And if the late King had thought sufficient those Answers and Defences made for him in his life time, they who on the other side accus'd his evil Goverment, judging that on their behalf anough also hath been reply'd, the heat of this controversie wasin all likelyhood drawing to an end; and the furder mention of his deeds, not so much unfortunat as faulty, had in tenderness to his late sufferings bin willingly forborn; and perhaps for the present age might have slept with him unrepeated; while his
First then that som men (whether this were by him intended, or by his Friends) have by policy accomplish'd after death that revenge upon thir Enemies, which in life they were not able, hath been oft related. And among other examples we finde, that thelast will of Cæsar being read to the people, and what bounteous Legacies he had bequeath'd them, wrought more in that Vulgar audience to the avenging of his death, then all the art he could ever use, to win thir favor in his life-time. And how much
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I sing the starry axis and the singing hosts in the sky, *and of the
gods suddenly destroyed in their own SHRINES*. -- Milton, 1629
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Shrine \Shrine\, v. t.
To enshrine; to place reverently, as in a shrine. ``Shrined
in his sanctuary.'' --Milton.
Shrine \Shrine\ (shr[imac]n), n. [OE. schrin, AS. scr[=i]n, from
L. scrinium a case, chest, box.]
1. A case, box, or receptacle, especially one in which are
deposited sacred relics, as the bones of a saint.
2. Any sacred place, as an altar, tomb, or the like.
Too weak the sacred shrine guard. --Byron.
3. A place or object hallowed from its history or
associations; as, a shrine of art.
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Milton
On Shakespeare. 1630
WHat needs my Shakespear for his HONOUR'D BONES,
The labour of an age in piled Stones,
Or that his HALLOW'D RELIQUES should be hid
Under a Star-ypointing PYRAMID?
Dear son of memory, great heir of Fame, [ 5 ]
What need'st thou such weak witnes of thy name?
Thou in our wonder and astonishment
Hast built thy self a live-long Monument.
For whilst to th' shame of slow-endeavouring art,
Thy easie numbers flow, and that each heart [ 10 ]
Hath from the leaves of thy unvalu'd Book,
Those DELPHICK lines with deep impression took,
Then thou our fancy of it self bereaving,
Dost make us MARBLE with too much conceaving;
And so Sepulcher'd in such POMP dost lie, [ 15 ]
That Kings for such a Tomb would wish to die.
*******************************
APOLLO from his SHRINE/ Can no more divine,/
With hollow shreik the steep of DELPHOS leaving. - Milton
********************************
Performing early modern trauma from Shakespeare to Milton
By Thomas Page Anderson
In the "Preface" to Eikonoklastes, Milton establishes his strategy to
disarm the book in a disingenuous offer of praise. He "commends" the
King's "op'ness" in giving the title of The King's Image to the book.
And he complements as well the appearance of the project: "by the
SHRINE he dresses out for him, certainly would have the people come
and worship him" (EK, p.68). Milton's reference to the shrine echoes
Protestant writings that worked to debunk notions of the sacred altar
central to the Catholic sacraments. By acknowledging the altar-like
status of the text, Milton associates the book's appeal to its
putative efficacy. However, he qualifies the king's SHRINE by
suggesting that its altar-like status is the product of effective
staging or "dress[ing] out."
**************************
John Milton's "On the Morning of Christ's Nativity" (1629)
...The Oracles are dumm,
No voice or hideous humm
Runs through the arched roof in words deceiving. [ 175 ]
APOLLO from his shrine
Can no more divine,
With hollow shreik the steep of DELPHOS leaving.
No nightly trance, or breathed spell,
Inspire's the pale-ey'd Priest from the prophetic cell. [ 180 ]
*******************************
Milton, Paradise Regained
451: The other service was thy chosen task,
452: To be a liar in four hundred mouths;
453: For lying is thy sustenance, thy food.
454: Yet thou pretend'st to truth! all oracles
455: By thee are given, and what confessed more true
456: Among the nations? That hath been thy craft,
457: By mixing somewhat true to vent more lies.
458: But what have been thy answers? what but dark,
459: Ambiguous, and with double sense deluding,
460: Which they who asked have seldom understood,
461: And, not well understood, as good not known?
462: Who ever, by consulting at thy shrine,
463: Returned the wiser, or the more instruct
464: To fly or follow what concerned him most,
465: And run not sooner to his fatal snare?
466: For God hath justly given the nations up
467: To thy delusions; justly, since they fell
468: Idolatrous. But, when his purpose is
469: Among them to declare his providence,
470: To thee not known, whence hast thou then thy truth,
471: But from him, or his Angels president
472: In every province, who, themselves disdaining
473: To approach thy temples, give thee in command
474: What, to the smallest tittle, thou shalt say
475: To thy adorers? Thou, with trembling fear,
476: Or like a fawning parasite, obey'st;
477: Then to thyself ascrib'st the truth foretold.
478: But this thy glory shall be soon retrenched;
479: No more shalt thou by oracling abuse
481: And thou no more with POMP and sacrifice
482: Shalt be enquired at DELPHOS or elsewhere--
483: At least in vain, for they shall find thee mute.
484: God hath now sent his living Oracle
485: Into the world to teach his final will,
486: And sends his Spirit of Truth henceforth to dwell
487: In pious hearts, an inward oracle
488: To all truth requisite for men to know."
489:
490: So spake our Saviour;
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Milton, On Shakespeare
And so sepúlchred in such pomp dost lie,
That kings for such a tomb would wish to die..
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