.., things which are not,' indeed out of weakness, Lanyer creates in Salve Deus a remarkable community of strength, present more powerfully and enduringly in her fiction than in life itself. (Pebworth and Summers 46)
This fictionalization of such a "remarkable community" is one aspect of the rigors of life during this period in history that might escape a casual reader today, but the fact that Lanyer was able to craft such a work during such an otherwise bleak era suggests that she did in fact have some compelling reasons beyond money and fame that drove her work.
John Milton's masque "Comus." Because Europe was faced with a population boom, land was in short supply and food was scarce, chastity it would seem would be perceived as an increasingly valuable social trait. Likewise, it would be reasonable to posit that premarital sex was socially acceptable as long as no one knew, no issue resulted, and it was "not with my sister," but this did not stop the sly-tongued Comus from trying by using a lose-it-or-lose-it argument. In his essay, "Milton's Comus, Lines 743-44," Malpezzi (1995) reports that, "Comus attempts to seduce the virtuous Lady by using an argument from Nature: 'If you let slip time, like a neglected rose / it withers on the stalk with languish't head.' Yet while Comus allures, Milton encodes within the language of temptation the rationale for rejecting the proffered potion of Comus and his crew" (194).
As Comus reminds the Lady that life is short and beauty fades," Malpezzi adds, "his words reverberate with the echoes of numerous classical and Renaissance poems. Surely Milton's contemporary audience heard those words in the context of the biblically apocryphal but nonetheless morally sapient Book of Wisdom" (195). This emphasis on the virtues of resisting temptation was not a particularly popular topic during this period in history, though. According to Hunter (1983), Milton's masque Comus has not received a great deal of popular response since its original production at Ludlow Castle on the evening of September 29, 1634 for these two reasons: "The reason is not far to seek: in his play Milton exalts the virtue of chastity. Wondering what will protect from danger their sister, who is lost in the "wild wood" of the opening scene, the younger brother hears from his older sibling that she has "a hidden strength:... 'Tis chastitie, my brother, chastitie" (433-435 quoted in Hunter at 1). Furthermore, Milton maintains that in spite of all evidence to the contrary, no one, "Will dare to soyl her virgin purity"; therefore, at this point in the work, even the act rape holds no power over his older sister: "No evill thing... Has hurtfull power ore true virginity" (446-451), a statement that Hunter argues is "so at odds with the facts of life as to nonplus any audience. Even after the brothers learn from the Attendant Spirit Thyrsis that their sister has fallen under Comus's dread power, the older brother refuses to be overcome by the bad news" (Hunter 1). In the final analysis, Milton provides his audience with a solution to the arguments presented by Comus in the form of a powerful reminder concerning the manner in which spirituality could overcome even these powerful forces: "Milton's lines emblematize Christ crucified, the Rose of Sharon dying on the stalk of the Cross and with languished head surrendering his life for humankind" (Malpezzi 195).
Mary Wroth's...
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