Tuesday, May 11, 2010

Why Paradise Lost is so beautiful (one and a half of many reasons)

The reasons why Paradise Lost is such a beautiful piece of literature are many but, to be quite frank, have in my view been grossly misrepresented and twisted over the centuries. Blake famously said that Milton was 'of the Devil's party without knowing it', because Blake was one of those people who assumed that any depiction of the Devil as anything more complex than an unremittingly disgusting psycho killer (like the genuinely terrifying Un-Man in Lewis's Perelandra) automatically meant that the author intended the reader's sympathies to be drawn.

The beauty of Milton's Devil is that he is a hateful and horrifying figure without being the sort of over-the-top mad evil idiot so common in mediaeval art and mystery plays--the tradition where St Dunstan or St Dominic can trick him into doing household chores or pinch his nose with a pair of pliers like the Three Stooges. Real-life sociopaths and borderlines are not immediately or easily identifiable as such. The beauty of Adam and Eve is that they aren't idiots and their actions are understandable and even, yes, sympathetic--but still not portrayed as right. John Milton, unlike many great poets, actually understood how people work. The man was Oliver Cromwell's private secretary and involved in many of the great upheavals of seventeenth-century England, on at least two different sides (the parliamentarians early on and the moderate restorationists later).

The beauty of the writing has to do with Milton's mastery of English blank verse--a mastery which, speaking purely mathematically, surpasses Shakespeare's. Milton's style in Paradise Lost is a lot more formal than Shakespeare's usually is. But such formality may go unnoticed, may even put some people off. There is (or, at least, should be) nothing controversial about writing characters in an interesting way that actually makes sense.

2 comments:

  1. What's the mathematics of blank verse?

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  2. Blank verse in English is iambic pentameter: five feet of one unstressed followed by one stressed syllable. Example (it's from Keats's Ode to Autumn):

    ...And fill all fruit with ripeness to the core;
    To swell the gourd, and plump the hazel shells...

    This is particularly suited to the natural rhythms of English. Other languages have other types of 'standard' verse. French has six feet of unstressed-stressed:

    La très-chère était nue, et, connaissant mon cœur,
    Elle n'avait gardé que ses bijoux sonores,
    Dont le riche attirail lui donnait l'air vainqueur
    Qu'ont dans leurs jours heureux les esclaves des Mores. (Baudelaire, Les Bijoux)

    Japanese gives us more flexible lines of five or seven syllables:

    世の中を
    憂しとやさしと
    おもへども
    飛び立ちかねつ
    鳥にしあらねば

    Yononaka wo / Ushi to yasashi to / Omo(h)e domo / Tobitachi kanetsu / Tori ni shi arane ba
    I feel the life is / sorrowful and unbearable / though / I can't flee away / since I am not a bird.

    Ancient Greek had a complex form with five dactyls (long-short-short) followed by one trochee (long-short) or spondee (long-long):

    Ἄνδρα μοι ἔννεπε, Μοῦσα, πολύτροπον, ὃς μάλα πολλὰ
    πλάγχθη, ἐπεὶ Τροίης ἱερὸν πτολίεθρον ἔπερσε·
    πολλῶν δ’ ἀνθρώπων ἴδεν ἄστεα καὶ νόον ἔγνω,
    πολλὰ δ’ ὅ γ’ ἐν πόντῳ πάθεν ἄλγεα ὃν κατὰ θυμόν,
    ἀρνύμενος ἥν τε ψυχὴν καὶ νόστον ἑταίρων.
    ἀλλ' οὐδ' ὧς ἑτάρους ἐρρύσατο, ἱέμενός περ·
    αὐτῶν γὰρ σφετέρῃσιν ἀτασθαλίῃσιν ὄλοντο,
    νήπιοι, οἳ κατὰ βοῦς Ὑπερίονος Ἠελίοιο
    ἤσθιον· αὐτὰρ ὁ τοῖσιν ἀφείλετο νόστιμον ἦμαρ.
    τῶν ἁμόθεν γε, θεά, θύγατερ Διός, εἰπὲ καὶ ἡμῖν.
    (first lines of the Odyssey, which if you remember I memorised a couple of years ago.)

    I could go on and on. Point is, each language has its own natural rhythms, and Shakespeare, Milton et al. codified one of the most prominent ones in English, iambic pentameter, aka English blank verse.

    Of Man's first disobedience, and the fruit
    Of that forbidden tree whose mortal taste
    Brought death into the World, and all our woe,
    With loss of Eden, till one greater Man
    Restore us, and regain the blissful seat,
    Sing, Heavenly Muse...

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