Analysis of the great poem by Dante Alighieri "Divine Comedy". Milton Paradise Lost Analysis Paradise Lost Analysis
The theme of life after death runs like a red line in the work of Marina Tsvetaeva. As a teenager, the poetess lost her mother, and for some time she believed that she would certainly meet her in that other world. However, as she grew older, Tsvetaeva began to realize that perhaps the afterlife was a fantasy. Gradually, the poetess was imbued with agnostic views, not rejecting the existence of another world, but not believing in it to the end. Therefore, it is not surprising that in her works she either recognizes life after death, or claims that it is -
In 1910, Marina Tsvetaeva wrote the poem "In Paradise" to participate in a poetry competition organized by Valery Bryusov. The eminent writer invited novice poets to reveal the theme of the eternity of love with one of his works and show that this feeling is able to overcome death. However, Tsvetaeva refused to accept this concept and showed in her poem that love is an earthly feeling, and it has no place in the afterlife.
The poetess begins her work with the fact that worldly existence personally brought her a lot of sadness and disappointment. Therefore, she writes that “about the earthly
I will pay in paradise too.” These lines, apparently, are addressed to her husband, with whom Tsvetaeva's relationship is far from being as smooth and serene as it seems from the outside. The poetess loves Sergei Efront, but feels unhappy next to him. At the same time, she claims that she does not give up her feelings and notes that even in paradise she will “restlessly catch your gaze.”
Being the nature of a passionate and contemptuous conventionality, Marina Tsvetaeva admits that she does not belong at all where "hosts of angels fly in order." In this world, she feels like a stranger, and she does not at all like the company of “innocently strict virgins”, whom she is going to shock with earthly tunes. At the same time, the poetess emphasizes that life after death does not matter to her personally. Much more important is what is happening to her now, at this moment. And if she is unhappy on earth, she is unlikely to find spiritual harmony in paradise. Tsvetaeva also rejects the very concept of the eternity of love, believing that together with a person this world leaves his feelings, thoughts and desires. “And we won’t wake up in paradise for meetings,” the poetess notes, convinced that death can separate lovers. Especially if during their lifetime their relationship was far from ideal.
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John Milton is a famous public figure, journalist and poet who became famous during the period English revolution 17th century. His influence on the development of journalism is undeniable, but his contribution to culture was not limited to this. He wrote a brilliant epic poem, where for the first time Satan was depicted, whom one wants to sympathize with. This is how the archetype, extremely popular in our time, was born, which fell in love with directors, writers and their large audience. It is known that John Milton was a believer and well-versed in the Bible, but it should also be remembered that he interpreted the biblical texts in his own way. The poet did not completely alter the legends, he only supplemented them. " Lost heaven”, in this respect, has become the best example.
The name "Satan" is translated from Hebrew as "adversary", "to be an adversary." In religion he is the first opponent heavenly powers represents the supreme evil. However, if the authors of the gospels expose him as an ugly and vicious demon, for whom evil is an end in itself, then Milton endows his hero with reasonable and even just motives that inspired him to overthrow the Lord. Sataniel, of course, is vain and proud, he can hardly be called a positive hero, but his revolutionary ardor, courage, frankness captivate the reader, makes one doubt the expediency of the divine court. In addition, judging by the speaking name of Lucifer and the omniscience of God, we can conclude that the heavenly father deliberately created a rebellious spirit in order to arrange a demonstration massacre and strengthen his power. Agree, it’s hard to deceive the lord, who knows everything about everyone, which means that this rebellion was planned by the Creator, and the Devil, as a victim of circumstances, is even more sorry.
Milton, in Paradise Lost, touches on the topic of confrontation, showing the antagonism of Satan. The writer often calls him the Enemy. It is well established in the human mind that the stronger the enemy of the Lord, the more powerful the last of them. The writer presents the Archenemy before his fall not only as the Archangel, but also as the greatest general, capable of controlling everything and everyone, including a third of God's troops. The author also emphasizes the power of the main opponent of the Almighty: “In anxiety, he strained all his strength”, “To the full extent of a giant, straightening up, growth”, etc.
Milton, being a revolutionary, could not recognize autocracy, monarchy. He initially presents the Devil as the main fighter against the tyranny of the Creator, giving the first the title of a kind of "hero". No matter what, he goes to his goal. But the poet does not allow him to go beyond the clearly defined framework and reflect on other options for existence in this world.
Nevertheless, Milton's Enemy has human qualities, possibly remaining from the time of serving God: "Him for the bitterest execution: for sorrow // About irrevocable happiness and thought// About eternal torment ..."
The prince of darkness, in spite of everything, acts according to the will of the Father, who knows everything that he will do three steps ahead. But even when defeated, the Lord of Shadows does not give up, so he deserves respect. Even after being cast into Hell, he says that it is better to be the ruler of the underworld than a servant in heaven.
Milton showed Evil, which, in spite of everything, will not betray its convictions, even going into darkness forever. For this, the image of Satan was so liked by the creative intelligentsia, which again and again dedicates outstanding works to him.
Milton's Satan and Aeschylus' Prometheus - what do they have in common?
Around 444-443 BC, the ancient Greek playwright Aeschylus wrote the famous tragedy Prometheus Bound. It told the story of a titan close to the throne of Zeus, who suffered at the hands of God because of his beliefs.
Drawing an analogy, we can say that Milton created Satan in the image and likeness of the hero Aeschylus. Nailing to a rock, eternal torment that the bird devouring the liver delivers to the body, overthrowing into tartar cannot shake the firmness of the giant's spirit and make him resign himself to God's tyranny. Nectars, feasts, pleasures, life on Olympus have no meaning for the freedom-loving giant, because this is possible only under the condition of absolute obedience to the Thunderer.
Titan rebels against the almighty and unquestioning authority for the sake of freedom, just like Lucifer in Paradise Lost. The unwillingness to obey the Creator, the desire for will, pride, which does not allow one to dominate oneself - after all, all this was reflected in Milton's Devil. Both the Enemy and Prometheus, before their rebellions, were close to the Lord. Being overthrown, they remain true to their views.
Both characters, the majestic giant and the Archenemy, gain their independence in defeat. They themselves arrange heaven from hell, and darkness from heaven ...
Biblical motives
Biblical motives are a kind of core for many literary works. At different times, one way or another, they are interpreted, filled with new details, but their essence always remains the same.
Milton for the first time violates the interpretations of the Old Testament plots accepted in society, thereby retreating from church dogmas. The era of revolutions, changes in lifestyles, values and concepts - all this and much more makes us take a different look at good and evil, shown in the images of the Almighty and the Devil.
Contradictions: good - evil, light - darkness, Father - Lucifer - this is what Milton's play is built on. Scenes from the Garden of Eden are intertwined with descriptions of the war between the troops of the Enemy and the angels. The torments of Eve, seduced by the persuasion of the Evil Spirit, are replaced by a series of episodes in which the suffering of future people is depicted.
The poet dresses the Prince of Darkness in a snake, shows him evil and vengeful, pleasing the church, but at the same time he also emphasizes the majesty of his figure. Depicting the main enemy of the Creator, the poet goes beyond the biblical framework. Milton's God is not a positive hero, he stands for complete and unquestioning submission, while Lucifer strives for freedom and knowledge, like the first people. The author changed the motive of seduction: in his opinion, there was not a deception, but an insight of a person who also chose independence and knowledge.
In addition to the rebellion of Bes, Paradise Lost also shows the story of Adam and Eve. In the center of the work is a picture of the successful seduction and fall of God's creation. But, despite the Demon's luck, the Almighty wins, giving people a chance to correct.
Outwardly, the poem looks like Holy Bible. However, the images of the Archenemy and the Father, their fights are far from similar to the Old Testament legends. So, for example, medieval visionaries and Christians endowed Satan with disgusting features, which we cannot see in Milton.
In the Bible, the serpent, the most cunning of all the animals created by the Lord, was engaged in seducing people, and in the poem this task was entrusted to Satan, who turned into an animal.
Based on the foregoing, we can say that Milton took the Sacred story as the basis of his creation and supplemented it with brighter elements.
Story of Adam and Eve
One of the main storylines"Paradise Lost" is the notorious story of the human fall into sin.
Satan decides to destroy the purest and holiest place on earth - the Garden of Eden, in order to subdue the first earthly people to his will. Turning into a snake, he seduces Eve, who, having tasted the forbidden fruit, shares it with Adam.
Milton, following the biblical story, believes that having tasted the fruit offered by Satan, humanity began its thorny path to divine forgiveness, but it is worth noting that the poet does not recognize sin in what he did. He puts a philosophical meaning into this story, showing life before and after sinning.
Grace in the Garden of Eden, purity and purity, the absence of troubles, unrest, constant ignorance - this is how people lived before they tasted the apple of discord. After the deed, a new, completely different world opens up to a person. Being exiled, the children of God discovered for themselves the reality familiar to us, in which cruelty reigns, and difficulties lurk at every corner. The poet wanted to show that the collapse of Eden was inevitable. He believed that heavenly life is an illusion, it does not correspond to the true essence of man. Before the fall, their existence was not complete, for example, they did not pay attention to their nakedness and did not have physical attraction to each other. After that, that close to our understanding, love woke up in them.
Milton shows that in exile people gained what they did not have before - knowledge, passions, reason.
The question of "free will" in the work
The Bible speaks of the fall as a violation of God's main commandment, the disobedience of man, which gave rise to expulsion from Eden. Milton's reading of this story shows sin as the loss of immortality by people, but at the same time, the preservation of free thought and reason, which more often serve to harm a person. However, it is his right to turn them anywhere.
The work deals with the issue of human misfortunes. Milton finds them in the human past, saying that he believes in independence and reason, which will help people get rid of all troubles.
Adam in the work is endowed with beauty, intelligence, a rich inner world, in which there is a place for passion, feelings, as well as free will. He has the right to choose. It is thanks to this factor that a young man can share the punishment for disobedience with his beloved and receive complete free will.
Milton shows the fall as the realization of the freedom of choice that God gave to people. By choosing a pious way of life, a person will be able to regain Paradise and atone for original sin.
Image of Adam
Adam was the first man who was created by the Almighty, and he is also the progenitor of the entire human race.
The author shows him as courageous, wise, brave and, moreover, charming. In general, the forefather in Paradise Lost is presented as a judicious and beneficent shepherd of Eve, who is weaker than him both physically and intellectually.
The poet did not bypass the inner world of the hero. It is a projection of divine harmony: an orderly and flawless world, full of creative energy. Adam even gives the impression of a bore, but he is unspoiled and correct: he listens to angels and knows no doubts.
Milton, unlike other writers, did not regard man as a plaything in the hands of God. The poet extols the protagonist's sense of "free will", saying that it is this that helps people move forward.
However, next to celestial beings, the image of the "royal" progenitor of people, created by Milton, is lost. Talking to the angels, he is shown as an inquiring person, or, moreover, a voiceless one. The feeling of "free will" embedded in the hero dissolves, and Adam is ready to agree with everything that the angels tell him. For example, during a conversation with Raphael about the universe, the archangel abruptly interrupts his questions, talking about his human nature and that he should not try to learn the secrets of the universe.
We see a man who contained all the best in himself: courage, "free will", courage, charm, prudence. At the same time he trembles before the mighty of the world of this, does not contradict them and cherishes in his heart the readiness to forever remain a slave to illusions. Only Eve breathed into him the determination to oppose the power of the Creator.
Depiction of Heaven and Hell in the poem
In Milton's poem, nature plays a direct role in all its diversity. It changes along with the feelings of the characters. For example, during a calm and carefree life in Eden, harmony in the world is shown, but as soon as people transgress the order of God, chaos and destruction come into the world.
But the most contrasting is the image of Paradise and the Underworld. How gloomy and gloomy Hell is shown, Heaven looks so faceless and gray against its background. No tricks helped Milton to make the scenery of the kingdom of God bright and colorful.
However, it should be noted that the image of Eden is much more beautiful and detailed than the description. Heavenly Kingdom. Much attention was paid to the nature of the earthly Paradise: tall trees intertwined with crowns, an abundance of various fruits and animals. And also, fresh air, "Which even the Ocean - the old man ... enjoys." The garden constantly demanded the care of its inhabitants, so the first people can claim the title of the first collective farmers in history: they were also not paid money and were given a salary in food. So empty and monotonous life disgusts the author, so he is a hell of liberating people.
Milton portrayed a gloomy, but at the same time wonderful Hell, as well as a bright and no less magnificent Paradise. It can be seen with the naked eye how huge and immense the palette of colors is that contributes to the description of these two worlds.
The problem of personalization of the "devil" in world culture
The first mention of Satan falls around the 6th century, this is the image of the Devil on a fresco in Egypt. There he was shown as an ordinary angel, no different from the others.
At the turn of the millennium, attitudes towards him changed dramatically. This was due to the fact that intimidation was the easiest method to attach believers to their faith. The Church inspired hatred and fear for the Bes, so he appearance should have been disgusting.
In the Middle Ages, the life of a commoner, oppressed from all sides by the church and the government, one way or another, forced a person to rush into the arms of a fallen angel, to find, though evil, but a friend or comrade-in-arms. Poverty, famine, plague and much more led to the creation of the cult of the Devil. In addition, the servants of the church also contributed, differing by no means pious behavior.
This era was replaced by the Renaissance, which was able to destroy the already established image of the Enemy - the monster.
Milton saved the Devil from horns and hooves, made him a majestic and powerful fallen angel. It is this idea of the Enemy of God, which the poet gave us, that is firmly entrenched in the minds of people. On the basis of the Bible, the author calls him the "Prince of Darkness", emphasizing or even exaggerating his rebellion against God. Also, in the image of the Enemy, despotism, dominance, arrogance are emphasized. He was overcome by pride and vanity. Satan rebelled against the Lord, but destroyed the entire human race. Although...how can I say? Milton believes that he killed that reptile and insecure collective farmer, who did not really live, but served as a goldfish in an aquarium. But he created the man we all know from ourselves: a multifaceted personality with a contradictory and complex character, capable of something more than agricultural labor.
The author humanized the Dark Lord by giving him human qualities: selfishness, pride, the desire to rule and unwillingness to obey. So he changed the idea of Evil, laid down by the Church and the theorists of religion. In addition, if we assume that the Devil is a victim of God's predestination, a whipping boy, then we already begin to empathize with him, since we feel ourselves just as deceived and abandoned. That is, the image of Lucifer became so real and human-like that it became close to writers and readers.
We all remember the charming and original Lucifers: Goethe's Mephistopheles, The Devil's Advocate, Woland Bulgakov, Bernard Shaw's The Devil's Disciple, Bryusov's Fiery Angel, Aleister Crowley's Lucifer, Capital Noise MC, Lord Henry Wilde. All of them do not inspire fear, rather, they attract and inspire their truth, moreover, very convincingly. Sometimes it seems to us that they are the true bearers of justice. Evil gives freedom of thought and fantasy, and it is much easier and more pleasant to fit its standards than kneeling in the status of a servant of God. The devil conquers with cynicism, naked pride, and an eternal spirit of contradiction that captivates critical people. God, like everything positive and too limited by moral prohibitions, is less popular among the people, especially in the era of postmodernism, when unbelief has become the norm of life and is not persecuted, and religious propaganda has weakened. In the ambiguity of the interpretation of the image of Satan, in the human craving for the forbidden, lies the problem of the personification of the devil in world culture. Evil looks more attractive, clearer and closer than good, and artists cannot get rid of this effect.
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In two of the greatest creations of Dante Alighieri - "New Life" and in "The Divine Comedy" (see its summary) - the same idea is carried out. Both of them are connected by the idea that pure love ennobles the nature of a person, and the knowledge of the frailty of sensual bliss brings a person closer to God. But " New life"- only a series of lyrical poems, and the "Divine Comedy" is a whole poem in three parts, containing up to one hundred songs, each of which contains about one hundred and forty verses.
In his early youth, Dante experienced passionate love to Beatrice, daughter of Fulk Portinari. He kept it for last days life, although he never managed to connect with Beatrice. Dante's love was tragic: Beatrice died at a young age, and after her death great poet saw in her a transfigured angel.
Dante Alighieri. Drawing by Giotto, 14th century
In his mature years, love for Beatrice began to gradually lose its sensual connotation for Dante, turning into a purely spiritual dimension. Healing from sensual passion was a spiritual baptism for the poet. The Divine Comedy reflects this spiritual healing of Dante, his view of the present and the past, his life and the lives of his friends, art, science, poetry, Guelphs and Ghibellines, on the political parties of "black" and "white". In The Divine Comedy, Dante expressed how he views all this comparatively and relatively to the eternal moral principle of things. In "Hell" and "Purgatory" (he often calls the second "Mountain of propitiation") Dante considers all phenomena only from the side of their external manifestation, from the point of view of state wisdom, personified by him in his "guide" - Virgil, i.e. point of view of law, order and law. In "Paradise" all the phenomena of heaven and earth are presented in the spirit of the contemplation of a deity or the gradual transformation of the soul, by which the finite spirit merges with the infinite nature of things. The transfigured Beatrice, a symbol of divine love, eternal mercy and true knowledge of God, leads him from one sphere to another and leads him to God, where there is no more limited space.
Such poetry might have seemed like a purely theological treatise if Dante had not littered his journey through the world of ideas with living images. The meaning of the "Divine Comedy", where the world and all its phenomena are described and depicted, and the allegory carried out is only slightly indicated, was very often reinterpreted when analyzing the poem. Under clearly allegorical images, they understood either the struggle of the Guelphs and Ghibellines, then politics, the vices of the Roman church, or events in general modern history. This best proves how far Dante was from the empty play of fantasy and how he was wary of drowning out poetry under allegory. It is desirable that his commentators should be as circumspect in their analysis of the Divine Comedy as he was.
Statue of Dante in Piazza Santa Croce in Florence
Dante's Inferno - analysis
"I think it's for your good that you should follow me. I will show the way and lead you through the countries of eternity, where you will hear the cries of despair, you will see the mournful shadows that lived on earth before you, calling for the death of the soul after the death of the body. Then you will also see others rejoicing in the midst of the purifying flame, because they hope to gain access to the habitation of the blessed through suffering. If you wish to ascend to this dwelling, then a soul worthier than mine will lead you there. She will stay with you when I leave. By the will of the supreme lord, I, who never knew his laws, was not allowed to show the way to his city. The whole universe obeys him, according to his kingdom there. There is his chosen city (sua città), there stands his throne above the clouds. Oh, blessed are those who are sought by him!”
According to Virgil, Dante will have to know in "Hell", not in words, but in deeds, all the disaster of a person who has fallen away from God, and see all the vanity of earthly greatness and ambition. To do this, the poet depicts the underworld in the Divine Comedy, where he combines everything that he knows from mythology, history and his own experience about a person’s violation of the moral law. Dante inhabits this realm with people who have never sought to achieve a pure and spiritual existence through labor and struggle, and divides them into circles, showing, by their relative distance from each other, various degrees of sins. These circles of Hell, as he himself says in the eleventh song, personify the moral teaching (ethics) of Aristotle about man's deviation from divine law.
I will cry about earthly things and in paradise,
I am old words at our new meeting
I don't hide.
Where hosts of angels fly harmoniously,
Where are the harps, lilies and children's choir,
Where everything is calm, I will be restless
Catching your eye.
Seeing heavenly visions with a smile,
Alone in the circle of innocent-strict virgins,
I will sing, earthly and alien,
Earth tune!
The memory weighs too much on the shoulders
The moment will come - I will not hide the tears ...
Neither here nor there - nowhere is a meeting necessary,
And not for meetings, we wake up in paradise!
Analysis of the poem "In Paradise" by Tsvetaeva
The early lyrics of Marina Ivanovna Tsvetaeva are uncompromising and categorical. own feelings she puts above all, the earthly is definitely dearer to her than the heavenly.
The poem was written in 1910. The poetess was 18 years old at that time, her debut collection has already been released, which attracted the sympathetic attention of V. Bryusov. It was he, by the way, who advised her to take part in literary competition. By genre - love lyrics with philosophical overtones, by size - iambic with cross-rhyming, 4 stanzas. The lyrical heroine is the author herself. The composition is circular. The tone, as always, is rebellious. Nothing is known about any strong love interest of M. Tsvetaeva of that time, perhaps this is getting used to the image passionately. loving woman, a mask almost attached to the girl's face.
In each stanza there is a refrain with variations: "I will cry about earthly things and in paradise." Earthly, old, from mortal life - that's what she knows, understands, loves. Here and now. "Harps, lilies and a children's choir": a Catholic representation of paradise in spirit. She did, however, attend a Catholic school in Europe for some time. Lubok, sugary images. But is heaven to blame for being presented like this? “Catching your gaze”: passionate nature eagerly seeks mutual absorption, dissolution in each other. Constant stubborn antithesis: everything is calm, I will be restless. “Visions of paradise with a grin seeing off”: she secured the supernatural world for herself, therefore she is impudent. He even believes that paradise is a courtyard where everyone is taken and everyone is left to their own devices. "Earthly and alien": why does she place herself here? Perhaps the heroine is sure that her chosen one will definitely be in paradise, which means that she is his beloved. “I will not hide my tears”: it seems that her hero hurt her. Therefore - "no need to meet anywhere." The motif of death as a dream. And the final chord: not for meetings, we wake up in paradise. For what? The poetess does not explain, probably, she herself had to think it over carefully. Most likely, the resentment of a wounded heart is simply speaking here. A curious parallel with the poem by K. Balmont "I would not want to live in paradise." Similar moods and views are stated, but the poet honestly names his own. Anaphora: lines 1 and 13, where. Epithets: innocently strict, slender. Metaphor: catch the eye. A couple of exclamations and a plaintive line with an ellipsis.
The work "In Paradise" by M. Tsvetaeva participated in a creative competition organized by V. Bryusov in 1910.
He dreamed of creating an epic poem that would glorify the English people. He originally thought of writing a religious epic. The very idea of the poem was closely connected with puritanical religious art.
In the 1630s, the plan for the epic canvas conceived by Milton changed. This reflected the ideological development of the poet: the idea took on a more specific national character. Milton wanted to create "Arthuriad" - an epic that would revive the plots of the novels of the "Round Table", would glorify the exploits of the legendary king arthur- the leader of the British tribes in their struggle against the Anglo-Saxon invasion.
However, neither in the 1630s nor in the 1640s, John Milton was able to begin to implement the plan of the epic poem. Only the experience of the 1650s and 1660s helped him create (1658-1667) the poem Paradise Lost, which he thought about for many years.
John Milton. Portrait ca. 1629
The poem "Paradise Lost" analyzed here consists of 12 songs (Milton calls them books), it contains about 11 thousand verses. It was written in the so-called "white verse", close to the Russian iambic pentameter.
In the 1660s, after the end of the English Revolution and the restoration of the Stuarts, Milton wanted with the whole idea of his poem to call not for an uprising against reaction, but for the gathering of spiritual forces, moral, moral perfection.
Russian critic Belinsky called John Milton's poem "the apotheosis of rebellion against authority", emphasizing that the revolutionary pathos of the poem is most clearly expressed in the image of Satan. This was the contradiction of the poem: the rebel and proud Satan, defeated, but continuing to take revenge on God, had to become a repulsive character, had to condemn the reader, and he undoubtedly turned out to be the most powerful image of the poem. Milton wanted to poeticize the idea of moral perfection, but "Paradise Lost" was perceived as a call to take courage and continue the fight.
Milton's poem also has a peculiar sense of historicism. Milton shows that people, leaving paradise and having lost those idyllic happy conditions in which they lived before the “fall”, entered a new, higher period of their development. Careless inhabitants of the "God's garden" have become thinking, working, developing people.
Milton "Paradise Lost". Satan descends to earth. Artist G. Dore
The analysis shows that Paradise Lost is first and foremost a poem of struggle. It is not for nothing that Milton, at the beginning of the ninth book, confidently says that he has chosen a plot more significant and heroic than any of his predecessors who turned to the epic genre. Indeed, Paradise Lost is a heroic epic created by a poet who, although he did not personally participate in the wars of his time, managed to show the formidable element of war, its terrible and bloody work, and not just the ceremonial battles of heroes, sang the courage and valor of his contemporaries .
The epic features of Paradise Lost lie not only in a lengthy description of the weapons and clothing of the contending parties, but also in well-known hyperbolism (this applies especially to Satan), and in parallelism (God, his peers, his army - and Satan, his peers, his army ), and in how thrice Satan begins to speak, addressing the army, and thrice falls silent.
In Paradise Lost, the system of comparisons is also epic. Describing his heroes, John Milton more than once resorts to detailed epic comparisons, which are widely used in the poems of Homer and Virgil. So, in the second book of the poem, Satan is compared with the fleet, the griffin, the ship Argo, Ulysses (Odysseus), again with the ship.
But not only giant battle scenes fascinated Milton. For all their effectiveness, they were only ingenious variants of already existing battle scenes known from other epics. Bringing "Paradise Lost" to a decisive battle of "good and evil" in the ninth book, Milton abandoned the epic battle poetics and showed this fight not in the form of a new cosmic battle, but in the dialogues and monologues of people. The battlefield is the sun-drenched meadows of Eden, and it is not the trumpets of seraphim, not the rumble of rushing chariots, but the chirping of birds.
Moving from cosmic scales to describing human psychology, making the analysis of the spiritual world of the characters the main object of the image, John Milton took Paradise Lost out of the mainstream of the epic. Until now, as expected in the epic, the events nevertheless prevailed over the characters. But in the ninth book, a lot changes. The epic backstory (for after all, the story of Raphael about Satan is only a backstory) gives way to an acute dramatic conflict, during which the very essence of man changes. The hero of the epics of the 16th-17th centuries does not tend to change. This is a holistic, complete image, an expression of an established social tradition. But Milton is striving just to show how the heroes of the poem have changed as a result of the events taking place. Adam and Eve, expelled from paradise, rise to a new, higher level of humanity.
In the ninth and partly tenth book of Paradise Lost, the dramatic element prevails over the epic. The rebirth of an idyllic person into a tragic hero, an exit from the pastoral to harsh reality (and this is the main theme of Milton's epic) occurs here. At the same time, Milton pays special attention to describing the experiences of Adam and Eve at the time of an acute crisis.
The speech characteristics of the characters are closely related to the dramatic beginning of Paradise Lost. The presence of such characteristics makes Milton's portraiture even more idiosyncratic.
Speaking of the oratorical abilities of Satan, John Milton accuses him of deceitful sophistry of speeches. This is evidenced not only by Satan's magnificent political philippics, purposeful and incendiary, but also by his conversation with Eve; the speech of the tempter is clothed in an irreproachable secular form. Satan in every possible way emphasizes his admiration for Eve - a woman, a "lady". He surrounds Eve with mystical eroticism, calls her "mistress", "sky of tenderness", "goddess among the gods", "lady above all."
A well-known contrast between the oratorically and literaryly organized speech of Satan is Adam's speech in Paradise Lost - relatively poor in vocabulary, but concise and expressive. In it, Milton tries to analyze the spiritual world of that sincere and still inexperienced being, which is his man before the "fall".
But the special expressiveness of the speech portrait of Satan once again proves that, despite Milton's intention, it was Satan who was the most poetic character in the poem, gave the author the material to create a truly significant artistic image.
It's not just humans that are fighting in Paradise Lost. Constantly collide with each other and the forces of nature.
When analyzing the poem, it immediately catches the eye that her poems and nature are closely related. Heroes all the time keenly feel nature: for example, Satan is tormented in hellish flames and becomes even gloomier among the dull expanses and mountains of the underworld. Straining all his strength, he overcomes the cosmic spaces of chaos in order to conquer nature, and softens at the sight of Eden, the beauty of which is constantly praised by the first people.
Nature in Milton's Paradise Lost is not just a backdrop against which the characters act; it changes along with the moods and feelings of the characters in the poem. Thus, according to the chaos of passions boiling in the soul of Satan, the world of chaos is revealed, which he overcomes on the way to Eden. In place of pastoral harmony, surrounding people still sinless, comes the tragic picture of confusion and destruction bursting into the world after the "fall" of the first people - this is a cosmic parallel to the deplorable and humiliating strife between Adam and Eve, reproaching each other.
How diverse and concrete are the gloomy landscapes of hell and the fantastic dens of paradise in Paradise Lost, how colorless are the scenery of the sky, against which the puritanical abstractions of God and his son move. None of the astronomical and cosmogonic tricks helped John Milton to make these scenery majestic. Their artificiality becomes especially noticeable next to the picturesque gloom of hell and the lush abundance of Eden.
Along with elements of epic and drama, the author's digressions play an important role in Paradise Lost. They express the personality of the poet, a participant in the fierce class battles; they dissect the flow of epic descriptions, emphasizing the ideological significance of certain parts of the poem in the development of the overall plan.
The worldview of the poet was formed in the fire revolutionary struggle. The revolutionary era also determined the features of his epic: a motley style gravitating towards the synthesis of genres. However, Milton's attempts to create a new synthetic genre were not entirely successful.
The religious and historical content of Paradise Lost is in irreconcilable contradiction. This is reflected in the sharp difference between images based on reality and allegorical images expressing a religious and ethical idea. The latter are close to the complex allegories characteristic of the analytical prose of John Milton.
Concerned that the abstract concept should materialize as visibly and realistically as possible, Milton piled comparison in Paradise Lost on comparison.
So, for example, he considered the comparison of the defeated armies of Satan falling from the sky with leaves torn off by the autumn wind to be insufficiently expressive, and strengthened it with a comparison with the Egyptian hordes that perished in the Red Sea. Satan himself is both a comet, and a thundercloud, and a wolf, and a thief. The same Satan, having reached Eden and rejoicing at the end of the journey, makes a few cheerful volts before descending - somersaults before committing an atrocity! One of his sudden magical transformations is likened to the explosion of a powder magazine.
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