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L'Allegro by John Milton

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L'Allegro is Milton's call to Mirth—the embodiment of cheerfulness—to come and brighten his days with joy, from the sounds of a morning in the countryside to the festivities of the city.

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The PoemFull text

L'Allegro

John Milton

HEnce, loathed Melancholy, Of Cerberus and blackest midnight born, In Stygian Cave forlorn 'Mongst horrid shapes, and shrieks, and sights unholy, Find out som uncouth cell, Wher brooding darkness spreads his jealous wings, And the night-Raven sings; There, under Ebon shades and low-brow'd Rocks, As ragged as thy Locks, In dark Cimmerian desert ever dwell. But com thou Goddes fair and free, In Heav'n ycleap'd Euphrosyne, And by men, heart-easing Mirth, Whom lovely Venus at a birth With two sister Graces more To Ivy-crowned Bacchus bore; Or whether (as som Sager sing) The frolick Wind that breathes the Spring, Zephir with Aurora playing, As he met her once a Maying, There on Beds of Violets blew, And fresh-blown Roses washt in dew, Fill'd her with thee a daughter fair, So bucksom, blith, and debonair. Haste thee nymph, and bring with thee Jest and youthful Jollity, Quips and Cranks, and wanton Wiles, Nods, and Becks, and Wreathed Smiles, Such as hang on Hebe's cheek, And love to live in dimple sleek; Sport that wrincled Care derides, And Laughter holding both his sides, Com, and trip it as ye go On the light fantastick toe. And in thy right hand lead with thee, The Mountain Nymph, sweet Liberty; And if I give thee honour due, Mirth, admit me of thy crue To live with her, and live with thee, In unreproved pleasures free; To hear the Lark begin his flight. And singing startle the dull night, From his watch-towre in the skies, Till the dappled dawn doth rise; Then to com in spight of sorrow, And at my window bid good morrow, Through the Sweet-Briar, or the Vine, Or the twisted Eglantine. While the Cock with lively din, Scatters the rear of darknes thin, And to the stack, or the Barn dore, Stoutly struts his Dames before, Oft list'ning how the Hounds and horn, Chearly rouse the slumbring morn, From the side of som Hoar Hill, Through the high wood echoing shrill. Som time walking not unseen By Hedge-row Elms, on Hillocks green, Right against the Eastern gate, Wher the great Sun begins his state, Rob'd in flames, and Amber light, The clouds in thousand Liveries dight, While the Plowman neer at hand, Whistles ore the Furrow'd Land, And the Milkmaid fingeth blithe, And the Mower whets his sithe, And every Shepherd tells his tale Under the Hawthorn in the dale. Streit mine eye hath caught new pleasures Whilst the Lantskip round it measures, Russet Lawns, and Fallows Gray, Where the nibling flocks do stray, Mountains on whose barren brest The labouring clouds do often rest: Meadows trim with Daisies pide, Shallow Brooks, and Rivers wide Towers, and Battlements it sees Boosom'd high in tufted Trees, Wher perhaps fom beauty lies, The Cynosure of neighbouring eyes. Hard by, a Cottage chimney smokes, From betwixt two aged Okes, Where Corydon and Thyrsis met, Are at their savory dinner set Of Hearbs, and other Country Messes, Which the neat-handed Phillis dresses; And then in haste her Bowre she leaves, With Thestylis to bind the Sheaves; Or if the earlier season lead To the tann'd Haycock in the Mead, Som times with secure delight The up-land Hamlets will invite, When the merry Bells ring round, And the jocond rebecks sound To many a youth, and many a maid, Dancing in the Chequer'd shade; And young and old com forth to play On a Sunshine Holyday, Till the live-long day-light fail, Then to the Spicy Nut-brown Ale, With stories told of many a feat, How Faery Mab the junkets eat, She was pincht, and pull'd she sed, And he by Friars Lanthorn led Tells how the drudging Goblin swet, To ern his Cream-bowle duly set, When in one night, ere glimps of morn, His shadowy Flale hath thresh'd the Corn That ten day labourers could not end, Then lies him down the Lubbar Fend. And stretch'd out all the Chimney's length, Basks at the fire his hairy strength; And Crop-full out of dores he flings, Ere the first Cock his Maitin rings. Thus don the Tales, to bed they creep, By whispering Windes soon lull'd asleep. Towred Cities please us then, And the busie humm of men, Where throngs of Knights and Barons bold, In weeds of Peace high triumphs hold, With store of Ladies, whose bright eies Rain influence, and judge the prise Of Wit, or Arms, while both contend To win her Grace, whom all commend. There let Hymen oft appear In Saffron robe, with Taper clear, And pomp, and feast, and revelry, With mask, and antique Pageantry, Such sights as youthfull Poets dream On Summer eeves by haunted stream. Then to the well, trod stage anon, If Jonsons learned Sock be on, Or sweetest Shakespear fancies childe, Warble his native Wood-notes wilde, And ever against eating Cares, Lap me in soft Lydian Aires, Married to immortal verse Such as the meeting soul may pierce In notes, with many a winding bout Of lincked sweetnes long drawn out, With wanton heed, and giddy cunning, The melting voice through mazes running; Untwining all the chains that ty The hidden soul of harmony. That Orpheus self may heave his head From golden slumber on a bed Of heapt Elysian flowres, and hear Such streins as would have won the ear Of Pluto, to have quite set free His half regain'd Eurydice. These delights, if thou canst give, Mirth with thee, I mean to live.

Public domain

Sourced from Project Gutenberg

§01Quick summary

What this poem is about

L'Allegro is Milton's call to Mirth—the embodiment of cheerfulness—to come and brighten his days with joy, from the sounds of a morning in the countryside to the festivities of the city. The poem captures an entire day filled with happiness: the song of birds, ploughmen whistling, village dances, storytelling by the fire, theatre, and music. It concludes with a straightforward agreement: if Mirth can provide all these delights, Milton is more than willing to share his life with her.

§02Themes

Recurring themes

§03Line by line

Stanza by stanza, with notes

  1. HEnce, loathed Melancholy, / Of Cerberus and blackest midnight born,

    Editor's note

    Milton starts by sending Melancholy away, giving her a bizarre lineage — she’s born from Cerberus, the three-headed dog of the underworld, and the darkness of midnight. She’s exiled to live in gloomy, hellish caves. This quick ten-line dismissal sets the tone for the entire poem, sweeping away the shadows to make room for joy.

  2. But com thou Goddes fair and free, / In Heav'n ycleap'd Euphrosyne,

    Editor's note

    Melancholy gone, Milton invites her counterpart: Mirth, recognized in heaven as Euphrosyne (one of the three Graces). He presents two potential mythological origins for her — the daughter of Venus and Bacchus, or the daughter of Zephyr (the spring wind) and Aurora (the dawn). Regardless, she embodies beauty, spring, and delight. He then names her companions: Jest, Jollity, Laughter, and Liberty, urging them all to join in a dance on their 'light fantastick toe.'

  3. And in thy right hand lead with thee, / The Mountain Nymph, sweet Liberty;

    Editor's note

    Milton requests Mirth to bring Liberty along and to welcome him into their group so he can savor 'unreproved pleasures' — pleasures free from guilt. The day unfolds: a lark begins to sing before dawn, followed by the crowing of the rooster, while hounds and horns resonate across a wooded hill. Milton imagines himself strolling, almost hidden, along hedgerows and green hillocks — a quiet, solitary figure blending into the morning scene.

  4. Right against the Eastern gate, / Wher the great Sun begins his state,

    Editor's note

    The sun rises with a grand display, cloaked in flames and amber hues. Below, the rhythm of rural life carries on: a ploughman whistles, a milkmaid sings, a mower sharpens his scythe, and a shepherd shares his tale beneath a hawthorn tree. Milton's gaze glides over the entire landscape — lawns, meadows, brooks, rivers, and towers partially obscured by trees — landing on a cottage chimney puffing smoke between two ancient oaks.

  5. Where Corydon and Thyrsis met, / Are at their savory dinner set

    Editor's note

    Using the classical pastoral names Corydon, Thyrsis, Phillis, and Thestylis, Milton paints a picture of a simple country meal followed by an afternoon of village celebration: bells ringing, fiddles playing, and people of all ages dancing in the dappled shade on a holiday. As evening falls, the group comes together over ale to share folk tales — stories of Mab the fairy queen and Robin Goodfellow (the 'drudging Goblin'), who threshes an entire barn's worth of corn in one night before lounging by the fire.

  6. When in one night, ere glimps of morn, / His shadowy Flale hath thresh'd the Corn

    Editor's note

    The goblin tale comes to a close: Robin Goodfellow completes his mystical tasks, indulges in a hearty feast, and sneaks away before the first crow of the rooster. The storytellers gently drift into slumber, soothed by the soft whispers of the wind. The scene shifts dramatically — from the village to the bustling city — where knights and barons engage in tournaments, ladies evaluate contests of cleverness and skill, and Hymen, the god of marriage, oversees celebrations, masquerades, and grand displays.

  7. Then to the well, trod stage anon, / If Jonsons learned Sock be on,

    Editor's note

    The city's delights reach their peak in the theatre. Milton praises Ben Jonson for his clever comedy and Shakespeare for his raw, instinctive talent, referring to it as "native Wood-notes wilde." From theatre, he transitions to music: he longs to be enveloped in gentle Lydian harmonies, where verse intertwines with such beautiful melody that even Orpheus could awaken from his Elysian slumber to hear it — music so compelling it could have brought Eurydice back from the underworld.

  8. These delights, if thou canst give, / Mirth with thee, I mean to live.

    Editor's note

    The poem ends with a straightforward two-line bargain. Milton doesn't make any lofty philosophical assertions — instead, he offers a simple, personal promise: bring me these joys, Mirth, and I will belong to you. This reflects the earlier rejection of Melancholy with pleasing symmetry and introduces its counterpart poem *Il Penseroso*, where the same speaker presents a contrasting argument for the value of contemplative solitude.

§04Tone & mood

How this poem feels

The tone stays bright, quick, and celebratory throughout — Milton keeps the lines flowing with a light, almost skipping rhythm that fits the subject perfectly. There’s no irony or hint of regret. The speaker is genuinely and simply happy to be alive, outdoors, and entertained. Even the mythological references come off as playful rather than weighty. The sole moment of wistfulness appears in the Orpheus passage, where the music is so beautiful it nearly brings Eurydice back from death — but even that is presented as a testament to music's power, not as sorrow.

§05Symbols & metaphors

Symbols & metaphors

Melancholy (banished)
Melancholy isn't merely a mood in this context — she's a character with a background, a residence (dark caves), and a distinct look (ragged locks). Sending her away at the beginning serves as a ritual that opens up the poem's emotional landscape. She embodies everything the speaker is opting to reject: deep reflection, sadness, and the heavy brooding that will take center stage in the companion poem *Il Penseroso*.
The Lark
The lark is the first creature to greet the new day, singing even before dawn arrives. It represents the moment when joy starts — spontaneous, lively, and unexpected. Milton often refers to birdsong as a symbol of natural joy that is free and available to all.
Orpheus and Eurydice
The myth of Orpheus surfaces at the poem's climax, showcasing the true power of music. If a song can persuade Pluto to free the dead, it symbolizes the pinnacle of human achievement through art. Milton employs this myth to highlight his list of delights: music stands as the greatest joy of all.
The Mountain Nymph, Liberty
Liberty walks alongside Mirth as her essential companion. This pairing suggests that, for Milton, joy is closely tied to freedom—pleasures experienced under pressure or guilt aren't true pleasures. The phrase "unreproved pleasures" is crucial: it refers to happiness that no one can criticize you for.
The Cock
The crowing cock signifies the transition from night to day, from darkness to light, and from sleep to waking life. In the village tales, he also indicates the goblin's departure. He represents the natural order and the dependable arrival of morning—a small, sturdy symbol of hope.
Shakespeare's 'native Wood-notes wilde'
Milton's portrayal of Shakespeare as someone who warbles natural wood-notes paints him as the embodiment of instinctive, unlearned genius — unlike Jonson's 'learned' craft. This phrase is among the most frequently cited in English literary criticism and represents the notion that the finest art can appear effortless, as if it developed organically rather than being created.

§06Historical context

Historical context

Milton wrote L'Allegro and its companion piece Il Penseroso around 1631, likely while staying at his family's home in Horton, Buckinghamshire, after leaving Cambridge. At the time, he was in his early twenties and not yet the celebrated epic poet of Paradise Lost. These two poems reflect a young writer's exploration of contrasting moods and styles. L'Allegro, which means "the cheerful one" in Italian, promotes an active, sociable, and pleasure-filled lifestyle. In contrast, Il Penseroso champions a contemplative, solitary, and melancholy existence. Neither poem picks a clear winner; Milton appears genuinely attracted to both ways of living. They draw from a rich tradition of classical pastoral poetry and the Renaissance discussion on the merits of active versus contemplative lives, while also being deeply rooted in the English countryside and the theatrical culture Milton experienced firsthand, including the works of Jonson and Shakespeare on the London stage.

§07FAQ

Questions readers ask

L'Allegro translates to 'the cheerful one' or 'the merry person' in Italian. Milton chose Italian titles for this poem and its counterpart Il Penseroso ('the pensive one') because Italian was the esteemed language of Renaissance culture and music. By using it, he emphasizes that these works are sophisticated literary explorations of contrasting moods rather than merely casual poetry.

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