Introduction: “L’Allegro” by John Milton
“L’Allegro” by John Milton, first appeared in 1645 as part of his Poems of Mr. John Milton, both English and Latin, is paired with its contrasting counterpart, Il Penseroso, explores the themes of joy and melancholy, presenting an idyllic celebration of mirth and the pleasures of a lively, pastoral life. Its vibrant imagery and melodic verse structure have cemented its status as a classic, often included in school syllabi for its literary richness and accessibility. The poem’s personification of abstract concepts like Mirth and Melancholy, alongside its vivid descriptions of rustic scenes, theatrical spectacles, and artistic beauty, contribute to its enduring popularity. As a school text, it introduces students to Milton’s mastery of language, his ability to blend classical references with natural imagery, and his philosophical exploration of human emotions and creativity.
Text: “L’Allegro” by John Milton
Hence loathed Melancholy,
Of Cerberus, and blackest Midnight born,
In Stygian cave forlorn,
‘Mongst horrid shapes, and shrieks, and sights unholy;
Find out some uncouth cell,
Where brooding Darkness spreads his jealous wings,
And the night-raven sings;
There under ebon shades, and low-brow’d rocks,
As ragged as thy locks,
In dark Cimmerian desert ever dwell.
But come thou goddess fair and free,
In heav’n yclep’d Euphrosyne,
And by men, heart-easing Mirth,
Whom lovely Venus at a birth
With two sister Graces more
To Ivy-crowned Bacchus bore;
Or whether (as some sager sing)
The frolic wind that breathes the spring,
Zephyr, with Aurora playing,
As he met her once a-Maying,
There on beds of violets blue,
And fresh-blown roses wash’d in dew,
Fill’d her with thee, a daughter fair,
So buxom, blithe, and debonair.
Haste thee nymph, and bring with thee
Jest and youthful Jollity,
Quips and cranks, and wanton wiles,
Nods, and becks, and wreathed smiles,
Such as hang on Hebe’s cheek,
And love to live in dimple sleek;
Sport that wrinkled Care derides,
And Laughter holding both his sides.
Come, and trip it as ye go
On the light fantastic toe,
And in thy right hand lead with thee,
The mountain-nymph, sweet Liberty;
And if I give thee honour due,
Mirth, admit me of thy crew
To live with her, and live with thee,
In unreproved pleasures free;
To hear the lark begin his flight,
And singing startle the dull night,
From his watch-tower in the skies,
Till the dappled dawn doth rise;
Then to come in spite of sorrow,
And at my window bid good-morrow,
Through the sweet-briar, or the vine,
Or the twisted eglantine;
While the cock with lively din,
Scatters the rear of darkness thin,
And to the stack, or the barn door,
Stoutly struts his dames before;
Oft list’ning how the hounds and horn
Cheerly rouse the slumb’ring morn,
From the side of some hoar hill,
Through the high wood echoing shrill.
Sometime walking, not unseen,
By hedge-row elms, on hillocks green,
Right against the eastern gate,
Where the great Sun begins his state,
Rob’d in flames, and amber light,
The clouds in thousand liveries dight.
While the ploughman near at hand,
Whistles o’er the furrow’d land,
And the milkmaid singeth blithe,
And the mower whets his scythe,
And every shepherd tells his tale
Under the hawthorn in the dale.
Straight mine eye hath caught new pleasures
Whilst the landskip round it measures,
Russet lawns, and fallows gray,
Where the nibbling flocks do stray;
Mountains on whose barren breast
The labouring clouds do often rest;
Meadows trim with daisies pied,
Shallow brooks, and rivers wide.
Towers, and battlements it sees
Bosom’d high in tufted trees,
Where perhaps some beauty lies,
The cynosure of neighbouring eyes.
Hard by, a cottage chimney smokes,
From betwixt two aged oaks,
Where Corydon and Thyrsis met,
Are at their savoury dinner set
Of herbs, and other country messes,
Which the neat-handed Phyllis dresses;
And then in haste her bow’r she leaves,
With Thestylis to bind the sheaves;
Or if the earlier season lead
To the tann’d haycock in the mead.
Sometimes with secure delight
The upland hamlets will invite,
When the merry bells ring round,
And the jocund rebecks sound
To many a youth, and many a maid,
Dancing in the chequer’d shade;
And young and old come forth to play
On a sunshine holiday,
Till the live-long daylight fail;
Then to the spicy nut-brown ale,
With stories told of many a feat,
How Faery Mab the junkets eat,
She was pinch’d and pull’d she said,
And he by friar’s lanthorn led,
Tells how the drudging goblin sweat,
To earn his cream-bowl duly set,
When in one night, ere glimpse of morn,
His shadowy flail hath thresh’d the corn
That ten day-labourers could not end;
Then lies him down, the lubber fiend,
And stretch’d out all the chimney’s length,
Basks at the fire his hairy strength;
And crop-full out of doors he flings,
Ere the first cock his matin rings.
Thus done the tales, to bed they creep,
By whispering winds soon lull’d asleep.
Tower’d cities please us then,
And the busy hum of men,
Where throngs of knights and barons bold,
In weeds of peace high triumphs hold,
With store of ladies, whose bright eyes
Rain influence, and judge the prize
Of wit, or arms, while both contend
To win her grace, whom all commend.
There let Hymen oft appear
In saffron robe, with taper clear,
And pomp, and feast, and revelry,
With mask, and antique pageantry;
Such sights as youthful poets dream
On summer eves by haunted stream.
Then to the well-trod stage anon,
If Jonson’s learned sock be on,
Or sweetest Shakespeare, Fancy’s child,
Warble his native wood-notes wild.
And ever against eating cares,
Lap me in soft Lydian airs,
Married to immortal verse,
Such as the meeting soul may pierce
In notes with many a winding bout
Of linked sweetness long drawn out,
With wanton heed, and giddy cunning,
The melting voice through mazes running,
Untwisting all the chains that tie
The hidden soul of harmony;
That Orpheus’ self may heave his head
From golden slumber on a bed
Of heap’d Elysian flow’rs, and hear
Such strains as would have won the ear
Of Pluto, to have quite set free
His half-regain’d Eurydice.
These delights if thou canst give,
Mirth, with thee I mean to live.
Annotations: “L’Allegro” by John Milton
| Lines | Annotation |
| Hence loathed Melancholy, Of Cerberus, and blackest Midnight born, In Stygian cave forlorn, ‘Mongst horrid shapes, and shrieks, and sights unholy; | The poem begins with a rejection of melancholy, personified as a dreadful figure associated with darkness, the Underworld (Stygian cave), and mythological horror (Cerberus, the hound of Hades). This sets a contrast to Mirth. |
| Find out some uncouth cell, Where brooding Darkness spreads his jealous wings, And the night-raven sings; There under ebon shades, and low-brow’d rocks, As ragged as thy locks, In dark Cimmerian desert ever dwell. | Milton dismisses Melancholy to a remote, gloomy place. The imagery of “ebon shades” and “Cimmerian desert” evokes desolation and perpetual darkness, reflecting the poet’s disdain for sorrow. |
| But come thou goddess fair and free, In heav’n yclep’d Euphrosyne, And by men, heart-easing Mirth, Whom lovely Venus at a birth With two sister Graces more To Ivy-crowned Bacchus bore; | The poet shifts to invite Mirth, personified as Euphrosyne, a goddess associated with joy. Her divine lineage, linked to Venus and Bacchus, connects her to love and revelry, enhancing her appeal as a bringer of pleasure. |
| Or whether (as some sager sing) The frolic wind that breathes the spring, Zephyr, with Aurora playing, As he met her once a-Maying, There on beds of violets blue, And fresh-blown roses wash’d in dew, Fill’d her with thee, a daughter fair, So buxom, blithe, and debonair. | An alternative origin myth for Mirth, tied to nature. Zephyr (the west wind) and Aurora (the dawn) are said to have conceived her in spring, associating Mirth with vitality, beauty, and charm, encapsulated in “buxom, blithe, debonair.” |
| Haste thee nymph, and bring with thee Jest and youthful Jollity, Quips and cranks, and wanton wiles, Nods, and becks, and wreathed smiles, Such as hang on Hebe’s cheek, And love to live in dimple sleek; Sport that wrinkled Care derides, And Laughter holding both his sides. | A lively call for Mirth to bring various forms of joy, including humor, playfulness, and laughter. The reference to Hebe (goddess of youth) underscores the youthful vitality and carefree essence of Mirth. |
| Come, and trip it as ye go On the light fantastic toe, And in thy right hand lead with thee, The mountain-nymph, sweet Liberty; | The poet invites Mirth to dance gracefully (“light fantastic toe”) and to accompany Liberty, symbolizing freedom and the unrestrained pleasures of life. The imagery evokes a joyous and liberated existence. |
| To hear the lark begin his flight, And singing startle the dull night, From his watch-tower in the skies, Till the dappled dawn doth rise; | Morning imagery highlights nature’s vitality. The lark, a symbol of dawn and renewal, represents joy dispelling the darkness of night, echoing Mirth’s role in overcoming sorrow. |
| While the cock with lively din, Scatters the rear of darkness thin, And to the stack, or the barn door, Stoutly struts his dames before; | The cock’s crow, a symbol of awakening, metaphorically scatters the remnants of darkness, aligning with the poem’s celebration of a lively, pastoral morning. |
| Sometimes with secure delight The upland hamlets will invite, When the merry bells ring round, And the jocund rebecks sound | The countryside is depicted as a haven of happiness and community. The “merry bells” and “jocund rebecks” (fiddle) evoke celebratory scenes of rural festivity and harmony. |
| These delights if thou canst give, Mirth, with thee I mean to live. | The closing lines affirm the poet’s devotion to Mirth, seeking a life filled with joy and the pleasures described throughout the poem. |
Literary And Poetic Devices: “L’Allegro” by John Milton
| Literary Device | Example | Explanation |
| Alliteration | “Stoutly struts his dames before” | Repetition of consonant sounds (e.g., “s” in stoutly, struts) creates a rhythmic and emphatic effect in the description of the rooster’s confident movement. |
| Allusion | “Of Cerberus, and blackest Midnight born” | Reference to Cerberus, the mythological guardian of the Underworld, enriches the theme of melancholy’s darkness. |
| Anaphora | “And every shepherd tells his tale… And young and old come forth to play” | Repetition of “And” at the beginning of successive clauses emphasizes continuity and abundance in the joyous pastoral scene. |
| Apostrophe | “Haste thee nymph, and bring with thee Jest and youthful Jollity” | Direct address to Mirth (personified as a nymph) creates a conversational and intimate tone. |
| Assonance | “Through the sweet-briar, or the vine, Or the twisted eglantine” | Repetition of vowel sounds (“i” in vine and eglantine) creates a melodic effect. |
| Consonance | “Then to the well-trod stage anon, If Jonson’s learned sock be on” | Repetition of consonant sounds in “n” and “t” creates a harmonious effect. |
| Enjambment | “Till the dappled dawn doth rise; Then to come in spite of sorrow, And at my window bid good-morrow” | Lines flow without punctuation, creating a seamless, flowing rhythm that mirrors the rising dawn. |
| Hyperbole | “That ten day-labourers could not end” | Exaggeration emphasizes the supernatural strength of the goblin. |
| Imagery | “Russet lawns, and fallows gray, Where the nibbling flocks do stray” | Vivid visual descriptions evoke the tranquil rural landscape, appealing to the senses. |
| Inversion | “Find out some uncouth cell” | Reversal of normal word order (“Find out” instead of “Find”) emphasizes the phrase poetically. |
| Metaphor | “Brooding Darkness spreads his jealous wings” | Darkness is metaphorically described as a brooding creature with wings, emphasizing its ominous nature. |
| Onomatopoeia | “Cheerly rouse the slumb’ring morn, From the side of some hoar hill” | The word “cheerly” mimics the sound of morning activities, enhancing the auditory imagery. |
| Oxymoron | “Unreproved pleasures” | Combines seemingly contradictory terms (pleasures that are beyond reproach), emphasizing the purity of joy. |
| Personification | “Mirth, with thee I mean to live” | Abstract concepts like Mirth and Melancholy are personified as living beings, making them relatable and tangible. |
| Repetition | “Come, and trip it as ye go… Come thou goddess fair and free” | Repeated use of “come” reinforces the invocation and urgency for Mirth’s arrival. |
| Simile | “Such as hang on Hebe’s cheek” | Compares Mirth’s attributes to the youthful beauty of Hebe, emphasizing grace and vitality. |
| Symbolism | “The mountain-nymph, sweet Liberty” | Liberty symbolizes freedom and uninhibited joy, a central theme of the poem. |
| Synecdoche | “The busy hum of men” | Refers to human activity through a single sensory aspect (the hum), representing the bustling nature of city life. |
| Tone | “Sport that wrinkled Care derides, And Laughter holding both his sides” | The tone is light-hearted and celebratory, aligning with the poem’s theme of joy. |
| Visual Imagery | “Rob’d in flames, and amber light, The clouds in thousand liveries dight” | Detailed description of the sunrise creates a vivid visual image, adding to the poem’s vibrant setting. |
Themes: “L’Allegro” by John Milton
- Celebration of Joy and Mirth
- The central theme of “L’Allegro” is the celebration of joy and mirth as essential components of a fulfilling life. Milton personifies Mirth as a goddess, “In heav’n yclep’d Euphrosyne,” who is invoked to bring “Jest and youthful Jollity.” The poet envisions a life filled with laughter, music, and cheer, describing how Mirth drives away “wrinkled Care” and brings “Laughter holding both his sides.” The poem emphasizes the uplifting power of joy, illustrating its role in creating a vibrant and harmonious existence.
- The Beauty of Nature
- Milton vividly captures the pastoral beauty of the countryside, portraying it as a source of inspiration and delight. He describes a landscape filled with “Russet lawns, and fallows gray, Where the nibbling flocks do stray,” and the morning sounds of the lark and the cock that “Scatters the rear of darkness thin.” The natural world is depicted not only as a backdrop to joy but as an active participant in the celebration of life, with imagery of dawn, flowers, and lively rural activities underscoring the interconnectedness of joy and nature.
- The Pleasures of Rural Life
- Milton contrasts the simplicity and charm of rural life with the bustling activity of the city, presenting the countryside as a sanctuary of happiness and tranquility. Scenes of milkmaids singing, shepherds sharing tales “Under the hawthorn in the dale,” and the sound of “merry bells” ringing in the hamlets evoke a sense of community and contentment. This romanticized vision of rural life emphasizes the poet’s belief in the purity and peace found in pastoral settings, which are conducive to mirth and creativity.
- The Value of Artistic and Intellectual Pursuits
- In addition to physical joy, Milton highlights the intellectual and artistic pleasures that contribute to human happiness. He refers to cultural icons like Shakespeare, “Warble his native wood-notes wild,” and Ben Jonson, “If Jonson’s learned sock be on,” to emphasize the transformative power of art and literature. Music also plays a significant role, with the poet desiring to be “Lap[ped] in soft Lydian airs, Married to immortal verse.” This theme reflects Milton’s broader view that art and culture are integral to a joyous and meaningful life.
Literary Theories and “L’Allegro” by John Milton
| Literary Theory | Application to “L’Allegro” | References from the Poem |
| Romanticism | While predating the Romantic period, “L’Allegro” reflects Romantic ideals with its emphasis on nature’s beauty, individual emotion, and imaginative vision. | The vivid descriptions of the natural world, such as “Russet lawns, and fallows gray,” and the “lark begin his flight,” evoke a deep connection between human emotions and the pastoral setting. |
| Pastoralism | Milton employs pastoral elements to idealize rural life as a source of happiness, contrasting it with the urban complexities of civilization. | Imagery of shepherds under the hawthorn, “milkmaid singeth blithe,” and scenes of rustic leisure highlight the poem’s celebration of the simplicity of rural existence. |
| Classical Humanism | The poem integrates classical mythology and highlights the value of intellect, creativity, and human potential, resonating with Classical Humanist ideals. | References to Euphrosyne, Bacchus, and the Muses, alongside cultural tributes to Shakespeare and Jonson, underscore the intellectual and artistic aspirations celebrated in the poem. |
Critical Questions about “L’Allegro” by John Milton
- How does Milton use personification in “L’Allegro” to explore abstract concepts like joy and melancholy?
- Milton employs personification to vividly depict abstract concepts, making them accessible and relatable. Mirth is personified as a goddess, “In heav’n yclep’d Euphrosyne,” whose divine attributes embody joy and liveliness. Conversely, Melancholy is described with dark and eerie imagery as a sinister being born “Of Cerberus, and blackest Midnight,” residing in a “Stygian cave forlorn.” By attributing human characteristics and mythological origins to these concepts, Milton creates a dramatic contrast that underscores the emotional and philosophical divide between joy and sorrow.
- How does “L’Allegro” reflect Milton’s views on the relationship between humanity and nature?
- Milton portrays nature as an integral source of joy and inspiration, deeply intertwined with human happiness. The poem features idyllic pastoral imagery, such as “Meadows trim with daisies pied” and “Shallow brooks, and rivers wide,” which symbolize harmony and tranquility. The morning lark and the vibrant sunrise, “Till the dappled dawn doth rise,” illustrate nature’s role in dispelling darkness and sorrow, mirroring the poet’s belief in nature’s restorative power. This perspective aligns with the pastoral tradition, celebrating the interconnectedness of humanity and the natural world.
- What role does artistic and intellectual engagement play in the joy celebrated in “L’Allegro”?
- Milton emphasizes the transformative power of art and intellect as essential components of joy. References to theatrical performances, such as “If Jonson’s learned sock be on” and “Warble his native wood-notes wild” for Shakespeare, showcase the cultural and emotional fulfillment derived from art. Additionally, the desire to be “Lap[ped] in soft Lydian airs, Married to immortal verse” highlights the elevation of the soul through music and poetry. These artistic pursuits underscore Milton’s belief in the intellectual enrichment and spiritual resonance that contribute to a joyful life.
- 4. How does Milton contrast rural and urban life in “L’Allegro”?
- Milton contrasts the simplicity and purity of rural life with the structured vibrancy of urban settings, presenting both as sources of joy. Rural life is depicted as harmonious and tranquil, with images of “milkmaid singeth blithe” and shepherds sharing tales “Under the hawthorn in the dale.” Urban life, while more dynamic, is celebrated for its cultural and social delights, such as the “busy hum of men” and the grandeur of “Tower’d cities.” This duality reflects Milton’s appreciation for both the simplicity of nature and the intellectual stimulation of civilization.
Literary Works Similar to “L’Allegro” by John Milton
- “Il Penseroso” by John Milton: This companion poem contrasts “L’Allegro” by celebrating the contemplative, melancholic mood, mirroring the dichotomy between mirth and thoughtfulness.
- “To Autumn” by John Keats: Keats’ poem shares a similar pastoral focus, capturing the beauty of rural life and the harmonious relationship between nature and human emotion.
- “Ode to Joy” by Friedrich Schiller: Though later set to music by Beethoven, this poem celebrates the unifying and elevating power of joy, akin to the thematic essence of “L’Allegro.”
- “The Solitary Reaper” by William Wordsworth: This poem reflects on the transformative power of rural life and music, much like Milton’s vivid depiction of nature and mirth.
Representative Quotations of “L’Allegro” by John Milton
| Quotation | Context | Theoretical Perspective |
| “Hence loathed Melancholy, Of Cerberus, and blackest Midnight born” | The poem opens with a rejection of Melancholy, associating it with darkness and mythological dread. | Psychoanalytic: Represents a conscious distancing from negative emotions and the embrace of joy. |
| “But come thou goddess fair and free, In heav’n yclep’d Euphrosyne” | Invocation of Mirth as a goddess, symbolizing joy and freedom. | Classical Humanism: Draws on Greco-Roman mythology to represent abstract emotions as divine and aspirational. |
| “Haste thee nymph, and bring with thee Jest and youthful Jollity” | A call for Mirth to bring light-heartedness and the vitality of youth. | Romanticism: Highlights the imaginative and emotional appeal of joy through idealized imagery. |
| “To hear the lark begin his flight, And singing startle the dull night” | Description of the morning lark as a symbol of awakening and renewal. | Ecocriticism: Reflects humanity’s deep connection with and inspiration from the natural world. |
| “Russet lawns, and fallows gray, Where the nibbling flocks do stray” | A pastoral depiction of the countryside as tranquil and idyllic. | Pastoralism: Idealizes rural life, emphasizing its simplicity and harmony with nature. |
| “Come, and trip it as ye go On the light fantastic toe” | A lively invitation to dance and revel in mirth. | Aestheticism: Focuses on the beauty of motion and the artistic expression of joy. |
| “If Jonson’s learned sock be on, Or sweetest Shakespeare, Fancy’s child” | Reference to theatrical art, celebrating Jonson’s wit and Shakespeare’s natural creativity. | New Historicism: Reflects cultural and literary influences of Milton’s time, particularly the English Renaissance. |
| “The mountain-nymph, sweet Liberty” | Liberty is personified as a companion to Mirth, symbolizing freedom and uninhibited joy. | Political Philosophy: Connects personal joy with the concept of freedom, a key Enlightenment ideal. |
| “With stories told of many a feat, How Faery Mab the junkets eat” | Recounts folklore and fantastical tales shared in the evening. | Mythological Criticism: Engages with cultural myths and fairy tales to enrich the narrative with universal motifs. |
| “These delights if thou canst give, Mirth, with thee I mean to live” | Concluding lines affirm the poet’s devotion to a life filled with mirth and pleasure. | Existentialism: Suggests a conscious choice to embrace joy and create a fulfilling life. |
Suggested Readings: “L’Allegro” by John Milton
- 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 13 Dec. 2024.
- HERMAN, PETER C. “Milton and the Muse-Haters: ‘Ad Patrem, L’Allegro/Il Penseroso’, and the Ambivalences of Poetry.” Criticism, vol. 37, no. 1, 1995, pp. 37–56. JSTOR, http://www.jstor.org/stable/23116576. Accessed 13 Dec. 2024.
- Miller, David M. “From Delusion to Illumination: A Larger Structure for L’Allegro-Il Penseroso.” PMLA, vol. 86, no. 1, 1971, pp. 32–39. JSTOR, https://doi.org/10.2307/460999. Accessed 13 Dec. 2024.
- Bates, Brian. “‘Welcome Joy, and Welcome Sorrow’: Fancy, Imagination, and Keats’s Re-Visioning of ‘L’Allegro’ and ‘Il Penseroso.'” CEA Critic, vol. 67, no. 3, 2005, pp. 15–27. JSTOR, http://www.jstor.org/stable/44377602. Accessed 13 Dec. 2024.
- JOHNSON, RICHARD M. “The Politics of Publication: Misrepresentation in Milton’s 1645 ‘Poems.'” Criticism, vol. 36, no. 1, 1994, pp. 45–71. JSTOR, http://www.jstor.org/stable/23116624. Accessed 13 Dec. 2024.