Produced by Curtis Weyant, Louise Pryor and the Online Distributed Proofreading Team at http://www.pgdp.net (This file was produced from images generously made available by Case Western Reserve University Preservation Department Digital Library) {Transcriber's note: ~Bold~ text is surrounded by tildes ~, _italic_ text by underscores _. The use of é and è to indicate stresses is inconsistent in this text, as is the use of œ and æ ligatures. No changes have been made to the original. } MILTON'S COMUS WITH INTRODUCTION AND NOTES BY WILLIAM BELL, M.A. PROFESSOR OF PHILOSOPHY AND LOGIC, GOVERNMENT COLLEGE, LAHORE London MACMILLAN AND CO AND NEW YORK 1891 [_All rights reserved_] First Edition, 1890. Reprinted, 1891. CONTENTS. PAGE INTRODUCTION, vii COMUS, 7 NOTES, 38 INDEX TO THE NOTES, 113 INTRODUCTION. Few poems have been more variously designated than _Comus_. Milton himself describes it simply as "A Mask"; by others it has been criticised and estimated as a lyrical drama, a drama in the epic style, a lyric poem in the _form_ of a play, a phantasy, an allegory, a philosophical poem, a suite of speeches or majestic soliloquies, and even a didactic poem. 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 of view which should best reconcile its literary form with what we know of the genius and powers of its author. Those who, like Dr. Johnson, have blamed it as a drama, have admired it "as a series of lines," or as a lyric; one writer, who has found that its characters are nothing, its sentiments tedious, its story uninteresting, has nevertheless "doubted whether there will ever be any similar poem which gives so true a conception of the capacity and the dignity of the mind by which it was produced" (Bagehot's _Literary Studies_). 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. Some have found its lyrical parts the best, while others, charmed with its "divine philosophy," have commended those deep conceits which place it alongside of the _Faerie Queen_, as shadowing forth an episode in the education of a noble soul and as a poet's lesson against intemperance and impurity. But no one can refuse to admit that, more than any other of Milton's shorter poems, it gives us an insight into the peculiar genius and character of its author: it was, in the opinion of Hallam, "sufficient to convince any one of taste and feeling that a great poet had arisen in England, and one partly formed in a different school from