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• W3152016381 abstract "When John M ilton was commiss ioned to write the text for the work we call Comus, he was twenty-four and unknown as a poet. The only thing he had published was a commendatory poem on Shakespeare included anonymously in the introductorymatter to the Second Folio, which had appeared two years before in 1632. The commission for a masque almost certainly came his way through the musician Henry Lawes, who composed the music for Comus, and was a friend of Milton’s father. Lawes was the house musician to the Earl of Bridgewater, before whom themasquewas presented at LudlowCastle, on theWelsh border, in September, 1634—Milton had several years earlier composed the brief entertainment Arcades, also with music by Lawes, for the same family. Comus exists in two quite diVerent early states: the performing text—the script—that Milton initially provided his employers with, and the revised and greatly elaborated version that he subsequently prepared for publication. A good deal of critical energy has been expended over the question of whether this work is really a masque. Milton seems to me to have settled this matter quite conclusively by titling it A Maske Presented at Ludlow Castle. The title Comus was devised for an eighteenth-century theatrical adaptation, in an attempt to transform it from an occasionalwork into a drama by focusing on itsmost memorable character. To start, then, with a deŽ nition: a masque, in the period, was most simply an entertainment includingmasked performers, primarily dancers. In its most characteristic form, it was a private entertainment that related to its audience in a manner signiŽ cantly diVerent from drama: it was basically celebratory; it was about the group it entertained and always ended by including them in the Ž ction. In court masques the usual way of bringing this about was to conclude the work with a grand dance, in which the masquers descended from the stage and took partners from among the spectators, so that what the audience began by watching they ended by becoming. It wasmore of a game than a show, an expression of aristocratic identity and privilege, with the masks providing a degree of freedom, even if only notional, from the constraints of place, oYce, and self. Comus is, obviously, a very scaled down version of the form, but Milton called the work a masque and clearly thought of it as one. Part of the reason it looks so unlike those classics of the genre composed by Ben Jonson, Thomas Campion, and Sir William Davenant is that when we use those as the norms, we are comparing it with masques for the royal court at Whitehall, designed for the participation of" @default.
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• W3152016381 date "2017-10-13" @default.
• W3152016381 modified "2023-09-23" @default.
• W3152016381 title "The case for Comus" @default.
• W3152016381 doi "https://doi.org/10.2307/j.ctt1vwmfw9.11" @default.
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