and, when they have feared lest their Sister should be in danger,
and hoped that she is not in danger, the elder makes a speech in
praise of chastity, and the younger finds how fine it is to be a
philosopher.

Then descends the Spirit in form of a shepherd; and the Brother,
instead of being in haste to ask his help, praises his singing, and
inquires his business in that place. It is remarkable, that at this
interview the Brother is taken with a short fit of rhyming, The
Spirit relates that the Lady is in the power of Comus; the Brother
moralises again; and the Spirit makes a long narration, of no use
because it is false, and therefore unsuitable to a good being.

In all these parts the language is poetical, and the sentiments are
generous; but there is something wanting to allure attention.

The dispute between the Lady and Comus is the most animated and
affecting scene of the drama, and wants nothing but a brisker
reciprocation of objections and replies to invite attention, and
detain it.

The songs are vigorous and full of imagery; but they are harsh in
their diction, and not very musical in their numbers.

Throughout the whole the figures are too bold, and the language too
luxuriant for dialogue. It is a drama in the epic style,
inelegantly splendid, and tediously instructive.

The sonnets were written in different parts of Milton's life, upon
different occasions. They deserve not any particular criticism; for