potion which fufpends the powers of reafon, and fuperinduces oblivion of herfelf. The Brothers afterwards meet with an Old Man who is alfo skilled in magic; and by listening to his foothsayings, they recover their loft Sifter. But not till the Enchanter's wreath had been torn from his head, his fword wrested from his hand, a glass broken, and a light extinguished. The names of fome of the characters as Sacrapant, Chorebus, and others, are taken from the ORLANDO FURIOSO. The hiftory of Meroe a witch, may be seen in "The xi "Bookes of the Golden Affe, containing the Metamorphofie of "Lucius Apuleius interlaced with fundrie pleasant and delectable "Tales, &c. Tranflated out of Latin into English by William Ad"lington, Lond. 1566." See Chap. iii. "How Socrates in his "returne from Macedony to Lariffa was fpoyled and robbed, and "how he fell acquainted with one Meroe a witch." And Chap. iv. "How Meroe the witch turned divers perfons into miferable "beasts." Of this book there were other editions, in 1571, 1596, 1600, and 1639. All in quarto and the black letter. The translator was of University College. See alfo Apuleius in the original. A Meroe is mentioned by Aufonius, EPIGR. xix. I reserve a more distinct and particular view of Peele's play, with the use of which I was politely favoured by the late lamented Mr. Henderson of Covent-garden theatre, for an APPENDIX TO THE NOTES ON COMUS. That Milton had his eye on this aucient drama, which might have been the favourite of his early youth, perhaps it may be at least affirmed with as much credibility, as that he conceived the PARADISE LOST, from feeing a Mystery at Florence, written by Andreini a Florentine in 1617, entitled ADAMO. In the mean time it must be confeffed, that Milton's magician Comus, with his cup and wand, is ultimately founded on the fable of Circe. The effects of both characters are much the fame. They are both to be opposed at first with force and violence. Circe is fubdued by the virtues of the herb Moly which Mercury gives to Ulyffes, and Comus by the plant Haemony which the Spirit gives to the two Brothers. About the year 1615, a Masque called the INNER TEMPLE MASQUE, written by William Browne author of BRITANNIA'S PASTORALS, which I have frequently cited, was presented by the students of the Inner Temple. See Note on COM. v. 232.636.659. It has been lately printed from a munuscript in the Library of Emanuel College: but I have been informed, that a few copies were printed foon after the prefentation. It is formed on the ftory of Circe, and perhaps might have fuggefted fome few hints to Milton. I will give fome proofs of Parallelifm as we go along. The genius of the best poets is often determined, if not directed, by circumstance and accident. It is natural, that even so original a writer as Milton fhould have been biaffed by the reigning poetry of the day, by the compofition moft in fashion, and by fubjects recently brought forward, but foon giving way to others, and almost as foon totally neglected and forgotten. COMUS, THE PERSONS. The attendent SPIRIT, afterwards in the habit of THYRSIS. COMUS with his crew. The LADY. First BROTHER. Second BROTHER. SABRINA the Nymph. The chief perfons who presented were, The Lord BRACKLY. Mr. THOMAS EGERTON his brother. The Lady ALICE EGERTON. The Attendent SPIRIT defcends or enters.* EFORE the ftarry threshold of Jove's court BEM My manfion is, where thofe immortal shapes Of bright aereal spirits live inspher'd In regions mild of calm and ferene air, * "The Attendent Spirit defcends, &c."] The Spirit is called DAEMON in the Cambridge manufcript. This was Platonic. But DAEMON is used for SPIRIT, and alfo for ANGEL, in ANTONY AND CLEOPATRA, A. ii. S. iii. Thy DAEMON, that's thy SPIRIT, which keeps thee, is Where Cefar's is not; but near him thy ANGEL Becomes a Fear. The expreffions however, are literally from North's Plutarch. See alfo Spenfer's RUINS OF ROME, ft. 27. That one would iudge, that the Romaine DEMON Doth yet himfelfe with fatall hand enforce, The Spirit's Prologue, which opens the business of the drama, is introduced after the manner of the Greek Tragedy. He might, however, have avoided any application to an audience, as at v.43. S 2 See, Above the smoke and ftir of this dim spot, 5 Which men call Earth, and with low-thoughted care Confin'd, and pefter'd in this pinfold here, Strive to keep up a frail and feverish being, See, among others, the Prologues to the HECUBA, HIPPOLITUS, and IPHIGENIA IN TAURIS, of Euripides. 3. Of bright aereal spirits live infpher'd.] In IL PENSEROSO, the spirit of Plato was to be UNSPHERED, V. 88. That is, to be called down from the Sphere to which it had been allotted, where it had been INSPHERED: the word occurs exactly in the fame sense in Drayton, on his Mistress, vol. iv. p. 1352. O rapture great and holy ! So well her form to vary; That I aloft may bear her, In regions high and starry. Compare Shakespeare, TROIL. CRESS. A. i. S. iii. -The glorious planet Sol In noble eminence enthron'd and SPHER'D Light is "SPHER'd in a radiant cloud." PARAD. L. vii. 247. 5. -This dim fpot, Which men call earth. PARAD. L. viii. 15. -] As Adam fpeaks to the angel. When I behold this goodly frame, this world And afterwards, v. 23. Round this opacous Earth, this punctual SPOT. That is, a Spot no more than a mathematical point. 7. Confin'd, and pefter'd in a pinfold here.] PIN-FOLD is now provincial, and fignifies fometimes a fheep-fold, but most commonly a pound. It occurs feemingly in the first sense in Spenfer's IRELAND. And perhaps in Gascoigne's BARTHOLOMEW OF BATH, p. 69. edit. 1587. 4to. In fuch a PINFOLDE were his pleasures pent. Our author calls the Liturgy 66 a PINFOLD of fet words." PROSE WORKS, i. 413. Compare Fairfax's TASSO, C. xiii. 20. -Neere the wood where clofe ipent The wicked fprites in fyluan PINFOLDS were. Shakespeare |