- why is a nice, middle class boy like Milton writing in this genre?
- Thyrsis is a guide for the children
- clearly defined spiritual realm and a clearly defined material world that can relate but that are not the
- sets things with relation to water
- playing on the pun "the earl of Bridgewater"
- also important in the figure of Sabrina
- three little kids lost in the woods and trying to get home
- he's going to tell a tale that "has never been heard"
- there's another version of this is Paradise Lost "things yet unattempted in verse or rhyme"
- the story of Comus is new: he's not a conventional god, not part of either the roman or Greek
- he's a personification of the spirit of revelry (spirit of the banquet)
- Circe (turns men who show up at her island into animals in the odyssey) and Baccus are Comus'
- Milton clearly wants to say that Comus is (56) "much like his father, but his mother more"
- something effeminate about Comus
- he brings things down where Thyrsis wants to bring things up, and blurs the line between genders: is it
actually gender inversion? the Lady is the male (Milton, a version of Odysseus), and Comus is the female
- when good people go up, they're looked after by angels, and they're purified
- ie if you're good, you go up: not only spiritual, but also class and morally
- Comus and potentially Milton himself are working against the conventional masque
- usually a masque goes from bad (Comus) to good (Thyrsis), but this one starts with Thyrsis
- highlights the similarities between the two: they both pretend to be shepherds, though they have
- we know that they're different because of the way that they speak: - Thyrsis speaks in iambic pentameter: blank verse; used particularly in Shakespeare, Marlowe: it's a
- useful in drama because it allows the characters to develop longer ideas
- this verse form is closest to natural human speech (in English)
- one of the reasons that it becomes so popular in the romantics
- allows characters in soliloquy to reveal themselves
- seems like it's easy, natural
- Comus, on the other hand, speaks in rhyming couplet, the lines are shorter; as a sound, it's more
playful. it lulls you into a trance. seems cunning and reflective, emphasizes its artificiality
- when you do couplets, you're making it known that you were thinking in advance
- L'Allegro and Il Penseroso have this verse form as well
- Thyrsis is a figure who comes from Virgil's eclogue 7: he's the singer who loses
- it's two singers, and L'Allegro. and Il Penseroso can be seen as a singing match too
- Comus is light, fun and playful: like L'Allegro
- Thyrsis is more like Il Penseroso
- the moral issues complicate things
- Comus comes out at night, Thyrsis comes out during the day
- Comus also seems to mix up things by being Il Penseroso on the supernatural front
- the terms of Il Penseroso and l’Allegro are no longer adequate
- opening begins with these two antithetical voices, which react differently to the children
- back to A&P and Milton trying to figure out what kind of poet he's going to be: he could be trying to
decide whether he's going to be a court writer or not
- the characters change: Comus changes first
- his attire changes and he switches to iambic pentameter
- "foot puns" again
- she's chas