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
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 “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
Device | Examples | Explanation |
Alliteration | 1. “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. |
Allusion | 1. “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. |
Apostrophe | 1. “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. |
Assonance | 1. “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 Mythology | 1. “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. |
Consonance | 1. “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 Tone | 1. “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. |
Enjambment | 1. “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. |
Epithets | 1. “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”). |
Foreshadowing | 1. “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. |
Hyperbole | 1. “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. |
Imagery | 1. “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. |
Irony | 1. “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). |
Juxtaposition | 1. “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. |
Metaphor | 1. “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. |
Personification | 1. “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. |
Repetition | 1. “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 Question | 1. “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. |
Symbolism | 1. “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 Shift | 1. “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 Theory | Application 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 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 (“So Lycidas sunk low, but mounted high” – line 172) and St. Peter’s condemnation of corrupt clergy (“Blind mouths!” – 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. 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 Theory | Explores 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
- “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. - “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.” - “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. - “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. - “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
Quotation | Context | Theoretical 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
- 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.
- 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.
- 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.
- 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.
- 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.
- 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.
- 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.