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Comus

Comus (Ancient Greek: Κῶμος, Kōmos) is the god of festivity, revelry, and nocturnal dalliances in Greek mythology, often portrayed as a companion to Dionysus and embodying the chaotic joy of drunken merrymaking.^[1] As the son and cup-bearer of the god Dionysus (also known as Bacchus), Comus represents anarchy, laughter, and the uninhibited pleasures of banquets and nighttime celebrations, frequently appearing in art alongside satyrs, bacchantes, and silens.^[1] He is depicted in classical sources as either a languid, winged youth holding a torch and drinking horn, symbolizing intoxication and revelry, or as a child-like satyr (satyrikos) with asses' ears and a balding pate, emphasizing his playful yet wild nature.^[1] These portrayals draw from later antiquity, with references in texts such as Philostratus the Elder's Imagines (3rd century AD), where Comus is described as a drunken figure in Dionysian processions, and Nonnus' Dionysiaca (5th century AD), linking him to the god's ecstatic rites.^[1] The name Comus also prominently features in English literature through John Milton's 1634 masque Comus: A Mask Presented at Ludlow Castle, a dramatic work celebrating chastity and virtue amid temptation.^[2] In Milton's adaptation, Comus is reimagined as a sorcerer and enchanter—son of the witch Circe and Bacchus—who lures wanderers into sensual excess with enchanted drinks and spells, drawing loosely from the mythological figure but transforming him into a symbol of moral peril.^[3] The masque, performed on Michaelmas night at Ludlow Castle to honor the Earl of Bridgewater and his family, follows the story of a virtuous Lady separated from her brothers in an enchanted wood, where she resists Comus's temptations until rescued by divine intervention from the nymph Sabrina.^[2] Thematically, it contrasts the corrupting forces of revelry and appetite—echoing Comus's mythological roots—with the triumph of temperance, self-restraint (sōphrosynē), and spiritual integrity, influenced by classical sources like Homer's Odyssey and Edmund Spenser's The Faerie Queene.^[3] Milton's Comus, written when the poet was 25 and first published in 1637, marks an early milestone in his career, blending pastoral elements, allegory, and philosophical inquiry into a form of courtly entertainment that critiques aristocratic excess while promoting Puritan ideals of moral fortitude.^[3] Its enduring significance lies in its exploration of the body-soul conflict and the power of eloquence and virtue to overcome vice, influencing later Romantic interpretations and adaptations in music, theater, and visual arts.^[2]

Etymology and Origins

Etymology

The name Comus derives from the ancient Greek noun κῶμος (kōmos), referring to a revel, carousal, or merry-making, typically involving a band of revellers in a festive procession associated with nocturnal celebrations, excess, and Dionysian rites. This term encapsulated boisterous gatherings that blurred the boundaries between joy and debauchery, often featuring music, dance, and communal indulgence.^[4] Linguistically, the etymology of κῶμος remains uncertain, with proposals linking it to Proto-Indo-European *ḱómso-, a derivative of the root *ḱems- ("to announce" or "proclaim"). This root bears resemblance to *ḱens-, the basis for κόσμος (kósmos), meaning "order," "arrangement," or "fitting harmony," underscoring an ironic contrast: the structured act of proclamation evolving into a symbol of revelrous disorder. Alternative derivations suggest ties to *kóh₂-mo- from *keh₂- ("to desire"), aligning with the term's connotations of passionate festivity. In classical texts, κῶμος evolved to denote both the event and its participants, appearing in early works such as the Homeric Hymn to Hermes (line 481), where it describes a "lovely feast and alluring chorus and revel full of glory," evoking vibrant, communal merriment. Later usages, like in Pindar's Pythian 8 (line 20), extend it to crowned processions honoring victors, while Euripides' Bacchae (line 1167) ties it explicitly to the "revel of the god Euios" (Dionysus), reinforcing its ritualistic and ecstatic dimensions.^[5]^[6]

Ancient Depictions

While the concept of komos is ancient, the personification of Comus as a distinct deity emerges in Hellenistic and Roman-era sources. The earliest textual depiction of the personified god Comus appears in Philostratus the Elder's Imagines (3rd century AD), where he is described as a drunken figure in Dionysian processions. A more vivid portrayal emerges in Nonnus' Dionysiaca (5th century CE), an epic poem that expands on Dionysian mythology, depicting Comus as a winged youth who leads drunken processions as the god's cup-bearer.^[1] In Book 12, Dionysus addresses him directly as "the leader of my Thiasos (Revel), the companion of my Bacchantes," emphasizing his role in guiding nocturnal revels with a sense of chaotic merriment. Nonnus further illustrates Comus in scenes of divine transformation, such as Ares assuming his form during celebrations, underscoring his association with uninhibited joy and intoxication.^[1] Early artistic representations of komos revelry are prominently featured in 5th-century BCE Attic vase paintings, particularly in red-figure pottery from Athens, where komasts—youthful revelers—appear carrying torches, lyres, and garlands to evoke themes of nighttime festivity.^[1] For instance, a red-figure column-krater attributed to the Pig Painter (c. 470–460 BCE) in the Cleveland Museum of Art shows komasts dancing and playing instruments, mirroring sympotic rituals and highlighting the influence of komos on communal excess.^[7] These depictions often place komasts alongside Dionysus and satyrs, using dynamic poses and nocturnal motifs to symbolize the transition from ordered symposium to wild procession, as seen in multiple Attic examples from the period. Later representations of the personified Comus appear in Roman-era mosaics and sculptures.^[1]

Role in Greek Mythology

Family and Attributes

In Greek mythology, Comus (Ancient Greek: Κῶμος, Kōmos), the god of revelry and festivity, is primarily regarded as the son of Dionysus, the god of wine and ecstasy, and served as his cup-bearer during symposia and processions.^[1] This parentage aligns with his role in Dionysian cults, where he embodies the spirited companion to the wine god's retinue of satyrs and maenads. Later traditions, particularly in post-classical interpretations, describe him alternatively as the offspring of Bacchus (the Roman equivalent of Dionysus) and Circe, the enchantress daughter of Helios, though this genealogy lacks support from classical authors and appears as an invention in works like John Milton's masque.^[1] Comus is typically depicted in ancient art as a youthful, winged figure or a child-like satyr (satyriiskos) with a balding head, ass's ears, and a languid, drunken posture, often standing in a slumbering pose with crossed legs to suggest intoxication bordering on unconsciousness.^[1] His attributes include a crown or wreath of flowers—commonly roses or ivy, symbols of Dionysian indulgence—and a torch that he carries but frequently drops or allows to extinguish, representing the fleeting, hazy nature of revelry leading to stupor.^[1] He leans on a staff for support in scenes of merrymaking, underscoring his association with nocturnal excess, laughter, and the chaotic joy of banquets, as described in classical texts like Philostratus the Elder's Imagines.^[1] Symbolically, Comus personifies unchecked festivity and temptation through wine and dalliance, highlighting the Dionysian theme of ecstatic abandon.^[1] These attributes position him as an emblem of anarchy in moderation, integral to the broader symbolism of excess in Greek religious and artistic traditions. Note that depictions and literary references to Comus primarily date to late antiquity (3rd–5th centuries AD), such as in Philostratus and Nonnus, with no evidence of dedicated cults in earlier periods.^[1]

Festivals and Worship

In ancient Greece, the term komos referred to a ritual procession of revelry and festivity in Dionysian celebrations, personified in later literature as the daimon Komos, a companion of Dionysus embodying the ecstatic climax of communal merrymaking.^[1]^[8] The Lenaia and Anthesteria in Athens were key Dionysian festivals that included komos processions of revelers known as kōmasts who sang and danced in honor of the god's themes of excess and liberation. The Lenaia, held in winter (Gamelion), included torch-lit evocations, drinking contests, and comedic performances that culminated in a komos—a boisterous nighttime procession with wine libations poured to Dionysus, marking the awakening of vegetative forces through ritual ecstasy. Similarly, the Anthesteria in spring (Anthesterion) involved opening new wine jars, sacred marriages, and a joyous komos where participants offered libations at altars, blending fertility rites with theatrical skits that highlighted revelry's transformative power. These practices reinforced the attributes of festivity in a civic context, with Athenian inscriptions recording performers who "led the komos of Dionysus" during such events.^[8]^[9]^[10] In Thebes, the mythical birthplace of Dionysus, orgiastic rites on Mount Kithairon were integrated into local Dionysia festivals, featuring nocturnal processions, wine offerings, and dramatic reenactments of myths involving ecstatic thiasoi (bands of worshippers) that symbolized divine intoxication and communal bonding. Boeotian inscriptions mention komos processions in Dionysian contexts. Pausanias notes Theban ties to Dionysian pillars and ivy cults near Athens' Acharnai deme, suggesting shared ritual spaces for Dionysian worship.^[9]

Comus in Literature

Milton's Masque

John Milton's Comus: A Masque Presented at Ludlow Castle was composed in 1634 as a private entertainment commissioned for the family of John Egerton, 1st Earl of Bridgewater, to celebrate his installation as Lord President of Wales. The work premiered on Michaelmas Night, September 29, 1634, at Ludlow Castle in Shropshire, with music composed by Henry Lawes, who also performed as the Attendant Spirit and likely directed the production. This early dramatic piece reflects Milton's engagement with classical and Renaissance literary traditions, drawing influences from Ovid's Metamorphoses—particularly the episode of Circe, whose son Comus embodies enchantment and transformation—and Edmund Spenser's The Faerie Queene, with its allegorical explorations of temperance and moral trials in enchanted settings.^[11]^[12]^[13] The plot unfolds in a mysterious woodland near Ludlow Castle, where the Attendant Spirit descends from the heavens, tasked by Neptune to safeguard the three children of the Earl of Bridgewater—the Lady and her two brothers—as they journey to join their father. Separated from her siblings in the dark wood, the Lady encounters Comus, a sorcerer disguised as a harmless villager, who leads her to his lavish palace filled with a riotous crew of beast-headed followers engaged in revelry. Comus offers the Lady an enchanted potion to drink, promising sensual delights and freedom from care, but she refuses, seated and immobilized by his magic, and engages him in a verbal debate on virtue. Her brothers, guided by the disguised Spirit, arrive too late to prevent the enchantment but summon the nymph Sabrina, a local river deity, who intervenes with purifying waters to free the Lady, restoring her to her family as the Spirit ascends, emphasizing divine protection over earthly trials.^[12] At its core, Comus explores the central theme of chastity as an invincible force against hedonistic temptation, with the Lady embodying steadfast virtue and moral reason while Comus serves as a seductive antagonist promoting sensual excess and the erosion of self-control. This opposition reflects Milton's emerging Puritan sensibilities, even in this pre-Civil War work, where chastity transcends mere sexual purity to represent a holistic temperance of body and soul, capable of resisting worldly corruption without external aid. The masque's resonance was heightened by the recent Castlehaven scandal of 1631, involving the Earl's brother-in-law's conviction for rape and sodomy, which cast a shadow on the family's honor and underscored the personal stakes of the drama's moral allegory.^[12]^[14]^[15]

Other Literary Appearances

In classical Greek literature, Comus is depicted as the god of revelry, merrymaking, and nocturnal dalliances, often portrayed as a winged youth or child-like satyr serving as cup-bearer to Dionysus (Bacchus) during ecstatic rites.^[1] This portrayal aligns with Bacchic celebrations in Ovid's Metamorphoses, where Comus-like figures aid in the god's orgiastic festivals, symbolizing unrestrained festivity and temptation.^[16] During the Renaissance, Edmund Spenser's The Faerie Queene (1590–1596) contributed to Comus's literary legacy through the Bower of Bliss episode in Book II, where the enchantress Acrasia entraps knights in a garden of sensual indulgence, prefiguring later interpretations of Comus as a tempter of virtue.^[17] This scene of intemperance and moral peril directly influenced subsequent works, emphasizing Comus's role in allegories of self-control amid excess.^[18] In the Romantic era, Lord Byron referenced Comus in his verse satire English Bards and Scotch Reviewers (1809), invoking him as the permissive deity of chaotic pleasure: "Each to his humour—Comus all allows; / Champaign, dice, music, or your neighbour's spouse."^[19] Here, Byron uses Comus to critique literary and social decadence, portraying revelry as both alluring and corrosive. Twentieth-century literature continued to draw on Comus for themes of excess, as seen in James Joyce's Ulysses (1922), where the Circe episode evokes Comus-like motifs of hallucinatory debauchery and enchantment, linking to the mythological figure through shared parentage with Circe.^[1]^[20]

Comus in Art and Performance

Visual Representations

In ancient Greek art, Comus (known as Komos) was prominently featured in vase paintings depicting komos scenes—rowdy processions of revelers returning from symposia, often involving music, dance, and intoxication to honor Dionysus. These representations emphasized his role as the god of festivity, typically portraying him as a youthful satyr or winged figure accompanied by satyrs carrying torches, flutes, and wineskins, symbolizing nocturnal merrymaking. A notable example is an Attic red-figure kylix from circa 500–450 BCE in the British Museum, which shows a bearded komast dancing amid a symposium, evoking Comus's chaotic exuberance alongside satyrs.^[21] Another fifth-century BCE Attic red-figure vase illustrates Comus directly with Dionysus and Ariadne, highlighting his cup-bearing attributes in a revelry context.^[1] Such iconography, drawn from mythological attributes like his association with excess and companionship to Dionysus, underscores Comus's embodiment of unrestrained joy in classical depictions.^[1] During the Renaissance, artists revived classical mythology to explore themes of pleasure and abandon, integrating Comus into bacchanal compositions that celebrated sensory indulgence. Titian's The Bacchanal of the Andrians (1523–1526, Museo del Prado), inspired by a passage in Philostratus, depicts an island feast where wine flows from a spring, with nude figures in ecstatic poses that parallel Comus's domain of revelry, including satyr-like attendants amid vines and vessels. This work, part of a series on mythological excess, uses vibrant colors and dynamic groupings to convey the god's influence without naming him explicitly, reflecting Renaissance humanism's fascination with ancient festivity.^[22] In the Baroque era, Comus-like figures proliferated in opulent paintings of mythological revelry, where artists amplified classical motifs with dramatic movement and sensuality to evoke abundance and chaos. Peter Paul Rubens frequently incorporated such elements in works like The Triumph of Bacchus (circa 1636–1637, Museum Boijmans Van Beuningen, Rotterdam), portraying the god of wine in a procession of satyrs, nymphs, and inebriated followers pouring libations, mirroring Comus's essence as a symbol of unrestrained festivity.^[23] These scenes, characterized by swirling compositions and fleshy forms, drew from Greco-Roman sources to critique or indulge moral themes of excess. Later illustrations extended Comus's visual legacy into the Romantic period, particularly through literary adaptations. William Blake produced a series of watercolor illustrations for John Milton's masque Comus around 1801, later adapted into engravings in the 1800s, depicting the figure as a sinister enchanter leading a nocturnal crew of monstrous revelers with torches and garlands.^[24] In one prominent engraving, Comus and His Revellers (circa 1801), Blake portrays Comus enthroned amid grotesque followers, blending ancient satyric traits with Miltonic allegory to emphasize temptation and moral peril.^[25] These works, held in collections like the Huntington Library, highlight the evolution of Comus's iconography from pagan deity to emblem of human frailty.^[24]

Musical and Theatrical Adaptations

The original musical setting for John Milton's masque Comus was composed by Henry Lawes in 1634 for its premiere at Ludlow Castle, where Lawes himself performed the role of the Attendant Spirit.^[26] Lawes provided four songs integrated into the text, emphasizing the masque's themes of chastity and temptation through simple, declamatory vocal lines accompanied by lute or theorbo, which served the intimate courtly performance.^[27] These settings, including the opening "Noble Lord and Lady bright" and the concluding "To the ocean now I fly," were published in 1637 and highlighted Lawes's collaborative approach with Milton, prioritizing textual clarity over elaborate ornamentation.^[11] A significant revival came in 1738 with John Dalton's stage adaptation of Comus at Drury Lane Theatre, for which Thomas Arne composed new music that expanded the work into a more operatic form suitable for public audiences.^[28] Arne's score included lively choruses, dances, and airs that amplified the masque's revelry scenes, such as the bacchanalian processional, while retaining Milton's moral core; this version became one of Arne's most enduring successes, influencing English lyric theater.) The adaptation introduced additional spectacle, with Arne's melodies drawing on Italian influences to heighten dramatic contrast between temptation and virtue. In the late 18th century, Thomas Linley the elder contributed incidental music to productions of Comus at Drury Lane, notably in a revival that featured his settings for key songs and ensembles, blending symphonic elements with the original structure to appeal to contemporary tastes.^[29] Linley's contributions, such as arrangements for violin, flute, and harpsichord, emphasized pastoral lyricism and were performed alongside Dalton's text, helping sustain the masque's popularity amid rising interest in Shakespearean and Miltonic adaptations. Twentieth-century theatrical interest revived Comus through selective musical realizations and concert stagings, exemplified by Hugh Wood's Scenes from Comus (1965), a orchestral suite drawn from Milton's text that premiered at the BBC Proms with soprano and baritone soloists, capturing the masque's ethereal and tumultuous moods in a modernist idiom.^[30] This work received a notable revival at the 2019 Proms under Sir Andrew Davis, where the BBC Symphony Orchestra and Chorus performed it alongside Elgar's The Music Makers, underscoring Comus's enduring appeal in British concert traditions through vivid depictions of the Lady's enchantment and the brothers' rescue.^[31] A more recent performance occurred in 2021, when Musicians In Ordinary presented Milton's Comus with Henry Lawes's original songs and dance music by his brother William, directed by Heather Davies.^[32]

Cultural Legacy

Symbolism and Interpretations

In classical Greek thought, Comus (or Komos), the personification of nocturnal revelry and festivity, symbolized the unchecked pursuit of hedone (pleasure), often depicted as a winged youth accompanying Dionysus in merrymaking and excess.^[1] This embodiment of indulgent joy stood in stark opposition to sophrosyne (moderation or self-control), a cardinal virtue extolled in Platonic dialogues as the harmonious regulation of desires to achieve psychic balance and the good life. In Plato's Republic, sophrosyne is defined as the orderly agreement among the soul's parts, where reason governs appetite to prevent the chaos of unrestrained pleasures, much like the disruptive komos after a symposium. Similarly, the Philebus critiques pure hedonism by arguing that pleasures must be measured against intelligence and proportion, portraying unbridled revelry—evident in Comus's domain—as a false or mixed good leading to imbalance rather than true fulfillment. Through this lens, Comus represented the Dionysian temptations that philosophy sought to temper, highlighting the tension between ecstatic release and rational restraint. During the Renaissance, humanist scholars reinterpreted Comus through Neoplatonic frameworks, elevating his associations with revelry to explore themes of divine ecstasy and the soul's ascent beyond mere sensuality. Influenced by Marsilio Ficino's translations and commentaries on Plato, which blended classical mythology with Christian mysticism, Comus in John Milton's masque became a figure testing the boundaries between earthly pleasure and higher, contemplative union with the divine.^[33] Milton drew on Ficino's notion of beauty as a ladder of love, where chastity—embodied by the Lady—transcends Comus's seductive enchantments, transforming potential carnal ecstasy into a purified, Neoplatonic rapture akin to the soul's return to the One.^[34] This interpretation aligned with Renaissance humanism's synthesis of pagan myths and moral philosophy, portraying Comus not merely as vice but as a catalyst for discerning true spiritual elevation from illusory delights, as seen in the masque's emphasis on virtue's "crystal sphere" of inner light.^[35] In the 19th and 20th centuries, psychoanalytic critics, particularly through Freudian perspectives, recast Comus's revelry motifs as manifestations of repressed desires and the psyche's confrontation with temptation. Christopher Kendrick's symptomatic reading of Milton's Comus applies Freudian concepts to unpack the masque's sexual undercurrents, interpreting Comus's enchanted cup and nocturnal routs as symbols of the id's seductive pull against the superego's moral imperatives.^[36] The Lady's resistance to Comus's temptations thus becomes a drama of sublimation, where revelry's chaotic energy—rooted in Dionysian excess—reveals the unconscious conflicts of desire, restraint, and the fear of engulfment by primal urges.^[37] This approach extends to broader Freudian analyses of temptation scenes, viewing Comus's motifs as projections of societal anxieties over sexuality, where the god's festive illusions mask deeper Oedipal tensions between liberation and prohibition.^[38] Such readings underscore Comus's enduring role as a mirror for the modern psyche's struggle with instinctual revelry.

Modern References

In the 20th century, C.S. Lewis contributed to the literary revival of Milton's Comus through his scholarly analyses, emphasizing its exploration of temptation, virtue, and the human condition. In his 1932 essay "A Note on Comus," published in The Review of English Studies, Lewis examined the masque's structure and moral philosophy, praising its poetic craftsmanship while critiquing interpretations that overlooked its allegorical depth.^[39] Lewis further referenced Comus in The Four Loves (1960), invoking its depiction of chastity as a form of spiritual fortitude amid sensual excess, thereby integrating the work into broader discussions of Christian ethics and eros.^[40] Stanley Kubrick's Eyes Wide Shut (1999) features prominent allusions to Comus, linking the film's themes of masked debauchery and marital fidelity to the masque's narrative of enchantment and restraint. In the toy store scene, Helena mentions "Sabrina," referencing the nymph from Comus who aids in the Lady's rescue, while the orgiastic gathering at Somerton mirrors the revels orchestrated by Comus in Milton's text.^[41] These references underscore Kubrick's interest in psychological temptation, positioning Comus as a foundational intertext for modern cinematic explorations of hidden desires.^[42] Academic scholarship in the 2020s has increasingly applied queer theory to Comus, illuminating its subversive potential regarding gender, sexuality, and power dynamics. A 2021 Vanderbilt University thesis, "Asexuality and Power in Milton's Comus," analyzes the Lady's chastity as an asexual resistance to Comus's coercive sensuality, challenging heteronormative readings and highlighting non-sexual agencies within the masque.^[43]

References

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COMUS (Komos) - Greek God of Revelry & Merrymaking
Comus was the ancient Greek god of revelry, merrymaking and festivity. He was the son and cup-bearer of the god Dionysus. Comus was depicted as either a ...
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A Mask Presented at Ludlow Castle, 1634. The Persons: The attendant Spirit afterwards in the habit of Thyrsis. Comus with his crew.
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A lyric poem in the form of a play, a phantasy, an allegory, a philosophical poem, a suite of speeches or majestic soliloquies, and even a didactic poem.
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A poem titled the Theogony, a cosmological work describing the origins and genealogy of the gods, Works and Days, on the subjects of farming, morality and ...
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Red-Figure Column Krater (Mixing Vessel) - Cleveland Museum of Art
Used for mixing wine and water at a symposium (drinking party), this vase bears images of komasts, or revelers, potentially mirroring the actions of its users.Missing: source | Show results with:source
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COMUS - the Greek God of Laughter (Greek mythology) - Godchecker
God of Comedy, Jokes and Revelry. Always good for a laugh, and a bit of a practical joker. He's the son of Circe and Dionysus (or possibly Hermes).
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The phallus is enlarged for purposes of clarification and becomes an independent iconic symbol, detached from the body. Phalli of this type have for example ...
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[PDF] The cults of the Greek states - The Warburg Institute
... Komos and festivals went on merrily throughout the winter, spring, and autumn of each year, if not in all cities, yet in many of which we are told. Even at ...
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[PDF] Epigraphic Bulletin for Greek Religion 1994\/95 - CORE
... inscription from Amastris [SEC XL. 1163], which records that a dancer/actor has "led the komos of Dionysos at the trieteric telete in a mystic way" and had ...<|separator|>
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The masque was first performed on September 29, 1634, at Ludlow Castle in Wales, as part of a celebration honoring the installation of the Earl of Bridgewater ...
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Featuring as its chief protagonist a Lady lost in a wild wood and made captive by a lascivious enchanter, the masque i~ Milton's only major work to centre on a ...
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The "Rout of Monsters" in "Comus" - jstor
monsters. In making this change, Milton was influenced by post-Homeric treatments of the Circe. Jegend.
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[PDF] Milton's Doctrine of Chastity : An Interpretation of Comus
In the Oubridge manuscript the Attendant Spirit ia called a "daemon." According to Plato the cSa.{ JA.OV~S were in- ferior god. who guided and directed the ...
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Temptation Scenes in "Comus" and "Paradise Lost" - jstor
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I have used the Loeb Classical edition of Metamorphoses, trans. Frank J. Miller (Cambridge, Harvard University Press, 1968), II; Shakespeare's Ovid Being Arthur ...
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kylix | British Museum
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The painting depicts a bacchanal on the Greek island of Andros. A bacchanalia was a feast honouring Bacchus, the Roman god of wine.
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The two gentle youths now hold their swords, if somewhat limply, as they are armed by the Spirit with knowledge of Comus' evil powers and their sister's peril.
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[PDF] HENRY LAWES'S SETTINGS OF SONGS FOR MILTON'S "COMUS"
The musical settings in terms of the lines of the final text are: Song 1, 976-983,. 992-995, 998-9993 Song 2, 230-2433 Song 3, 859-8663 Song 4, in two parts, ...
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Sep 1, 2019 · Andrew Davis led a rare and bewitching outing of Hugh Woods's Scene from Comus, while Sarah Connolly was striking in The Music Makers.
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nism is not classical Platonism, but Renaissance Platonism, and Milton's principal authority is not Plato, but Ficino. Ficino. "Plato" and "Xenophon." of Comus ...<|separator|>
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The moral philosophy of Comus reflects the imprint of Neoplatonism. In the ... The fundamental tenet of Renaissance Neoplatonism asserted by Marsilio ...
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Saying "No" to Freud: Milton's "A Mask" and Sexual Assault - jstor
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Apr 14, 2017 · “A Note on Comus” and “Genius and Genius” was published in The Review of English Studies in April in 1932 and 1936 respectively.
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[40]
Eyes Wide Shut: Hidden in Plain Sight - An In-Depth Analysis of ...
This includes alternately conspicuous and obscure allusions to the Freemasons, Skull and Bones, Scientology, the CIA, and other related agencies and secret ...
[41]
The Devil's Advocate - Eyes Wide Shut - Idyllopus Press
Sep 10, 2020 · The movie has the character, Sidney, quoting a passage from the play that refers to John Milton's 1634 masque, "Comus". The same John Milton who ...
[42]
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