“But, when lust, By unchaste looks, loose gestures, and foul talk, But most by lewd and lavish act of sin, Lets in defilement to the inward parts, The soul grows clotted by contagion, Imbodies, and imbrutes, till she quite lose The divine property of her first being. Such are those thick and gloomy shadows damp Oft seen in charnel-vaults, and sepulchres, Lingering and sitting by a new-made grave, As loath to leave the body that it loved; And linked itself by carnal sensualty To a degenerate and degraded state.”[4] (ll. 463–475.) This idea, thus stated, is represented symbolically in the disfigurement which the magic liquor of Comus works in the divine character of the soul visible in the countenance. “Soon as the potion works, their human count’nance, The express resemblance of the gods, is changed Into some brutish form of wolf or bear, Or ounce or tiger, hog, or bearded goat, All other parts remaining as they were. And they, so perfect is their misery, Not once perceive their foul disfigurement, But boast themselves more comely than before, And all their friends and native home forget, To roll with pleasure in a sensual sty.” (ll. 68–77.) The opposition indicated in the Platonic doctrine between the senses and the soul is carried over by Milton in his description of the trial undergone by the spirit of him who strives to be chaste. In Plato the fundamental idea is somewhat different from Milton’s; for Plato is concerned with the problem of the attainment by the soul of pure knowledge, and he means by sense knowledge not sensuality in the restricted moral signification of that word, but in the broader signification of all experience gained through all the senses. Milton, however, places a narrow interpretation upon the doctrine of Plato. This is evident in his description of the attempt made by Comus to allure The Lady to sensual indulgence. Comus endeavors twice to overpower The Lady. He tries to tempt her to impurity of conduct, and also seeks to blind her judgment through the power of sense illusion. In this second trial there may be seen the influence of the Platonic notion of sense knowledge destroying the soul’s purity; the first trial contains the more narrow application of the idea of unchastity. Milton himself calls attention to the greater similarity of Comus to his mother, Circe, the enchantress of men’s minds, than to Bacchus, the god of wine. He is “a son Much like his father, but his mother more.” (ll. 56, 57.)