Summary
The masque returns to the scene at Comus's castle, where he offers the Lady his glass. She refuses, and he assures her that he can cast a spell that will make her immobile, as Daphne became while running from Apollo. The Lady argues that though he can detain her physical form, her mind and spirit remain free. Comus, continuing to flatter the Lady, accuses her of wasting Nature's gift of beauty. The Lady lambasts Comus for having deceived her and states that she will not take part in his revels. Comus becomes angry, and criticizes mankind for advocating modesty and temperance. He argues that temperance for the sake of social welfare makes men slaves to the "all-giver" (723). Once again, Comus entreats the Lady to dispel with her value of chastity and constancy.
The Lady retorts by arguing that if everyone took part in a lifestyle of moderation rather than excess, "Nature's full blessings would be well-dispensed / In unsuperfluous even proportion" (772-773). She compares Comus to an indulgent swine, and reassures him that his rhetorical skill will not overpower her inner strength. Comus, affected by the Lady's speech, admits that she seems protected "by some superior power" (801). He vows to dissemble further and try harder to get the Lady to drink from his glass.
Analysis
The argument between Comus and the Lady in this section revolves around two major concepts: first, the significant difference between the corporeal and spiritual and second, the notion of individual liberty. Comus, who represents an over-indulgent and debauched way of life, is supremely focused on physical pleasures associated with food, drink, and carnality. Milton demonstrates the antagonist's penchant for excess in the description preceding his interaction with the Lady, saying, "The scene changes to a stately palace, set out with all manner of deliciousness: soft music, tables spread with all dainties" (61). It is no surprise, then, that he attempts to seduce the Lady by way of luxurious surroundings, encouraging her to join him and his followers in their mirth. The Lady, however, defiantly protests by saying, "Fool do not boast, / Thou canst not touch the freedom of my mind / With all thy charms, although this corporeal rind / Thou has immanacled, while heaven sees good" (672-675). Here, the Lady continues to deploy the power of chastity, but she also introduces the distinction between physical temptation and spiritual righteousness. That she celebrates the freedom of her "mind" showcases her faith in God as a manifestation of individual liberty. In other words, the Lady's devoutness and virtue are what allow her to avoid submitting to Comus's desires.
Such contrast between the physical and spiritual worlds leads Comus and the Lady to a slightly different argument about social welfare, modesty, and governance. It is here that Milton launches his most explicit political critique. Milton, was an adamant critic of the English monarchy and the Anglican church to which it was tied. He often used his poetry to indict members of the clergy for corruption and self-indulgence rather than communicating God's word to their congregations. The political valences in Comus are subtle, but Comus's arguments against modesty and shared wealth situate him as a likely representative of the Anglican church. The Lady, by contrast, advocates for moderation and equity of resources, thereby becoming a mouthpiece for God's word. Ultimately, the rhetorical battle between Comus and the Lady is a face-off of many layers—good and evil, masculine and feminine, chaste and debauched, and righteous and corrupt, etc.—that also condemns the behavior of the monarchy and the church.
