Miltons Comus | Page 5

who appeared in Milton's mask; they are few in number, and the plan of the piece is correspondingly simple. There are three scenes which may be briefly characterised thus:
I. The Tempter and the Tempted: lines 1-658.
_Scene_: A wild wood.
II. The Temptation and the Rescue: lines 659-958.
_Scene_: The Palace of Comus.
III. The Triumph: lines 959-1023.
_Scene_: The President's Castle.
In the first scene, after a kind of prologue (lines 1-92), the interest rises as we are introduced first to Comus and his rout, then to the Lady alone and "night-foundered," and finally to Comus and the Lady in company. At the same time the nature of the Lady's trial and her subsequent victory are foreshadowed in a conversation between the brothers and the attendant Spirit. This is one of the more Miltonic parts of the mask: in the philosophical reasoning of the elder brother, as opposed to the matter-of-fact arguments of the younger, we trace the young poet fresh from the study of the divine volume of Plato, and filled with a noble trust in God. In the second scene we breathe the unhallowed air of the abode of the wily tempter, who endeavours, "under fair pretence of friendly ends," to wind himself into the pure heart of the Lady. But his "gay rhetoric" is futile against the "sun-clad power of chastity"; and he is driven off the scene by the two brothers, who are led and instructed by the Spirit disguised as the shepherd Thyrsis. But the Lady, having been lured into the haunt of impurity, is left spell-bound, and appeal is made to the pure nymph Sabrina, who is "swift to aid a virgin, such as was herself, in hard-besetting need." It is in the contention between Comus and the Lady in this scene that the interest of the mask may be said to culminate, for here its purpose stands revealed: "it is a song to Temperance as the ground of Freedom, to temperance as the guard of all the virtues, to beauty as secured by temperance, and its central point and climax is in the pleading of these motives by the Lady against their opposites in the mouth of the Lord of sensual Revel." _Milton: Classical Writers_. In the third scene the Lady Alice and her brothers are presented by the Spirit to their noble father and mother as triumphing "in victorious dance o'er sensual folly and intemperance." The Spirit then speaks the epilogue, calling upon mortals who love true freedom to strive after virtue:
Love Virtue; she alone is free.?She can teach ye how to climb?Higher than the sphery chime;?Or, if Virtue feeble were,?Heaven itself would stoop to her.
The last couplet Milton afterwards, on his Italian journey, entered in an album belonging to an Italian named Cerdogni, and underneath it the words, _Coelum non animum muto dum trans mare curro_, and his signature, Joannes Miltonius, Anglus. The juxtaposition of these verses is significant: though he had left his own land Milton had not become what, fifty or sixty years before, Roger Ascham had condemned as an "Italianated Englishman." He was one of those "worthy Gentlemen of England, whom all the Siren tongues of Italy could never untwine from the mast of God's word; nor no enchantment of vanity overturn them from the fear of God and love of honesty" (Ascham's _Scholemaster_). And one might almost infer that Milton, in his account of the sovereign plant Haemony which was to foil the wiles of _Comus_, had remembered not only Homer's description of the root Moly "that Hermes once to wise Ulysses gave,"{16:A} but also Ascham's remarks thereupon: "The true medicine against the enchantments of Circe, the vanity of licentious pleasure, the enticements of all sin, is, in Homer, the herb Moly, with the black root and white flower, sour at first, but sweet in the end; which Hesiod termeth the study of Virtue, hard and irksome in the beginning, but in the end easy and pleasant. And that which is most to be marvelled at, the divine poet Homer saith plainly that this medicine against sin and vanity is not found out by man, but given and taught by God." Milton's _Comus_, like his last great poems, is a poetical expression of the same belief. "His poetical works, the outcome of his inner life, his life of artistic contemplation, are," in the words of Prof. Dowden, "various renderings of one dominant idea--that the struggle for mastery between good and evil is the prime fact of life; and that a final victory of the righteous cause is assured by the existence of a divine order of the universe, which Milton knew by the name of 'Providence.'"
FOOTNOTES:
{16:A} It is noteworthy that Lamb, whose allusiveness is remarkable, employs in his account of the plant Moly almost the exact words of Milton's description of Haemony;