
Introduction: âLycidasâ by John Milton
âLycidasâ 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 Miltonâs lament, âYet once more, O ye laurels, and once more / Ye myrtles brown,â signaling his reluctant return to poetic mourning. Milton invokes the Muse to honor Lycidas, lamenting the untimely death of the shepherd who âknew / Himself to sing, and build the lofty rhyme.â The poemâs profound reflections on fleeting earthly fame, encapsulated in âFame is no plant that grows on mortal soil,â 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: âLycidasâ 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 forcâd 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 watâry 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 destinâd urn,
And as he passes turn
And bid fair peace be to my sable shroud!
      For we were nursâd upon the self-same hill,
Fed the same flock, by fountain, shade, and rill;
Together both, ere the high lawns appearâd
Under the opening eyelids of the morn,
We drove afield, and both together heard
What time the gray-fly winds her sultry horn,
Battâning our flocks with the fresh dews of night,
Oft till the star that rose at evâning bright
Toward heavânâs descent had slopâd his westering wheel.
Meanwhile the rural ditties were not mute,
Temperâd to thâoaten flute;
Rough Satyrs dancâd, and Fauns with clovân heel,
From the glad sound would not be absent long;
And old DamĂŠtas lovâd 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 oâergrown,
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 shepherdâs ear.
      Where were ye, Nymphs, when the remorseless deep
Closâd oâer the head of your lovâd 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 thereââfor 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 shepherdâs 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 NeĂŠraâs 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 thâabhorred shears,
And slits the thin-spun life. âBut not the praise,â
Phoebus replied, and touchâd my trembling ears;
âFame is no plant that grows on mortal soil,
Nor in the glistering foil
Set off to thâworld, 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 Heavân expect thy meed.â
      O fountain Arethuse, and thou honourâd flood,
Smooth-sliding Mincius, crownâd 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 Neptuneâs plea.
He askâd the waves, and askâd the felon winds,
âWhat hard mishap hath doomâd this gentle swain?â
And questionâd 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 strayâd;
The air was calm, and on the level brine
Sleek Panope with all her sisters playâd.
It was that fatal and perfidious bark,
Built in thâeclipse, and riggâd 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 inscribâd with woe.
âAh! who hath reft,â quoth he, âmy dearest pledge?â
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:
âHow well could I have sparâd for thee, young swain,
Enow of such as for their belliesâ sake
Creep and intrude, and climb into the fold?
Of other care they little reckâning make
Than how to scramble at the shearersâ feast
And shove away the worthy bidden guest.
Blind mouths! that scarce themselves know how to hold
A sheep-hook, or have learnâd aught else the least
That to the faithful herdmanâs 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, swollân 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 moreâ.
      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 flowârets 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 enamelâd 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 freakâd with jet,
The glowing violet,
The musk-rose, and the well attirâd 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, whereâer thy bones are hurlâd;
Whether beyond the stormy Hebrides,
Where thou perhaps under the whelming tide
Visitâst the bottom of the monstrous world,
Or whether thou, to our moist vows denied,
Sleepâst by the fable of Bellerus old,
Where the great vision of the guarded mount
Looks toward Namancos and Bayonaâs 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 watâry 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 walkâd 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 thâoaks and rills,
While the still morn went out with sandals gray;
He touchâd the tender stops of various quills,
With eager thought warbling his Doric lay;
And now the sun had stretchâd out all the hills,
And now was droppâd into the western bay;
At last he rose, and twitchâd his mantle blue:
To-morrow to fresh woods, and pastures new.
Annotations: âLycidasâ by John Milton
Line | Annotation |
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 âberriesâ (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: Lycidasâs 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 (âbuild the lofty rhymeâ), deserving of memorialization. |
He must not float upon his watâry bier⊠| Imagery of Lycidasâs body floating unburied; Milton insists that he deserves poetic remembrance (âmelodious tearâ). |
Begin then, Sisters of the sacred well⊠| The Muses, daughters of Zeus, are invoked for divine inspiration to sing about Lycidas. |
For we were nursâd 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 Lycidasâs death. Nature mourns his loss. |
The willows and the hazel copses green⊠| Vivid imagery of natureâs grief reflects the poetâs 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 Lycidasâs 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 âthe last infirmity of noble mind.â |
Phoebus replied, and touchâd 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 honourâd 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 shipâs 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 (âblind mouthsâ) 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 Lycidasâs soul has ascended to heaven. |
So Lycidas sunk low, but mounted high⊠| Contrasts physical death (âsunk lowâ) with spiritual redemption and eternal life (âmounted highâ). |
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 thâoaks and rills⊠| The poet refers to himself as the âuncouth swain,â 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: âLycidasâ by John Milton
Device | Examples | Explanation |
Alliteration | 1. âAnd with forcâd fingers rudeâ 2. âFor Lycidas is dead, dead ere his primeâ | Repetition of initial consonant sounds enhances rhythm and musicality. Milton uses alliteration to create emphasis and fluidity in the elegiac tone. |
Allusion | 1. âThe Muse herself that Orpheus boreâ 2. âThe Pilot of the Galilean lakeâ 3. âBuilt in thâeclipseâ | References to mythology (Orpheus), Christianity (St. Peter), and astrology (âeclipseâ) provide depth and connect Lycidasâs death to universal themes of destiny and divine intervention. |
Apostrophe | 1. âYet once more, O ye laurelsâ 2. âReturn, Sicilian Museâ 3. âO fountain Arethuseâ | Directly addressing inanimate objects (laurels, Muse, fountain), Milton gives them life and emotional resonance, enhancing the personal and reflective tone of the poem. |
Assonance | 1. âBitter constraint and sad occasion dearâ 2. âThe willows and the hazel copses greenâ 3. âYoung Lycidas, and hath not left his peerâ | Repetition of vowel sounds creates a mournful and melodic effect, reinforcing the elegyâs emotional tone. |
Classical Mythology | 1. âO fountain Arethuse, and thou honourâd floodâ 2. âWhat could the Muse herself that Orpheus boreâ 3. âCamus, reverend sireâ | References to Arethusa, Orpheus, and Camus (River Cam) root the poem in classical traditions, blending mythological and contemporary elements. |
Consonance | 1. âCreep and intrude, and climb into the foldâ 2. âTo tend the homely, slighted shepherdâs tradeâ 3. âBlind mouthsâ | Repetition of consonant sounds within close proximity emphasizes key ideas and enhances the musical quality of the lines. |
Elegiac Tone | 1. âFor Lycidas is dead, dead ere his primeâ 2. âNow thou art gone, and never must return!â 3. âSuch, Lycidas, thy loss to shepherdâs earâ | The tone of mourning and lamentation pervades the poem, expressing personal and collective grief while celebrating the subjectâs virtues. |
Enjambment | 1. âTo-morrow to fresh woods, and pastures newâ 2. âTogether both, ere the high lawns appearâd / Under the opening eyelids of the mornâ 3. âAlas! what boots it with incessant care / To tend the homely, slighted shepherdâs tradeâ | The continuation of thoughts across lines mirrors the natural flow of grief and meditation, maintaining rhythm and a sense of continuity. |
Epithets | 1. âBlind mouths!â 2. âReverend sireâ 3. âSacred wellâ | Descriptive phrases add vividness and emphasize key ideas, such as corrupt clergy (âblind mouthsâ) or reverence for nature (âsacred wellâ). |
Foreshadowing | 1. âBuilt in thâeclipse, and riggâd with curses darkâ 2. âThe blind Fury with thâabhorred shearsâ 3. âIt was that fatal and perfidious barkâ | Indicates the inevitability of Lycidasâs tragic death and connects it to themes of destiny and cosmic forces. |
Hyperbole | 1. âFor Lycidas is dead, dead ere his primeâ 2. âWith forcâd fingers rude / Shatter your leaves before the mellowing yearâ 3. âFame is no plant that grows on mortal soilâ | Exaggeration emphasizes the depth of grief and the poetâs frustration with human limitations. |
Imagery | 1. âThrow hither all your quaint enamelâd eyesâ 2. âWith nectar pure his oozy locks he lavesâ 3. âWash far away, whereâer thy bones are hurlâdâ | Vivid sensory descriptions evoke emotional responses, linking nature, death, and spiritual transcendence. |
Irony | 1. âThe hungry sheep look up, and are not fedâ 2. âAy me! I fondly dreamâ 3. âBlind mouths!â | Critiques clergy and human frailty by highlighting contradictions (e.g., sheep seeking nourishment but left hungry by those meant to feed them). |
Juxtaposition | 1. âSo Lycidas sunk low, but mounted highâ 2. âThrough the dear might of him that walkâd the wavesâ 3. âFor we were nursâd upon the self-same hill / But O the heavy change now thou art goneâ | Contrasts ideas (life and death, sorrow and redemption) to highlight key themes. |
Metaphor | 1. âThe blind Fury with thâabhorred shearsâ 2. âFame is the spur that the clear spirit doth raiseâ 3. âThe laurels, myrtles, and ivyâ | Abstract ideas (death, fame, grief) are represented through vivid and symbolic imagery. |
Personification | 1. âThe willows and the hazel copses green⊠mournâ 2. âThe hungry sheep look up, and are not fedâ 3. âThe parching windâ | Nature and abstract concepts are given human qualities to emphasize their emotional or moral significance. |
Repetition | 1. âFor Lycidas is dead, dead ere his primeâ 2. âWeep no more, woeful shepherds, weep no moreâ 3. âNorâ | Repetition reinforces emotional intensity and draws attention to key ideas, such as grief and consolation. |
Rhetorical Question | 1. âWhere were ye, Nymphs, when the remorseless deep / Closâd oâer the head of your lovâd Lycidas?â 2. âWhat could the Muse herself that Orpheus bore?â 3. âWhat boots it with incessant care?â | Highlights the helplessness and inevitability of fate while engaging the reader in reflection. |
Symbolism | 1. âThe laurels, myrtles, and ivyâ 2. âThe two-handed engine at the doorâ 3. âThe day-star in the ocean bedâ | Symbols of poetic immortality (laurels), divine judgment (engine), and hope (day-star) enrich the themes of life, death, and redemption. |
Tone Shift | 1. âWeep no more, woeful shepherds, weep no moreâ 2. âSo Lycidas sunk low, but mounted highâ 3. âTo-morrow to fresh woods, and pastures newâ | Moves from mourning to spiritual consolation and hope, reflecting the journey from despair to redemption. |
Themes: âLycidasâ by John Milton
1. Grief and Mourning: At its core, âLycidasâ is an elegy that mourns the untimely death of Lycidas, symbolizing Edward King, Miltonâs friend and fellow Cambridge student. The grief is evident from the opening lines, where Milton laments, âYet once more, O ye laurels, and once more / Ye myrtles brownâ (lines 1-2), invoking nature to share in his sorrow. The repeated declaration, âFor Lycidas is dead, dead ere his primeâ (line 8), underscores the depth of Miltonâs mourning, emphasizing the tragedy of a life cut short. This theme is reinforced through the imagery of nature grieving: âThe willows and the hazel copses green / Shall now no more be seenâ (lines 41-42). However, Miltonâs exploration of grief extends beyond personal loss to a reflection on mortality and the human condition, transforming sorrow into an inquiry into lifeâs 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, âComes the blind Fury with thâabhorred shears, / And slits the thin-spun lifeâ (lines 75-76), a metaphor for deathâs inevitability. He critiques the ephemeral nature of fame, asserting, âFame is no plant that grows on mortal soilâ (line 78). Instead, true fame lies in divine judgment, as expressed through Apolloâs counsel: âAs he pronounces lastly on each deed, / Of so much fame in Heavân expect thy meedâ (lines 82-83). This theme is central to the pastoral elegyâs 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 Lycidasâs death. Milton raises doubts about the fairness of life, asking the nymphs, âWhere were ye, Nymphs, when the remorseless deep / Closâd oâer the head of your lovâd Lycidas?â (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 âhears the unexpressive nuptial song, / In the blest kingdoms meek of joy and loveâ (lines 176-177). Lycidasâs 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, âLycidasâ includes a sharp critique of the corrupt clergy of Miltonâs time. This theme emerges in St. Peterâs speech, where he condemns, âBlind mouths! that scarce themselves know how to hold / A sheep-hookâ (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 âThe hungry sheep look up, and are not fed, / But swollân with wind and the rank mist they drawâ (lines 125-126), to emphasize the consequences of this moral failure. This critique ties Lycidasâs death to broader societal and religious issues, elevating the elegy to a commentary on spiritual decay.
Literary Theories and âLycidasâ by John Milton
Literary Theory | Application to âLycidasâ | References from the Poem |
Pastoral Theory | âLycidasâ 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 (âFed the same flock, by fountain, shade, and rillâ â line 24) and nature mourning (âThe willows and the hazel copses green / Shall now no more be seenâ â lines 41-42). |
Religious/Christian Theory | Milton incorporates Christian theology, reflecting on divine justice, the immortality of the soul, and the critique of corrupt clergy. | The spiritual ascent of Lycidas (âSo Lycidas sunk low, but mounted highâ â line 172) and St. Peterâs condemnation of corrupt clergy (âBlind mouths!â â line 119). |
Marxist Theory | The poem critiques institutional power structures, particularly the exploitation of religious authority by the clergy, reflecting social and economic inequalities. | St. Peterâs rebuke of materialistic clergy (âCreep and intrude, and climb into the foldâ â line 114) and the image of neglected sheep (âThe hungry sheep look up, and are not fedâ â line 125). |
Psychoanalytic Theory | Explores the poetâs inner conflict with mortality, fame, and creative legacy, as well as his subconscious grief for his friend. | Miltonâs contemplation of death (âComes the blind Fury with thâabhorred shearsâ â line 75) and the desire for artistic immortality (âFame is no plant that grows on mortal soilâ â line 78). |
Critical Questions about âLycidasâ 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 âFor we were nursâd upon the self-same hill, / Fed the same flock, by fountain, shade, and rillâ (lines 23-24), evokes an idyllic, natural world that contrasts with the disruption caused by Lycidasâs 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 âThe willows and the hazel copses green / Shall now no more be seenâ (lines 41-42), where the environment reflects the depth of the poetâs sorrow. The pastoral imagery, while rooted in simplicity, also serves as a metaphor for Miltonâs 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 Lycidasâs premature death, questioning, âWhere were ye, Nymphs, when the remorseless deep / Closâd oâer the head of your lovâd Lycidas?â (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: âSo Lycidas sunk low, but mounted high / Through the dear might of him that walkâd the wavesâ (lines 172-173). This imagery ties Lycidasâs 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 Miltonâs belief in the ultimate reward for virtue and piety.
3. What role does the critique of the clergy play in the elegyâs themes?
Miltonâs sharp critique of the clergy in âLycidasâ broadens the elegy from personal grief to societal critique. Through the voice of St. Peter, Milton condemns corrupt religious leaders, describing them as âBlind mouths! that scarce themselves know how to hold / A sheep-hookâ (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 âhungry sheepâ who âlook up, and are not fedâ (line 125), symbolizing the neglected congregation. This societal critique reflects Miltonâs larger concerns about spiritual decay and institutional corruption, tying Lycidasâs death to broader moral and theological questions. The critique ultimately reinforces the poemâs exploration of mortality, responsibility, and divine judgment.
4. How does Milton address the idea of fame and artistic legacy in âLycidasâ?
Milton meditates on the nature of fame and the poetâs legacy, questioning the value of earthly recognition. This theme arises in his reflection on the pursuit of artistic labor: âFame is the spur that the clear spirit doth raise / To scorn delights and live laborious daysâ (lines 70-71). However, Milton warns of the fleeting nature of worldly fame, stating, âFame is no plant that grows on mortal soilâ (line 78), suggesting that true recognition comes from divine judgment. Through the voice of Apollo, the poem resolves this tension by emphasizing heavenly reward: âOf so much fame in Heavân expect thy meedâ (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 âLycidasâ by John Milton
- âAdonaisâ by Percy Bysshe Shelley
A pastoral elegy mourning the death of John Keats, sharing âLycidasââs themes of grief, immortality, and the transcendence of the poetâs soul. - âThyrsisâ 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 âLycidas.â - âIn Memoriam A.H.H.â by Alfred Lord Tennyson
Tennysonâs elegy for his friend Arthur Hallam resonates with âLycidasâ through its meditations on grief, faith, and the hope for eternal life. - âElegy Written in a Country Churchyardâ by Thomas Gray
While not a traditional elegy for an individual, this poem reflects on mortality, fame, and the lives of the humble, paralleling âLycidasââs reflections on fame and death. - âThe Scholar-Gypsyâ by Matthew Arnold
Although not an elegy, its pastoral setting and contemplations on mortality and artistic legacy share thematic parallels with âLycidas.â
Representative Quotations of âLycidasâ by John Milton
Quotation | Context | Theoretical Perspective |
âYet once more, O ye laurels, and once more / Ye myrtles brownâ | Milton invokes nature and the poetic tradition to help express his grief. | Pastoral Theory: Invocation of nature aligns with the conventions of pastoral elegy. |
âFor Lycidas is dead, dead ere his primeâ | Central declaration of Lycidasâs untimely death, setting the tone of mourning. | Elegiac Tradition: Emphasizes the grief and tragedy of premature death. |
âWho would not sing for Lycidas? He knew / Himself to sing, and build the lofty rhyme.â | Celebrates Lycidasâs poetic talent and calls for his commemoration through verse. | Aesthetic Theory: Explores the relationship between art, mortality, and remembrance. |
âHe must not float upon his watâry bier / Unwept, and welter to the parching windâ | Expresses the need to honor Lycidasâs death with poetic lamentation. | Ritualistic Perspective: Poetry as a cultural and emotional ritual to honor the dead. |
âWhere were ye, Nymphs, when the remorseless deep / Closâd oâer the head of your lovâd Lycidas?â | Questions the absence of divine intervention in Lycidasâs drowning. | Religious Theory: Raises concerns about divine justice and human suffering. |
âFame is no plant that grows on mortal soilâ | Suggests that true fame lies in divine recognition rather than worldly achievements. | Transcendental Perspective: Shifts the concept of fame from earthly to spiritual realms. |
âBlind mouths! that scarce themselves know how to hold / A sheep-hookâ | St. Peter criticizes corrupt clergy for neglecting their spiritual duties. | Marxist Theory: Critiques institutional power structures and clergyâs exploitation. |
âThe hungry sheep look up, and are not fedâ | Describes the failure of corrupt clergy to spiritually nourish their congregation. | Social Critique: Highlights the consequences of institutional neglect and moral decay. |
âBuilt in thâeclipse, and riggâd with curses darkâ | Refers to the ship that carried Lycidas, hinting at its cursed and fated destruction. | Fate and Destiny: Explores the inevitability of human mortality. |
âComes the blind Fury with thâabhorred shears, / And slits the thin-spun lifeâ | Depicts death as the cutting of lifeâs thread by one of the Fates. | Mythological Theory: References classical mythology to symbolize the universality of death. |
âReturn, Sicilian Muse, / And call the vales and bid them hither castâ | Returns to pastoral conventions, invoking nature to participate in Lycidasâs mourning. | Pastoral Theory: Centers nature as a participant in human grief. |
âBring the rathe primrose that forsaken diesâ | Lists flowers as symbolic offerings for Lycidas, blending nature with mourning. | Symbolism: Flowers symbolize fragility, mourning, and fleeting beauty. |
âSo Lycidas sunk low, but mounted highâ | Contrasts Lycidasâs physical death with his spiritual ascent to heaven. | Religious Perspective: Emphasizes Christian redemption and eternal life. |
âThrough the dear might of him that walkâd the wavesâ | Refers to Christ, whose power enables Lycidasâs ascension. | Christian Theology: Connects Lycidasâs fate to divine salvation. |
âOf so much fame in Heavân expect thy meedâ | Apollo assures Milton that true fame lies in heavenly reward. | Aesthetic and Transcendental Theory: Frames poetic legacy within spiritual, not worldly, recognition. |
âThe willows and the hazel copses green / Shall now no more be seenâ | Nature mourns Lycidasâs absence, reflecting the poetâs grief. | Eco-Criticism: Demonstrates the interconnectedness of human emotion and the natural world. |
âAy me! Whilst thee the shores and sounding seas / Wash far away, whereâer thy bones are hurlâdâ | Imagines Lycidasâs body lost at sea, invoking both despair and the vastness of nature. | Existential Theory: Explores human insignificance against the vastness of nature and fate. |
âWeep no more, woeful shepherds, weep no moreâ | Marks a transition from sorrow to consolation, urging an end to grief. | Transition Theory: Represents a movement from lamentation to spiritual resolution. |
âAnd hears the unexpressive nuptial songâ | Envisions Lycidas in heaven, partaking in eternal joys and divine harmony. | Religious and Symbolic Theory: Describes eternal bliss and heavenly unity. |
âTo-morrow to fresh woods, and pastures newâ | 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: âLycidasâ by John Milton
- Hanford, James Holly. âThe Pastoral Elegy and Miltonâs Lycidas.â PMLA, vol. 25, no. 3, 1910, pp. 403â47. JSTOR, https://doi.org/10.2307/456731. Accessed 9 Jan. 2025.
- Jones, Katherine. âA Note on Miltonâs âLycidas.ââ American Imago, vol. 19, no. 2, 1962, pp. 141â55. JSTOR, http://www.jstor.org/stable/26301859. Accessed 9 Jan. 2025.
- Oras, Ants. âMiltonâs Early Rhyme Schemes and the Structure of âLycidas.ââ Modern Philology, vol. 52, no. 1, 1954, pp. 12â22. JSTOR, http://www.jstor.org/stable/435252. Accessed 9 Jan. 2025.
- Johnson, Barbara A. âFiction and Grief: The Pastoral Idiom of Miltonâs âLycidas.ââ Milton Quarterly, vol. 18, no. 3, 1984, pp. 69â76. JSTOR, http://www.jstor.org/stable/24464713. Accessed 9 Jan. 2025.
- Wagenknecht, Edward. âMilton in âLycidas.ââ College English, vol. 7, no. 7, 1946, pp. 393â97. JSTOR, https://doi.org/10.2307/370640. Accessed 9 Jan. 2025.
- Alpers, Paul. âLycidas and Modern Criticism.â ELH, vol. 49, no. 2, 1982, pp. 468â96. JSTOR, https://doi.org/10.2307/2872992. Accessed 9 Jan. 2025.
- Mason, David. âTHE ALLURE OF MILTONâS âLYCIDAS.ââ CLA Journal, vol. 33, no. 1, 1989, pp. 58â72. JSTOR, http://www.jstor.org/stable/44322066. Accessed 9 Jan. 2025.