It is, indeed, true that many of these jewels are fetched from the mines of other poets: great as Milton's obligations, to Nature were, his obligations to books were greater.

But he has made all his own by the alchemy of his genius, and borrows little but to improve.

The most remarkable coincidence is with a piece certainly unknown to him--Calderon's "Magico Prodigioso," which was first acted in 1637, the year of the publication of "Comus," a great year in the history of the drama, for the "Cid" appeared in it also.

The similarity of the situations of Justina tempted by the Demon, and the Lady in the power of Comus, has naturally begotten a like train of thought in both poets.
"_Comus._ Nay, Lady, sit; if I but wave this wand, Your nerves are all chained up in alabaster, And you a statue, or, as Daphne was, Root-bound, that fled Apollo.
_Lady._ Fool, do not boast Thou can'st not touch the freedom of my mind With all thy charms, although this corporal rind Thou hast immanacled, while Heaven sees good." "_Justina._ Thought is not in my power, but action is.
I will not move my foot to follow thee.
_Demon._ But a far mightier wisdom than thine own Exerts itself within thee, with such power Compelling thee to that which it inclines That it shall force thy step; how wilt thou then Resist, Justina?
_Justina._ By my free will.
_Demon._ I Must force thy will.
_Justina._ It is invincible.
It were not free if thou had'st power upon it." It must be admitted that where the Spaniard and the Englishman come directly into competition the former excels.

The dispute between the Lady and Comus may be, as Johnson says it is, "the most animating and affecting scene in the drama;" but, tried by the dramatic test which Calderon bears so well, it is below the exigencies and the possibilities of the subject.