« ZurückWeiter »
I. To the Nightingale..............
II. •Donna leggiadra il cui bel nome honora.'... 198
III. "Qual in colle aspro, al imbrunir di sera.' ... 199
IV. Diodati, e te'l dirò con maraviglia.'
V. “Per certo i bei vostro occhi, Donna mia.'.. 201
VI. Giovane piano, e simplicetto amante.' 201
VII. On his being arrived to the age of twenty-
VIII. When the Assault was intended to the City 203
IX. To a virtuous young Lady............
XI. On the detraction which followed upon my
XIII. To Mr. H. Lawes on the publishing his Airs 206
XIV. On the Religious Memory of Mrs. Catharine
XV. To the Lord General Fairfax
XVI. To the Lord General Cromwell
XVII. To Sir Henry Vane the younger
XVIII. On the late Massacre in Piemont..
Joannis Miltoni Londinensis Poemata.
JI. In obitum Præconis Academici Cantabri.
Ill. In obitum Præsulis Wintoniensis
VI. Ad Carolum Deodatum ruri commorantem..
V. In Inventorem Bombardæ.........
XII. Apologus de Rustico et Hero
XIII. Ad Christinum Suecorum Reginam, nomine
In obitum Procancellarii, Medici
De idea Platonica quemadmodum Aristoteles in-
Ad Salsillum, Poetam Romanum, ægrotantem
Ad Joannum Rousiam Oxoniensis Academiæ Bib-
A DRAMATIC POEM.
Τραγωδία μίμησις πράξεως σπουδαίας, &c.
Aristot. Poet. cap. vi.
Tragedia et imitatio actionis seriæ, &c. per misericordiam et
metum perficiens talium affectuum lustrationem.
OF THAT SORT OF DRAMATIC POEM WHICII
IS CALLED TRAGEDY,
TRAGEDY, as it was anciently composed, hath been ever held the gravest, moralest, and most profitable of all other poems; therefore said by Aristotle to be of power, by raising pity, and fear, or terror, to purge the mind of those and such like passions, that is, to temper and reduce them to just measure with a kind of delight, stirred up by reading or seeing those passions well imitated. Nor is nature wanting in her own effects to make good his assertion, for so in physic things of melancholic hue and quality are used against melancholy, sour against sour, salt to remove salt humours. Hence philosophers and other gravest writers, as Cicero, Plutarch, and others, frequently cite out of tragic poets, both to adorn and illustrate their discourse. The apostle Paul himself thought it not unworthy to insert a verse of Euripides into the text of holy scripture, 1 Cor. xv. 33, and Paræus, commenting on the Revelation, divides the whole book, as a tragedy, into acts, distinguished each by a chorus of heavenly harpings and song between. Heretofore men in highest dignity have laboured not a little to be thought able to compose a tragedy. Of that