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That sing about the golden tree Introduction. Few poems have been more variously designated than Comus. Such variety in the description of the poem is explained partly by its complex charm and many-sided interest, and partly by the desire to describe it from that point Phosphorus derivatives market poise 107 5 view which should best reconcile its literary form with what we know of the genius and powers of its author.
Those who, like Dr. Some who have praised it as an allegory see in it a satire on the evils both of the Church and of the State, while others regard it as alluding to the vices of the Court alone.
The mask was represented at Ludlow Castle on September 29th, ; it was probably composed early in that year. As he was born inhe would be twenty-five years of age when this poem was composed.
During his stay at Hortonwhich was broken only by a journey to Italy inhe was chiefly occupied with the study of the Greek, Roman, Italian, and English literatures, each of which has left its impress on Comus.
He read widely and carefully, and it has been said that his great and original imagination was almost entirely nourished, or at least stimulated, by books: We are reminded of his own words in Comus: It nourished, it coloured, it developed it.
It determined not merely his character as an artist, but it exercised an influence on his intellect and temper scarcely less powerful than hereditary instincts and contemporary history. It at once animated and chastened his imagination; it modified his fancy; it furnished him with his models.
On it his taste was formed; on it his style was moulded. From it his diction and his method derived their peculiarities. But Milton has also told us that Spenser was his master, and the full charm of Comus cannot be realised without reference to the artistic and philosophical spirit of the author of the Faerie Queene.
Both poems deal with the war between the body and the soul—between the lower and the higher nature. It is the mind that maketh good or ill, That maketh wretch or happie, rich or poore: But he that hides a dark soul and foul thoughts Benighted walks under the mid-day sun; Himself is his own dungeon.
After all of them, even the most ideal and poetical, the feeling in reading Comus is that all here is different, all peculiar. It is interesting to consider the mutual relations of the poems written by Milton at Horton.
This is true only in a limited sense. It is true that the Puritan element in the Horton series of poems becomes more patent as we pass from the two lyrics to the mask of Comus, and from Comus to the elegy of Lycidas, just as, in the corresponding periods of time, the evils connected with the reign of Charles I.
But we can hardly regard Milton as having expressed any new decision in Comus: But they seem to have found their way into England, in a crude form, even earlier; and we read of court disguisings in the reign of Edward III. The word has come to us, through the French form masque, cognate with Spanish mascarada, a masquerade or assembly of maskers, otherwise called a mummery.
They were frequently combined with other forms of amusement, all of which were, in the case of the Court, placed under the management of a Master of Revels, whose official title was Magister Jocorum, Revellorum et Mascorum; in the first printed English tragedy, Gorboduceach act opens with what is called a dumb-show or mask.
But the more elaborate form of the Mask soon grew to be an entertainment complete in itself, and the demand for such became so great in the time of James I. The result was Comus, in which the Mask reached its highest level, and after which it practically faded out of our literature.
Amongst the children of the Earl of Bridgewater were three who took important parts in the representation of Comus—Alice, the youngest daughter, then about fourteen years of age, who appeared as The Lady; John, Viscount Brackley, who took the part of the Elder Brother, and Thomas Egerton, who appeared as the Second Brother.
There are three scenes which may be briefly characterised thus: The Tempter and the Tempted: The Temptation and the Rescue: The Palace of Comus. This is one of the more Miltonic parts of the mask: 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.A significant increase in batter viscosity ( poise, poise and poise) was observed with an increase in pomace concentration (5%, 10% and 15% pomace) compared to the control ( poise) at uniform particle size (30 mesh).
Issues # comprise the sequel, reuniting us with ruined jazz man Cass Pollack, aging practitioner of a dying art form, his skills appealing only to an aging set of fans, and an also-aging group of ironists who bask in the *naughtiness* of liking him.
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