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S * 7+ ******* Ajor Professor Date The imagery of Paradise Lost Item Type text; Thesis-Reproduction (electronic) Authors Merkle, Crete Museller, 1882- Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 27/09/2021 08:09:40 Link to Item http://hdl.handle.net/10150/553373 THE IMAGERY OF PARADISE LOST by Crete Mueeller Merkle A Thesis submitted to the faculty of the Department of English In partial fulfillment of the requirements for the degree of Master of Arts In the Graduate College University of Arizona 1938 Approved j s * 7+ ******* ajor Professor Date TO Professor S. F. Pattison and Professor Sarah E. Dudley In appreciation of their valuable assistance 11 TABLE OF CONTMTS Chapter Page Introduction ............ 1 I Milton1s Religious Interests ........ 4 II Milton’s Concept of Man and His Background . 13 III Milton’s Knowledge ............. 23 IT Milton’s Love of Beauty ................ 50 Conclusion ....... ............ 67 Bibliography.................... 73 H i Ill citations frra Paradiae lost sppaszlnG In thio work are from David Haaaon* a Poetical Works of John Milton. Tol. IT. INTRODUCTION The work of a genius is the revelation of a divine idea through the mind of man. We must seek, by every possible means, to learn just what that idea would say to us. There have been studies and studies of Shakespeare and not even yet do we feel that the last word has been said about the immor­ tal works of that great poet. And of Hilton, who also holds a high place among the poets, there have been studies and studies and not yet has the last word been said. With that in mind, the writer of this paper has undertaken a study of Milton's Imagery in his epic. Paradise Lost, in the hope that such a study may add even a very little to the understanding of the workings of a prodigious mind. Perhaps we may be par­ doned if we think that each one who approaches the study of a great work with an open mind may find something here and there which has not before been observed, may see a faint glimmer of light where all has hitherto been darkness. It should follow, then, that the more who study a masterpiece the more will be known of the mind of the master; but the chances are that even then, we shall never know all• We know the main facts of Milton's life, but the facts of one's life do not reveal completely the inner man. Another person 'may have lived a life quite similar and yet not produce any- 1 2 thing of great creative value. So, to know the master mind, we seek enlightenment in the creative works of that mind, and always, if we seek earnestly, we are rewarded with increased understanding. In this particular study, the writer has confined herself to Paradise Lost and made the study Intensive rather than in­ clusive. Though Paradise Lost may not he John Milton’s greatest work, it is surely his chief work— the work which he looked forward to for many a long year and the true objec­ tive of almost a lifetime. "It came first with him. It was his task and his concern. It had filled his thoughts for more than twenty years,"3- says Hilaire Belloc. In seek­ ing out the imagery in detail of that master poem, the writer believes that she has had a certain revelation of Milton’s chief interests and of the content of his great mind. Belloc says that there are three characteristics which distinguish Milton the poet: rhythm, visual imagination, and form. In studying his visual imagination. It is a pleasure— often an inspiration— to note how clearly the images and pictures of Paradise Lost stand forth as the projections of a master mind of genius. Humbly then, in the following pages, the writer seeks to disclose what the study of Milton’s imagery has re­ vealed to her. In considering Milton’s imagery in Paradise Lost the ^-Hilaire Belloc, p. 244. 3 writer has not always confined herself only to the ordinarily accepted rhetorical figures, but has broadened the definition, as did Miss Caroline F. E. Spurgeon in her study of Shake­ speare’s imagery, to include pictures that call up visual Images. ■ ; CHAFTEH -I- ^ / . : ' KILTOH.^ HS1IGIQUS iKTKRESTS Writing at a time when the first extravagances of the Ref ormation had been superseded by more conservative good sense, when the deep fundamentals of Christian faith were being revalued in the light of costly experience, when pub­ lications touching on religion in England were critically censored, and when England was, on the verge of the Restora­ tion after a Catholic monarchy, Milton, who was very nubh the product of his own period, could not escape this general absorption in matters of faith. It is not in^robable that part of his purpose in writing Paradise Lost was to state a solution, for his own satisfaction, of certain problems of far reaching religious concern— problems which were in his day being brushed aside without the consideration they merited. The reader leaves Paradise Lost with a feeling that Milton has not slighted any aspects of his. vast task of justifying the ways of God to men. All the religious problems that engaged the interests of the period— the nature of God, of angels (good and bad), of good and evil, of man1s sin and his redemption; the doctrines of fore-knowledge and fore­ ordination, of free will, of reason, of grace, of the elect 4 5 and many more--all these Milton handles as the necessary part of his great undertaking. The aim of the present study has been to show that the imagery used by Hilton in Paradise Lost has had no small part in clarifying and enhancing his presen­ tation of abstract thought on all these subjects. A study, in some detail, of the imagery of Paradise Lost brings, the writer believes, a more intense, a more vivid realization not only of the high quality of Hilton*s visual imagination, but also of the man's interests, of the matter that habitually filled his mind, which was there always for reference, for comparison, and for enrichment. With this in mind, let us first seek to find how Milton's images of God Himself throw light upon his conception of God. That Milton had a definite image of God in his own mind seems evident. When in Book three he pictures God looking down upon Satan's progress and talking to his Son, there is sug­ gestion of a friendly form. Of course, it is merely a way of speaking that implies a human quality. "Only-begotten Son, seest thou what rage Transports our Adversary? ... Whose fault? Whose but his own? Ingrate, he had of me All he could have; I made him just and right* Sufficient to have stood, though free to fall.-*- Incidentally these last words may also be interpreted as the keynote of Milton's theology of the doctrine of free will. •^Paradise Lost. Ill, 80-81, 96-99. 6 Again, when Milton pictures God walking at evening in the Garden hut Invisible to Adam and Eve, there is implica­ tion of form analagous to that of man or angel. The voice of God they heard Mow walking in the Garden, by soft winds Brought to their ears, while day declined.2 God is also depicted as having the motion of wrath, similar to man’s wrath. Go, then, thou Mightiest, in thy father's might; Ascend ay chariot; guide the rapid wheels That shake Heaven’s basis; bring forth all my war; My bow and thunder, my,almighty arms, Gird on, and sword upon thy puissant thigh; Pursue these Sons of Darkness, drive them, out From all Heaven’s bounds into the utter Deep There let them learn, as likes then, to despise God, and Messiah his anointed King.3 Another example of wrath we find in: ' See with what heat these dogs of Hell advance To waste and havoc yonder World, which I So fair and good created, and had still Kept in that state, had not the folly of Man Let in these wasteful furies, who impute Folly to me (so doth the Prince:of Hell And his adherents), that with so much ease I suffer them to enter and possess A place so heavenly, and conniving, seem To gratify niy scornful enemies, That laugh, as if, transported with some fit Of passion, I to them had quitted all. At random yielded up to their misrule; And know not that I called and drew them thither. My Hell-hounds, to lick up the draff and filth Which Man’s polluting sin with, taint hath shed On what was pure; till, crammed and gorged, nigh burst With sucked and glutted offal, at one sling Of thy victorious a m , well-pleasing Son, Both Sin and Death, and yawning Grave, at last 2Paradlse Lost. X, 97-99. 5Ibld.. 71, 710-18. 7 Through Chaos hurled, obstruqt the mouth ofHell For ever, and seal up his ravenous jaws. Then Heaven and Earth, reviewed, shall be made pure To sanotlty that shall receive no stain: Till then the curse pronounced on both precedes.4 5 Yet there are times when Milton presenta God as humanly gentle. For example when lie tries Adam by pretending he does not intend a mate for him, we observe that human trait of a - father’s love for his son.
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