The Annotated Edition
L'Allegro by John Milton
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.
- Poet
- John Milton
- Core theme
- Art
§01Quick summary
What this poem is about
§02Themes
Recurring themes
§03Line by line
Stanza by stanza, with notes
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.
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.'
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.
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.
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.
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.
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.
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
§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
§07FAQ
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