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Showing posts with label John Milton. Show all posts
Showing posts with label John Milton. Show all posts

Milton: Pandemoniun in "Paradise Lost"

Some angels rushed towards a nearby hill, Pandemonium, a hill not far from there that emerged fire and smoke. All the rest of the hill shone with a bright crust, which was a sure sign that in its interior was buried metallic ore or sulphur. Towards that hill a company of numerous angels moved with great haste like groups of miners, hurrying in advance of the royal army to dig trenches in some battlefield or to build a fortification.

Those angels were guided thither by Mammon. He first taught human beings to pillage the earth, in order to obtain treasures buried. Soon had his companion made a huge opening in the hill and dug out large pieces of gold.

Let nobody feel surprised by the riches that exist in Hell. The soil of Hell perhaps is most appropriate for gold. And here let those who boast of human achievements and who describe, with a feeling of wonder, the Tower of Babel and the Pyramids of Egypt, learn how the greatest monuments, which have been built by human strength and skill and which have become famous, are easily surpassed by the work of worthless Spirits who can do in an hour what countless human beings, with unceasing labour, can hardly accomplish in a long period of time.

Nearby on the plain a second large group angles prepared many cells beneath which burns liquid fire. With wonderful art they melted the massive ore, separating each metal, and skimmed the scum or the impurities. A third group of angels had, with equal promptitude, set up, within the ground, moulds of various kinds and shapes, and filled each hollow recess with the melted gold transported there from the cells by a wonderful device.

Soon out of the earth, a huge structure emerged like a mist. This structure was built like a temple. It was set with round-shaped columns. It had pillars of the Doric style of architecture and the pillars were overlaid with a golden beam. Nor was there lacking cornice or frieze inscribed with sculptures in relief. The roof was carved with gold. Neither Babylon nor Cairo ever attained such splendour in all their glory, even in building temples dedicated to their gods. The rising structure now became complete, having reached its full and impressive height, and at once the doors, opening their brassy leaves, revealed over a wide area within, large spaces on the smooth and level pavement. From the arched roof, many rows of star-like lamps and bright fire-baskets hung as if by some mysterious magic. These lamps were fed with naphtha and asphaltus, and their light fell as if form a sky.

The multitude of angles entered the building hastily, admiring it. Some of them praised the building and some praised the architect. This architect’s sill was known in Heaven by a large number of high buildings, having towers, where angels holding their rods of authority dwelt and sat, like princes whom the supreme ruler, God, had raised to such power and to each of whom He had given the authority to rule according to his status and rank. The name of this architect was also well-known and much respected in ancient Greece; and in Italy he was known by the name of Mulciber. It was told in a fable how this architect had fallen from heaven, having been thrown by angry Jove clean over the bright walls. He had kept falling from morning to noon, and from noon to dewy evening, for the whole of a summer’s day; and with the setting sun he had alighted from the height, like a falling star, on the island of Lemnos in the Aegean sea. Such is the story people relate mistakenly because he, with that rebellious throng of angles, had fallen from Heaven long before that. Nor was it of any use to him now that he had erected building with high towers in Heaven. Not could he escape from his present fate in spite of all his contrivances, but was thrown headlong with his hard-working companion to build a palace for Satan and his followers in Hell.

Milton: Hell in "Paradise Lost"

This is how Milton describes Hell as Satan sees it after his fall from Heaven:


At once, as far as Angles ken, he views
The dismal situation waste and wild:
A dungeon horrible, on all sides round,
As one great furnace flamed; yet from those flames

No light, but rather darkness visible
Served only to discover sights of woe,
Regions of sorrow, doleful shades, where peace
And rest can never dwell, hope never comes
That comes at all; but torture without end
Still urges, and a fiery deluge, fed
With ever-burning sulphur unconsumed.
Such place Eternal Justice had prepared
For those rebellious; here their prison set,
As fat removed from God and light of Heaven
As from the centre thrice to the utmost pole.
Oh how unlike the place from whence they fell!


This description is brief but vivid and effective. We are to visualize a region which is sinister, barren and wild. The place is a horrible dungeon or pit burning like a huge furnace. Yet from the burning flames comes no light. The flames give out just as much light as is needed to make the darkness visible. The flames of Hell give no light. All around him Satan discerns sights of misery and unhappy dark spaces, where peace and rest can never dwell. It is a place where even hope which comes to all beings, is never felt. This region is far away from God. The contrast between this place and the Heaven conveyed to us is:

Oh how unlike the place from whence they fell!

The place is perpetually afflicted with “floods and whirlwinds of tempestuous fire”.

Thus Milton's Hell is a place of darkness where flickering light of fire serves only to make more dark. Geologically it is a volcanic region, “fed with ever-burning sulphur” in inexhaustible quantities. Satan and his followers have fallen into a “fiery gulf”, a lake that burns constantly with liquid fire. The shore of this lake marks the beginning of a plain to which Satan flies after raising himself from the lake.

----------------------------- till on dry land
He lights—if it were land that ever burned
With solid, as the lake with liquid fire,
And such appeared in hue, as when the force
Of subterranean wind transports a hill
Torn from Pelorus, or the shattered side
Of thundering Aetna, whose combustible
And fuelled entrails thence conceiving fire
Sublimed with mineral fury, aid the winds
And leave a singed bottom al involved
With stench and smoke:


This means that in one case it is “liquid fire”, and in the other “solid fire”. The heat of the land is naturally as intense as is that of the boiling lake. Satan walks uncomfortably over the boiling soil. Heat is everywhere. In the background, we are later told, is a volcanic mountain:


There stood a hill not far, whose grisly top
Belched fire and rolling smoke, the rest entire
Shone with a glossy scurf—undoubted sign
That in his womb was hid metallic ore,
The work of sulphur.


All these description are certainly terrifying. Milton’s object in describing Hell is two-fold; firstly, to indicate the torments which the fallen angels have to endure in contrast to the bliss and joy of Heaven which they have lost for ever; and, secondly, to infuse a feeling of horror in the readers. The modern reader, with his scientific background and scientific notions, may not feel as awed or horrified by these descriptions as readers of Milton’s time might have felt. But even the modern reader has to recognize, not only the graphic quality of the description, but its oppressive and overwhelming effect.

The size of Hell, the nature of its tortures or the degree of heat that Satan feels, such thing can be felt to the reader’s imagination, simulated by words which carry frightening associations for all of us. Hell is a place of absolute darkness, fierce heat, hostile elements and most terrible sight of all, the entire space is “valued with fire”. Its all-enclosing dreadfulness typifies the dwarfing awareness of remorse, distance from God and pain from which its inhabitants cannot escape. Though terrible it is not formless; sea and land exist and from its soil the precious metals are refined which go into the construction of Pandemonium.

Milton: Character of "Satan"

Satan occupies the most prominent position in the action of Paradise Lost. Though the main theme of the poem is the “Man’s first disobedience” yet it is the character of Satan which gives a touch of greatness to this epic. Al the poetic powers of Milton are shown on the delineation of the majestic personality of the enemy of God and Man, i.e. Satan.

As it is shown in Paradise Lost Book-I that the character of Satan is a blend of the noble and the ignoble, the exalted and the mean, the great and the low, therefore, it becomes difficult to declare him either a hero or a wholly villain.

In Paradise Lost Book-I we can hardly doubt his heroic qualities because this book fully exhibits his exemplary will-power, unsurpassable determination, unshakable confidence and unbelievable courage. However, the encyclopedia of religion removes some of the confusion from our minds regarding Satan’s character in the following words:
Satan means the arch-enemy of men, the adversary of God and of Christianity, a rebel against God, a lost arch-angle.
Milton also confirms the remarks and tells us that Satan is an archangel. When God declares the Holy Christ his viceroy, Satan refuses to accept God’s order because he himself is a confident for it, his false strength and pride leads him to revolt against God for the fulfillment of his lust for power but he and his army suffers a heavy defeat and throw headlong into the pit of hell.

Milton’s description of Satan’s huge physical dimension, the heavy arms he carries, his tower like personality and his gesture make him every inch a hero. In his first speech, Satan tells Beelzebub that he does not repent of what he did and that defeat has brought no change in him at all. He utters memorable lines:


What though the field be lost?
All is not lost – the unconquerable will,
And study of revenge, immortal hate,
And courage never to submit or yield.
Actually he is not ready to bow before the will of God and is determined to wade and eternal war by force and will never compromise. He proudly calls himself the new possessor of the profoundest hell and foolishly claims to have a mind never to be changed by force or time. As he says:
The mind is its own place, and in itself
Can make a heaven of Hell, a Hell of Heaven.
Although Satan undergoes perpetual mental and physical torture in hell yet he is fully satisfied because he is at liberty to do whatever he likes, without any restriction. The following line clearly indicates his concept of freedom.
Better to reign in Hell, the Serve in Heaven.
It can be said without any doubt that Satan gives an evidence of great leadership qualities which are certainly worthy of an epic hero and Beelzebub appreciates him for his undaunted virtues as the commander of undaunted virtue as the commander of fallen angels. His speech to the fallen angels is a sole roof of his great leadership because it infuses a new spirit in the defeated angels who come out of the pit of hill with their swords and are ready to face any danger regardless of their crushing and humiliating defeat at the hands of God. We fully laud Satan’s views on the themes of honour, revenge and freedom, but we cannot help sympathizing him because he embodies evil. He is the embodiment of disobedience to God.

As the poem proceeds, the character of Satan degenerates and he fails to produce any impression to true heroism because he is morally a degraded figure. When we closely examine his addressed to his followers, we find that it is full of contradictions and absurdities, because he tries to throw dust into the eyes of his comrades. In fact, on the one hand, he says that they will provoke war against God and on the other hand, he wants peace which is only possible through submission. Then, on reaching the earth, he enters into a serpent and is completely degrades. Pride is the cause of his fall from Heaven – Pride that has ‘raised’ him to contend with the mightiest. But where is that pride when the Archangel enters into the mouth of a sleeping serpent and hides himself in its “Mazy folds”. Here from the grand figure that he is in the beginning, he degenerates into a man and cunning fellow, and then he tries to tempt Eve by guile. So, Satan degenerates from the role of a brave hero to that of a cunning villain as C. S. Lewis remarks:
From hero to general, from general to politician, from politician to secret service agent, and thence to a thing that peers in at bed-room or bath-room window and thence toad, and finally to a snake – such is the progress of Satan.
So, it can easily be said in the light of above mentioned facts that Satan is out and pouter hero in Book-I of Paradise Lost, but in Book-IX he appears before us every inch a villain because of his evil design and he himself says that his chief pleasure lies in the destruction of mankind which lowers him in our estimation as a hero.

Paradise Lost: A Classical Epic

Homer and Virgil were the two great masters of the Classical epic. Homer’s Iliad and Virgil’s Aeneid have invariably served as models for all writers of the classical epic. Milton was a great classical scholar and he sought to write an epic. He dreamt of immortality and he aspired to be one with Homer and Virgil as the author of a classical epic. Milton turned his great classical and Biblical learning to a poem to “assert eternal providence, and justify the ways of God to men”.
I may assert Eternal Providence,
And justify the ways of God to men.
Milton achieved eminent success in making Paradise Lost as classical epic. In spite of certain drawbacks and defects, Milton’s epic is entitled to take its rightful place among half a dozen classical epics in the world. The first essential feature of the epic is its theme. The theme of an epic must have a national importance or significance; that is, the epic must be a true and faithful mirror of the life and of a nation. Homer represented the national life, thought and culture of ht Greeks in the Iliad, and Virgil gave expression to the hopes and aspirations of the Romans in the Aeneid. The Fall of Man is the theme of the epic.
Of Man’s first disobedience, and the fruit
Of that forbidden tree, whose mortal taste
Brought death into the world, and all our woe,
The epic action has three qualifications. First, it should be one action, secondly, it should be an entire action, and thirdly, it should be a great action. In short, the action of an epic should be one, entire and great. All these three qualities of epic action are followed by Milton.

The action of Paradise Lost is one and there is a unity of action. The central action is the Fall of Man, and everything in the epic as, the battle of angels, the creation of the world, is subordinated to this central action. There are digressions at the beginning of the third and seventh books, but they do not affect the unity and central action of the poem. The whole action of Paradise Lost is single and compact. In the second place, its action is entire which means that it has a beginning, middle and an end. The action in Paradise Lost is contrived in hell, executed upon earth, and punished by heaven. In the third place the action ought to be great, by greatness of the action, Aristotle means that it should not only be great in its nature but also in its duration. The entire action of Paradise Lost has a stamp of grandeur and greatness about it. Milton’s subject is greater than Homer’s Iliad and Virgil’s Aeneid. It does not determine the fate of one single person or nation; but of the whole human race.

Milton plunges into the middle of the action. Milton, in imitation of the great poets, opens his Paradise Lost, with an infernal council plotting the fall of man.

The characters of the epic must have dignity and variety. In Paradise Lost, we have a wide variety of characters marked with qualities. In Paradise Lost, we have human as well as superhuman characters. Adams and Eve are human characters, whereas God, Christ and Satan are superhuman characters.

An epic must have a hero with great qualities. Identification of the hero is different in Paradise Lost. Adam can be called the hero of the epic. He is not a warrior or a conqueror but a noble figure.

An epic is a serious poem embodying sublime and nobler thoughts. Milton’s Paradise Lost is a sublime and noble poem characterized by loftiness of thought and sentiment.

An epic is not without a moral. Moral forms an integral and intrinsic part in Milton’s poem. It seeks to “vindicate the ways of God to man, to show the reasonableness of religion and the necessity of obedience to the Divine Law”.

Milton, in conformity with the epic practice, begins Paradise Lost by invoking the Muse to help him in his great task. But since Milton seeks the aid of the Heavenly Muse, the Holy spirit,
And chiefly thou, O Spirit, that dost prefer
Before all temples the upright heart and pure,
Instruct me, for thou know’st:
He requests:
- - - - - - - - - - - - - - - - - - - - -: what in me is dark
Illumine, what is low raise and support,
In and epic poem the poet narrates very little in his person. The characters themselves carry forward the mission of the poet.

Lastly the language of an epic must be sublime and rose above the language of common parlance.
- - - - - - - - - - - What though the fields be lost?
All is not lost
Aristotle observes that a sublime style can be formed by three methods --- by the use of metaphors, by making use of the idioms and by lengthening of the phrase by the addition of words. Milton employs all these three methods to give the air of grandeur to his epic. His similes and metaphors are epical. Latin words are frequently introduced. The style of Paradise Lost is the truest example of grand style. On one place, Satan says:
The mind is its own place, and in itself
Can make a Heaven of Hell, a Hell of Heav’n
On the other place:
Better to reign in Hell, than serve in Heaven.
Milton’s Paradise Lost is a successful classical epic. Paradise lost has thus many excellences as an epic but the defects in it also not be forgotten. The introduction of allegorical persons like sin and death, the frequent allusions to heathen mythological fables, the intervention of grotesque incidents, the frequent indulgence in puns and useless display of learning and the unnecessary use of technical terms as in the description of Pandemonium are some blemishes in the style of the poem.

One other point must also be noted. An epic is an objective poem, and personal reflections are out of place in it. But the most sublime parts of Paradise Lost reflect the individuality of the poet. How ever this has added to the interest of the work as a poem though it is not, strictly speaking, permissible in an epic.