Miltons Poetry in the Paradise Lost - Essay Example

'IN 'PARADISE LOST' MILTON BOTH ADOPTS AND ALTERS THE CONVENTIONS OF EPIC POETRY - A DISCUSSION "The noblest poem that ever was wrote in any language or in any age" [Sir John Denham Cited Wedgwood, 46] John Milton's Paradise Lost essentially belongs to the genre of epic poetry. Yet in retelling the biblical myth of God and Satan, Satan's enticement of Adam and Eve and their expulsion from the Garden of Eden, seeking to "assert the eternal Providence/ And justify the ways of God to men,"[Milton, I.26] Milton has perceptively shifted from the traditional track of epic narration, imaginatively transforming almost all the elements of epic narration- myth, history, form and language- into a classical, yet modern, "personal vision of the battle between good and evil." [Baldwin, 168] The essay presents an analysis of Milton's adoption and alterations of the conventions of epic poetry in his masterpiece writing, Paradise Lost. The analysis certainly calls for a vital understanding of the characteristics of epic poetry, as it requires an understanding of the poetic perceptions of Milton in Paradise Lost. Considered to be one of the highest genres of all poetry, epics are essentially very long narrative poems presenting the exploits of a central heroic figure usually a national hero or a god, as the poems genuinely represent the significant cultural precepts of the time, perhaps important to the history of a nation or even mankind. In form and composition also epics presents conventional characteristics as set forth by the three principal Classical epics, Homer's Iliad and Odyssey and Vergil's Aeneid. The elevated style of presentation, the great deeds of heroism, the scale and significance of the setting and events, commencing the story in media res, that is to say in the middle of things, the traditional invocation to the Muse or the divine inspiration, the lengthy speeches, the depiction of war and the list of brave warriors and are common attributes that traditionally characterise epic poetry. [Baldwin, 169-172] Since the publication of the Classical epics and other primary works as Beowulf (c. 725 -1000) in Old English many epics including Dante's Divine Comedy, (c.1307-1321) and Ariosto's Orlando Furioso (c.1516), both in Italian, have been written, each adhering to the conventions set forth by the classical epic poetries in obstinate ways, yet deviating from or transforming the traditional rules in unique ways. Yet, Milton's Paradise Lost, written in 1667 in modern English, has been perhaps the most vigorously attacked, yet desperately admired epic poetry, as Milton adopts and alters the epic traditions, "treading the narrow path between an outmoded traditionalism and an unorthodox modernism." [Roston, 39] Milton's Paradise Lost is, in all ways, an epic: The adoption of a classic myth about the fall and rise of Man tempted by Satan and the eventual tragedy of being expelled from Garden of Eden; the "grand style" of presentation in Latinate English; the valiant deeds of his heroes, Lucifer, who became Satan; the cosmic scope of the setting and events, the story shifting premises between heaven, hell and earth; beginning the story in the midst of things, the story beginning just after the war in Heaven; his invocation to his Muse, to enhance the divine import of the happenings in the Garden Eden; "Sing, Heavenly Muse, that Invoke thy aid to my adventurous song," [Milton, I. 6-13] the lengthy rhetorical speeches; [Milton, I. 64-124; 157-191; II: 11-40] the depiction of the war and the long list of heroic warriors- are all Milton's deliberate adoptions of the conventions of epic poetry. The deliberate and direct influence of the earlier Classical epics are also apparent in Paradise Lost - the frequent allusions to earlier epics- the war in Heaven makes allusions to Homer's Iliad and Vergil's Aeneid; the characterisation of Satan- the heroic traits resembling Aeneas and Agamemnon; the depiction of the angel's descent through Hell [Milton, II: 570-628] drawing significantly from Aeneas' descent into the Underworld in Aeneid [Vergil, VI: 271-314] and the like. Yet, in many of these characteristic adoptions, most significantly in style and content, Milton perceptively altered the epic conventions in unconventional ways, as his poetry continues to be the topic of divisive reviews years and centuries after its publication. [Ricks, 1963; Eliot, 1968] A close and critical reading of Paradise Lost reveals how Milton imaginatively combines his 'immense accumulation of Classical and modern learning' with his biblical knowledge to create a contemporary 'protestant' epic, [Johnson, 1988] which to a discerning reader, perhaps, surpasses all earlier epics in scope and content. Centring his story on the biblical myths- the war in Heaven, and the eventual expulsion of the dragon, the old serpent called the Devil and Satan and his angels; [Revelation, 12: 7-9] the corrupting influence of Satan, disguised as a serpent [Genesis 3:1-6] on Adam and Eve and through them the mankind leading to their fall- Milton transforms the 'historical' myths in unusual ways, in seeking to explain how evil entered the earth, despite the overriding influence of the good-natured God on his creations. If seen as the tragedy of Adam and Eve for their disobedience to God, Adam is a perfect tragic hero; Paradise Lost imaginatively combines the precepts of both epic and tragedy, as Paradise Lost outshines all classical epics assuming a cosmic significance, rather than the national significance of many traditional epics. Milton's transformation of the biblical myth defies the epic traditions in many ways: Satan, the embodiment of evil, is justifiably and persuasively presented as a heroic character-- despite his letdown, he cheers his army, and leads them from front like a true hero. In virtues, Milton's Satan is comparable to Virgil's Aeneas and Homer's Agamemnon; even so, Satan, who serves his pleasure and pride, pursuing evil deeds, differs essentially from these heroes, who serve God sacrificially. Milton is clear in making this distinction, as he holds on to the traditional mythical characterisation in introducing Satan: "Th' infernal Serpent; he it was whose guile Stirred up with envy and revenge, deceived The mother of mankind,..." [Milton, I:34-36] The characterisation of Satan as both good and evil [Milton, I: 599-605] appeals to human thought, as Milton's hero "seems more like a human being" [Baldwin, 169-172] as compared to earlier epic heroes resembling or serving God unquestionably. While Satan's splendid speeches lulls the readers "momentarily into a genuine admiration of his prowess," [Roston, 55] Milton's alteration of Satan's character eventually conforms to the mythical characterisation - the exposure of vile and villainous intentions are in line with Milton's introduction of Satan. In presenting a hero, who is also the villain, Milton imaginatively alters, yet manifestly adheres to the epic conventions. Also, unlike in other traditional epics where God's interventions are crucially included to resolve the vile, in Paradise Lost, God's ways are repeatedly questioned. Yet Milton's astute imagination eventually succeeds in establishing the preset intention of 'justifying the ways of God,' as Satan's guiles fail miserably at the God's agreeable eventual sacrifice. Milton's characterisation of God is yet another illustration of Milton's adoption and alteration of the epic traditions in uncharacteristic ways. Milton's representation of God as an irrational tyrant has been a distinct deviation from traditional epic conventions and a subject of controversy among critics; classical Christian believers have been particularly critical about Milton's God. [Johnson, 1988] The characterisation assumes significance given the attractive and charming characterisation of Satan and the sympathetic treatment of Adam and Eve. In Empson's view the 'moral confusion' adds to the poetic strength and appeal; he expects "that most of the attackers would find their minds at rest if they took one step further and adopted the manly and appreciative attitude of Blake and Shelley, who said that the reason why it is so good is that it makes God so bad." [Empson, 12-13] However, in trying to understand and appreciate Milton's alterations and the paradoxical representations reasonably, it is significant to know that Paradise Lost is a 'product of the [Protestant] Revolution of 1641 plus the Restoration of 1660'; [Davies, 97] Milton puts his Protestant religion "right at the centre of his poetic imagination", [Johnson, 1988] to justify the ways of God. Milton's alterations in characterisations of God and Satan are the "intentional indications of man's inability (as a fallen creature) to comprehend the will of God," which according to Ian Johnson is the central message of Milton's text. [Johnson, 1998] Milton has intentionally made Satan attractive to caution the readers of the 'seductive appeal of sin, particularly pride,' [Johnson, 1998] as the readers are made to respond with greater empathy to the "enmeshment" of [Adam and Eve] in the "subtle net of Satan's rhetoric" [Roston, 55] As Johnson claims, if God seems strict, or even harsh, that is because of the readers' flawed understanding, being still a fallen creature. The ways of Milton's God are justified; Milton's alteration of the traditional representation of kind and benevolent God, in a way, reminds the reader of the need for unquestioning faith. [Johnson, 1998] The style of presentation - the formal "grand style" in Latinate English -with frequent usage of allusions, is perhaps the most striking transformation of epic conventions that Milton endeavoured in Paradise Lost. By choosing to write in blank verse, neglecting rhyme while retaining rhythm, Milton achieves an ancient freedom to recover the heroic poem "from troublesome and modern bondage of rhyming," [Baldwin, 154] The Latinate use of English; the use of long complex sentences, the use of similes, the upsetting of the natural order of words are features that add to the grandeur of his language and style, as the epic poetry presents an ancient epic character. Nevertheless Milton could impart a unique musical quality to the verse, [Ricks, 24-26] as the words naturally fit into the rhythm - "And swims or sinks or wades or creeps or flies" [Milton II: 950 Cited Baldwin, 154] Eminent litterateurs as T.S. Eliot have criticised Paradise Lost for the "dead language" due to the involved syntax and the 'tortuous style"-- "Milton's poetry could only be an influence for the worse, upon any poet whatever, " Eliot observes; yet accepts Milton's overpowering influence "it was an influence against which we still have to struggle." [Eliot, 1968] The modern reader may be easily made to agree with Eliot, as Milton's language and style filled with similes and allusions, though suited to the narration of an epic, and is illustrative of Milton's vast exposure classical and modern literature, is many a time obscure to an average reader. However, C. S. Lewis, in his classic study A Preface to Paradise Lost, justify Milton's alterations of the style of narration as specifically necessary for a "secondary epic;" Milton's epic written in 17th century England, was meant to be read rather than the primary classical epics which were meant to be heard, being traditionally presented orally in a formal setting. Lewis explains that the formal grandeur of the epic is because of the use of slightly unfamiliar words and constructions, including archaisms; the use of proper names for referring to the splendid, remote, terrible, voluptuous, or celebrated things; the frequent allusion to all the sources of heightened interest in our sense experience, "but all over-topped and "managed" with an air of magnanimous austerity." [Lewis, 39] The grand style offers a distinct and vital formality of setting that the secondary epic, lacked by its innate nature and composition. Christopher Ricks in Milton's Grand Style not only approves Milton's 'grand style' as suitable for a 'secondary' epic written in modern English; he goes further to prove the "delicacy and subtlety" of Milton's powerful and grand style; he illustrates how power and sublimity combines in the opening lines of the poem itself. [Ricks, 28] In concluding the discussion, it may be surmised that in writing his masterpiece epic Paradise Lost Milton adopts and alters epic traditions, combining tradition and modernism, yet perceptively cutting off both outmoded conventionality and unorthodox modernism, as his poetry presents an original epic quality that command serious study rather than outright defiance as unintelligible to human perception. Milton has manifestly adopted many of the epic conventions to grand his poem a formal character, yet astutely altered these conventions in most unconventional ways to create an epic that would not just exemplify his vast learning, but to justify the ways of God, that are recurrently put to question by man. Ian Johnson acknowledges that though, for reasons attributable to Milton's alteration of epic traditions, readers might have difficulty in interpreting Paradise Lost resulting in a certain confusion, it is a "fascinating confusion and well worth our attention." [Johnson, 1998] Milton has justified himself that he wrote Paradise Lost for a "fit audience, though few," [Wedgwood, 46] and to these few and fit audience, John Milton's Paradise Lost remains one of the noblest epic, albeit the unconventional qualities. Bibliography 1. Baldwin, A.1998 "Notes and Approaches" in Milton, J. Paradise Lost Books II Oxford & I: Oxford University Press 2. Eliot, T.S. 1968. "Milton I" Electronic Reserve Text: T.S. Eliot's Milton: Two Studies Available at: http://www.english.ilstu.edu/strickland/495/rsvtxt/elio.html Accessed 10/26/05 3. Davies, S. 1991. "Milton: Harvester New Series: London: Harvester Wheatsheaf 4. Empson, W. 1961 "Milton's God" London: Chatto & Windus 5. Johnston. Ian 1998. "Lecture on Milton's Paradise Lost"(November) Malaspina University-College Available at: http://www.mala.bc.ca/johnstoi/Eng200/milton.htm Accessed 10/26/05 6. Lewis, C.S. 1942. "A Preface to Paradise Lost" Oxford: Oxford University Press 7. Milton, J. Paradise Lost Books I & II (Ed. Anna Baldwin). Oxford: Oxford University Press 8. Packer, J. I. Ed., 2001. The Holy Bible, English Standard Version. Containing the Old and New Testaments. Wheaton, Illinois: Crossway Bibles 9. Roston, M. 1980. "Milton and the Baroque" London: The Macmillan Press Ltd. 10. Ricks, C. 1963. "Milton's Grand Style" Oxford: Oxford University Press 11. Wedgwood C.V. 1969 "Milton and his World" London: Lutterworth Press. Read More