From Paraphrasing “Psalm 114” to Composing Paradise Lost1）

From Paraphrasing “Psalm 114” to Composing Paradise Lost 1）

Yuko Kanakubo Noro

John Milton (1608-1674) paraphrased “Psalm 114” twice in his life; from the original Hebrew into English when he was fifteen years old, and into Greek when he was about twenty-five. Significant word choices and styles are recognized in the English and the Greek versions and by analyzing them, we are able to trace Milton’s poetical development from poet of juvenilia to the poet who wrote the masterpiece Paradise Lost, as well recognize the consistency running through his life. In spite of this fact, no critics seem to have paid serious attention to his two versions of “Psalm 114” in relation to Paradise Lost. Both Barbara Lewalski’s Paradise Lost and the Rhetoric of Literary Forms (1985) and Mary Radzinowicz’s Milton’s Epics and the Book of Psalms (1989) disregard Milton’s own paraphrasing of the psalms while they argue for the important role of the Book of Psalms in the composition of Paradise Lost.2） My aim is to show some important characteristics of Milton’s way of paraphrasing “Psalm 114” both in English and Greek, and analyse how Milton incorporates his fundamental ideas and images from juvenilia into his heroic epic. According to Hannibal Hamlin, Renaissance poets were absorbed in the Book of Psalms, the so-called “Psalms of King David,” because “they were the oldest poetry known at the time; they were written under direct inspiration from God, which indicated God’s approval of writing poetry” (85).3） Throughout the English Renaissance, the Psalms were recognized as sources and models for Christian hymns. In 1549, The Whole Book of Psalms, paraphrased by Thomas Sternhold and John Hopkins was published, and reprinted at least 158 times, until Thomas Ravenscroft’s The Whole Booke of Psalms appeared in 1621, which was to be reprinted fourteen times in the three years after its publication. According to John Carey, from 1600 to 1653, The Whole Booke of Psalms was reprinted in 206 versions.4） In addition, many poets and writers translated or paraphrased the psalms privately or publicly in prose or in verse. For example, Sir Philip Sidney (1554-86) paraphrased the psalms from 1-43 in verse, and after his death, his sister, Mary Sidney Herbert, Countess of Pembroke (1561-1621), followed 12 From Paraphrasing “Psalm 114” to Composing Paradise Lost

his will, paraphrased the psalms from 44-150, and accomplished the work. Sir Philip Sidney in his Defense of Poesie admired the Book of Psalms, naming it “The chief, both in antiquity and excellency, were they that did imitate the inconceivable excellencies of God.” 5） Milton in his preface of Book II of Reason of Church Government (1642) gave his highest appraisal to “those frequent songs throughout the law and prophets... ,” that is psalms,6） because they “not in their divine argument alone, but in the very critical art of composition may be easily made appear over all the kinds of Lyrick poesy［ Greek and Roman poetry］, to be incomparable.” 7） as the theme of the national epic he was to compose in future, and in Book Fourth, line 335 of Paradise Regained he made Jesus Christ extol “our Psalms with artful terms inscrib’d,” and reject the greatest wisdom of Greek and Rome offered by the tempting Satan. As Marjorie Nicolson asserts, we may suppose that Milton studied, read deeply, meditated on and paraphrased almost all the psalms, but he did not collect them, nor publish a complete anthology of paraphrased psalms: “The greatest paraphrases of the Psalms of David ever written［ by Milton］ are not in any anthology: they are embodied in the texture of Paradise Lost.” 8） Milton left twenty paraphrases of psalms from the original Hebrew: Psalms 114 and 136 in English, written when he was fifteen years old; Psalm 114 again in Greek when he was about twenty-five years old; Psalms 80-88 in 1648; and Psalms 1-8 in 1653. The Book of Psalms consists of a total of 150 psalms. So, it might seem a quite small number for Milton to paraphrase only twenty. However, Milton’s favourite book in the Old and New Testaments was the Book of Psalms, and he enjoyed reading and meditating on it throughout his life as his earlier biographer, Edward Phillips, witnessed.9） And because Milton paraphrased only Psalm 114 twice in English and in Greek, this psalm has a special meaning for Milton, as it did for St Augustine, Dante, and Luther, though their ways of treating the psalm differ from each other.10） In his Lives of the English Poets, Samuel Johnson refers to Milton’s paraphrase of the Psalm in English, dismissing it as raising “no great expectations,” nor exciting any “wonder.”11） On the contrary, E. M. Tillyard asserts that the young Milton at this point had already exceeded Joshua Sylvester (1563-1618), the translator of Du Bartas: Divine Weekes and Workes ［Guillaume du Bartas: La Sepmaine］, though Sylvester’s translations had a certain influence on Milton’s paraphrase.12） Moreover, Tillyard insists that “when the time came to choose a subject for his epic he may have been more influenced than he knew by his school-boy ambition to write a rival poem on the Creation.” This paper is not to argue for or against either Dr Johnson or Tillyard. My aim in this paper is to examine certain words, phrases and conceptions expressed in Milton’s paraphrases of From Paraphrasing “Psalm 114” to Composing Paradise Lost 13

Psalm 114 in English and in Greek, and to analyse how Milton incorporates his fundamental ideas and images from juvenilia into his heroic epic, Paradise Lost. For the sake of this analysis, I present below the English translations of the Hebrew text of Psalm 114;13） the translation of this psalm in the King James Version (1611);14） Milton’s paraphrase in English (1623); his paraphrase in Greek (1633),15） and finally a translation by Merritt Y. Hughes.16） And where necessary, I will cite other paraphrasers and translators.

Psalm 114: English translation from the Hebrew original When Israel came out of Egypt, the house of Jacob from a people of foreign tongue, Judah became God’s sanctuary, Israel his dominion. The sea looked and fled, Jordan turned back; the mountains skipped like rams, hills like lambs. Why was it, O sea, that you ﬂed, O Jordan, that you turned back, you mountains, that you skipped like rams, you hills, like lambs? Tremble, O earth, at the presence of the God of Jacob, who turned the rock into a pool, the hard rock into springs of water.

Psalm 114: English translation in the King James Version When Israel went out of Egypt, the house of Jacob from a people of strange language; Ju- dah was his sanctuary, and Israel his dominion. The sea saw it, and fled: Jordan was driven back. The mountains skipped like rams, and the little hills like lambs. What ailed thee, O thou sea, that thou fleddest? Thou Jordan, that thou wast driven back? Ye mountains, that ye skipped like rams; and ye little hills, like lambs? Tremble, thou earth, at the presence of the Lord, at the presence of the God of Jacob; Which turned the rock into a standing water, the flint into a fountain of waters.

Psalm 114: Milton’s paraphrase in English When the blest seed of Tera’s faithful Son, After long toil their liberty had won, And past from Pharian Fields to Canaan Land, Led by the strength of the Almighties hand, Jehovah’s wonders were in Israel shown, His praise and glory were in Israel known. That saw the troubled Sea, and shivering ﬂed, And sought to hide his froth becurled head Low in the earth, Jordans clear streams recoil, ’ As a faint Host that hath receivd the foil. 14 From Paraphrasing “Psalm 114” to Composing Paradise Lost

The high, huge-bellied Mountains skip like Rams Amongst their Ews, the little Hills like Lambs. Why fled the Ocean? And why skipt the Mountains? Why turned Jordan toward his Chrystal Fountains? Shake earth, and at the presence be aghast Of him that ever was, and ay shall last, That glassy flouds from rugged rocks can crush, And make soft rills from fiery flint-stones gush. （My emphasis）

Psalm 114: Milton’s paraphrase in Greek From Paraphrasing “Psalm 114” to Composing Paradise Lost 15

Psalm 114: English translation of Milton’s paraphrase in Greek by Merritt Y. Hughes. When the children of Israel, when the glorious tribes of Jacob left the land of Egypt―a land abhorred and barbarous in speech―then, in truth, the only holy race was the sons of Judah, and among those tribes God reigned in mighty power. The sea saw it and, reverently rolling back its roaring waves, it gave comfort to the fugitive. The sacred Jordan was thrust back upon its silver sources. The huge mountains flung themselves about with mighty leaps like lusty rams in a flourishing garden. All the little hills skipped like lambs dancing to the music of the syrinx about their dear mother. Why, O dreadful and monstrous sea, didst thou give comfort to the fugitive, rolling back thy roaring waves? Why wast thou, sacred Jordan, thrust back upon thy silver fountains? Why did the huge mountains fling themselves about with mighty leaps like lusty rams in a flourishing garden? Why did you, O little hills, skip like lambs dancing to the music of the syrinx about their dear mother? Shake, O earth, and fear the Lord who does mighty things; O earth, fear the Lord, the high and holy One of the seed of Isaac, who poured roaring rivers out of the crags and a perennial fountain out of the trickling rock.

Now, I’d like to analyze Milton’s English Paraphrase. There are various points worth inquiring into in this paraphrase. However, we will mainly focus on six points. In the first place, the English version (1624) consists of 18 lines, with couplets in iambic pentameter, while Paradise Lost consists of about 12,000 lines without rhymes in iambic pentameter. Is it a mere coincidence that his earliest poem has the same metrical structure as his mature epic? In the second place, the main theme of “Psalm 114” is the Exodus, which seems to be Milton’s favourite theme, because he treats the same theme in his paraphrase of “Psalm 136.” In short, out of total twenty psalms paraphrased by Milton, three pieces have the theme of Exodus. (As for the other seventeen pieces, allusions or imagery concerning Exodus appear in some form in them.) According to John Shawcross, the theme of Exodus plays a predominant role in Paradise Lost. For example, in the last part of Book XII, where Adam and Eve are expelled from the Garden of Eden, Milton’s description clearly makes the reader recall the theme of Exodus.17） However, Shawcross does not mention anything about the important relationship between Milton’s own paraphrasing of “Psalm 114” and Paradise Lost. Thirdly, the young Milton puts the phrase “the blest seed of Tera’s faithful Son” in place of “Israel” both in the original Hebrew text and the King James Version because “Tera’s faithful Son” means Abraham, and “the blest seed” contains Isaac, his son. Usually, “Israel” means the children of Jacob, Isaac’s son. Therefore, Abraham and Isaac are excluded from “Israel.” But 16 From Paraphrasing “Psalm 114” to Composing Paradise Lost the young Milton dares to evoke the figures of Abraham and Isaac. Two reasons are assumed here: the first is that the young Milton himself is reflected and identified with Isaac in the phrase, because his mother’s name is Sarah, the same as the mother of Isaac, and Milton inwardly regards himself as a new Isaac. If so, here we recognize Milton’s consciousness of God’s calling. The other is that by using the word “seed,” the young poet purposely makes the reader recall the phrase, “Abraham’s seed,” which is the promised seed and is to appear in Book X as “the Woman’s Seed” and to resound in Books XI and XII of Paradise Lost, mixing with each other.18） Fourth, the idea of freedom from bondage represented in the second line, “After long toil their liberty had won,” is consistent in Milton’s thoughts throughout his life. And we find many phrases similar to this phrase in his political pamphlets, especially in his Pro Populo Anglicano Defensio, The Defence of the People of England (1651). For the sake of clarity, I will cite the Columbia English translation. The first citation goes as: “... it was by God’s clear command we were on a sudden resolved upon the safety and liberty that we had almost lost” (7). The second one goes as “... when we had a king, prayed to God against him, and were heard, and at last delivered” (103). The third one goes as: “... let us consider whether the Gospel, heavenly proclamation of liberty, give us over in slavery to kings and tyrants, from whose outrageous rule the old law, though it taught slavery of some sort, did set God’s people free” (145). From the above citations, it is clear that Milton in the English Revolution describes the victory of the Parliamentarians in a framework connected with the words and thoughts of Psalm 114. In other words, Milton regards the victory of the “English people” in terms of the Exodus. Fifth, the personified Red Sea in the English version is depicted as the enemy fleeing from Israel. This is totally different from both the original Hebrew text and King James Version of the Bible. Writing these lines (lines 5-8), “shivering fled, / And sought to hide his froth becurled head / Low in the earth, Jordans clear streams recoil, / As a faint Host that hath receiv’d the foil,” the young Milton pictures in his mind the figures of Satan and his host in the image of flowing waves and streams. Later in Paradise Lost, Book VI, where Satan and the rebellious angels are struck by the Son’s thunderbolt and dispelled from Heaven, “they astonish all resistance lost, / All courage; down thir idle weapons drop’d; / O’re Shields and Helmes, and helmed heads the Son rode,” “Nor less on either side tempestuous fell / His arrows / together throng’d / With terrors and with furies to the bounds / And Chrystal wall of / Heav’n, which op’ning wide, / Rowl’d inward” (838-60). Lines 5-8 of Milton’s English Paraphrase of Psalm 114 clearly anticipate the scene where the From Paraphrasing “Psalm 114” to Composing Paradise Lost 17

Son expels Satan and his “faint Host that hath receiv’d the foil” in Book VI of Paradise Lost. Finally, the appearance of “their Ews,” is a kind of revolution in the process of paraphrasing, because the original text of Psalm 114 provides a wholly strictly Judaic patriarchal, masculine world, where only rams (male sheep) and lambs (gender neutral) are presented in the foreground and no femininity is mentioned. Here, it is plainly expressed that Milton, even at fifteen years old, has a harmonious, natural and balanced vision where both masculinity and femininity coexist and cooperate. (Without ewes, lambs can never be born.) Jason P. Rosenblatt does not give any comment on the appearance of the ewes in Milton’s paraphrase of Psalm 114, when he examines Milton’s anxiety for translating the Psalm under the influence of the King James Version, though the appearance of the ewes is totally free from any influence of the King James Version.19） The translators of the King James Version are not an exception. There had been no male translators nor paraphrasers preceding Milton, as far as my research is concerned, who add the ewes, the female sheep, in his translation or paraphrase of this Psalm. The Coverdale Version (1535),20） the Geneva Bible (1560),21） the Thomas Sternhold and John Hopkins Version (1549),22） The Douay-Rheims Version (1582;1610),23） Thomas Ravenscroft (c.1583-c.1633),24） and George Sandys (1578-1644)25） do not add any female sheep to the original rams and lambs. (However, in his Davideis (1668), Abraham Cowley inserts “helpless Dams” to whom “young affrighted Lams.../ Run trembling”, though he omits rams, or any male sheep.)26） Among the male translators and paraphrasers preceding him, only the fifteen year-old Milton inserts the female sheep in his paraphrase of Psalm 114.27） Then, let us regard Milton’s Greek version of the Psalm with the help of Merritt Y. Hughes’s translation. In the first place, the personified Red Sea and River Jordan are here described as an ally, supporting and encouraging Israel, the refugee, passing through. The sea saw God reigning in mighty power, and “reverendly” obeyed him, “rolling back its roaring waves” on either side. This description makes us recall the Angels in Heaven in Paradise Lost, who are obediently subject to the Son and God, in Book VI, lines 799-811, where “the great Son of God / To all his Host on either hand” orders to “Stand still in bright array...stand only and behold / Gods indignation on these Godless pourd” by him. It is noteworthy that Milton in his Greek version of Psalm 114 depicts the image of the obedient angels in Heaven reflected in the Red Sea and River Jordan, while in his English version delineates the image of Satan and the rebellious angels reflected in the Red Sea and River Jordan. The latter image converges in the rebellious angels expelled from Heaven by the Son, while the former converges in the obedient angels serving God in Paradise Lost. 18 From Paraphrasing “Psalm 114” to Composing Paradise Lost

Moreover, Milton’s depiction of the Son, who expels revels, is represented in the framework of the Exodus, because the Son passes between the two lines of Angelic battle, whose image clearly echoes the Red Sea in Milton’s Greek version of Psalm 114 obediently and “reverendly rolling back its roaring waves” on either side. It is evident that the twenty-five year old Milton makes a splendid and totally different sketch of the roaring waves from the one he made in the English version ten years earlier. He picks out completely opposite aspects from the same material, and the result prefigures his delineation of the obedient angels in Heaven and the rebellious angels in the War in Heaven in Book VI of Paradise Lost. Secondly, in the Greek version, the image of Paradise is clearly recognized, because lusty rams leap in a “flourishing garden,” whose image was never represented in the English version, nor in any other version by male translators. Milton might have consulted the paraphrase of Psalm 114 by Mary Sidney Herbert, because the words “dames” (the female sheep) and “fruitfull ground” appear in her paraphrase. We cannot deny the possibility that when paraphrasing Psalm 114 in Greek, he referred to her paraphrase.28） However, Milton differentiates his paraphrase from Herbert’s by adopting Greek instead of English, and by intensifying the celestial atmosphere of the psalm with the use of “syrinx” as follows. Thirdly, in this Paradise lambs are dancing to the music of the “syrinx”（“σύριγγι”）(lines 11, 18). Because this musical instrument alludes to Pan, the pastoral imagery overflows in this paraphrase and it is linked with the image of Eden. Besides, in Renaissance England, Pan, the god of flocks and herds, was often identified with Jesus Christ: Milton himself uses the expression, “the mighty Pan,” the Good Shepherd, to represent Jesus Christ in his Nativity Ode (l.89). For the fourth point, the word, “μητέρι” (lines 11, 18), the mother sheep, appears instead of “ewes” in the English version. In the English rendering, “Rams,” the male sheep “skip / Amongst their Ews,” while in the Greek one, little Lambs dancing ... about their dear mother.” Therefore, it can be safely said that mother-child relationship is demonstrated in the Greek version, while husband-wife relationship is demonstrated in the English one. It is worth mentioning that in the prelapsarian Eden, the aspect of Eve as wife to Adam is in the focus, while in the postlapsarian Eden, the aspect of Eve as mother to her progeny in future is demonstrated. The image of mother and child sheep represented in the Greek rendering is to be reflected in the depiction of “Mother with infant,” “Who were thy (Lord’s) Sheep and in their antient Fold,” savagely slain by the “bloody Piemontese” in Milton’s so-called sonnet psalm, “On the Massacre of Piedmont” (1655), and later reemphasized in the depiction of “fleecy Flock, / Ewes and their bleating Lambs” driven from the plain to a slaughtered house by bloody soldiers as From Paraphrasing “Psalm 114” to Composing Paradise Lost 19 their booty, and finally converged in the image of Virgin Mary and Jesus Christ. Fifthly, “the high and holy One of the seed of Isaac (“’Ισσахίδαо”)” is presented in line 20. This is very important because Isaac is regarded as prefiguring Jesus Christ. Moreover, the high and holy One of the seed of Isaac is the very person Christ. Therefore, Milton, in the world of the Old Testament, introduces Christ, the hero of the New Testament, representing the world close to the Garden of Eden before the Fall in the Greek version of Psalm 114. Thus, it is evident that these distinctive features of Milton’s paraphrasing of “Psalm 114” converge in the composing of Paradise Lost. Strangely enough, these distinctive features and their relations with Paradise Lost have never been pointed out by any critics of Milton. The femininity and the female being, both represented in Milton’s two versions of Psalm 114, was not abandoned. They are repeatedly inspected and verified throughout his life, and finally converged in his depiction of Eve in Paradise Lost. In his 1645 Poems, we find twelve poems concerning female characters out of a total of twenty-eight poems written in English. And at least four of them treat the virtue, faithfulness and intellect of the women, as Yui Oketa asserts.29） In the book, A Mask (often misleadingly called Comus) is set as the culmination of Milton’s earlier English works in his 1645 Poems, and there two heroines, the Lady and Sabrina, are represented as noble women endowed with virtues, faith and chastity. In the following polemical period, specifically in his Divorce tracts, Milton investigates female virtues and intellect without a break. He requires women to be equipped with virtues and intellect as an ideal wife, because, he insists, the ultimate joy of marriage is placed in happy conversation, sociable communication and mutual understanding of man and wife.30） Ultimately, the excellent qualities of his ideal wife culminate in his creation of Eve in Paradise Lost. Diane Kelsey McColley admits that writers before Milton usually depict Eve as lacking the higher faculties and virtues, “deformity ... of nature ... rather bad ... than good.” However, Milton for the first time emphasizes “her present and potential virtues.” 31） She is a help meet, suitable wife to and coworker with Adam. It is true that she tempts Adam and makes him fall, but it is noteworthy that after the Fall penitence begins on the side of Eve, the female. She throws herself on the ground and asks Adam to give her permission. Here, Milton creates his sublime, inventive psalm and he makes Eve, not Adam, utter the penitent psalm. Her speech is presented as Milton’s inventive psalm, beginning with “Forsake me not thus, Adam....” Forsake me not thus, Adam, witness Heav’n What love I sincere, and reverence in my heart 20 From Paraphrasing “Psalm 114” to Composing Paradise Lost

I beare thee, and unweeting have offended, Unhappilie deceav’d; thy suppliant I beg, and clasp thy knees; bereave me not, Whereon I live, thy gentle looks, thy aid, Thy counsel in this uttermost distress, My onely strength and stay: forlorn of thee, Wither shall I betake me, where subsist? While yet we live, scarce one short hour perhaps, Between us two let there be peace, both joyning, As joyn’d in injuries, one enmitie Against a Foe by doom express assign’d us, That cruel Serpent: On me exercise not Thy hatred for this miserie befall’n, On me already lost, mee then thy self More miserable; both have sin’d, but thou Against God onely, I against God and thee, And to the place of judgment will return, There with my cries importune Heaven, that all The Sentence from thy head remov’d may light On me, sole cause to thee of all this woe, Mee mee onely just object of his ire. (X: 914-36; my emphasis)

In her inventive psalm, Eve entreats Adam for forgiveness, offering him a penitential prayer. It is reasonable for her to do so in the framework of Paradise Lost, because “Hee［ Adam］” made “for God only, shee［ Eve］ for God in him” (IV, 299) is God’s ordinance. Therefore, it is not Adam in person, but God in him, to whom she offers a prayer. It is also reasonable that she laments, saying that she has committed the fatal sin “against God and thee［ Adam］,” while Adam “Against God onely,” when we remember the structure of God – Man – Woman presented in the prelapsarian state. Here Eve offers her prayer in the form of a penitential psalm, recalling the right relationship between man and woman in terms of God. Lewalski and Radzinowicz recognize that these lines where Eve pleads for Adam’s forgiveness are in the form of Milton’s inventive psalm. And we easily notice that the echo of King David’s supplication for forgiveness from God resounds in Eve’s penitential psalm, “Against thee, against thee only, have I sinned” (Psalm 51 verse 4). It is worth mentioning that Milton makes his female protagonist utter her supplication in From Paraphrasing “Psalm 114” to Composing Paradise Lost 21 the form of psalms. In Milton’s day, the author of the Book of Psalms was believed to be King David. Therefore, it was called the Psalms of King David. In his heroic epic, Milton gives Eve a very important role to be the beginner of regeneration, making her a superior psalmist though unconsciously. In short, if David is a psalmist hero, then Eve is also a psalmist hero (not heroine). When we find Eve, praying to God in Adam, in the form of psalms, we realize Milton’s positive attitude toward women. Milton makes Eve as an ideal, intellectual and faithful woman who can offer her prayer in the form of psalms. As Lewalski points out, in Eve’s penitential psalm, there are many echoes from the Book of Psalms, for example, Psalm 38 verses 1, 18, 21, Psalm 51 verses 3, 4, 11, and Psalm 102 verse 2.32） To these, I will add Psalm 81 verse 1, Psalm 84 verse 5, Psalm 86 verses 1-3, and the last line of Psalm 2. Here I emphasize that all of my additions are included in Milton’s own paraphrases of psalms from Psalms 80 to 88 done in 1648, and from Psalms 1 to 8 done in 1653. Eve’s behavior changes Adam’s mind,33） and he proposes to her that they ask permission from God together. This is the beginning of regeneration. “If we,” McColley asserts, “regard creation and regeneration as the poem’s central process ... we will see Milton’s representation of original righteousness and of Eve not only foreshadowings of original sin ... but also, and predominantly, patterns and prolepses of regeneration.” 34） Eve is endowed with virtues and foresight. In conclusion, Milton begins from paraphrasing psalms in his youth, and continues his discipline of it through his life, and it ultimately culminates in his composing of the inventive psalm uttered by Eve, which marks the turning point to regeneration of the fallen Eve and Adam. Thank you for listening.

(Endnotes) 1) This paper was delivered by the author at the Eleventh International Milton Symposium, Exeter University, July 20-24, 2015. 2） Barbara Lewalski, Paradise Lost and the Rhetoric of Literary Forms (Princeton: Princeton Uni- versity Press, 1985); Mary Radzinowicz, Milton’s Epics and the Book of Psalms (Princeton: Prince- ton University Press, 1989). 3） Hannibal Hamlin, Psalm Culture and Early Modern English Literature (Cambridge: Cambridge University Press, 2004). 4） John Milton, The Poems of John Milton, eds. John Carey and Alastair Fowler (London: Longman, 1968) 6 and below. 5） Sir Philip Sydney, Defense of Poesie, eds. Frank Kermode, et al. The Oxford Anthology of English Literature Vol. 1. (Oxford: Oxford University Press, 1973) 639． 6） Radzinowicz identiﬁes “those frequent songs” with psalms, by asserting “As early as The Reason 22 From Paraphrasing “Psalm 114” to Composing Paradise Lost

of Church Government he［ Milton］ had written that psalms, ‘not in their divine argument alone, but in the very critical art of composition may be easily made appear over all the kinds of Lyrick poesy, to be incomparable.” Milton’s Epics and the Book of Psalms, 6. I agree with her. 7） The Works of John Milton, ed. Frank Allen Patterson, et al, vol. 3-1 (New York: Columbia Univer- sity Press, 1931) 238. 8） Marjorie Hope Nicolson, John Milton: A Reader’s Guide to His Poetry (London: Thames and Hud- son, 1964) 24. 9） Edward Phillips, “The Life of Mr. John Milton,” The Early Lives of Milton, ed. Helen Darbishire (London: Constable, 1965) 33. 10）アウグスティヌス,『アウグスティヌス著作集』第18巻I 今義博・大島春子・堺正憲・菊池伸二訳(東京：教文館, 1997); ダンテ,『ダンテ全集』第８巻中山昌樹訳（東京：日本図書センター, 1995）392̶93; マルティン・ルター,『ルター著作集』第二集第3巻（第二回詩編講義）竹原創一訳, ルーテル学院大学ルター研究所（編集責任者・鈴木浩）編 ( 東京：リトン, 2009);『ルター著作集』第二集第4巻（イザヤ書第9章, 第53章講解、詩編序文, 七つの悔い改めの詩編他）徳善義和・俊野文雄・中野隆正共訳, ルーテル学院大学ルター研究所（編集責任者・鈴木浩）編 (東京：リトン, 2007). 11） Samuel Johnson, Lives of the English Poets, ed. Robert Montagu (London: Folio Society, 1965) 16. 12） E. M. Tillyard, Milton (London: Chatto and Windus, 1930) 9. 13） The NIV Interlinear Hebrew-English Old Testament, Four Volumes: Genesis-Malachi, ed. John R. Kohlenberger III (Grand Rapids MI: Zondervan, 1987). 14） The Holy Bible, King James Version (New York: American Bible Society, 1976). 15） All quotations from the poetry and the prose of Milton are taken from The Works of John Milton, ed. Frank Allen Patterson, et al, 18 vols. (New York: Columbia University Press, 1931-40). 16） John Milton, Complete Poems and Major Prose, ed. Merritt Y. Hughes (New York: Odyssey, 1957). 17） John Shawcross, “Paradise Lost and the Theme of Exodus,” Milton Studies, eds. James D. Sim- monds and Albert C. Labriola, vol. 2 (Pittsburgh: University of Pittsburgh Press, 1970) 3-26. 18） Joseph H. Summers, The Muse’s Method: An Introduction of Paradise Lost (New York: Center for Medieval and Early Renaissance Studies, 1981) 179-85. 19） Jason P. Rosenblatt, “Milton, anxiety, and the King James Bible,” The King James Bible after 400 Years: Literary, Linguistic, and Cultural Inﬂuences, eds. Hannibal Hamlin and Norman W. Jones (Cambridge: Cambridge University Press, 2011) 182-83, 181-201. 20） The Book of Common Prayer Ornamented with Wood Cuts from designs of Albert Durer, Hans Hol- bein, and others. In Imitation of Queen Elizabeth’s Book of Christian Prayers (London: Folio Soci- ety, 2004). 21） The Geneva Bible, 1560 Edition (Peabody MA: Hendrickson, 2007). 22） The Whole Book of Psalmes: Collected into English Meeter by Thomas Sternhold, Iohn Hopkins, and others, conferred with the Hebrew, with apt notes to sing them withal (London: Printed for the Companie of Stationers, 1631). 23） The Holie Bible:［ The Doway Bible］ , 2 Vols., Doway, 1609-1610, Facsimile edition (Kyoto: From Paraphrasing “Psalm 114” to Composing Paradise Lost 23

Rinsen, 1990). 24） Thomas Ravenscroft, The Whole Booke of Psalmes: With The Humnes Evangelicall, and Songs Spiritual.［ ...］(1621), Psalme 114 (Edward Blanks). Retrieved from www.pbm.com/~lindahl/ravenscroft/psalter. 25） George Sandys, A paraphrase upon the Psalms of David by; set to new tunes for private devotion and a thorough-base for voice or instrument by Henry Lawes; and in this edition carefully re- vised and corrected from many errors which passed in former impressions by John Playford, PSALM CXIV. Retrieved from quod.lib.umich.edu/e/eebo/A27888.0001.001?view=toc. 26） Abraham Cowley, Poems, ed. A. R. Waller (Cambridge: Cambridge University Press, 1905) 245. 27） Mary Sidney Hebert, Countess of Pembroke, seems to have been the first paraphraser who in- serted the female sheep, “dames”, into the paraphrase of Psalm 114. Cf. The Psalms of Sir Philip Sidney and the Countess Pembroke, ed. J.C.A. Rathmell (New York: Doubleday, 1963) 267. 28） Op. cit. 29） Yui Oketa, Martyrdom, Collaboration, Resurrection―Sabrina and Chastity in A Mask, Doctoral dissertation, Nihon University, 2015. 39. 30） I will only cite some representative passages where Milton demands women of being endowed with virtue, faith and intellect, below from Milton’s four divorce tracts, The Doctrine and Disci- pline of Divorce, The Judgement of Martin Bucer, Concerning Divorce, Tetrachordon, and Colaste- rion in this order cited from The Works of John Milton, vol. III, 382, 391; The Works of John Milton, vol. IV, 41; vol. IV, 102; vol. IV, 254. “God in the first ordaining of marriage, taught us to what end he did it, in words expresly imply- ing the apt and cheerfull conversation of man with woman, to comfort and refresh him against the evill of solitary life...”; “in Gods intention a meet and happy conversation is the chiefest and the noblest end of marriage”. “Next when the Apostle brings an example out of Gods law concerning man and wife, as are so dispos’d as that they are both willing and able to perform the necessary duties of marriage...” “Parœus on Gen. defines Mariage to be an indissoluble conjunction of one man and one woman to an individual and intimat conversation, and mutual benevolence.... ” “For this cannot but bee with ease conceav’d, that there is one society of grave friendship, and another amiable and attractive society of conjugal love, besides the deed of procreation, which of it self soon cloies, and is despis’d, unless it bee cherisht and re-incited with a pleasing conversation.” 31） Diane Kelsey McColley, Milton’s Eve (Urbana: University of Illinois Press, 1983) 11. 32）） Ibid., 250-52. 33） Summers points out that Eve’s penitential psalm marks “the turning point rather than the conclusion of Paradise Lost; the significance of the passage increases as its sound and meaning are echoed and amplified in the final books. The effect of Eve’s speech is immediate on Adam....” In his The Muse’s Method, 183. 34） Ibid., 13-14.