The Concept of Spaces in Paradise Lost - Essay Example

The Concept of Spaces in Paradise Lost For the purpose of discussion on the concepts in John Milton’s Paradise Lost, thorough this paper I am highlighting the theme related to sacred spaces. For the articulation on this particular aspect, the poem is not a watertight compartment. It is the free flow of spontaneous feelings of the poet and as such other categories of spaces like domestic spaces, punitive spaces, public spaces etc. are interlinked and they will have a bearing on each other. Milton highlights the pivotal role of sacred spaces through his narrative techniques and he paints its canvas with brilliant strokes of spirituality. His imagination pierces through the mind-level barrier and heralds the glory of the divine kingdom. Heaven and space are alternative beats of the same heart and the inner world of a religious individual vibrates with the mention of these two words. In the classical Greek or Latin epic poems or any types of ancient writings the concepts of heaven and spaces are integrated to develop the story. Milton has used the ancient ground (space) for construction of his plot but his poetic form is modern. Theological and philosophical arguments and observations flourish through his characters. Milton breaks the ancient tradition in the structure of his poem, to create his own space and excels in the glorification of God. He handles the sacred with the acumen of a practicing spiritualist. Milton begins the poem with his semi-traditional opening “Of Mans 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” .(I: 1-5) He then makes the traditional appeal to the muse: "Sing, Heavenly Muse, / that, on the secret top / Of Oreb, or of Sinai, didst inspire / That shepherd who first taught the chosen seed". (I: 6-8) His powerful verses are meant to teach and guide humanity and at every stage he provides space to the divine designs of God. His ardent desire to propagate the voice of sacred in this work is evident. Milton is not interested in articulating the dogmatic principles of religion. Though he does to condemn them anywhere, his articulation of the divine is of a much higher plane and his spirit is reflected in these lines. He is not totally tradition bound and breaks the religious fetters when it blocks the soaring human spirit to probe the subtler domains. “And chiefly Thou, O Spirit that dost prefer / Before all temples th upright heart and pure, Instruct me, "And chiefly... instruct me" / for Thou knowst -- / what in me is dark / Illumine, what is low raise and support”. (I: 17-23) Though Satan does not belong to the sacred space, he is part of the domain that challenges the sacred and as such his space is reserved. Satan closely follows the sacred, demands his space, knowing fully well that he will be in the end be defeated by the sacred. By providing vivid and contesting description of heaven and hell and the efforts of Satan to take control of sacred(heaven) Milton creates a picture of a modern movie relating to space battles of the human beings with the alien forces of the other planets. Man’s disobedience results in the loss of Paradise and the prime cause of the fall are Satan in the form of serpent. He revolts from God, and succeeds in securing the loyalty of a large number of angles. In the meantime, God intervenes decisively, drives Satan from heaven with all his followers and he retreats to the deep sea. Satan and his followers are in utter chaos and the poet makes mention of the “burning Lake” which is again the reference to space. Satan gives a pep talk to his followers and explains the plans to regain the heaven and also mentions about a new world to be created according to an ancient prophecy. In Book II, Milton’s descriptions in the poetry go as if he is readying for a space battle. Satan has discussions about the option whether another battle is to be proffered to take possession of the heaven. Viewpoints differ on the subject. Finally the decision is taken that it will be a limited mission of Satan, the Chief, undertakes the voyage alone. En route, the mention of the hell gates is made, how they are opened only to find the big gulf between hell and heaven. Thus the poet makes liberal uses of sacred places. From the divine point of view hell may not be the sacred place. From the point of view of Satan and his followers, hell is their most sacred place from where they direct and guide their operations against the divine. In Book III also, the poet develops his poem, as if directing it from the space. The chapter begins with mention of sacred spaces at three levels. God sits on his throne in the heaven and Satan flies towards this world in an effort to pervert humankind. Satan’s landing on the world is described in a place called Limbo of Vanity. Mention of Mount Niphates is also made where the angel Uriel, alights as directed by God. This is another sacred space. Flying out to paradise is often mentioned as if it is a space station. Paradise in reality is the sacred space of the God and angels. Bible is the primary source of John Milton’s Paradise Lost. Thus the poem is created out of the two most sacred spaces, Bible and Paradise. The belief system preferred in the poem is pointer to the sacred spaces created by him while composing the myth. Time is an integral part while describing the sacred spaces. Sacred spaces are elaborated through the representative elements. Cosmic themes are also part of the sacred spaces. Whatever is beyond earth’s atmosphere is space and since this is a poem that deals with mythological theme, the same space become the sacred space. Space is the distance between the two points. Time is most important in the construction of stories related to sacred spaces and Milton has employed this element while structuring his poem. An example of integration of time and sacred spaces is beautifully illustrated in these verses. Dove-like satst brooding on the vast abyss/And madst it pregnant: what in me is dark/Illumine, what is low raise and support/That to the highth of this great argument/1 may assert eternal providence/And justify the ways of God to men”. (1.21-26) The concept of sacred spaces was on the threshold of change when Milton was writing Paradise Lost. Every branch that concerned the life of human being like religion, politics and science were on the verge of change due to many technological innovations and scientific discoveries and most of the sacred spaces and basic truths were under scrutiny. The so-called fundamental truths of the past were being challenged by new theories of science. That created anxiety with the so-called intellectuals and philosophers of the day. Milton was aware of this flux and his poem was in conformity with the believable aspects of the sacred spaces, in the presentation of Paradise Lost. The import in the phrase sacred spaces does not refer to the gross bodies alone. Milton is such a clever poet, and his writings are so profound, containing deeper truths and interpretations related to matters of life, death, divinity and existence and also divine vibrations which are subtle functional aspects of the sacred space of the inner world. Milton is a poet and not a realized soul. As such his descriptions about the sacred spaces of the inner world or the external world may not pass the test of absolute truth. His imaginative descriptions are more to be enjoyed and appreciated than be subjected to critical analysis. Nevertheless, sacred space and time are fundamentals of his poetic genius. The following example illustrates how these concepts are effectively used by Milton: “And chiefly thou O Spirit, that dost prefer/Before all temples the upright heart and pure/Instruct me, for thou knowst; thou from the /Wast present, and with mighty wings outspread/Dove-like satst brooding on the vast abyss/And madst it pregnant: what in me is dark/Illumine, what is low raise and support/That to the highth of this great argument/I may assert eternal providence/And justify the ways of God to men (1.12-26). The sacred space flowing through the pen of Milton is clearly evident in the above descriptions. According to popular parlance, anything that does not belong to Planet Earth and on the sky is space. Every part of the cosmos is the sacred space, but as commonly understood we exclude Planet Earth from the sacred space. No one knows exactly how big is the space and such things are the issues related to scientific experiments or poet’s imagination. Space, which is the distance between two separate points, involves the element of time for its measurable perception. For example we say it requires a time of three hours to cover the distance from Washington to New York. Here we are obviously referring to the space travel. The epic Paradise Lost is presented between the reader’s passage between twos points and the poet mentions all sacred spaces within them. “Brought death into the world, and all our woe/With loss of Eden, till one greater man Restore us, and regain the blissful seat”. (1.1-5) Within his poetic plan, Milton covers most important stages and events in human history in the contemporary settings. Milton is aware of the importance of sacred spaces both from the points of view of expanding scientific base of astronomy as well as the cosmological concerns of the epic. Up and down space travel is mentioned and thus the poet introduces the mysterious and divine elements in the poem. The poem becomes the travel literature, but the subject matter relates to spirituality. Satan is the important traveler and his destination is Planet Earth to challenge the sacred space there and establish his domination. Satan’s movements through space, his travelling from Hell to Eden and his return, represent a continual shift in Milton’s perspective. A close reading of these perspective points will prove instructive for understanding the importance of Milton’s pedagogical effort; we will be in a better position to appreciate the strategy of Miltons world. The act of travelling as an exercise to further understanding is introduced early in the text. Clearly, "perspective" is an important concept in Miltons epic. The introductory lines of Paradise Lost contain an image of travelling when, during his invocation to his muse; the poet describes his attempt to characterize the fall of man in terms of a "flight". “ Sing heavenly Muse, that on the secret top/Of Oreb, or of Sinai, didst inspire/That shepherd, who first taught the chosen seed/In the beginning how the heavens and earth/Rose out of chaos: or if Sion hill/Delight thee more, and Siloas brook that flowed/Fast by the oracle of God thence/Invoke thy aid to my adventurous song/That with no middle flight intends to soar/Above the Aonian mount, while it pursues/Things un-attempted yet in prose or rhyme (1.6-16) Along with the self-congratulatory aspects of describing his "adventurous song" as intending "no middle flight", there is a sense of distance and perspective achieved. Milton has no problem in creating the epic genre with a sacred subject. This poet has the capacity to craftily intermingle the sacred and the secular spaces. To him they appear like the alternative beats of the same heart. Satan is always available handy to torment and create difficulties for humankind wanting to tread the sacred spaces. The word that follows space is duration. Duration also means endurance. Since the poem mainly relates to the Biblical stories, they involve covering of sacred spaces on an extensive scale. Even the battles and the armies mentioned, the supernatural oppositions, the symbolic landscapes are all part of the divine designs and the sacred space. Milton’s fascination for the sacred space is evident in the opening of the poem, when mention is made about the defeated figure of Satan undergoing the experience of the first great fall from the heaven. Some of the words and phrases employed by Milton to highlight sacred spaces are listed below: Abyss (405) Theol. the primeval void or chaos before the Creation Ambrosial (245) of or fit for the gods; divine. Apocalypse (2) any of various Jewish and Christian pseudonymous writings (c. 200 B.C- c. A.D. 300) depicting symbolically the ultimate destruction of evil and triumph of good. Archangel (41) a chief angel; angel of high rank Chaos (421) the disorder of formless matter and infinite space, supposed to have existed before the ordered universe Milton personifies. Cherub (157) one of the winged heavenly beings that support the throne of God or act as guardian spirits Ethereal (45) not earthly; heavenly; celestial Fiend (430) here, Satan. Hail (385) a greeting, used by Raphael specifically to suggest the same greeting the angel of the Annunciation will used when he comes to Mary in Luke i, 28 Limbo (495) in some Christian theologies, the eternal abode or state, neither heaven nor hell, of the souls of infants or others dying in original sin but free of grievous personal sin, or, those dying before the coming of Christ; the temporary abode or state of all holy souls after death Oracle (182) any person or agency believed to be in communication with a deity Orison (145) a prayer Prime (170) a part of the Divine Office orig. assigned to the first hour of daylight; Milton uses Prime in the sense of dawn, the first hour of daylight. Seraph, Seraphim (667) any of the highest order of angels. Styx, Acheron, Cocytus, Phlegethon (577) the four rivers of Hell Synod (661) any assembly or council. Milton uses the word to describe a meeting or conjunction of the stars astrologically. Wicket (484) a small door or gate, esp. one set in or near a larger door or gate. Used by Milton for Heavens Gate. (Full glossary…) Milton also makes effective use of sacred spaces when he mentions of architecture and idolatry in the poem. His stand is both for and against the use of architecture. He is not objecting to the quality and beauty of the buildings but the idolatry that it encourages. Milton’s way of interpretation of religious tenets is evident in this context. Adam expresses his inclination to raise “grateful Altars” (line 323) in Paradise if it is allowed to remain. Michael does not condemn Adam for his desire to build, but makes it clear that God is omnipresent, meaning He need not give special value to a particular place. His conception of the sacred space reaches out to the greatest level, when he mentions that the holiest of the artifacts is his cosmos, Solomon’s Temple as per the historical prophesies. Michael recounts the story of the Temple immediately after he tells of the birth of Davids son, Solomon: “And his next Son for Wealth and Wisdom famd,/The clouded Ark of God till then in Tents/Wandring, shall in a glorious Temple enshrine”. (Lines 332-4) Milton warns that temple glorifies God, but one should not develop too much attachment to the external embellishments to the sacred spaces. Conclusion Paradise Lost by John Milton defies definition. It can be considered unique from many angles. It is an opinion, overflow of emotions, description of the sacred spaces that create patterned experiences to the readers to fulfil their expectations. In any epic there is an assured place for sacred spaces and Milton has honored that tradition. Heavenly and earthly beings find their sacred spaces in abundance in appropriate places and engage in interactions. Satan also finds a prominent place in Paradise Lost and his places of operations are sacred places for him even though his objectives are ill-boding for humankind. Another important character is Adam. His sacred place is Planet Earth and he is responsible for a new race. Works Citied Full Glossary for Paradise Lost – CliffsNotes; Web Accessed on April 19, 2014 Milton: Paradise Lost - Book 1; Web Accessed on April 19, 2014 Read More