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On the Morning of Christ's Nativity

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30: 334: 346: 441: 83:. It was written while Charles Diodati, Milton's friend, was composing his poem, and the poem reflects his sober, contemplative lifestyle in comparison to Diodati's extravagant way of living. The ode was composed during a time in Milton's life when he based his understanding of religion on Scripture, but he was still influenced by myth. 86:
Although the ode was the first poem of Milton's 1645 collection, it was not the first poem that he wrote; many of the Latin and Greek poems included in the 1645 collection were composed during an earlier time. According to Thomas Corns, "Quite probably, its location indicates the poet's assessment of
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The poem deals with both the Nativity and the Incarnation of Christ and Milton believed that the two were connected. The Nativity and the Crucifixion represent Christ's purpose as Christ in Milton's poetry, and contemporary poem, because Christ becomes human-like in the Nativity to redeem fallen man
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The hymnal stanzas are eight lines each, uniformly written in iambic meter. As in the introductory stanzas, the final two lines form a rhyming couplet, with a line in tetrameter followed by a line in hexameter, which closes out each stanza. The first six lines are made up of two tercets organized by
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This is the month, and this the happy morn / Wherein the Son of Heav'n's eternal King, / Of wedded maid, and virgin mother born, / Our great redemption from above did bring; / For so the holy sages once did sing, / That he our deadly forfeit should release, / And with his Father work us a perpetual
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form a set of poems that celebrate important Christian events: Christ's birth, the feast of the Circumcision, and Good Friday. The topic of these poems places them within a genre of Christian literature popular during the 17th century and places Milton alongside of poets like
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It was the winter wild, / While the Heav'n-born-child, / All meanly wrapped in the rude manger lies; / Nature in awe to him / had doffed her gaudy trim / With her great master so to sympathize: / It was no season then for her / To wanton with the sun her lusty
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and humanity is redeemed when Christ sacrifices himself during the Crucifixion. Milton's reliance on the connection is traditional, and Milton further connects the Nativity with the creation of the world, a theme that is expanded upon later in Book VII of
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Milton's introductory stanzas are seven lines each: five lines of iambic pentameter, using the rhyme scheme ABABB, followed by a rhyming couplet. The final line of each stanza is written in iambic hexameter. For example, see the first
184:." He further claims that the ode "rises in many ways above the rather commonplace achievements of Milton's other devotional poems and stands out from the mass of other early Stuart poems about Christmas." 37: 17: 338: 168:
The ode has, according to Thomas Corns, "generally been recognized as Milton's first manifestation of poetic genius and, qualitatively, a poem to be set alongside '
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the rhyme scheme AABCCB. The first two lines of each tercet are in trimeter, and the third in pentameter. For example, the first stanza of the Hymn:
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The poem is divided into two sections. "The Hymn," which comprises the bulk of the poem (27 stanzas) is prefaced by a four stanza introduction.
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Corns, Thomas. "'On the Morning of Christ's Nativity', 'Upon the Circumcision' and 'The Passion'" in
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in December 1629, after celebrating reaching the age of maturity in England, in commemoration of the
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in the second movement - "Ring Out! Ye Crystal Spheres" - of his 1990 work "Canticum Novum".
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and his overthrow of earthly and pagan powers. The poem also connects the Incarnation with
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William Blake's illustrations of On the Morning of Christ's Nativity
355: 333: 499: 169: 440: 360: 201:. The work is set for soli, chorus, semi-chorus and orchestra. 210: 148:. However, Milton's poetry reflects the origins of his anti- 217:
Stanza XIII of the Hymn portion of this poem was set by
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its quality"; this consideration is significant because
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and anti-Church of England based religious beliefs.
204:Portions of the ode are set as part of the text of 798: 322:. Lexington: University Press of Kentucky, 1993. 231:, Ode for soprano, chorus and orchestra (1905). 193:In 1928 the first complete setting of Milton's 18:An Ode on the Morning of Christ's Nativity 249: 247: 245: 376: 822:Cultural depictions of the Nativity of Jesus 607:Judgement of Martin Bucer Concerning Divorce 178:as his most significant poetic works before 242: 383: 369: 34:The Overthrow of Apollo and the Pagan Gods 197:was undertaken by the Cambridge composer 175:A Masque presented at Ludlow Castle, 1634 229:Hymn on the Morning of Christ's Nativity 28: 339:On the Morning of Christ's Nativity 14: 799: 728:Methought I Saw my Late Espoused Saint 714:When I Consider How My Light is Spent 364: 163: 640:The Tenure of Kings and Magistrates 465:On the Morning of Christ's Nativity 351:On the Morning of Christ's Nativity 320:John Milton: The Self and the World 77:On the Morning of Christ's Nativity 45:On the Morning of Christ's Nativity 24: 602:Doctrine and Discipline of Divorce 25: 838: 326: 721:On the Late Massacre in Piedmont 439: 344: 332: 579:The Reason of Church-Government 390: 292: 283: 274: 265: 256: 13: 1: 650:Defensio pro Populo Anglicano 305: 70: 52:in 1629 and published in his 48:is a nativity ode written by 7: 779:Milton: A Poem in Two Books 354:public domain audiobook at 187: 10: 843: 755: 737: 705: 673: 660:A Treatise of Civil Power 625: 592: 554: 448: 437: 398: 122: 768:Edward Phillips (nephew) 569:Of Prelatical Episcopacy 262:Shawcross 1993 pp. 43–44 235: 55:Poems of Mr. John Milton 584:Apology for Smectymnuus 94: 786:Neo-Miltonic syllabics 773:John Phillips (nephew) 746:De Doctrina Christiana 689:The History of Britain 665:The Ready and Easy Way 289:Corns 2003 pp. 221–213 280:Corns 2003 pp. 216–217 206:Ralph Vaughan Williams 120: 110: 40: 827:Poetry by John Milton 556:Antiprelatical tracts 472:Upon the Circumcision 313:A Companion to Milton 225:John Blackwood McEwen 208:' Christmas cantata, 133:Upon the Circumcision 115: 105: 59:. The poem describes 32: 763:John Milton (father) 271:Shawcross 1993 p. 23 65:Christ's Crucifixion 61:Christ's Incarnation 706:Individual sonnets 41: 794: 793: 530:Paradise Regained 411:Reception history 337:Works related to 318:Shawcross, John. 298:Corns 2003 p. 221 253:Corns 2003 p. 216 164:Critical response 81:Nativity of Jesus 16:(Redirected from 834: 817:Christian poetry 696:Of True Religion 655:Defensio Secunda 627:Political tracts 537:Samson Agonistes 443: 385: 378: 371: 362: 361: 348: 347: 336: 299: 296: 290: 287: 281: 278: 272: 269: 263: 260: 254: 251: 89:Humphrey Moseley 75:Milton composed 21: 842: 841: 837: 836: 835: 833: 832: 831: 797: 796: 795: 790: 751: 733: 701: 669: 621: 588: 550: 444: 435: 394: 389: 345: 329: 308: 303: 302: 297: 293: 288: 284: 279: 275: 270: 266: 261: 257: 252: 243: 238: 190: 166: 142:Richard Crashaw 125: 97: 73: 36:(1809), one of 23: 22: 15: 12: 11: 5: 840: 830: 829: 824: 819: 814: 809: 792: 791: 789: 788: 783: 775: 770: 765: 759: 757: 753: 752: 750: 749: 741: 739: 735: 734: 732: 731: 724: 717: 709: 707: 703: 702: 700: 699: 692: 685: 677: 675: 674:Other writings 671: 670: 668: 667: 662: 657: 652: 647: 642: 637: 631: 629: 623: 622: 620: 619: 614: 609: 604: 598: 596: 594:Divorce tracts 590: 589: 587: 586: 581: 576: 574:Animadversions 571: 566: 564:Of Reformation 560: 558: 552: 551: 549: 548: 540: 533: 526: 519: 518: 517: 510: 503: 496: 489: 482: 475: 468: 452: 450: 446: 445: 438: 436: 434: 433: 428: 423: 418: 413: 408: 402: 400: 396: 395: 388: 387: 380: 373: 365: 359: 358: 342: 328: 327:External links 325: 324: 323: 316: 307: 304: 301: 300: 291: 282: 273: 264: 255: 240: 239: 237: 234: 233: 232: 222: 219:Stephen Paulus 215: 202: 189: 186: 165: 162: 146:George Herbert 124: 121: 96: 93: 72: 69: 9: 6: 4: 3: 2: 839: 828: 825: 823: 820: 818: 815: 813: 810: 808: 805: 804: 802: 787: 784: 781: 780: 776: 774: 771: 769: 766: 764: 761: 760: 758: 754: 748: 747: 743: 742: 740: 736: 729: 725: 722: 718: 715: 711: 710: 708: 704: 698: 697: 693: 691: 690: 686: 684: 683: 679: 678: 676: 672: 666: 663: 661: 658: 656: 653: 651: 648: 646: 645:Eikonoklastes 643: 641: 638: 636: 633: 632: 630: 628: 624: 618: 615: 613: 610: 608: 605: 603: 600: 599: 597: 595: 591: 585: 582: 580: 577: 575: 572: 570: 567: 565: 562: 561: 559: 557: 553: 547: 545: 541: 539: 538: 534: 532: 531: 527: 525: 524: 523:Paradise Lost 520: 515: 511: 508: 504: 501: 497: 495: 494: 490: 488: 487: 483: 481: 480: 476: 474: 473: 469: 467: 466: 462: 461: 460: 458: 454: 453: 451: 447: 442: 432: 431:Relationships 429: 427: 424: 422: 419: 417: 414: 412: 409: 407: 404: 403: 401: 397: 393: 386: 381: 379: 374: 372: 367: 366: 363: 357: 353: 352: 343: 341:at Wikisource 340: 335: 331: 330: 321: 317: 314: 310: 309: 295: 286: 277: 268: 259: 250: 248: 246: 241: 230: 226: 223: 220: 216: 213: 212: 207: 203: 200: 199:Cyril Rootham 196: 192: 191: 185: 183: 182: 181:Paradise Lost 177: 176: 171: 161: 159: 158:Paradise Lost 153: 151: 147: 143: 139: 134: 130: 127:The ode with 119: 114: 109: 104: 100: 92: 90: 84: 82: 78: 68: 66: 62: 58: 56: 51: 47: 46: 39: 35: 31: 27: 19: 777: 745: 694: 687: 682:Of Education 680: 635:Areopagitica 612:Tetrachordon 543: 535: 528: 521: 514:Il Penseroso 491: 484: 477: 470: 464: 463: 456: 406:Poetic style 350: 319: 312: 294: 285: 276: 267: 258: 228: 209: 194: 179: 173: 167: 157: 154: 150:William Laud 132: 128: 126: 116: 111: 106: 101: 98: 85: 76: 74: 54: 44: 43: 42: 33: 26: 782:(1804–1810) 617:Colasterion 479:The Passion 392:John Milton 129:The Passion 50:John Milton 812:1645 poems 807:1629 poems 801:Categories 426:Early life 306:References 138:John Donne 71:Background 507:L'Allegro 118:paramour. 738:Disputed 421:Politics 416:Religion 356:LibriVox 188:In music 756:Related 500:Lycidas 486:Arcades 214:(1954). 170:Lycidas 103:stanza: 449:Poetry 399:Topics 172:' and 144:, and 123:Themes 108:peace. 57:(1645) 544:Poems 493:Comus 457:Poems 236:Notes 211:Hodie 546:1673 459:1645 131:and 95:Form 195:Ode 803:: 244:^ 227:, 140:, 67:. 730:" 726:" 723:" 719:" 716:" 712:" 516:" 512:" 509:" 505:" 502:" 498:" 384:e 377:t 370:v 20:)

Index

An Ode on the Morning of Christ's Nativity

William Blake's illustrations of On the Morning of Christ's Nativity
John Milton
Poems of Mr. John Milton (1645)
Christ's Incarnation
Christ's Crucifixion
Nativity of Jesus
Humphrey Moseley
John Donne
Richard Crashaw
George Herbert
William Laud
Lycidas
A Masque presented at Ludlow Castle, 1634
Paradise Lost
Cyril Rootham
Ralph Vaughan Williams
Hodie
Stephen Paulus
John Blackwood McEwen




On the Morning of Christ's Nativity
On the Morning of Christ's Nativity
LibriVox
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