er the head of your lov’d Lycidas?” (lines 50-51). This rhetorical question conveys frustration with divine forces for not intervening. However, the poem reaches a turning point when Milton envisions Lycidas in heaven: “So Lycidas sunk low, but mounted high / Through the dear might of him that walk’d the waves” (lines 172-173). This imagery ties Lycidas’s death to Christian redemption, where his soul ascends to eternal glory. By the end, the grief is transformed into consolation through faith in divine justice, reflecting Milton’s belief in the ultimate reward for virtue and piety.


3. What role does the critique of the clergy play in the elegy’s themes?

Milton’s sharp critique of the clergy in “Lycidas” broadens the elegy from personal grief to societal critique. Through the voice of St. Peter, Milton condemns corrupt religious leaders, describing them as “Blind mouths! that scarce themselves know how to hold / A sheep-hook” (lines 119-120). This metaphor illustrates the incompetence and greed of the clergy, who neglect their spiritual duties and exploit their positions for personal gain. The critique deepens with the description of the “hungry sheep” who “look up, and are not fed” (line 125), symbolizing the neglected congregation. This societal critique reflects Milton’s larger concerns about spiritual decay and institutional corruption, tying Lycidas’s death to broader moral and theological questions. The critique ultimately reinforces the poem’s exploration of mortality, responsibility, and divine judgment.


4. How does Milton address the idea of fame and artistic legacy in “Lycidas”?

Milton meditates on the nature of fame and the poet’s legacy, questioning the value of earthly recognition. This theme arises in his reflection on the pursuit of artistic labor: “Fame is the spur that the clear spirit doth raise / To scorn delights and live laborious days” (lines 70-71). However, Milton warns of the fleeting nature of worldly fame, stating, “Fame is no plant that grows on mortal soil” (line 78), suggesting that true recognition comes from divine judgment. Through the voice of Apollo, the poem resolves this tension by emphasizing heavenly reward: “Of so much fame in Heav’n expect thy meed” (line 83). In framing Lycidas as an immortalized figure, both spiritually and poetically, Milton highlights the enduring power of art to transcend death and achieve a higher form of fame, rooted in divine approval rather than earthly accolades.

Literary Works Similar to “Lycidas” by John Milton
  1. “Adonais” by Percy Bysshe Shelley
    A pastoral elegy mourning the death of John Keats, sharing “Lycidas”‘s themes of grief, immortality, and the transcendence of the poet’s soul.
  2. “Thyrsis” by Matthew Arnold
    This elegy laments the death of a close friend, evoking pastoral imagery and exploring themes of friendship, loss, and spiritual consolation, much like “Lycidas.”
  3. In Memoriam A.H.H.” by Alfred Lord Tennyson
    Tennyson’s elegy for his friend Arthur Hallam resonates with “Lycidas” through its meditations on grief, faith, and the hope for eternal life.
  4. “Elegy Written in a Country Churchyard” by Thomas Gray
    While not a traditional elegy for an individual, this poem reflects on mortality, fame, and the lives of the humble, paralleling “Lycidas”‘s reflections on fame and death.
  5. “The Scholar-Gypsy” by Matthew Arnold
    Although not an elegy, its pastoral setting and contemplations on mortality and artistic legacy share thematic parallels with “Lycidas.”
Representative Quotations of “Lycidas” by John Milton
QuotationContextTheoretical Perspective
“Yet once more, O ye laurels, and once more / Ye myrtles brown”Milton invokes nature and the poetic tradition to help express his grief.Pastoral Theory: Invocation of nature aligns with the conventions of pastoral elegy.
“For Lycidas is dead, dead ere his prime”Central declaration of Lycidas’s untimely death, setting the tone of mourning.Elegiac Tradition: Emphasizes the grief and tragedy of premature death.
“Who would not sing for Lycidas? He knew / Himself to sing, and build the lofty rhyme.”Celebrates Lycidas’s poetic talent and calls for his commemoration through verse.Aesthetic Theory: Explores the relationship between art, mortality, and remembrance.
“He must not float upon his wat’ry bier / Unwept, and welter to the parching wind”Expresses the need to honor Lycidas’s death with poetic lamentation.Ritualistic Perspective: Poetry as a cultural and emotional ritual to honor the dead.
“Where were ye, Nymphs, when the remorseless deep / Clos’d o’er the head of your lov’d Lycidas?”Questions the absence of divine intervention in Lycidas’s drowning.Religious Theory: Raises concerns about divine justice and human suffering.
“Fame is no plant that grows on mortal soil”Suggests that true fame lies in divine recognition rather than worldly achievements.Transcendental Perspective: Shifts the concept of fame from earthly to spiritual realms.
“Blind mouths! that scarce themselves know how to hold / A sheep-hook”St. Peter criticizes corrupt clergy for neglecting their spiritual duties.Marxist Theory: Critiques institutional power structures and clergy’s exploitation.
“The hungry sheep look up, and are not fed”Describes the failure of corrupt clergy to spiritually nourish their congregation.Social Critique: Highlights the consequences of institutional neglect and moral decay.
“Built in th’eclipse, and rigg’d with curses dark”Refers to the ship that carried Lycidas, hinting at its cursed and fated destruction.Fate and Destiny: Explores the inevitability of human mortality.
“Comes the blind Fury with th’abhorred shears, / And slits the thin-spun life”Depicts death as the cutting of life’s thread by one of the Fates.Mythological Theory: References classical mythology to symbolize the universality of death.
“Return, Sicilian Muse, / And call the vales and bid them hither cast”Returns to pastoral conventions, invoking nature to participate in Lycidas’s mourning.Pastoral Theory: Centers nature as a participant in human grief.
“Bring the rathe primrose that forsaken dies”Lists flowers as symbolic offerings for Lycidas, blending nature with mourning.Symbolism: Flowers symbolize fragility, mourning, and fleeting beauty.
“So Lycidas sunk low, but mounted high”Contrasts Lycidas’s physical death with his spiritual ascent to heaven.Religious Perspective: Emphasizes Christian redemption and eternal life.
“Through the dear might of him that walk’d the waves”Refers to Christ, whose power enables Lycidas’s ascension.Christian Theology: Connects Lycidas’s fate to divine salvation.
“Of so much fame in Heav’n expect thy meed”Apollo assures Milton that true fame lies in heavenly reward.Aesthetic and Transcendental Theory: Frames poetic legacy within spiritual, not worldly, recognition.
“The willows and the hazel copses green / Shall now no more be seen”Nature mourns Lycidas’s absence, reflecting the poet’s grief.Eco-Criticism: Demonstrates the interconnectedness of human emotion and the natural world.
“Ay me! Whilst thee the shores and sounding seas / Wash far away, where’er thy bones are hurl’d”Imagines Lycidas’s body lost at sea, invoking both despair and the vastness of nature.Existential Theory: Explores human insignificance against the vastness of nature and fate.
“Weep no more, woeful shepherds, weep no more”Marks a transition from sorrow to consolation, urging an end to grief.Transition Theory: Represents a movement from lamentation to spiritual resolution.
“And hears the unexpressive nuptial song”Envisions Lycidas in heaven, partaking in eternal joys and divine harmony.Religious and Symbolic Theory: Describes eternal bliss and heavenly unity.
“To-morrow to fresh woods, and pastures new”Concludes the poem with a note of renewal and hope, suggesting life must go on.Optimistic Perspective: Demonstrates resilience and the potential for creative and personal rejuvenation.
Suggested Readings: “Lycidas” by John Milton
  1. Hanford, James Holly. “The Pastoral Elegy and Milton’s Lycidas.” PMLA, vol. 25, no. 3, 1910, pp. 403–47. JSTOR, https://doi.org/10.2307/456731. Accessed 9 Jan. 2025.
  2. Jones, Katherine. “A Note on Milton’s ‘Lycidas.’” American Imago, vol. 19, no. 2, 1962, pp. 141–55. JSTOR, http://www.jstor.org/stable/26301859. Accessed 9 Jan. 2025.
  3. Oras, Ants. “Milton’s Early Rhyme Schemes and the Structure of ‘Lycidas.’” Modern Philology, vol. 52, no. 1, 1954, pp. 12–22. JSTOR, http://www.jstor.org/stable/435252. Accessed 9 Jan. 2025.
  4. Johnson, Barbara A. “Fiction and Grief: The Pastoral Idiom of Milton’s ‘Lycidas.’” Milton Quarterly, vol. 18, no. 3, 1984, pp. 69–76. JSTOR, http://www.jstor.org/stable/24464713. Accessed 9 Jan. 2025.
  5. Wagenknecht, Edward. “Milton in ‘Lycidas.’” College English, vol. 7, no. 7, 1946, pp. 393–97. JSTOR, https://doi.org/10.2307/370640. Accessed 9 Jan. 2025.
  6. Alpers, Paul. “Lycidas and Modern Criticism.” ELH, vol. 49, no. 2, 1982, pp. 468–96. JSTOR, https://doi.org/10.2307/2872992. Accessed 9 Jan. 2025.
  7. Mason, David. “THE ALLURE OF MILTON’S ‘LYCIDAS.’” CLA Journal, vol. 33, no. 1, 1989, pp. 58–72. JSTOR, http://www.jstor.org/stable/44322066. Accessed 9 Jan. 2025.