of it I like better than that of the Paradife Loft, which, I think, is not human enough to touch the common feelings of humanity, as poetry ought to do; the Divine Perfonages he has introduced are of too high a kind to act any part in poetry, and the scene of the action is, for the greater part, quite out of Nature. But the fubject of the Comus is a fine Mythological Tale, marvellous enough, as all poetical fubjects fhould be, but at the fame time human. He begins his piece in the manner of Euripides, and the defcending Spirit that prologises, makes the finest and grandest opening of any theatrical piece that I know, ancient or modern. The conduct of the piece is anfwerable to the beginning, and the verfification of it is finely varied by short and long verses, blank and rhyming, and the sweetest fongs that ever were composed; nor do I know any thing in English Poetry comparable to it in this refpect, except Dryden's Ode on St. Cecilia; which, for the length of the piece, has all the variety of verfification that can well be imagined. As to the style of Comus, it is more elevated, I think, than that of any of his writings, and fo much above what is written at prefent, that I am inclined to make the fame diftinction in the English Language, that Homer made of the Greek in his time; and to fay, that Milton's language is the language of the gods; whereas we of this age speak and write the language of mere mortal men. If the Comus was to be properly represented, with all the decorations which it requires, of machinery, fcenery, drefs, mufick, and dancing, it would be the finest exhibition that ever was seen upon any modern stage. But I am afraid, with all these, the principal part would be still wanting; I mean, players that could wield the language of Milton, and pronounce thofe fine periods of his, by which he has contrived to give his poetry the beauty of the finest profe compofition, and without which there can be nothing great or noble in composition of any kind. Or if we could find players who had breath and organs (for thefe, as well as other things, begin to fail in this generation), and sense and taste enough, properly to pronounce fuch periods, I doubt it would not be easy to find an audience that could relish them, or perhaps they would not have attention and comprehenfion fufficient to connect the fenfe of them, being accuftomed to that trim, fpruce, thort cut of a ftyle, which Tacitus, and his modern imitators, French and English, have made fashionable. LORD MON BODDO. In poetical and picturesque circumftances, in wildnefs of fancy and imagery, and in weight of fentiment, and moral, how greatly does Comus excel the Aminta of Taffo, and the Paftor Fido of Guarini, which Milton, from his love of Italian poetry, must frequently have read: Comus, like thefe two, is a Paftoral Drama; and I have often wondered it is not mentioned as fuch.. Jos. WARTON. We must not read Comus with an eye to the ftage, or with the expectation of dramatick propriety. Under this reftriction the abfurdity of the Spirit fpeaking to an audience in a folitary foreftat midnight, and the want of reciprocation in the dialogue, are overlooked. Comus is a fuite of fpeeches, not interesting by difcrimination of character; not conveying a variety of incidents, nor gradually exciting curiofity: but perpetually attracting attention by fublime fentiment, by fanciful imagery of the richeft vein, by an exuberance of picturefque defcription, poetical allu fion, and ornamental expreffion. While it widely departs from the grotefque anomalies of the Mafk now in fafhion, it does not nearly approach to the natural conftitution of a regular play. There is a chastity in the application and conduct of the machinery: and Sabrina is introduced with much addrefs, after the Brothers had imprudently fuffered the enchantment of Cemus to take effect. This is the first time the old English Mafk was in fome degree reduced to the principles and form of a rational compofition; yet fill it could not but retain fome of its arbitrary peculiarities. The poet had here properly no more to do with the Pathos of Tragedy, than the Character of Comedy: nor do I know that he was confined to the ufual modes of theatrical interlocution. A great critick obferves, that the difpute between the Lady and Comus is the most animated and affecting fcene of the piece. Perhaps fome other fcenes, either confifting only of a foliloquy, or of three or four fpeeches only, have afforded more true pleafure. The fame critick thinks, that in all the moral dialogue, although the language is poetical, and the fentiments generous, fomething is ftill wanting to allure attention. But furely, in fuch paffages, fentiments fo generous, and language fo poetical, are fufficient to roufe all our feelings. For this reafon I cannot admit his pofition, that Comus is a drama tediously inftructive. And if, as he fays, to thefe ethical difcuffions the auditor liftens, as to a lecture, without paffion, without anxiety, yet he liftens with elevation end delight. The action is faid to be improbable: because the Brothers, when their Sifter finks with fatigue in a pathlefs wildernefs, wander both away together in fearch of berries, too far to find their way back, and leave a helplefs Lady to all the fadnefs and danger of folitude. But here is no defertion or neglect of the Lady. The Brothers leave their Sifter under a spreading pine in the foreft, fainting for refreshment: they go to procure berries or fome other fruit for her immediate relief, and, with great probability, lofe their way in going or returning. To fay nothing of the poet's art, in making this very natural and fimple accident to be productive of the diftrefs, which forms the future bufinefs and complication of the fable. It is certainly a fault, that the Brothers, although with fome indications of anxiety, fhould enter with fo much tranquillity, when their Sister is loft, and at leisure pronounce philofophical panegyricks on the mysteries of virginity. But we not too fcrupulously attend to the exigencies of fituation, nor fuffer ourselves to fuppofe that we are reading a play, which Milton did not mean to write. Thefe fplendid infertions will please, independently of the story, from which however they refult; and their elegance and fublimity will overbalance their want of place. In a Greek Tragedy, fuch fentimental harangues, arifing from the fubject, would have been given to a Chorus. On the whole, whether Comus be or be not, deficient as a drama, whether it is confidered as an Epick drama, a series of lines, a Mask, or a poem, I am of opinion, that our author is here only inferiour to his own Paradife Loft. T. WARTON. Milton's Comus is, in my judgement, the moft beautiful and perfect poem of that fublime genius. WAKEFIELD. Perhaps the conduct and conversation of the Brothers, which Mr. Warton blames in the preceding note, may not be altogether indefenfible. They have loft their way in a foreft at night, and are in "the want of light and noife." It would now be dangerous for them to run about an unknown wilderness; and, if they should separate, in order to feek their Sifter, they might lofe each other. In the uncertainty of what was their best plan, they therefore naturally wait, expecting to hear perhaps the cry of their loft Sifter, or some noife to which they would have directed their steps. The Younger Brother anxiously expreffes his apprehenfions for his Sifter. The Elder, in reply, trufts that the is not in danger, and, inftead of giving way to thofe fears, which the Younger repeats, expatiates on the ftrength of Chaftity; by the illuftration of which argument he confidently maintains the hope of their Sifter's fafety, while he beguiles the perplexity of their own situation. It has been obferved, that Comus is not calculated to shine in theatrick exhibition for those very reasons which conftitute its effential and specifick merit. The Paftor Fido of Guarini, which alfo ravishes the reader, and The Faithful Shepherdess of Fletcher, could not fucceed upon the Stage. However, it is sufficient, that Comus difplays the true fources of poetical delight and moral instruction, in its charming imagery, in its original conceptions, in its fublime diction, in its virtuous fentiments. Its few inaccuracies weigh but as duft in the balance against its general merit. And, in short, (if I may be allowed respectfully to differ from the high authority of a preceding note,) I am of opinion, that this enchanting Poem, or Pastoral Drama, is both gracefully fplendid, and delightfully inftructive. TODD. Original Various Readings of Comus, From Milton's MS, in his own hand. Examined by the editor of thefe volumes. STAGE-DIRECTION. "A guardian Spirit or dæmon" [enters.] After v. 4. "In regions mild, &c." Thefe lines are inferted, but croffed. Amidt th' Hefperian gardens, on whofe banks And fruits of golden rind, on whofe faire tree In the third of the preceding lines, "Eternal rofes yeeld" had been alfo written, and then "bloome;" both which are croffed, and grow remains. After ftygian poole the following lines, through which the pen is drawn occur: I doubt me, gentle mortalls, thefe may feeme Then follows in the margin, But soft &c. Ver. 5. the fmoke and ftir of this dim narrow spot. After v. 7. "Strive to keep up, &c." this line was inferted, but croffed, Beyond the written date of mortall change. * Dr. Warburton thinks this line neceffary to the juftnefs of the thought in v. 7. Dr. Newton contends that it is better omitted. The written date, as Doctor Warburton obferves, means Scripture, in which is recorded the abridged date of human life. TODR. |