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John MiltonA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Content Warning: This section of the guide includes discussion of sexual content, rape, sexual violence, substance use, and graphic violence.
Virtue versus vice is an overarching theme of the masque. Virtue is embodied in the Lady, vice in the form of Comus, and their characteristics illuminate Milton’s understanding of good and evil, respectively.
Comus’s weapon is temptation; he does not threaten force but instead tries to persuade, and he is accustomed to success. As the Spirit states, most people who come under Comus’s sway succumb to the magical potion not because they are weak but because they are not alert to the danger: “Most do taste through fond intemperate thirst” (Line 67) since they have a strong need to alleviate thirst caused by the sun’s heat. After that, the potion works quickly, and the victim’s reason is overthrown. Vice thus triumphs through the cunning deceit of Comus and the bodily needs of his victims; these physical appetites are not evil in and of themselves, but they are “intemperate” (Line 67) and thus render humans vulnerable to sin.
Virtue, by contrast, is bound up with the higher reason instilled in humans by God as well as with chastity and love of the good. Virtue is an orientation of the entire being toward the qualities that flow from God to a pure soul. It is also almost synonymous with temperance, which refers to self-restraint and self-control, especially in the appetites and passions. The Lady, in rebuking Comus, refers to how “the good, / […] live according to her [nature’s] sober laws, / And holy dictate of spare Temperance” (Lines 765-67). The praises of virtue are sung throughout the poem. The Spirit states that most people live in “low-thoughted care” (Line 6) because they are “[u]nmindful of the crown that Virtue gives” (Line 9). Elder Brother extols the supreme value of virtue, saying that virtue knows the right thing to do because it sees with its own “radiant light” (Line 374); those who possess it could sit in the center of the earth and enjoy “bright day” (Line 382). Because it is fundamentally spiritual rather than physical, virtue can be “assailed, but never hurt, / Surprised by unjust force, but not enthralled” (Lines 589-90).
Virtue in the end therefore triumphs for those who aspire to it, though the way may be hard. When the three siblings have finally arrived at their father’s castle, the Spirit mentions again the crown that virtue acquires. Heaven, he says, has put them through trials that have tested their faith and their truth, and now they are possessed of “a crown of deathless praise, / To triumph in victorious dance / O’er sensual folly and intemperance” (Lines 973-75). The Christian imagery underscores the work’s moral framework, contextualizing the siblings’ adventures as a spiritual journey toward salvation.
In Comus, the term “reason” means more than thinking in a rational and orderly way. Reason, for Milton, is the faculty that connects a person to God and separates them from the beasts. It is an essential aspect of God, and for humans, it acts as a divine, internal guide that must rule over the passions and appetites—a person’s “lower” nature—and thus allow the person to maintain a state of truth, virtue, and grace. Conversely, sin is associated with a lack of reason: with chaos, impulse, and violence.
This is why, when someone drinks the villainous Comus’s magic potion, their reason is overturned. As the Attendant Spirit explains, the transition from a man to the appearance of a beast involves “unmoulding reason’s mintage / Charáctered in the face” (Lines 529-30). He means that the process disfigures the likeness of God, the rational soul “minted”—that is, stamped on in the sense of engraved—on the human face by a higher power that embodies reason. Reason is thus the highest part of the human being. It is sovereign in the sense that it governs the lower powers of instinct and the senses. It is a gift from God; those who abandon it are rejecting their God-given nature.
The conflict between reason and instinct is complicated in the masque by Comus’s ability to imitate reason in his temptations. Just before he encounters the Lady for the first time, he comments on his “well-placed words of glozing courtesy / Baited with reasons not unplausible” (Lines 161-62). This makes him a formidable enemy, which can also be seen in his ability to create a visual setting that maximizes the temptation by appealing to the senses with “dainties” and “soft music.” Fortunately, the Lady can resist. She is not fooled for a moment and knows exactly what Comus is doing. As a reason-filled soul, she is firm in her self-knowledge and her adherence to virtue and truth. She denounces Comus as a “juggler” (Line 757) who is trying to deceive her by “[o]btruding false rules pranked in reason’s garb” (Line 759)—that is, making specious arguments. The moral to be drawn is that the virtuous soul that maintains its connection to divine reason has nothing to fear from temptation or deceit, even when it sounds superficially plausible.
As a Christian virtue, “chastity” typically refers to sexuality: Someone who is chaste abstains from sexual activity outside of marriage. In Comus, chastity is synonymous with virginity since it is applied primarily to the Lady, and it signifies her broader virtue, which Comus proves unable to undermine.
Elder Brother, who serves as the spokesman of enlightened reason and knowledge, speaks about the sacred power and value of chastity. He has the utmost confidence that his sister will come to no harm in the wood. Chastity is a “hidden strength” (Line 418):
She that has that is clad in cómplete steel,
And like a quivered nymph with arrows keen
May trace huge forests and unharbored heaths,
Infamous hills and sandy perilous wilds,
Where, through the sacred rays of chastity,
No savage fierce, bandit, or mountaineer,
Will dare to soil her virgin purity (Lines 421-28).
His words suggest that chastity, like virtue generally, has a power that surpasses that of physical force because it ultimately flows from God.
Elder Brother’s confidence notwithstanding, the Lady’s chastity is endangered when she encounters Comus because he tempts her with his magical drink, which would result in her losing her self-control and participating in the drunken, licentious revelry that Comus’s crew indulges in. In his approach to the Lady, Comus relies on argument and persuasion rather than overt force. He does not explicitly threaten rape, although the possibility of sexual violence forms a subtext in the narrative. However, his goal is to corrupt, not simply to indulge his own appetites, so his primary tack is to erode the Lady’s spiritual resolve. He tells the Lady not to be cheated “[w]ith that same vaunted name Virginity” (Line 738) but to enjoy physical pleasure, “mutual and partaken bliss” (Line 741), before her youthful beauty fades over time. Comus thus challenges the Lady’s chastity with an argument about the need to make use of nature’s bounty.
In her contemptuous reply, the Lady refuses to counter Comus’s argument directly since she believes that whatever she would say about the “sun-clad power of Chastity” (Line 782) and “the sage / And serious doctrine of Virginity” (Lines 786-87) would be beyond his comprehension. This proves her commitment to chastity but does not dispel the threat of sexual violence, which the circumstances of this scene, in which the Lady is physically helpless, make it impossible to completely dismiss. Also, the fact that the brothers storm in with swords drawn, ready to kill if necessary in order to free their sister, shows how serious they assess the situation to be. While the ending proves Elder Brother right when he said that “no evil thing that walks by night” (Line 431) can have “hurtful power o’er true virginity” (Line 437), it is also a means of sidestepping the question of whether the Lady would retain her “chastity” if she had in fact been raped, as historical norms surrounding women’s virtue often did not distinguish between consensual and nonconsensual sex.
While the text frames virtue and chastity as strong defenses against the perils of temptation, this does not eliminate the constant need and availability of help from above. Rather, the masque depicts the divine realm as ready to aid the righteous at every turn, in keeping with the Christian understanding of God’s mercy, love, and intercession.
The representative of the divine, the Attendant Spirit, protects and guides the virtuous characters on their perilous way through life, here symbolized by the wild wood. He has been sent from Jove’s court, where he normally abides, with the specific mission of protecting the children of the earl on their journey. Although rooted in classical mythology, the Spirit is the equivalent of a guardian angel or divine grace in Christian thought. This does not mean he can foresee or prevent all obstacles. Misfortune and temptation are part of human life. He does not, for example, prevent the three siblings from becoming separated in the wood, nor can he forestall the encounter between the Lady and Comus. Rather, divine grace supports humanity through life’s inevitable struggles.
The Spirit fulfills this task. He explains the situation to the two brothers and offers them the protective power of “haemony” (Line 638), a medicinal plant, against the power of Comus. The Spirit also knows what to do to release the Lady from the spell of the enchanted chair. He summons Sabrina, a goddess who is also linked to nature in the form of the river Severn, and Sabrina provides the drops from her pure fountain that free the Lady. Different aspects of the divine thus combine to protect virtue and defeat vice.
The Attendant Spirit also frames the entire narrative; it begins and ends with him. He sets the opening scene and provides the exposition, and he also speaks the epilogue as he prepares to return to the heavenly regions. Not for a moment during this time has this guardian angel neglected his duties to protect the virtuous from danger. He also has the final word, in the form of a moral message for humanity to ponder. In this, the Spirit symbolizes the divinity he represents: One who is omnipotent and omnipresent, not least in the aid he offers humanity.



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