IL PENSEROSO. Some general remarks on (II Penseroso' will be found in the article on the companion poem (L'Allegro) (q.v.). (II Penseroso' presents the contemplative or thoughtful mood or humor. We need not think of these sketches of mood or humor as representing different people; Milton probably recognized them both in himself, as many others may do. If he did, we must remember that the contemplative mood grew upon him with years and, indeed, was more nearly his real self. The poem begins by getting rid of deluding joys.° We need not think of these as the joys of the cheerful, active life cele brated in (L'Allegro' ; they are rather the ex travagance of the active humor, just as the Melancholy* of is not the contemplative mood expressed in the other poem, but an exaggeration or perversion of it. Next comes the address to the *Goddess sage and holy° whom he calls *divinest Melancholy.* One reason for thinking that we have here the truly l‘liltonic mood is that this part of the poem is longer than the corresponding part in (L'Allegro' ; the poet has more to say, just as he has later in the poem. The thoughtful
mood is accompanied by Peace, Quiet, Leisure, Contemplation. Then Milton gives an idea of the day's occupation; it is mostly taken up in reading and study, begun after the evenmg's walk and carried on far into the night, or even to the cloudy morning. By day the meditative man walks in the quiet grove or the studious cloister. In this poem Milton looks ahead, as he does not in and sees the quiet and retired end of life, in which experience and wisdom have matured into something like the voice of God. As is noted of (L'Allegro) the poem is an example of the classic or liter ary poetry, especially as thought of in the 17th century. The classic form and mythology together with the rather conventional idea make it seem old-fashioned to us. But it has the power and virtue of the true classic; it is always pleasing, never losing its power to appeal to the heart and mind. For editions see L'Auxcao. EDWARD E. HALE.