Outline for the Study of Comus
I. Preparation
A good way to arouse interest in this poem is to give an account of the popularity of the mask in the days of Elizabeth and James I; the occasions for which masks were written; the people who wrote them; and the preparations that were made for presenting them. Some pupil who has read Kenilworth will be interested to tell of the entertainment of Queen Elizabeth by the Earl of Leicester. Other matters of interest are the character of Henry Lawes, his part in Comus, and the occasion for which this mask was prepared.
II. Reading and Study
The first reading should give familiarity with the events related and a general idea of the philosophical discussions. The second reading will include a careful study of details; Milton's use of mythology; the stage setting; the introduction of dances, etc.
III. Study of the Poem as a Whole
Content.—When, where, for what occasion, and before what audience was this mask presented?
Who were the actors?
Members of the audience often took part in dances, which were a feature of the mask. Do you find here any indication of such a dance? Find two places in Comus where dances are introduced to serve the purpose of an anti-mask, that is, a humorous interlude to afford contrast and amusement.
What supernatural characters are introduced?
Find passages of compliment to the Welsh, to the Earl of Bridgewater, and to the Earl's family in the opening speech of the Attendant Spirit.
Find one passage complimenting the musical ability of Mr. Henry Lawes (494-496), and several complimenting the Lady Alice and her two brothers (145-150, 244-264, 297-304, 366, etc.).
What idea does Milton bring out in the long dialogue between the two brothers? between Comus and the Lady?
For what do the several characters stand, if we take the poem as an allegory? What is the significance of the ugly heads of the monsters? of the glass of liquor? of the remarkable courage of the Lady in the face of danger? What is the central idea of the poem?
Form.—Distinguish between the mask and the regular drama; between the mask and the opera.
Point out the chief lyrical passages.
Find examples of blank verse, of rhymed pentameter, and of the two kinds of verse so common in L'Allegro and Il Penseroso.
Compare the meter of the dialogues with that of the lyric passages.
Find passages remarkable for beauty of figurative language (like 188-192 and 375-380), others for beauty of sentiment (like 210-220 and 453-463).
The Life and Character of the Author.—See outline for the study of Lycidas, page 59.
What impression of Milton's character do we get from Comus? What suggestions do we get here of the best side of Puritanism?