But justice and some fatal curse annexed, ΙΟΟ In the 'Samson Agonistes,' Samson says to the Chorus (vv. 268-276, and here Milton may be said virtually to speak, as he does throughout the drama, in propria persona): 'But what more oft, in nations grown corrupt And by their vices brought to servitude, Than to love bondage more than liberty, 270 Whom God hath of his special favour raised How frequent to desert him, and at last 275 In the 'Paradise Regained,' Book ii. 410-486, Satan says to the Saviour: 'all thy heart is set on high designs, 410 415 Which way, or from what hope, dost thou aspire 420 Longer than thou canst feed them on thy cost? Money brings honour, friends, conquest, and realms. And his son Herod placed on Judah's throne Thy throne - but gold that got him puissant friends? 425 horus eak, a Get riches first, get wealth, and treasure heap,- 430 an s They whom I favour thrive in wealth amain, 435 440 That seat, and reign in Israel without end. Among the Heathen for throughout the world canst thou not remember 445 Quintius, Fabricius, Curius, Regulus? For I esteem those names of men so poor, Who could do mighty things, and could contemn Riches, though offered from the hand of kings. And what in me seems wanting, but that I 450 Accomplish what they did? perhaps and more. Extol not riches then, the toil of fools, The wise man's cumbrance, if not snare; more apt To slacken Virtue, and abate her edge, 455 Than prompt her to do aught may merit praise. What, if with like aversion I reject Riches and realms! yet not, for that a crown, Golden in shew, is but a wreath of thorns, Brings dangers, troubles, cares, and sleepless nights, 460 To him who wears the regal diadem, When on his shoulders each man's burden lies; For therein stands the office of a king, His honour, virtue, merit, and chief praise, Or lawless passions in him, which he serves. 465 470 475 480 485 his spirit is better than There has always been realized in men's lives, All this, it may be truly said, is nothing more than the old teaching of Solomon, ' He that ruleth he that taketh a city' (Prov. xvi. 32). truth enough in the world which, if would soon bring about the millennium. But, unfortunately, it has only been born in their brains. Great writers owe their power among men, not necessarily so much to a wide range of ideas or to the originality of their ideas, as to the vitality which they are able to impart to some one comprehensive fructifying idea with which, through constitution of mind, or circumstances, they have become possessed. It is only when a man is really possessed with an idea (that is, if it does not run away with him), that he can express it with a quickening power, and ring all possible changes upon it. The passages quoted sufficiently show the kind of liberty which Milton estimated above all others, and to the advancement of which he devoted his best powers, for twenty years, and those years the best, generally, of a man's life, for intellectual and creative work, namely, from thirty-two to fifty-two. The last eight of those years he worked in total darkness, not bating a jot of heart or hope, sustained by the consciousness of having lost his eyes 'overplied in Liberty's defence''the glorious liberty,' more especially, of the children of God,' 'the liberty wherewith Christ hath made us free,' without which, outward liberty he regarded as a temptation and a snare. In addition to the absolute merit attaching to his labors in the cause of liberty, it must not be forgotten that he turned aside with a heroic self-denial, during all those years of his manhood's prime, from what he had, from his early years up, felt himself dedicated to, and toward fitting himself for the accomplishment of which, he had, with an unflagging ardor, trained and marshalled all his faculties. COMUS A Masque presented at Ludlow Castle, 1634, before the Earl of Bridgewater, then President of Wales MASQUES, in the reigns of Elizabeth, James I., and Charles I., were generally written for the entertainment of royalty and nobility. They were, besides, in most cases, presented by royal and noble persons. In their setting, they were in strong contrast to the public drama of the day, got up, as they were, with great magnificence of architecture, scenery, and appareling' (Ben Jonson's word for the apparatus of the scene), and frequently at an enormous expense. They were generally offset by grotesque and comic antimasques, which were played by. common actors, dancers, and buffoons, from the public theatres. Shakespeare's A Midsummer Night's Dream' was probably not written as a regular drama for the public stage, but as a masque, on the occasion of some noble marriage. The most lamentable comedy and most cruel death of Pyramus and Thisbe' presented by the 'rude mechanicals,' 'hard-handed men,' in the fifth act, is the antimasque. It offsets the Masque in a special way. The Masque makes great demands on the imagination in its presentation of the fairy world; the antimasque is absurdly realistic-nothing is left by the 'rude mechanicals' to the imagination. The Masque of 'Comus' is the last notable, if not entirely the last, composition of the kind in English literature, and the loftiest and loveliest. It is a glorification of the power of purity and chastity over the impure and the unchaste; and the poet no doubt meant it as a reflection upon the license and excesses and revelries (of which Comus is a personification) of the profligate and extravagant court of the time, imported from |