times, having bin steward to the Duca di Pagliano, who with all his family were ftrangled, fave this onely man that escaped by forefight of the tempeft: with him I had often much chat of those affairs ; into which he took pleasure to look back from his native harbour; and at my departure toward Rome (which had been the center of his experience) I had wonn confidence enough to beg his advice, how I might carry my felf fecurely there, without offence of others, or of mine own conscience. Signor Arrigo mio (fayes he) I penfieri firetti, et il vifo fciolto* will go fafely over the whole world; Of which Delphian oracle (for so I have found it) your judgement doth need no commentary; and therfore (Sir) I will commit you with it to the best of all fecurities, Gods dear love, remaining · Your Friend as much at command as any of longer date HENRY WOOTTON †. That is, "Thoughts clofe, Looks loofe." + Milton mentions this Letter of fir Henry Wootton for its elegance, in his DEFENSIO SECUNDA POPULI ANGLICANI. "Abeuntem, vir "clariffimus Henricus Woottonus, qui ad Venetos orator Jacobi regis "diu fuerat, et votis et præceptis eunti peregre fane utiliffimis, ELE"GANTI EPISTOLA perfcriptis, amiciffime profequutus eft." PROSEWORKS, ii. 332. This Letter appeared firft in the edition of 1645, where it is prefixed to Coмus, p. 71. I know not why it was fuppreffed in that of 1673. It was restored to its proper place by Tonson, in his edition of 1705. POST POSTSCRIPT. I SIR, HAVE exprefly fent this my foot-boy to prevent your departure without fom acknowledgement from me of the receipt of your obliging Letter, having my felf through fom bufines, I know not how, neglected the ordinary conveyance. In any part where I shall understand you fixed, I shall be glad, and diligent to entertain you with home-novelties; even for fom fomentation of our friendship, too foon interrupted in the cradle *. * That is, when you was but a child. Not that Milton and Wootton were friends in their childhood, or children together. Wootton, at fixteen, was fent from Winchefter-school to Oxford, in 1584. This was twenty four years before Milton was born. * I have ventured to infert this title, which has had the full fanction of use. But it does not appear in Lawes's edition, 1637. Nor in the editions 1645, 1673, both printed under the author's inspection. In Fletcher's FAITHFULL SHEPHERDESS, an Arcadian comedy recently published, Milton found many touches of paftoral and fuperftitious imagery, congenial with his own conceptions. Many of thefe, yet with the higheft improvements, he has transferred into COMUS; together with the general caft and colouring of the piece. He catched alfo from the lyric rhymes of Fletcher, that DORIQUE DELICACY, with which fir Henry Wootton was fo much delighted in the Songs of Milton's drama. Fletcher's comedy was coldly received the first night of its performance. But it had ample revenge in this confpicuous and indifputable mark of Milton's approbation. It was afterwards reprefented as a Mask at court, before the king and queen on twelfthnight, in 1633. I know not, indeed, if this was any recommendation to Milton; who in the PARADISE LOST fpeaks contemptuously of these interludes, which were among the chief diverfions of an elegant and liberal monarch. B. iv. 767. Court-amours, Mix'd dance, and wanton MASK, or midnight-ball, &c. I believe the whole compliment was paid to the genius of Fletcher. Yet it fhould be remembered that Milton had not yet completed his career of puritanism. In the mean time, it is true that Milton, as an author, gave countenance to this fpecies of entertainment. But Charles's Masks did not, like Coмus, abound with Platonic recommendations of the doctrine of chastity. The ingenious and accurate Mr. Reed has pointed out a rude outline, from which Milton feems partly to have sketched the plan of the fable of COMUS. See BIOGRAPH. DRAMAT. ii. p. 441. It is an old play, with this title, "THE OLD WIVES TALE, a pleasant conceited "Comedie, plaied by the Queenes Maiefties players. Written by G. "P. [i. e. George Peele.] Printed at London by John Danter, and "ate to be fold by Ralph Hancocke and Jolin Hardie, 1595" In quarto. This very fcarce and curious piece exhibits, among other parallel incidents, two Brothers wandering in queft of their Sifter, whom an Enchanter had imprisoned. This magician had learned his art from his mother Meroe, as Comus had been inftructed by his mother Circe. The Brothers call out on the Lady's name, and Echo replies. The Enchanter had given her a potion which fufpends the powers of reafon, and fuperinduces oblivion of herfelf. The Brothers afterwards meet with an Old Man who is alfo fkilled in magie; and by listening to his foothfayings, they recover their loft Sifter. But not till the Enchanter's wreath had been torn from his head, his sword wrefted from his hand, a glafs broken, and a light extinguished. The names of fome of the characters as Sacrapant, Chorebus, and others, are taken from the ORLANDO FURIOSO. The hiftory of Meroe a witch, may be feen in "The xi Bookes of the Golden Affe, containing "the |