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Lycidas by John Milton

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Lycidas is Milton's heartfelt tribute to his friend Edward King, a fellow Cambridge student who tragically drowned in 1637.

Core theme
Death
The PoemFull text

Lycidas

John Milton

In this Monody the Author bewails a learned Friend, unfortunatly drown'd in his Passage from Chester on the Irish Seas, 1637. And by occasion foretels the ruine of our corrupted Clergy then in their height. YEt once more, O ye Laurels, and once more Ye Myrtles brown, with Ivy never-sear, I com to pluck your Berries harsh and crude, And with forc'd fingers rude, Shatter your leaves before the mellowing year. Bitter constraint, and sad occasion dear, Compels me to disturb your season due: For Lycidas is dead, dead ere his prime, Young Lycidas, and hath not left his peer: Who would not sing for Lycidas? he knew Himself to sing, and build the lofty rhyme. He must not flote upon his watry bear Unwept, and welter to the parching wind, Without the meed of som melodious tear. Begin then, Sisters of the sacred well, That from beneath the seat of Jove doth spring, Begin, and somwhat loudly sweep the string. Hence with denial vain, and coy excuse, So may som gentle Muse With lucky words favour my destin'd Urn, And as he passes turn, And bid fair peace be to my sable shrowd. For we were nurst upon the self-same hill, Fed the same flock, by fountain, shade, and rill. Together both, ere the high Lawns appear'd Under the opening eye-lids of the morn, We drove a field, and both together heard What time the Gray-fly winds her sultry horn, Batt'ning our flocks with the fresh dews of night, Oft till the Star that rose, at Ev'ning, bright Toward Heav'ns descent had slop'd his westering wheel. Mean while the Rural ditties were not mute, Temper'd to th' Oaten Flute, Rough Satyrs danc'd, and Fauns with clov'n heel, From the glad sound would not be absent long, And old Damœtas lov'd to hear our song. But O the heavy change, now thou art gon, Now thou art gon, and never must return! Thee Shepherd, thee the Woods, and desert Caves, With wilde Thyme and the gadding Vine o'regrown, And all their echoes mourn. The Willows, and the Hazle Copses green, Shall now no more be seen, Fanning their joyous Leaves to thy soft layes. As killing as the Canker to the Rose, Or Taint-worm to the weanling Herds that graze, Or Frost to Flowers, that their gay wardrop wear, When first the White thorn blows; Such, Lycidas, thy loss to Shepherds ear. Where were ye Nymphs when the remorseless deep Clos'd o're the head of your lov'd Lycidas? For neither were ye playing on the steep, Where your old Bards, the famous Druids ly, Nor on the shaggy top of Mona high, Nor yet where Deva spreads her wisard stream: Ay me, I fondly dream! Had ye bin there—for what could that have don? What could the Muse her self that Orpheus bore, The Muse her self, for her inchanting son Whom Universal nature did lament, When by the rout that made the hideous roar, His goary visage down the stream was sent, Down the swift Hebrus to the Lesbian shore. Alas! What boots it with uncessant care To tend the homely slighted Shepherds trade, And strictly meditate the thankles Muse, Were it not better don as others use, To sport with Amaryllis in the shade, Or with the tangles of Neæra's hair? Fame is the spur that the clear spirit doth raise (That last infirmity of Noble mind) To scorn delights, and live laborious dayes; But the fair Guerdon when we hope to find, And think to burst out into sudden blaze, Comes the blind Fury with th' abhorred shears, And slits the thin spun life. But not the praise, Phœbus repli'd, and touch'd my trembling ears; Fame is no plant that grows on mortal soil, Nor in the glistering foil Set off to th' world, nor in broad rumour lies, But lives and spreds aloft by those pure eyes, And perfet witnes of all judging Jove; As he pronounces lastly on each deed, Of so much fame in Heav'n expect thy meed. O Fountain Arethuse, and thou honour'd flood, Smooth-sliding Mincius, crown'd with vocall reeds, That strain I heard was of a higher mood: But now my Oate proceeds, And listens to the Herald of the Sea That came in Neptune's plea, He ask'd the Waves, and ask'd the Fellon winds, What hard mishap hath doom'd this gentle swain? And question'd every gust of rugged wings That blows from off each beaked Promontory, They knew not of his story, And sage Hippotades their answer brings, That not a blast was from his dungeon stray'd, The Ayr was calm, and on the level brine, Sleek Panope with all her sisters play'd. It was that fatall and perfidious Bark Built in th' eclipse, and rigg'd with curses dark, That sunk so low that sacred head of thine. Next Camus, reverend Sire, went footing slow, His Mantle hairy, and his Bonnet sedge, Inwrought with figures dim, and on the edge Like to that sanguine flower inscrib'd with woe. Ah! Who hath reft (quoth he) my dearest pledge? Last came, and last did go, The Pilot of the Galilean lake, Two massy Keyes he bore of metals twain, (The Golden opes, the Iron shuts amain) He shook his Miter'd locks, and stern bespake, How well could I have spar'd for thee young swain. Anow of such as for their bellies sake, Creep and intrude, and climb into the fold? Of other care they little reck'ning make, Then how to scramble at the shearers feast, And shove away the worthy bidden guest. Blind mouthes! that scarce themselves know how to hold A Sheep-hook, or have learn'd ought els the least That to the faithfull Herdmans art belongs! What recks it them? What need they? They are sped; And when they list, their lean and flashy songs Grate on their scrannel Pipes of wretched straw, The hungry Sheep look up, and are not fed, But swoln with wind, and the rank mist they draw, Rot inwardly, and foul contagion spread: Besides what the grim Woolf with privy paw Daily devours apace, and nothing sed, But that two-handed engine at the door, Stands ready to smite once, and smite no more. Return Alpheus, the dread voice is past, That shrunk thy streams; Return Sicilian Muse, And call the Vales, and bid them hither cast Their Bels, and Flourets of a thousand hues. Ye valleys low where the milde whispers use, Of shades and wanton winds, and gushing brooks, On whose fresh lap the swart Star sparely looks, Throw hither all your quaint enameld eyes, That on the green terf suck the honied showres, And purple all the ground with vernal flowres. Bring the rathe Primrose that forsaken dies. The tufted Crow-toe, and pale Gessamine, The white Pink, and the Pansie freakt with jeat, The glowing Violet. The Musk-rose, and the well attir'd Woodbine, With Cowslips wan that hang the pensive hed, And every flower that sad embroidery wears: Bid Amaranthus all his beauty shed, And Daffadillies fill their cups with tears, To strew the Laureat Herse where Lycid lies. For so to interpose a little ease, Let our frail thoughts dally with false surmise. Ay me! Whilst thee the shores and sounding Seas Wash far away, where ere thy bones are hurld, Whether beyond the stormy Hebrides, Where thou perhaps under the whelming tide Visit'st the bottom of the monstrous world; Or whether thou to our moist vows deny'd, Sleep'st by the fable of Bellerus old, Where the great vision of the guarded Mount Looks toward Namancos and Bayona's hold; Look homeward Angel now, and melt with ruth. And, O ye Dolphins, waft the haples youth. Weep no more, woful Shepherds weep no more, For Lycidas your sorrow is not dead, Sunk though he be beneath the watry floar, So sinks the day-star in the Ocean bed, And yet anon repairs his drooping head, And tricks his beams, and with new-spangled Ore, Flames in the forehead of the morning sky: So Lycidas sunk low, but mounted high, Through the dear might of him that walk'd the waves; Where other groves, and other streams along, With Nectar pure his oozy Lock's he laves, And hears the unexpressive nuptiall Song, In the blest Kingdoms meek of joy and love. There entertain him all the Saints above, In solemn troops, and sweet Societies That sing, and singing in their glory move, And wipe the tears for ever from his eyes. Now Lycidas the Shepherds weep no more; Hence forth thou art the Genius of the shore, In thy large recompense, and shalt be good To all that wander in that perilous flood. Thus sang the uncouth Swain to th' Okes and rills, While the still morn went out with Sandals gray, He touch'd the tender stops of various Quills, With eager thought warbling his Dorick lay: And now the Sun had stretch'd out all the hills, And now was dropt into the Western bay; At last he rose, and twitch'd his Mantle blew: To morrow to fresh Woods, and Pastures new.

Public domain

Sourced from Project Gutenberg

§01Quick summary

What this poem is about

Lycidas is Milton's heartfelt tribute to his friend Edward King, a fellow Cambridge student who tragically drowned in 1637. Milton wraps his sorrow in the traditional form of a pastoral elegy — featuring shepherds, nymphs, and mythological rivers — but at its core, the poem confronts the tough questions of why gifted, dedicated individuals die young while the less remarkable seem to flourish. Ultimately, Milton discovers a sense of solace: Lycidas ascends to heaven and becomes a guardian spirit of the sea, allowing the grieving poet to gather himself and turn his focus toward new endeavors.

§02Themes

Recurring themes

§03Line by line

Stanza by stanza, with notes

  1. Yet once more, O ye Laurels, and once more / Ye Myrtles brown, with Ivy never-sear,

    Editor's note

    Milton begins by mentioning the plants that are commonly linked to poetry — laurel, myrtle, and ivy. He notes that he is gathering their berries before they are ripe, which reflects his acknowledgment that he is writing this elegy before he feels prepared to do so. The phrase "forced fingers rude" conveys his hesitation: grief is compelling him to write. The unripe berries symbolize Lycidas himself, representing a life that was cut short before it could fully develop.

  2. Begin then, Sisters of the sacred well, / That from beneath the seat of Jove doth spring,

    Editor's note

    Milton invokes the Muses — the "Sisters of the sacred well" — to inspire his song. He adds a personal touch: by honoring Lycidas now, he hopes that a future poet might remember him in a similar way when his time comes. This isn't mere vanity; it's a recognition that the tradition of elegy represents a shared bond among poets throughout history.

  3. For we were nurst upon the self-same hill, / Fed the same flock, by fountain, shade, and rill.

    Editor's note

    Milton and King are portrayed as two shepherds who grew up together in the same pastures—a nod to their shared time at Cambridge. The imagery of fountains, shade, and streams is idealized, yet it captures a genuine essence: two young men with similar literary ambitions, studying and writing alongside each other.

  4. Together both, ere the high Lawns appear'd / Under the opening eye-lids of the morn,

    Editor's note

    This stanza paints a vivid image of their shared student life: waking up early, caring for flocks (writing poetry), and soaking in the sounds of the countryside from dawn until the evening star shone. The mythological figures — Satyrs, Fauns, and old Damoetas — are typical pastoral characters, yet they lend a warm, fairy-tale charm to the memory, making the sense of loss feel even more poignant.

  5. But O the heavy change, now thou art gon, / Now thou art gon, and never must return!

    Editor's note

    The poem's first direct expression of grief. Milton employs a technique known as pathetic fallacy — the woods, caves, willows, and hazel trees all grieve for Lycidas. He then introduces three similes: canker to the rose, tapeworm to young cattle, and frost to flowers. Each simile illustrates something that ruins potential at its peak, much like drowning ruined King.

  6. Where were ye Nymphs when the remorseless deep / Clos'd o're the head of your lov'd Lycidas?

    Editor's note

    Milton questions the nature spirits about their failure to protect Lycidas but quickly realizes the futility of his inquiry. Even if they had been present, what could they have done? He brings up Orpheus, the most talented musician in mythology, whose mother was a Muse, yet he was still ripped apart by the Maenads. If even someone with divine lineage and unmatched skill couldn't escape tragedy, then no guardian nymph could have saved Lycidas. The issue of divine protection remains open and unanswered.

  7. Alas! What boots it with uncessant care / To tend the homely slighted Shepherds trade,

    Editor's note

    This is the poem's existential crisis. If a good man who has dedicated himself to his craft can be killed at random, what's the point? Why not just enjoy life — "sport with Amaryllis in the shade" — instead of toiling over serious poetry? Milton suggests that fame motivates serious artists, but death can sever that connection at any moment. The answer comes from Phoebus Apollo himself: true fame isn’t about earthly recognition but rather the judgment of God, which death cannot erase.

  8. O Fountain Arethuse, and thou honour'd flood, / Smooth-sliding Mincius, crown'd with vocall reeds,

    Editor's note

    Milton shifts back to the pastoral mode after a philosophical digression. Neptune's herald examines the sea to uncover what led to the drowning. The winds were calm and the sea smooth; Aeolus, the sea-god, confirms that no storm was responsible. Milton concludes that the ship itself was cursed — "built in the eclipse, and rigged with curses dark." This change in blame from nature or God to human failure sets the stage for the next, angrier section.

  9. Next Camus, reverend Sire, went footing slow, / His Mantle hairy, and his Bonnet sedge,

    Editor's note

    Camus represents the river Cam personified — embodying the essence of Cambridge University as it mourns the loss of one of its brightest students. Next, St. Peter appears, the "Pilot of the Galilean lake," holding his two keys. Peter's speech delivers the poem's most striking moment: he criticizes corrupt, lazy clergy who infiltrate the Church for their own benefit, offer empty sermons, and leave their congregations spiritually deprived. The "two-handed engine" at the end serves as a well-known turning point — likely symbolizing the divine punishment looming over these misguided leaders.

  10. Return Alpheus, the dread voice is past, / That shrunk thy streams; Return Sicilian Muse,

    Editor's note

    After Peter's fierce outburst, Milton intentionally calms the mood. He invokes the gentle pastoral Muse and requests that the valleys scatter flowers over Lycidas's hearse. The list of flowers — primrose, crow-toe, jasmine, violet, musk-rose, cowslips — is one of the most beautiful sections in the poem. Then Milton realizes: there is no hearse. The body was lost at sea. The flowers are a "false surmise," a comforting fiction that the mind clings to when reality feels too harsh.

  11. Weep no more, woful Shepherds weep no more, / For Lycidas your sorrow is not dead,

    Editor's note

    The poem shifts toward consolation. Milton depicts the sun sinking into the ocean at night and rising again in the morning as a metaphor for Lycidas's death and resurrection. Through Christ's power — "him that walk'd the waves" — Lycidas ascends to heaven, where he is cleansed, hears celestial music, and has his tears wiped away forever. He becomes the guardian spirit of the Irish Sea, changing from a victim of the waters into their protector. The grief remains, but it is framed in a way that makes it easier to bear.

  12. Thus sang the uncouth Swain to th' Okes and rills, / While the still morn went out with Sandals gray,

    Editor's note

    The coda pulls back to show that the entire poem has been sung by a nameless "uncouth Swain" — a young, rough shepherd-poet, serving as Milton's self-deprecating alter ego. The day has gone by as he sang. Now, he stands up, adjusts his cloak, and heads off to "fresh Woods, and Pastures new." It's one of the most quietly powerful endings in English poetry: grief has been processed, and life — along with the writing life — goes on.

§04Tone & mood

How this poem feels

The tone shifts several times, and that movement is part of the point. It begins with a sense of reluctant sorrow—Milton is hesitant to write this. Then it warms into nostalgic tenderness as he recalls memories from Cambridge. When he grapples with the injustice of an early death, the tone turns raw and questioning. Genuine anger flares up during St. Peter's speech about corrupt clergy. After that, it softens into a form of consolation, ultimately concluding with a note of quiet resolution. The overall effect captures a mind working through grief in real time, instead of merely performing it.

§05Symbols & metaphors

Symbols & metaphors

Unripe berries / laurels plucked before their time
Milton acknowledges that he is writing before he feels prepared, presenting a vivid image of Lycidas — a life and talent cut short before they had the chance to mature fully.
The shepherd and his flock
A double image runs through the poem. On one level, it represents the pastoral poet dedicated to his craft. On another—especially in St. Peter's speech—it symbolizes the Christian minister caring for his congregation. Those who neglect their flocks are both poor poets and corrupt clergy.
The day-star (the sun) sinking and rising
The sun sinks into the ocean each night only to rise again with the morning. Milton employs this natural cycle as a key symbol of resurrection: Lycidas has gone under like the sun but will rise again, mirroring Christ’s resurrection. This elevates a simple drowning into something cosmic.
The two-handed engine
One of the most discussed images in English poetry. It stands at the door, prepared to "smite once, and smite no more" — a single, final act of divine justice against the corrupt clergy that St. Peter has just condemned. Whether it’s a sword, a pair of shears, or something else, the message is unmistakable: punishment is on its way and it will be definitive.
The flower catalogue
The extensive list of flowers that Milton requests to be scattered over Lycidas's hearse reflects a classic pastoral gesture. However, Milton quickly undermines this by revealing that there is no hearse — the body has been lost at sea. The flowers symbolize the mind's desire to establish comforting rituals, even when reality doesn’t align with those wishes.
Orpheus
The mythological poet-musician, born to a Muse, met a tragic end at the hands of a mob. Milton employs Orpheus to illustrate that even divine lineage and exceptional artistic skill cannot shield one from violent, arbitrary death. He serves as the poem's stark counter-example to the notion that virtue is ultimately rewarded.

§06Historical context

Historical context

Edward King, a fellow student at Christ's College, Cambridge, tragically drowned in August 1637 when his ship sank in the Irish Sea. Milton had known King during their time at Cambridge, and when King's friends were putting together a memorial volume, Milton contributed the poem Lycidas. At that time, Milton was 29 and had not yet produced the works that would later secure his fame. The poem emerged during a period of significant religious and political unrest in England: Archbishop Laud was enforcing strict conformity within the Church of England, leading many educated Puritans, including Milton, to express their anger at a clergy seemingly more focused on comfort and power than on true pastoral care. This anger is powerfully conveyed in St. Peter's speech. By choosing the pastoral elegy form, which has its roots in Theocritus and Virgil, Milton positioned himself among a tradition of serious poets, while also adapting the form to respond to pressing issues of his time.

§07FAQ

Questions readers ask

Lycidas is the pastoral name Milton assigns to Edward King, a real individual — a classmate at Cambridge who tragically drowned in 1637. The name "Lycidas" comes from classical pastoral poetry (it can be found in works by Theocritus and Virgil), following the tradition of using fictional shepherd names for real people in this genre.

Citation

Cite this poem

MLA

Milton, John. "Lycidas." Storgy, https://storgy.com/poems/lycidas-john-milton/.

APA

Milton, J. (n.d.). Lycidas. Storgy. https://storgy.com/poems/lycidas-john-milton/

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