Introduction: “Il Penseroso” by John Milton
“Il Penseroso” by John Milton first appeared in 1632 as part of a paired collection with “L’Allegro” in his Poems. This contemplative and introspective poem contrasts with its counterpart, “L’Allegro,” by exploring the solemn beauty and enriching qualities of melancholy. Through vivid imagery and classical references, Milton praises a life of quiet reflection, scholarly pursuits, and spiritual transcendence, invoking the muse of “divinest Melancholy” to guide him into a world of profound thought and artistic inspiration. The poem’s enduring popularity lies in its rich language, philosophical depth, and its celebration of a meditative life that values wisdom and artistic fulfillment over fleeting pleasures, resonating with readers who appreciate its serene and reflective tone.
Text: “Il Penseroso” by John Milton
Hence vain deluding Joys,
The brood of Folly without father bred,
How little you bested,
Or fill the fixed mind with all your toys;
Dwell in some idle brain,
And fancies fond with gaudy shapes possess,
As thick and numberless
As the gay motes that people the sunbeams,
Or likest hovering dreams,
The fickle pensioners of Morpheus’ train.
But hail thou goddess, sage and holy,
Hail divinest Melancholy,
Whose saintly visage is too bright
To hit the sense of human sight;
And therefore to our weaker view,
O’er-laid with black, staid Wisdom’s hue;
Black, but such as in esteem,
Prince Memnon’s sister might beseem,
Or that starr’d Ethiop queen that strove
To set her beauty’s praise above
The sea nymphs, and their powers offended.
Yet thou art higher far descended,
Thee bright-hair’d Vesta long of yore,
To solitary Saturn bore;
His daughter she (in Saturn’s reign,
Such mixture was not held a stain)
Oft in glimmering bow’rs and glades
He met her, and in secret shades
Of woody Ida’s inmost grove,
While yet there was no fear of Jove.
Come pensive nun, devout and pure,
Sober, stedfast, and demure,
All in a robe of darkest grain,
Flowing with majestic train,
And sable stole of cypress lawn,
Over thy decent shoulders drawn.
Come, but keep thy wonted state,
With ev’n step, and musing gait,
And looks commercing with the skies,
Thy rapt soul sitting in thine eyes:
There held in holy passion still,
Forget thyself to marble, till
With a sad leaden downward cast,
Thou fix them on the earth as fast.
And join with thee calm Peace, and Quiet,
Spare Fast, that oft with gods doth diet,
And hears the Muses in a ring,
Aye round about Jove’s altar sing.
And add to these retired Leisure,
That in trim gardens takes his pleasure;
But first, and chiefest, with thee bring
Him that yon soars on golden wing,
Guiding the fiery-wheeled throne,
The cherub Contemplation;
And the mute Silence hist along,
‘Less Philomel will deign a song,
In her sweetest, saddest plight,
Smoothing the rugged brow of night,
While Cynthia checks her dragon yoke,
Gently o’er th’ accustom’d oak.
Sweet bird that shunn’st the noise of folly,
Most musical, most melancholy!
Thee, chauntress, oft the woods among,
I woo to hear thy even-song;
And missing thee, I walk unseen
On the dry smooth-shaven green,
To behold the wand’ring Moon,
Riding near her highest noon,
Like one that had been led astray
Through the heav’ns wide pathless way;
And oft, as if her head she bow’d,
Stooping through a fleecy cloud.
Oft on a plat of rising ground,
I hear the far-off curfew sound,
Over some wide-water’d shore,
Swinging slow with sullen roar;
Or if the air will not permit,
Some still removed place will fit,
Where glowing embers through the room
Teach light to counterfeit a gloom,
Far from all resort of mirth,
Save the cricket on the hearth,
Or the bellman’s drowsy charm,
To bless the doors from nightly harm.
Or let my lamp at midnight hour,
Be seen in some high lonely tow’r,
Where I may oft out-watch the Bear,
With thrice great Hermes, or unsphere
The spirit of Plato, to unfold
What worlds, or what vast regions hold
The immortal mind that hath forsook
Her mansion in this fleshly nook:
And of those dæmons that are found
In fire, air, flood, or under ground,
Whose power hath a true consent
With planet, or with element.
Sometime let gorgeous Tragedy
In sceptr’d pall come sweeping by,
Presenting Thebes’, or Pelop’s line,
Or the tale of Troy divine,
Or what (though rare) of later age,
Ennobled hath the buskin’d stage.
But, O sad Virgin, that thy power
Might raise Musæus from his bower,
Or bid the soul of Orpheus sing
Such notes as, warbled to the string,
Drew iron tears down Pluto’s cheek,
And made Hell grant what love did seek.
Or call up him that left half told
The story of Cambuscan bold,
Of Camball, and of Algarsife,
And who had Canace to wife,
That own’d the virtuous ring and glass,
And of the wond’rous horse of brass,
On which the Tartar king did ride;
And if aught else, great bards beside,
In sage and solemn tunes have sung,
Of tourneys and of trophies hung,
Of forests, and enchantments drear,
Where more is meant than meets the ear.
Thus, Night, oft see me in thy pale career,
Till civil-suited Morn appear,
Not trick’d and frounc’d as she was wont,
With the Attic boy to hunt,
But kerchief’d in a comely cloud,
While rocking winds are piping loud,
Or usher’d with a shower still,
When the gust hath blown his fill,
Ending on the rustling leaves,
With minute-drops from off the eaves.
And when the Sun begins to fling
His flaring beams, me, goddess, bring
To arched walks of twilight groves,
And shadows brown that Sylvan loves,
Of pine, or monumental oak,
Where the rude axe with heaved stroke,
Was never heard the nymphs to daunt,
Or fright them from their hallow’d haunt.
There in close covert by some brook,
Where no profaner eye may look,
Hide me from Day’s garish eye,
While the bee with honied thigh,
That at her flow’ry work doth sing,
And the waters murmuring
With such consort as they keep,
Entice the dewy-feather’d sleep;
And let some strange mysterious dream,
Wave at his wings, in airy stream
Of lively portraiture display’d,
Softly on my eye-lids laid.
And as I wake, sweet music breathe
Above, about, or underneath,
Sent by some spirit to mortals good,
Or th’ unseen Genius of the wood.
But let my due feet never fail
To walk the studious cloister’s pale,
And love the high embowed roof,
With antique pillars massy proof,
And storied windows richly dight,
Casting a dim religious light.
There let the pealing organ blow,
To the full-voic’d quire below,
In service high, and anthems clear,
As may with sweetness, through mine ear,
Dissolve me into ecstasies,
And bring all Heav’n before mine eyes.
And may at last my weary age
Find out the peaceful hermitage,
The hairy gown and mossy cell,
Where I may sit and rightly spell
Of every star that Heav’n doth shew,
And every herb that sips the dew;
Till old experience do attain
To something like prophetic strain.
These pleasures, Melancholy, give,
And I with thee will choose to live.
Annotations: “Il Penseroso” by John Milton
| Lines | Annotation |
| “Hence vain deluding Joys, / The brood of Folly without father bred, / How little you bested, / Or fill the fixed mind with all your toys;” | Milton dismisses fleeting pleasures and shallow joys, equating them to the offspring of Folly. These pleasures are portrayed as ephemeral and unsatisfying to a serious, contemplative mind. |
| “Dwell in some idle brain, / And fancies fond with gaudy shapes possess, / As thick and numberless / As the gay motes that people the sunbeams;” | Vain pleasures are relegated to idle, trivial minds, described as chaotic and superficial, like the motes seen in sunlight, symbolizing their insignificance and lack of substance. |
| “Or likest hovering dreams, / The fickle pensioners of Morpheus’ train. / But hail thou goddess, sage and holy, / Hail divinest Melancholy,” | Pleasures are compared to dreams, transient and unreliable. Milton then transitions to address Melancholy, personifying it as a divine, wise, and sacred figure deserving reverence. |
| “Whose saintly visage is too bright / To hit the sense of human sight; / And therefore to our weaker view, / O’er-laid with black, staid Wisdom’s hue;” | Melancholy’s true nature is described as sublime and beyond human comprehension. Its wisdom and gravity are cloaked in solemnity, symbolized by “black,” a color associated with seriousness and depth. |
| “Black, but such as in esteem, / Prince Memnon’s sister might beseem, / Or that starr’d Ethiop queen that strove / To set her beauty’s praise above;” | The blackness of Melancholy is likened to noble and beautiful figures from classical mythology, suggesting that melancholy has dignity and elegance. |
| “The sea nymphs, and their powers offended. / Yet thou art higher far descended, / Thee bright-hair’d Vesta long of yore, / To solitary Saturn bore;” | The poem associates Melancholy with ancient lineage, suggesting divine origins and linking it to figures like Vesta and Saturn, emphasizing its noble and sacred heritage. |
| “Come pensive nun, devout and pure, / Sober, stedfast, and demure, / All in a robe of darkest grain, / Flowing with majestic train;” | Melancholy is further personified as a nun, embodying purity, steadiness, and dignity. Her somber attire reflects her association with contemplation and seriousness. |
| “And sable stole of cypress lawn, / Over thy decent shoulders drawn. / Come, but keep thy wonted state, / With ev’n step, and musing gait;” | The attire of Melancholy is symbolic of mourning and solemnity, reinforcing her reflective nature. Her steady, measured pace conveys calmness and introspection. |
| “And looks commercing with the skies, / Thy rapt soul sitting in thine eyes: / There held in holy passion still, / Forget thyself to marble, till;” | The gaze of Melancholy is directed heavenward, symbolizing her connection to the divine and spiritual. Her intense focus and stillness reflect deep contemplation. |
| “With a sad leaden downward cast, / Thou fix them on the earth as fast. / And join with thee calm Peace, and Quiet, / Spare Fast, that oft with gods doth diet;” | The downward glance symbolizes humility and groundedness. Melancholy is associated with virtues like Peace and Quiet, and the practice of fasting, linking her to spiritual discipline and divine communion. |
| “And hears the Muses in a ring, / Aye round about Jove’s altar sing. / And add to these retired Leisure, / That in trim gardens takes his pleasure;” | Melancholy is attuned to the muses and their sacred songs, symbolizing artistic inspiration. Leisure, in the sense of productive reflection, complements the contemplative life associated with Melancholy. |
| “But first, and chiefest, with thee bring / Him that yon soars on golden wing, / Guiding the fiery-wheeled throne, / The cherub Contemplation;” | Contemplation, personified as a cherub, is seen as the pinnacle of Melancholy’s retinue. It symbolizes divine insight and the intellectual pursuits that elevate the soul. |
| “And the mute Silence hist along, / ‘Less Philomel will deign a song, / In her sweetest, saddest plight, / Smoothing the rugged brow of night;” | Silence and the song of the nightingale (Philomel) are invoked as companions to Melancholy. The nightingale’s mournful yet beautiful song complements the theme of finding beauty in sorrow. |
| “Sweet bird that shunn’st the noise of folly, / Most musical, most melancholy! / Thee, chauntress, oft the woods among, / I woo to hear thy even-song;” | The nightingale represents an ideal of Melancholy—avoiding frivolity and expressing a profound and haunting beauty. The speaker seeks out this song as a source of solace and inspiration. |
| “And missing thee, I walk unseen / On the dry smooth-shaven green, / To behold the wand’ring Moon, / Riding near her highest noon;” | In the absence of the nightingale, the speaker contemplates the moon, a symbol of solitude and reflection. The moon’s wandering path mirrors the contemplative mind’s journey. |
| “Like one that had been led astray / Through the heav’ns wide pathless way; / And oft, as if her head she bow’d, / Stooping through a fleecy cloud.” | The moon’s motion is likened to a wandering soul, lost yet graceful. The imagery evokes a sense of mystery and the allure of the natural world as an object of contemplation. |
| “Oft on a plat of rising ground, / I hear the far-off curfew sound, / Over some wide-water’d shore, / Swinging slow with sullen roar;” | The distant curfew bell suggests a somber yet tranquil moment, reinforcing themes of solitude and the quiet rhythms of nature and rural life. |
| “Far from all resort of mirth, / Save the cricket on the hearth, / Or the bellman’s drowsy charm, / To bless the doors from nightly harm.” | The absence of human mirth contrasts with the subtle, soothing presence of natural and domestic sounds, creating an atmosphere of quiet comfort and introspection. |
| “Or let my lamp at midnight hour, / Be seen in some high lonely tow’r, / Where I may oft out-watch the Bear, / With thrice great Hermes, or unsphere;” | The speaker imagines a scholarly solitude, studying the stars and contemplating mysteries of the universe, invoking the god Hermes Trismegistus as a symbol of wisdom and esoteric knowledge. |
| “The spirit of Plato, to unfold / What worlds, or what vast regions hold / The immortal mind that hath forsook / Her mansion in this fleshly nook:” | Reflecting on Platonic philosophy, the speaker considers the immortality of the soul and the transcendent realms of existence beyond the physical world. |
| “And of those dæmons that are found / In fire, air, flood, or under ground, / Whose power hath a true consent / With planet, or with element.” | The speaker contemplates the metaphysical forces that govern nature and existence, blending classical and mystical imagery to evoke a sense of cosmic unity. |
Literary And Poetic Devices: “Il Penseroso” by John Milton
| Device | Example | Explanation |
| Alliteration | “Sober, stedfast, and demure” | The repetition of the “s” sound emphasizes the calm and reflective nature of the melancholic figure. |
| Allusion | “Prince Memnon’s sister” and “starr’d Ethiop queen” | References to classical mythology and figures to elevate the concept of melancholy as noble and dignified. |
| Apostrophe | “Hail thou goddess, sage and holy, / Hail divinest Melancholy” | The speaker directly addresses Melancholy as if it were a person, invoking its divine qualities. |
| Assonance | “Oft in glimmering bow’rs and glades” | The repetition of the “i” and “o” vowel sounds creates a musical quality, enhancing the mood of reflection. |
| Caesura | “Far from all resort of mirth, / Save the cricket on the hearth” | The pause in the middle of the line allows the reader to focus on the contrasting quietness and subtle sounds of nature. |
| Classical Reference | “Musæus,” “Orpheus,” “Cambuscan bold” | Milton invokes figures from mythology and literature, enriching the intellectual and cultural depth of the poem. |
| Contrast | “Hence vain deluding Joys…But hail thou goddess” | The poem contrasts fleeting pleasures with the profound and divine qualities of melancholy. |
| Enjambment | “And let some strange mysterious dream, / Wave at his wings, in airy stream / Of lively portraiture display’d” | The continuation of a sentence across lines creates a flowing and dreamlike quality, mirroring the subject matter. |
| Hyperbole | “Drew iron tears down Pluto’s cheek” | Exaggeration is used to emphasize the power of music and poetry, capable of moving even the ruler of the underworld. |
| Imagery | “To behold the wand’ring Moon, / Riding near her highest noon” | The vivid description of the moon creates a serene and reflective visual that mirrors the speaker’s contemplative mood. |
| Invocation | “Come pensive nun, devout and pure” | The speaker calls upon the figure of melancholy to join and guide them, a technique typical of epic poetry. |
| Metaphor | “Black, but such as in esteem” | Blackness is metaphorically linked to wisdom and solemnity, presenting it as a revered quality rather than something negative. |
| Onomatopoeia | “The curfew sound, / Swinging slow with sullen roar” | The phrase mimics the sound of a bell, immersing the reader in the atmosphere of the poem. |
| Oxymoron | “Most musical, most melancholy” | The combination of seemingly contradictory qualities highlights the beauty found in sadness and reflection. |
| Personification | “Thee bright-hair’d Vesta long of yore, / To solitary Saturn bore” | Melancholy is personified through divine ancestry, as the child of mythological gods. |
| Repetition | “Come, but keep thy wonted state, / With ev’n step, and musing gait” | The repetition of “come” emphasizes the invocation of melancholy and establishes a rhythmic structure. |
| Simile | “As thick and numberless / As the gay motes that people the sunbeams” | The comparison of fleeting joys to motes in sunlight suggests their insubstantial and ephemeral nature. |
| Symbolism | “The cherub Contemplation” | Contemplation is symbolized as a cherub, representing divine guidance and the higher intellectual pursuits associated with melancholy. |
| Tone | “And I with thee will choose to live” | The reflective and reverent tone captures the speaker’s deep appreciation and preference for a life guided by melancholy. |
| Visual Imagery | “Where glowing embers through the room / Teach light to counterfeit a gloom” | The description of glowing embers and dim lighting creates a vivid picture of solitude and introspection, aligning with the melancholic mood. |
Themes: “Il Penseroso” by John Milton
- The Virtue of Melancholy and Contemplation: Milton’s Il Penseroso celebrates the virtue of melancholy as a state that fosters wisdom, creativity, and deep reflection. The speaker invokes “divinest Melancholy,” personifying it as a goddess who brings insight and spiritual depth. References such as “Come pensive nun, devout and pure” and “Hail thou goddess, sage and holy” emphasize the reverence given to this solemn state of mind. Through melancholy, the speaker envisions a life of study and artistic contemplation, symbolized by “The cherub Contemplation” and “Thee, bright-haired Vesta long of yore.” This theme contrasts the fleeting pleasures of joy with the enduring wisdom derived from introspection.
- The Solitude of Nature and Night: Nature and the night serve as sanctuaries for contemplation and creativity throughout the poem. The speaker seeks refuge in “arched walks of twilight groves, / And shadows brown that Sylvan loves,” where the silence and solemnity of the natural world foster introspection. The imagery of the moon, described as “wand’ring Moon, / Riding near her highest noon,” and the nightingale’s “sweetest, saddest plight” highlights the tranquil beauty of solitude. The speaker’s connection to these elements reinforces the idea that isolation in nature provides a conducive environment for intellectual and spiritual growth.
- The Role of Art and Knowledge in Spiritual Enlightenment: Milton ties melancholy to the pursuit of art and knowledge as pathways to enlightenment. The speaker imagines “storied windows richly dight, / Casting a dim religious light” within a “studious cloister,” symbolizing the harmony of artistic expression and religious devotion. References to classical and literary figures such as Orpheus, Plato, and Hermes Trismegistus illustrate the speaker’s aspiration to connect with timeless wisdom. The speaker’s desire to “walk unseen” in the “high lonely tow’r” reflects a preference for isolation to delve into intellectual pursuits, guided by the inspiration of “thrice great Hermes.”
- 4. The Transcendence of Earthly Concerns: The poem frequently elevates the melancholic life above the superficial concerns of the material world. The dismissal of “vain deluding Joys” that “fill the fixed mind with all your toys” suggests a disdain for fleeting pleasures and worldly distractions. Instead, the speaker seeks a “peaceful hermitage,” where spiritual and intellectual fulfillment can be attained. The ultimate goal is transcendence, symbolized by the aspiration to “unsphere / The spirit of Plato, to unfold / What worlds, or what vast regions hold / The immortal mind.” This focus on the soul’s immortality underscores melancholy’s power to connect humanity with divine and eternal truths.
Literary Theories and “Il Penseroso” by John Milton
| Literary Theory | Application to Il Penseroso | References from the Poem |
| Romanticism | Although predating the Romantic era, Il Penseroso aligns with Romantic ideals by emphasizing the beauty of nature, solitude, and emotional depth. The poem glorifies melancholic reflection as a means to connect with the sublime, much like Romantic poets would later do. | “To behold the wand’ring Moon, / Riding near her highest noon,” celebrates the natural world as a source of wonder and inspiration. Similarly, the “arched walks of twilight groves” suggest a profound connection to nature’s tranquility. |
| Psychoanalytic Theory | From a psychoanalytic perspective, the poem explores the speaker’s internal conflict between fleeting joy (as rejected in L’Allegro) and the deeper, contemplative state of melancholy. The preference for solitude and reflection can be seen as the speaker’s quest for self-discovery and spiritual enlightenment. | “And the mute Silence hist along, / ‘Less Philomel will deign a song” reflects the speaker’s need for quiet introspection to confront inner thoughts. The imagery of “strange mysterious dream” suggests the unconscious mind’s role in creativity. |
| New Historicism | Il Penseroso reflects the intellectual and cultural values of Milton’s time, including the Renaissance emphasis on learning, classical references, and spiritual contemplation. The poem can be studied as a product of its historical moment, reflecting Milton’s engagement with humanist ideals. | References to “thrice great Hermes” and “the spirit of Plato” connect the poem to Renaissance humanism. The description of “storied windows richly dight” highlights the period’s reverence for art and religious devotion. |
Critical Questions about “Il Penseroso” by John Milton
1. How does Milton reconcile melancholy with the pursuit of joy or contentment in Il Penseroso?
Milton presents melancholy not as a source of sadness but as a gateway to higher pleasures, such as intellectual reflection, spiritual fulfillment, and artistic creativity. The poem rejects “vain deluding Joys” as fleeting and superficial, contrasting them with the profound “pleasures” that melancholy offers, including “calm Peace, and Quiet, / Spare Fast.” By personifying melancholy as a “pensive nun, devout and pure,” Milton elevates it to a state of sanctity, suggesting that true joy lies in contemplative and disciplined living. The imagery of the “studious cloister’s pale” and “storied windows richly dight” shows how the speaker finds contentment in solitude, learning, and religious devotion. This duality raises critical questions about the nature of joy: is it found in outward celebration or inward reflection? Milton’s response suggests the latter, where joy emerges through self-exploration and transcendence.
2. What role does nature play in fostering melancholy and contemplation in the poem?
Nature serves as a vital backdrop for melancholy, offering both inspiration and solace to the speaker. Milton’s descriptions of the “arched walks of twilight groves” and the “shadows brown that Sylvan loves” illustrate how the solitude of the natural world aligns with the introspective qualities of melancholy. The moon, a recurring symbol in the poem, “wand’ring near her highest noon,” embodies both mystery and serenity, evoking a sense of awe and deep thought. Similarly, the quiet sounds of nature, such as the “far-off curfew sound” and the “cricket on the hearth,” amplify the speaker’s focus on the subtle beauty of isolation. This raises critical questions about whether solitude in nature is inherently melancholic or if it simply amplifies pre-existing emotions. Milton’s portrayal of nature suggests that it functions as a mirror and a sanctuary for the contemplative mind.
3. How does Milton connect melancholy to spiritual and intellectual transcendence?
Milton portrays melancholy as a pathway to spiritual enlightenment and intellectual discovery, making it a divine and desirable state. The speaker’s invocation of “divinest Melancholy” elevates this emotion to a spiritual realm, suggesting its power to connect mortals to the divine. The imagery of “the cherub Contemplation” and references to figures like Plato and Hermes Trismegistus link melancholy to philosophical and esoteric pursuits, highlighting its role in uncovering profound truths. Furthermore, the desire to “unsphere / The spirit of Plato” reveals the speaker’s ambition to transcend physical limitations and explore the immortal mind. The poem also envisions a peaceful hermitage where the speaker can “rightly spell / Of every star that Heav’n doth shew,” underscoring melancholy’s role in cosmic understanding. This theme raises critical questions about the limits of human thought and whether solitude and introspection are necessary for transcendent insight.
4. What is the relationship between melancholy and creativity in Il Penseroso?
Milton associates melancholy with artistic inspiration and creativity, depicting it as a necessary condition for engaging with the sublime in art and literature. The speaker envisions “gorgeous Tragedy / In scept’red pall” and laments that melancholy might not raise “Musæus from his bower” or inspire Orpheus to sing again, reflecting its vital role in the creative process. The nightingale, described as “most musical, most melancholy,” symbolizes how sadness can produce beauty, echoing the speaker’s own creative aspirations. Milton also connects melancholy with the poetic imagination, as seen in “And let some strange mysterious dream, / Wave at his wings, in airy stream.” This raises critical questions about whether creativity arises from emotional depth or whether melancholy is a romanticized notion of artistic genius. Milton seems to argue that melancholy fosters the quiet and reflection necessary for profound artistic expression.
Literary Works Similar to “Il Penseroso” by John Milton
- “L’Allegro” by John Milton: Similarity: As the companion poem to Il Penseroso, this work contrasts the joyous, lively lifestyle celebrated in “L’Allegro” with the contemplative solitude and melancholy of Il Penseroso, offering a thematic balance between mirth and reflection.
- “Ode on Melancholy” by John Keats: Similarity: Both poems personify melancholy and celebrate its profound emotional and intellectual depth, viewing it as a gateway to artistic inspiration and spiritual insight.
- “Elegy Written in a Country Churchyard” by Thomas Gray: Similarity: Gray’s meditation on mortality and solitude in a rural setting mirrors the reflective and serene tone of Il Penseroso, emphasizing the contemplative power of nature and silence.
- “The Prelude” (Selected Passages) by William Wordsworth: Similarity: Like Il Penseroso, Wordsworth’s reflective passages in The Prelude explore solitude in nature as a source of spiritual growth and intellectual discovery.
- “To Night” by Percy Bysshe Shelley: Similarity: Shelley’s poem shares with Il Penseroso a focus on the tranquil and mysterious qualities of night, celebrating it as a time for introspection and connection to the sublime.
Representative Quotations of “Il Penseroso” by John Milton
| Quotation | Context | Theoretical Perspective |
| “Hence vain deluding Joys, / The brood of Folly without father bred” | The opening lines reject superficial pleasures and joys, framing them as shallow distractions unworthy of a contemplative mind. | Psychoanalytic Theory: The speaker’s rejection of joy reflects an internal struggle to prioritize introspection. |
| “Hail thou goddess, sage and holy, / Hail divinest Melancholy” | The speaker personifies melancholy as a divine figure, elevating its importance as a source of wisdom and spiritual insight. | Romanticism: Reflects the Romantic ideal of finding beauty and profundity in emotional depth and solemnity. |
| “And join with thee calm Peace, and Quiet, / Spare Fast, that oft with gods doth diet” | Melancholy is associated with peace, quiet, and fasting, suggesting that discipline and reflection lead to spiritual elevation. | Spiritual Hermeneutics: Highlights the spiritual value of ascetic practices and their role in achieving enlightenment. |
| “To behold the wand’ring Moon, / Riding near her highest noon” | The moon, as a symbol of mystery and constancy, represents the quiet beauty of nature that complements introspection. | Eco-Criticism: Nature provides the setting for personal and philosophical reflection. |
| “Sweet bird that shunn’st the noise of folly, / Most musical, most melancholy!” | The nightingale symbolizes the harmonious relationship between melancholy and beauty, reinforcing the poem’s themes. | Aesthetic Theory: Suggests that sadness and beauty are interconnected, creating a profound emotional resonance. |
| “The cherub Contemplation; / And the mute Silence hist along” | Contemplation is personified as a divine guide, while silence is portrayed as essential for deep thought and creativity. | New Historicism: Reflects Renaissance humanist ideals of intellectual and spiritual exploration. |
| “Storied windows richly dight, / Casting a dim religious light” | The speaker describes the solemn beauty of a cloister, a place where art, religion, and reflection converge. | Cultural Criticism: Highlights the Renaissance reverence for art and architecture as expressions of spiritual truth. |
| “And let some strange mysterious dream, / Wave at his wings, in airy stream” | Dreams are depicted as sources of inspiration and imaginative vision, essential for intellectual and artistic creation. | Psychoanalytic Theory: Explores the unconscious mind as a wellspring of creativity and insight. |
| “Black, but such as in esteem, / Prince Memnon’s sister might beseem” | The color black, often linked to melancholy, is associated with nobility and beauty through classical references. | Classical Humanism: Draws on classical mythology to dignify and elevate the concept of melancholy. |
| “And may at last my weary age / Find out the peaceful hermitage” | The speaker envisions a serene retreat in old age, suggesting that a contemplative life leads to ultimate fulfillment. | Philosophical Idealism: Suggests that intellectual and spiritual pursuits provide the ultimate meaning in life. |
Suggested Readings: “Il Penseroso” by John Milton
- Tate, Eleanor. “Milton’s ‘L’Allegro’ and ‘Il Penseroso’-Balance, Progression, or Dichotomy.” Modern Language Notes, vol. 76, no. 7, 1961, pp. 585–90. JSTOR, https://doi.org/10.2307/3040040. Accessed 16 Dec. 2024.
- Darnall, F. M. “Milton’s L’Allegro and Il Penseroso.” Modern Language Notes, vol. 31, no. 1, 1916, pp. 56–58. JSTOR, https://doi.org/10.2307/2915287. Accessed 16 Dec. 2024.
- STRINGER, GARY. “The Unity of ‘L’Allegro’ and ‘Ll Penseroso.'” Texas Studies in Literature and Language, vol. 12, no. 2, 1970, pp. 221–29. JSTOR, http://www.jstor.org/stable/40754095. Accessed 16 Dec. 2024.
- O’Connell, Michael, and John Powell. “Music and Sense in Handel’s Setting of Milton’s L’Allegro and Il Penseroso.” Eighteenth-Century Studies, vol. 12, no. 1, 1978, pp. 16–46. JSTOR, https://doi.org/10.2307/2738417. Accessed 16 Dec. 2024.