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That weight of wood, with leathern coat o'erlaid, Those ample clasps of solid metal made, The close-press'd leaves unoped for many an age, The dull red edging of the well-fill'd page, On the broad back the stubborn ridges roll'd, Where yet the title stands in tarnish'd gold.
That weight of wood, with leathern coat o'erlaid, Those ample clasps of solid metal made, The close-press'd leaves unoped for many an age, The dull red edging of the well-fill'd page, On the broad back the stubborn ridges roll'd, Where yet the title stands in tarnish'd gold.
Cassiopeia was an Aethiopian, and consequently, in spite of her boasted beauty, black; at least so Milton seems to have thought, who alludes to this story in his Penseroso, where he addresses Melancholy as the " goddess, sage and holy, Whose saintly visage is too bright To hit the sense of human sight, And, therefore, to our weaker view O'erlaid with black, staid Wisdom's hue.
Cassiopeia was an Aethiopian, and consequently, in spite of her boasted beauty, black; at least so Milton seems to have thought, who alludes to this story in his "Penseroso," where he addresses Melancholy as the ".... goddess, sage and holy, Whose saintly visage is too bright To hit the sense of human sight, And, therefore, to our weaker view O'erlaid with black, staid Wisdom's hue.
For neither, I ween, will strength avail him nor comeliness anywise, nor that armour beautiful, which deep beneath the flood shall be o'erlaid with slime, and himself I will wrap him in my sands and pour round him countless shingle without stint, nor shall the Achaians know where to gather his bones, so vast a shroud of silt will I heap over them.
That weight of wood, with leathern coat o'erlaid, Those ample clasps of solid metal made, The close-press'd leaves unoped for many an age, The dull red edging of the well-fill'd page, On the broad back the stubborn ridges roll'd, Where yet the title stands in tarnish'd gold.
The quiet restful life she had experienced since Merton's death had had its effect; her form had partially recovered its roundness, her face something of that rich brown tint that had given a peculiar character to her beauty; the melancholy in her tender eyes was no longer "o'erlaid with black," but was more like the clear dark of early morning that tells of the passing of night and of the long day that is to be.
Cassiopeia was an Aethiopian, and consequently, in spite of her boasted beauty, black; at least so Milton seems to have thought, who alludes to this story in his "Penseroso," where he addresses Melancholy as the ".... goddess, sage and holy, Whose saintly visage is too bright To hit the sense of human sight, And, therefore, to our weaker view O'erlaid with black, staid Wisdom's hue.
That weight of wood, with leathern coat o'erlaid, Those ample clasps of solid metal made, The close-press'd leaves unoped for many an age, The dull red edging of the well-filled page, On the broad back the stubborn ridges roll'd, Where yet the title stands in tarnish'd gold.
"That weight of wood, with leathern coat o'erlaid, Those ample clasps, of solid metal made, The close-pressed leaves, unloosed for many an age, The dull red edging of the well-filled page, On the broad back the stubborn ridges rolled, Where yet the title stands, in burnished gold,"
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