Notes to Chapter 1out against her wishes to a defaulting debtor. He also made a large profit by buying back
at a large discount bonds held by Cotton, after (perhaps) persuading him they were
likely to default. As partner, Milton senior was held liable for half the repayment of £50
adjudged for Rose Downer, and ultimately for all of it when Bower refused to pay his
part. Judgments in the Downer–Milton case were delivered in June, 1632, but Milton’s
efforts to collect from Bower and others continued to June, 1640. The Cotton suit
began in May, 1636 but was dismissed on February 1, 1638, with the plaintiff Cotton
made to pay costs.
9 French, Milton in Chancery, 264.
10 On Euripides’ Tragoediae (Geneva, 1602), now in the Bodleian (Don.d.27, 28), Milton’s
inscription on a flyleaf reads: “Jo. Milton pre: [12]s [6]d 1634.” Lycophron, Alexandra.
With Commentary of Tzetzes (Geneva, 1601), now in the University of Illinois Library,
bears Milton’s flyleaf inscription: “Sum ex libris Jo: Miltoni pre: 13s. 1634.” Milton
made several marginal annotations in both, relating to grammar, metrics, and meaning:
see Maurice Kelley and Samuel D. Atkins, “Milton’s Annotations of Euripides,” Journal
of English and Germanic Philology 60 (1961), 680–7. The inscription “Jo. Milton” is on
the title page of Pub. Terentii Comoediae Sex (Leyden, 1635), now at Harvard; numbers
indicating the date of purchase are illegible but he probably purchased it close to the
year of publication. John Creccelius, Collectanea ex Historiis (Frankfurt, 1614), now at
the Huntington Library, bears the inscription, “pr. 3s. John Milton 1633 21st Octo-
ber,” but the hand seems not to be his. None of these books are excerpted in his
Commonplace Book – some evidence that it was begun after 1635.
11 Gil’s Epinikion (London, 1631) was likely to have pleased Milton especially, being in
the tradition of Gil’s In ruinam Camerae Papisticae and In Sylvam-Ducis. In the Parerga
those poems are surrounded by royal panegyrics and other courtly poems, but Gil
opened that volume with his funeral tribute to Prince Henry, the much-lamented hope
of the reformists, perhaps as a gesture to recall Charles to Henry’s more militant Protes-
tant ideals.
12 See Graham Parry, The Golden Age Restored (Manchester, 1981) and Stephen Orgel,
Illusion of Power (Berkeley, 1975). The principal masques, most of them mounted by
Inigo Jones, were: Ben Jonson, Love’s Triumph through Callipolis (Jan. 9, 1631); Jonson,
Chloridia (Feb. 22, 1631); Aurelian Townshend, Tempe Restored (Feb. 14, 1632); James
Shirley, The Triumph of Peace (Feb. 3, 13, 1634); Thomas Carew, Coelum Britannicum
(Feb. 18, 1634); William Davenant, The Temple of Love (Feb. 10, 11, 12, 1635); Davenant,
Brittania Triumphans (Jan. 17, 1638); and Davenant, Salmacida Spolia (Jan. 21, 1640).
13 Pastoral provided an important symbolic register for Jacobean masques as well: Pan’s
Anniversary (1620) is set in Arcadia, with James figured as Pan. See Lewalski, “Milton’s
Comus and the Politics of Masquing,” in The Politics of the Stuart Court Masque, eds.
David Bevington and Peter Holbrook (Cambridge, 1998), 296–320.
14 Charles I, The King’s Majesty’s Declaration to his subjects concerning lawful sports to be used
(London, 1633).
15 Lucy Hutchinson, Memoirs of the Life of Colonel Hutchinson, ed. Julius Hutchinson (Lon-
don, 1968), 42. Written shortly after the death of her husband in 1664 and certainly
before 1671, it was first published in 1806, with many deletions and changes, by a
descendant of Colonel Hutchinson in the collateral line.
16 The book carries no publication data, to protect publisher and bookseller.
Notes to Chapter 3