Notes to Chapter 1Gospel in... London (London, 1649).
121 State Trials IV, cols 1,141–2.
122 Andrew Marvell, “An Horatian Ode upon Cromwel’s Return from Ireland,” ll. 53–
64, in The Poems and Letters of Andrew Marvell, ed. H. M. Margoliouth, et al., 2 vols
(Oxford, 1971), I, 91–4.
123 Journal of the House of Commons, VI, 133, 138–9, 149, 166. The resolutions formally
abolishing the king and Lords were passed March 17. See Samuel R. Gardiner, History
of the Commonwealth and Protectorate, 1649–1660, 4 vols (London, 1894–1901), I, 196–
7, 215–16.
124 For the Levellers, see especially John Lilburne, Englands New Chains Discovered (London,
1649, c. February 26). The officers had presented their compromise Agreement of the
People to parliament on January 20 – A Petition... Concerning the Draught of an Agree-
ment of the People (London, 1649) – but the king’s trial focused attention elsewhere.
125 The Tenure of Kings and Magistrates (London, 1649). The tract is signed with Milton’s
initials only – “The Author J. M.” – but those initials would have identified him to
many readers. It was unlicensed but bore the publisher’s name, Matthew Simmons; he
had also published Bucer and probably other Milton divorce tracts.
126 Reason of Church-governement, CPW I, 816. See chapter 5, pp. 151–2.
127 See Louis L. Martz, Poet of Exile (New Haven, Conn., 1980), 31–59; Thomas Corns,
“Milton’s Quest for Respectability,” Modern Language Review 77 (1982), 769–79; and
Annabel Patterson, “Forc’d Fingers,” in The Muses Common-Weale, ed. Claude J. Sum-
mers and Ted-Larry Pebworth (Columbia, Mo., 1988), 9–22.
128 For Lawes, see pp. 200–1. Edmund Waller’s title page a few months earlier used the
same formula: “All the Lyrick Poems in this Booke were set by Mr. Henry Lawes
Gent. of the Kings Chappell, and one of his Majesties Private Musick.”
129 He was right about reader preferences: Milton’s volume took nearly 15 years to sell
out its first printing. See C. W. Moseley, The Poetic Birth: Milton’s Poems of 1645
(Aldershot, 1991).
130 Richard Johnson, “The Politics of Publication: Misrepresentation in Milton’s 1645
Poems,” Criticism 36 (1991), 45–71. He suggests, plausibly, that royalist Moseley was
complicit in the design of this portrait.
131 The Greek is:
’Aμ·θÂÈ γÂγρÀfθ·È χÂÈρÈ ÙÜν‰Â μÂν ÂÈ’κÞν·
Φ·Ýη÷ ÙÀχ’ ·’ ́ν, pρÔ÷ Â݉Ô÷ ·υÙÔ’ fυÂ÷ ‚λÛp ων
TÔν ‰’ ÂκÙυ’ p ωÙÔν Ôυκ ’ Â’pÈγνÞνÙÂ÷ fÝλÔÈ
G Âλ·Ù f·àλÔυ ‰υÛμÝμημ· ζωγρÀfÔυ.Masson’s (III, 459) translation. The verses must have been added late in 1645, after the
engraving was finished and before the book’s publication.
132 Lines 27–8, in which Thyrsis first introduces himself as budding singer: “Baccare frontem
/ Cingite, ne vati noceat mala lingua futuro” (Wreathe my brow with fragrant plants,
lest an evil tongue harm your bard to be). See C. W. Moseley, Poetic Birth, 82. See also
Leah Marcus, “John Milton’s Voice,” Unediting the Renaissance (London, 1996), 204–24.
133 See David Norbrook, “Levelling Poetry: George Wither and the English Revolution,
1642–1649,” English Literary Renaissance 21 (1991), 217–56.
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