Comus
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- $0.99
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- $0.99
Publisher Description
Comus (A Mask Presented at Ludlow Castle, 1634)
is a masque in honour of chastity, written by John Milton and first presented on
Michaelmas, 1634, before John Egerton, Earl of Bridgewater at Ludlow Castle in
celebration of the Earl's new post as President of Wales. Known colloquially as
Comus, the mask's actual full title is A Mask presented at Ludlow
Castle 1634: on Michelmas night, before the right honorable John, Earl of
Bridgewater, Viscount Brackley, Lord President of Wales, and one of His
Majesty's most honorable privy council. Comus was printed anonymously
in 1637, in a quarto issued by bookseller Humphrey Robinson; Milton included the
work in his Poems of 1645 and 1673. Milton's text was later used for a
highly successful opera by Thomas Arne in 1738 which ran for more than seventy
years in London.
— Excerpted from Wikipedia, the free encyclopedia.
PUBLISHERS WEEKLY
Milton's "A Mask. Presented at Ludlow Castle," itself based on the ancient English folktale "Childe Roland," makes an odd choice for adaptation into a picture book, even on the heels of Hodges's and Hyman's collaborations St. George and the Dragon and The Kitchen Knight. In masques, after all, the characters stand around and declaim, briefly act or more likely dance, and then declaim again-the charms of which don't translate in this stiffly paced retelling. The protagonists, at least, are children, here named Alice, John and Thomas. Separated from her brothers in a dark wood, Alice is ensnared by Comus, a sorcerer who is the offspring of Circe and Bacchus. She resists his proffered drink-which would turn her into a half-beast like all his followers-and is rescued by her brothers, with the magic aid of a Good Spirit and the local river nymph. This deus ex machina plot, typical of masques, is cleansed of Milton's thematic obsession with Alice's virginity and possible loss of it, although a few of Hyman's paintings suggest the sexual undertones. Hyman compensates in part for the brittle narration by cleverly suggesting a stage with curtain-opening imps, also furnishing a deeply gloomy and haunted wood, a horrifically comic mob of monsters and the bright dawn of a happy ending. This volume may give a taste of 17th-century English pageantry and appeal to parents seeking adaptations of classic works, but it is probably too mannered to kindle much enthusiasm in young readers. Ages 5-8.