The counsel in Paradise Lost

April 25th, 2008

Jessica J. Rouse

 

Eng 580

 

Dr. Kent-Drury

 

25 April 2008

                                                 Examining the counsel in Paradise Lost 

            While reading John Milton’s Paradise Lost and focusing on democratic ideas in the work, I found Satan’s counsel of fallen angels to be very interesting. The angels get together in hell and discuss what their next plan of action should be. Although there seems to be a hierarchy of angels at first with Satan and Beelzebub at the top, the counsel allows for any of the angels to speak. The counsel seems almost like a modern city council meeting or other form of government at the city or state level, with people voicing their opinions, disagreeing with each other, listening to different points, and finally agreeing on one that pleases the majority. The organized counsel in Paradise Lost demonstrates democratic ideas through the way the counsel is handled and the outcome of having the discussion.

            The reader learns that the fallen angels have waged war against God once and lost: “They led the embattled Seraphim to war / Under thy conduct, and, in dreadful deeds, / Fearless, endangered Heaven’s perpetual King, / And put to proof his high supremacy,” (Milton 6). After the loss, the fallen angels gather as a group and go to hell. But instead of fighting amongst themselves and continuing the violence, the fallen angels go a different route: “And summons read, the great consult began,” (23). They have a meeting where they come together to discuss their next move, and Beelzebub tells the group that they will now debate, and whoever can advise may speak (23.) Moloch, a fallen angel, speaks first and votes for war. He tries to convince the other angels by asking them what could be worse than where they already are (26). Belial speaks next and offers a differing opinion: God has not punished them as fiercely as he could, and therefore they should not go to war (27). Mammon speaks last, and convinces many of the listeners that they can be peaceful here and make a Heaven out of Hell.

            The fact that they take a vote is also a big indication of democracy. If everyone’s vote did not count, they would just have to convince the two or three leaders and no vote would take place, however, the fallen angels do vote. “ With full assent / They vote. Where at his speech he thus renews: Well, have ye judged, well ended long debate,” (33). And the vote, which Milton calls a “popular vote”, much like a term we use to describe a certain style of voting in America, indicates that the angels want to stay and build an empire in Hell.

            Although there does seem to be a leader in the group in Satan and maybe in Beelzebub, the outcome of the fallen angels does not depend on decision one or two people make, but the popular vote of all the fallen angels at the counsel. The fact that anyone who thought they could advise the rest of the group was allowed to speak is also indicative of a democratic structure in Hell. It is interesting then to look at the structure of Heaven and Hell in Paradise Lost. Heaven has one ruler who makes all decisions and hold the fate of each of Heaven’s inhabitants in his hands, while Hell’s inhabitants have more control or say over what happens to them. Loosely comparing these two structures to governmental structures of different countries today, some might say that the structure of Heaven is the same structure of some of the most desperate countries while the structure of Hell is the structure of some of the most prosperous.

 

                                    Work Cited

 

Milton, John. Paradise Lost and Paradise Regained. Tr. J.W.Edwards, Inc. Boarders

                    Group, Ann Arbor: 2007.

Milton’s Conception of Satan

April 24th, 2008

 

C. Ross Hughes

 

ENG 685

 

 

Hindsight, as the old adage goes, is twenty-twenty. For a man without sight, one can only imagine how deep Milton’s hindsight was. The tumult of the English Civil War, which threw off the yoke of the monarchy, had turned to tyranny under Oliver Cromwell’s Protectorate. This had led to the restoration of the monarchy in 1660. Seven years later, Milton published Paradise Lost, an epic whose main goal was to “justify the ways of God to men,” by explaining the fall of man as depicted in the first books of Genesis. That fall was brought about by Satan, and the poet does not mince words about it. Yet Satan is at turns a pitiable character, even human in his emotions. But in the end, he remains the loathsome serpent which destroys man’s innocence. He is the liberator who fights against what he considers to be a despotic God, but he is also the ensnarer and enslaver of man through original sin.

Yet the epic is not merely a tract of theology, it is also an allegory to explain the political changes which occurred in England in Milton’s time. Milton lived in a monarchy, where the king ruled almost unopposed. But Charles I, who became regent in 1625, attempted to steer the course of the Anglican Church, meeting much resistance from the Puritans and other groups, who feared a return to a quasi-Catholic church. The persecutions under Archbishop Laud only changed the conflict into a full-blown civil war (Bevis 14-15). Milton was a firm believer in Parliament, which was created to check the power of the king. But up to this time, it had been merely called on certain occasions and had no real power. However, with the outbreak of Civil War in 1642 and the subsequent defeat and beheading of Charles I in 1649, a new paradigm prevailed. As Bevis explains:

A new revolutionary spirit was expressed by those who opposed the King in that they emphasized the right of man to have a government that would be answerable to its own subjects. Blind loyalty towards tradition and custom had been decisively rejected by those who fought on the side of Parliament: they fought Charles’s army for the freedom

to hold their own consciences in religious matters, for a Parliament that would be able to make its own laws, and for a Church free of the Episcopal structure that epitomized authoritarian rule (16).

Among the supporters of the new Commonwealth was John Milton, a Puritan who had long advocated for the right of men to make their own decisions based upon their consciences, and a governmental structure that would allow men to live in a state of true liberty.

Likewise, Raphael describes the beginnings of the revolt in Heaven in Paradise Lost. It all begins when God announces that He will make His son equal to Him, a king over all the angelic hosts. God says:

Hear all ye angels, progeny of light,

Thrones, dominations, princedoms, virtues, powers,

Hear my decree, which unrevoked shall stand.

This day I have begot whom I declare

My only Son…

…your head I him appoint,

And by myself have sworn to him shall bow

All knees in Heaven and confess him Lord (V. 600-04; 606-08).

God, in His role as the king of heaven, has appointed His Son to become co-regent with him. And all must swear fealty to him, lest they be sent to hell for their lack of obedience. In this passage, God sounds tyrannical, imposing upon the angels what seem to some to be an odious edict.

Satan, however, will not stand to grovel before the Son. He echoes many of the same sentiments that those who opposed the monarchy espoused. His appeal strikes a chord with us, because we as readers find him more reasonable, with his championing of free will and freedom. Satan asks an assembly of angels:

With what may be devised of honors new

Receive him coming to receive from us

Knee-tribute yet unpaid, prostration vile,

Too much to one, but how double endured,

To one and his image now proclaimed? (V.780-84)

He has had enough of even praising God, and considers it insufferable to prostrate before one newly-raised to equality with the God that he loathes. Then, Satan turns his argument towards an exhortation:

Will ye submit your necks and choose to bend

The supple knee? Ye will not, if I trust

To know ye right, or if ye know yourselves

Natives and sons of Heaven possessed before

By none, and, if not equal all, yet free,

Equally free; for orders and degrees

Jar not with liberty but well consist.

Who can in reason, then, or right assume

Monarchy over such as live by right

His equals if, in power and splendor less,

In freedom equal? (V.787-97)

The future prince of darkness delivers an enlightening speech, though flawed. He, like Milton, opposed monarchy, and believed that men should have equal rights to follow their conscience. But Satan makes a grave error: the angels are not equal with God, but rather were created by Him to live in Heaven, created by Him. Satan’s falsehoods prove seductive, both for the angels and for the reader, who may sympathize with him.

So for John Milton, the newly-created Commonwealth proved seductive, though inevitably disheartening. Oliver Cromwell, leader of the Independent faction of Parliament, was made Lord Protector and Milton became his Secretary for Foreign Languages. In this role, Milton would write many works of propaganda defending the Commonwealth as well as the execution of Charles I (Bevis 18). But this idealism was not to last. As Richard Bradford explains:

The Cromwellian republic was founded upon the principle that the nation, not the king,

would organize itself, with the assistance of its wisest servants, according to its own

conception of God’s will. Sadly, and evidently to Milton, this ideal was falling apart…

Cromwell, himself, who had begun his political and military career as the representative

of a collective endeavour, was becoming a dictator. Gone was the plain black suit and

hat, to be replaced by thick purple robes and the ornaments of magisterial high office…

(Bradford 45)

In 1658, Oliver Cromwell died, and was replaced as Lord Protector by his son, Richard. However, he proved to be inept for the position as factionalism plagued the government. Tired of their bold experiment gone awry, the English people welcomed Charles II as king, thus restoring the monarchy (Bevis 18-19).

In much the same way as Cromwell and other Parliamentary leaders went astray, so does Satan and his legions. At last banished from Heaven, they descend to hell, where they are met with myriad sufferings, cut off from the light of God. Yet here, Satan’s true nature comes to the fore: like a dictator or a king, he is made the ruler of hell. Milton describes the scene:

High on a throne of royal state, which far

Outshone the wealth of Hormuz and of Ind,

Or where the gorgeous East with richest hand

Showers on her kings barbaric pearl and gold,

Satan exalted sat, by merit raised

To that bad eminence…(II. 1-6)

Note there that he was raise by his own merits to his seat of power, not by being of divine substance, like God and His Son. Rather, he has become the leader of the fallen through their consent, and through their consent made their potentate. This seems like the experiment of a democracy gone terribly wrong. When the demons confer as to the best way to continue their war against God, it is through Satan’s influence that they decide on destroying man through sin. Although Beelzebub proposes, Milton says that:

Thus Beelzebub

Pleaded his devilish counsel, first devised

By Satan and in part proposed: from whence,

But from the author of ill could spring

So deep a malice…(II. 378-82)

With the debate stifled, Satan takes on an even more frightening visage: that of the tempter of man. Through Satan in the guise of a serpent, humanity will taste original sin, falling from the grace of God.

But Milton’s epic does not promote a pro-royalist position, brought on by his long years of meditation on tumultuous political changes that at times centered around him. Rather, it is an admonition—humans must not be swayed, but always answer to their consciences. They should not bow down to a monarch who equates himself equal with God, or claims that his rule proceeds from the grace of God. Nor should they be seduced by a smooth politician, who appeals to their liberty and then uses his new-found power to make himself a tyrant. Instead, they should always listen to their consciences, which come to them through the grace of God, and be upright in their morals. Humans, like Adam and Eve, have the ability to stand, but also to fall. Therefore, we must make decisions based upon consciences in order not to give in to despots, but rather to imitate the Kingdom of God, which is not of this earth, thus avoiding human corruption.

 

Working Bibliography

Bevis, Kathryn. John Milton: A Beginner’s Guide. London: Hodder & Stoughton, 2003.

Bradford, Richard. The Complete Critical Guide to John Milton. London: Routledge, 2001.

Milton, John. Paradise Lost, ed. David Kastan. Indianapolis, IN: Hackett Publishing Company,

Inc., 2005.

The Loss of Milton’s Paradise

April 24th, 2008

Julie A. Cohen

April 24, 2008

ENG 685

Dr. Roxanne Kent-Drury

The Loss of Milton’s Paradise

It is evident that Milton suffered some of the greatest enterprises of his time.  Milton not only endured sufferings that involved political elements, he also endured hardships in his personal life.  Milton put into his poetry the result of his experience of life struggles, problems, despair, hopes, passions, and optimism for humankind.  It is in Paradise Lost where readers can make sense of Milton’s philosophical and religious views as they pertain not only to his life experiences, but for all of humanity. 

Milton’s ideas “shaped themselves in the rough and painful contact with reality” (Saurat 24). Experiencing personal despair of the revolution, alienation from the Church of God in England, and the loss of two wives and two children is enough for any human to question and challenge the ideologies of mankind and the higher authority.  As Milton experienced these hardships, he linked these human experiences with ultimate optimism and hope for mankind in Paradise Lost.

Since Paradise Lost is a story linking Adam and Eve’s disobedience and fall from grace, it appears that Milton is linking this story to God’s plan for humankind.  “Christ for Milton is intelligence coming down into man to dominate the passions by incarnation into a group of men who are the elect” (Saurat 144).  Thus, there is the creation of Adam and Eve to reside in God’s newfound Paradise which is in between Heaven and Hell.  As Satan plots revenge on God to corrupt this new paradise, he then becomes jealous and envious of this newly created place.  As a result, Satan refuses to repent his sins to God and ask for forgiveness; therefore he decides to live with these feelings to spite God and to ruin the possibilities of a perfect and pure world of a newly found race.   In the meantime, as God’s Son volunteers to enter this paradise and sacrifice his life for all others, chaos and deceit are evolving.  It is when Eve gives into her temptation from the disguise of Satan in the form of a snake when the visions and purity of this newly found paradise are lost.

When the fall from grace occurs, it appears as if there then is a justification and reasoning to all of the madness humans are then about to endure from then on in time.  While God created Adam and Eve with the right of freewill, they did not obey, trust, nor have faith in the advice he gave them to maintain a pure and divine life.  The beauty and innocence that once was, is doomed due to their lack of trust and their ability to freely made choices.  Milton “does not believe in the soul, in the spirit of Christ is therefore in us materially as effectively as Adam is in us by the continuity of physical generation” (Saurat 146).  So as stated in the concluding portion of Paradise Lost, mankind will maintain the physical form of Adam and Eve, but must continue to maintain the spirit of Christ within them to strive to live a virtuous life on Earth in the midst of the chaos that is about to come.

In book XI, as an Archangel, Michael, shares the visions of what is yet to be experienced for humankind in this lost paradise, Adam becomes overwhelmed with sadness. The results are Death and Sin (Satan’s children) are brought into the world as punishment and cleansing from sin, but had it not had been for sin, death would not exist. So death is now inevitable for humans. Adam asks if there is an alternative to death, and the answer is no, however as long as those who reside on Earth choose to live a virtuous life it will be fruitful so long as Heaven permits.  War, disease, deceit, lust, betrayal, jealousy, and lack of faith in God are several of the consequences Adam is informed of as to what the future holds for humankind.  

Milton, viewed as a radical, was simply expressing his views of faith.  As he grew up in political turmoil and lived in the midst of this chaos, which is a result of God’s creation of Adam and Eve and their fall from grace, he did not lose faith in God.  He believed that God existed inside of every being, thus binding those to a particular faith was not necessary.  As Milton experienced the loss of loved ones (his two wives and two children) and the damnation of other religious and political groups, he tried to be an informant to others educating them on living a virtuous life and maintaining the spirit and faith within one’s self.  While humankind still has freewill, the challenge is making virtuous and wise decisions to avoid the chaos as Adam had envisioned for humankind.  As sin and death are now present, sins can be repented; however, death is inevitable.  As Milton viewed it, since humans have freewill, fate lies in the hands of the human, thus leading to their actions which may be good or evil.  Evil will result in sin and death. “Death was brought into the world as punishment of and a cleansing from sin” (Saurat 119); whereas good will result in a virtuous and fruitful life with eternity in Heaven. As a result of Adam and Eve’s disobedience and fall from grace, life in the midst of chaos for Milton, or for any human,  was inevitable; the life of purity and perfection no longer exists. So Milton, like all other humans, has lost the opportunity to live in this perfect paradise that once existed.

Works Cited

Milton, John. Paradise Lost. Ed. David Kastan. Indianapolis: Hackett Publishing, 2005.

Milton, John. Autobiography: Or, Milton’s Life in his own Words. London: Longmans, Green, and Co., 1872.

Saurat, Denis.  Milton: Man and Thinker. London: Kessinger Publishing, 2006.

Hair and Sexuality in Paradise Lost

April 21st, 2008

Hair and Sexuality in Paradise Lost

            In Milton’s Paradise Lost the description of Adam’s and Eve’s hair is rich with cultural and political symbolism.   One does not have to look far to find the source for Milton’s ideology about how men’s and women’s hair should look.  In the Bible, Paul states: “if a man have long hair, it is a shame unto him…but if a woman have long hair, it is a glory unto her: for her hair is given unto her for a covering” (qtd in Milton 120).  Milton himself was highly religious, and it is only natural that he would have looked to the Bible for guidance in determining what the first people looked like, and it is congruent with the poet’s political ideology.  Yet the representation of Adam’s and Eve’s hair goes much deeper than this; it establishes both Adam’s masculinity and also suggests Eve’s future seduction and fall. 

            For Adam, the symbolism of his hair is rather straight forward and unambiguous.  His hair is described as follows: “hyacinthine locks / Round from his parted forelock manly hung / Clustering but not beneath his shoulders broad” (Milton 4.301-3).  The poet uses the adjectives “manly” and “hyacinthine” to describe Adam’s hair, asserting Adam’s dominance and manhood as the first man.  In addition, the word “hyacinthine” was also used to describe Odysseus, confirming his masculinity for the reader by suggesting comparison with that famous hero.  Milton is also very specific regarding the length of Adam’s hair being shorter than his shoulders, confirming with Paul’s ideal for men’s hair as well as the ideals of his time. 

            The symbolism of Eve’s hair, however, is not as clear cut as Adam’s.  Anthropologists assert that hair is a symbol for sexuality.  Because the growth of body hair in both men and women coincides with puberty, body hair on both men and women has both consciously and subconsciously taken as a sign of  virility.  By displacement, the same role has come to be assigned, without any actual biological legitimacy, to hair on an individual’s head (Cooper 38).  Although perhaps biological/psychological in origin, literature has taken up this theme as well. 

               This association between hair and sexuality is not lost on Milton in his description of Eve’s hair.  He describes it as follows:

She as a veil down to the slender waist
Her unadorned golden tresses wore
Disheveled, but in wanton ringlets waved
As the vine curls her tendrils, which implied
Subjection, but required with gentle sway
And by her yielded, by him best received,
Yielded with coy submission, modest pride,
And sweet, reluctant, amorous delay. (Milton 4.304-11)

Her hair, resembling a veil like the ones worn by nuns and brides in many religions, “implied subjection” and “amorous delay.”  On the surface, Milton seems to equate Eve’s hair, and by association her sexuality, with innocence and purity, yielding to her lover and by him controlled.  This, however, is not entirely the case. 

            While it’s uncertain whether or not women are equal with men in the poem, Elisabeth Gitter asserts that “Milton’s Eve is a duplicitous descendent of Venus, whose ‘wanton’ and ‘disheveled’ golden ringlets suggest her sinister potential” (938).  Like Milton’s depiction of Adam and Eve as at once “unequal and equal” (Kastan xxxiv), the poet also depicts Eve’s hair—and her sexuality—as simultaneously pure and deceptive or tempting.  Although Eve yielded to Adam, her sexuality, vis-à-vis her hair, is still a lurking threat and her subjection is only “implied” (Milton 4.307).  Her hair “in wanton ringlets waved / As the vine curls her tendrils” (Milton 4.306-7).  William Emperson argues that Eve’s hair “clutches at Adam like the tendrils of a vine” (qtd in Gitter 938).  The shape and movement of a vine are also visually  suggestive of a serpent, whose form Satan takes to tempt Eve.  In this comparison, Eve is another version of Satan whose temptation of Adam—through her sexuality?—results in his fall from Heaven.  Symbolically all the beauty and apparent innocence of her hair is merely a covering (as Paul suggested) for a moral deformity that appears to be if not inherent in her nature at least easily succumbed to.

               While sexuality is pure and beautiful when it is guileless, it becomes tainted and deformed when used as a means of control or seduction over a man.  Before the fall it is natural and acceptable for men and women to enjoy each other’s company naked, yet after the fall the first act of our predecessors is to cover that sexuality that before was pure.  With the knowledge of evil and the ability of a woman to tempt, like Satan did, sexuality is no longer something beautiful but something that needs to be repressed, especially in women, for the moral and spiritual betterment of the individual. 

Works Cited

Cooper, Wendy.  Hair: Sex, Society, Symbolism.  New York: Stein and Day Publishers, 1971.

Gitter, Elisabeth G.  “The Power of Women’s Hair in the Victorian Imagination.” PMLA, Vol. 99, No. 5, (Oct., 1984), pp. 936-954.  JSTOR.  19 April 2008.  <www.jstor.org>.

Milton, John.  Paradise Lost.  Ed. David Kastan.  Indianapolis: Hackett Publishing Company, 2005.

Just What IS Milton Up To In Paradise Lost?

April 17th, 2008

Just What IS Milton Up To In Paradise Lost?

By Meghan Curry

 

Milton, as we know, was a revolutionist. As a Puritan he was certain that there would be a second coming of Christ and he, as all did at the time, believed that the government was not as it should be for this second coming and it was up to them to purify it; hence, “Puritans.” One of Milton’s favorite topics was the fall of Adam and Eve and their exit from the Garden of Eden. Paradise Lost is Milton’s response to the second reformation of England and the invitation of Charles II to rule; he wrote Paradise Lost as an explanation, or justification, as to why the Puritans overthrew Charles I, as well as a comparison of the Puritans’ betrayal of God at the beheading of Charles I, to that of Adam and Eve’s fall from grace. Milton’s epic is a work meant to rally his fellow rebels around their beliefs and remind them that man is not capable of perfection. It is because of this “fall from God’s Grace” of Adam and Eve that betrayal is in the very nature of mankind.

 

Milton, just as Dante, was a part of Renaissance culture. He believed in the “Chain of Being,” or the hierarchy of all things in Heaven and on Earth. This chain begins at the foot of God’s thrown and classifies all life by the amount of perfection it possesses, from the orders of the angels all the way to the races of bumblebees. At the end of the chain of divine entities is the king. It was thought at this time that kings were chosen by God to be the leaders of man on Earth, “The belief meant that monarchy was ordained by God and inherent in the very structure of the universe. Rebellion was a sin not only against the state, but against heaven itself, for the king was God’s appointed deputy on earth,” (Tillyard). As a man who believes in this chain, Milton would have been very scared and confused, not to mention jaded, when the second coming does not occur, and the Church of England regains power forcing the Catholics out. Therefore, it is not unfair to say that he would need to explore and express reasons of why or how the Puritans could be so wrong and commit the sin of beheading Charles I, the man ordained by God to rule. 

 

In his story Milton outlines one of the most difficult concepts for, even modern day, man to understand. It is the idea that God is omniscient and omnipotent. Because he is all-knowing he knows when he creates Adam that he will betray Him, and because He is all-powerful, He creates him anyway. Why then, if God knows Adam is going to betray, would God create man? “[When God created man] He gave us the ability to ‘choose’ our actions…of course we know this to be true of humans as Adam and Eve chose to disobey God’s commands,” (Bible.org). Man has free will, the ability to choose to follow the word of God or not. One idea Milton expresses clearly with his interpretation of the Exodus is that, just as Adam and Eve betray the word of God, the beheading of their king is the Puritans’ betrayal of God’s word. Milton wants his public to realize that this kind of betrayal is not something that is just random; it is something that is in the very nature of mankind since all of mankind comes from Adam and Eve.

 

Along the same lines, the idea that, like Adam and Eve choose to love God after he expels them from the Garden of Eden, the Puritans should continue to love God after they betray His word by killing Charles I because He knows it is in the nature of man to betray, yet he will recognize their choice of true love and allow them into Heaven at death. “True love must be given as a ‘choice.’ If God created mankind without the ability to choose, then sin, corruption, and everything wicked never would have entered into the equation; however, there wouldn’t have been any real evidence that we truly love Him,” (Bible.org).  This true love and true loyalty is what God wants from man and, since He is All-knowing, God knows that the only way to get these things is to give man the ability to choose to do so.

 

Obviously Milton did not want the Puritans to “turn on their tails” and disappear. The survival of our beliefs is of great significance to all mankind, even to this day. Christians do missionary work in the hope of spreading their beliefs; Muslims make a pilgrimage to their holy land in effort to pass their beliefs onto future generations. Milton, the consummate revolutionist, did not want Puritan beliefs to die out. Paradise Lost is Milton’s response and encouragement to his fellow Catholics.

 

Milton’s Paradise Lost

April 17th, 2008

Myria Denniston

17 April 2008

English 685

Dr. Kent-Drury

Milton’s Paradise Lost

As Kastan notes in the introduction of Paradise Lost, “it was almost inevitable he (Milton) would eventually write an epic.  His was an imagination certain to be drawn to what he called the genre of highest hope, and hardest attempting” (XIV).  The tradition of the epic during Milton’s era didn’t suit his temperament.  “Epic is not just a compilation of heroic acts, but it makes those acts expressive of the communal values of a culture” (XV).  It is in this classic piece of literature that Milton reforms the definition of epic.

The issue of the poem fulfilling the formal demands of an epic and transcending an epic’s traditional logic has long been debated.  For this reader, I believe it does have an epic hero being the son of God and not Satan as some may suggest.  He is the only son of God who willingly sacrifices himself for the sins of man.  In book 3, God sees Satan not far from Heaven going directly to the newly created world to corrupt man and he contemplates what must be bestowed in order to save him.

“So without least impulse, or shadow of fate, or aught by me immutably foreseen,

They trespass, authors to themselves in all, both what they judge and what they

Choose, for so I formed them free and free they must remain till they enthrall

Themselves.  I else must change their nature and revoke the high decree

Unchangeable, eternal, which ordained their freedom; they themselves ordained

Their fall” (3: 119-128)

After some discussion, God then asks for someone to consecrate for the sins of man.

           

“Man shall not quite be lost, but saved who will, yet not of will in him but grace

            In me freely vouchsafed; once more I will renew his lapsed powers, though

            Forfeit and enthralled by sin to foul exorbitant desires” (3: 173-177)

 

As God has asked for a sacrifice and made it clear of what path man has to follow to be saved, our hero steps up to fulfill his duties while the rest of the heavenly choir stands mute.

           

“Behold me, then; me for him, life for life I offer; on me let thine anger fall;

            Account me man; I for his sake will leave thy bosom, and this glory next to thee

            Freely put off, and for him lastly die well pleased; on me let death wreak all his

            Rage. (3: 236-241)

 

Thus the son of God commits a heroic act of selflessness while making a formal agreement to his faith in God and all he stand for.  What, as Milton understood it, was the precise meaning of heroic, and how far it is applicable to the three major characters in his epic?  This question has been left unanswered but speculated about by scholars for hundreds of years.  I for one, see the son of God being the hero, at least in the beginning of the chapters of the book.  But could Satan or Adam also be a possibility of an epic hero?  Only further study will help me satisfy my curiosity.

Working Bibliography

Milton, John. Paradise Lost. Trans. David Scott Kastan. Indianapolis, IN: Hackett, 2005

Steadman, John M. The Idea of Satan as the Hero of “Paradise Lost”. American

Philosophical Society. Vol. 120, No. 4. (1976): 253-294.

Steadman, John M. Heroic Virtue and the Divine Image in Paradise Lost. Journal of theWarburg and Courtauld Institues. Vol.22, No. ½. (1959): 88-105

Milton’s Influentials

April 17th, 2008

Carrie L. Taylor
Dr. Kent-Drury
English 685
17 April 2008

Milton’s Influential’s

Many people who have read Paradise Lost have drawn parallels between Milton’s character Satan, with the men involved in politics and religion in his lifetime. Two of these men that influenced his life and poems were Oliver Cromwell and King Charles I; these men both had a passion for power and based all of life’s importance on their religious and political creed, which ultimately became law; no separation existed between these.

During the middle of the seventeenth century royal figures were decision makers concerning law and religion. Whoever the king was also made political decisions. Parliament was an assemblage of nobility, clergy, and commons that also made political, legal and religious decisions for England, Ireland and Scotland. King Charles I, was the king during this period and men like Milton and Cromwell who had a desire to see reformation within the church and state labeled him as a tyrant and opposed his rule.

Both Cromwell and Milton left their Episcopalian and Presbyterian religions for a religious party called the Independents. This party believed that each church had the right to choose who its members were and had the right to govern themselves (JSTOR). The Roman Catholic religions supported a royal sovereign but the Independent’s did not. This attempt to separate of church and state caused civil wars and a revolution in England when King Charles was beheaded in 1649.

Cromwell had control of England, Scotland and Ireland after revolutionists and his army beheaded Charles but he wasn’t a successful ruler. Cromwell was a military soldier and attempted to please the army, Puritans and Parliament but he was not successful because of the fragmentation of the legal and political systems. Milton’s character, Satan has narcissist qualities similar to Cromwell’s desire for absolute power and control.

Satan, rebelling against god, also made the decision to rebel against god, who led the kingdom of heaven. He chose to independently govern himself and the other spirits within hell. Cromwell also chose to rebel against a leader and committed himself to battles that encompassed corruption of other people’s belief systems. Satan consciously made a decision to tempt Adam and Eve to eat from the Tree of Knowledge (Paradise). This tree would ultimately give them and humans the ability to discern between complex moral issues, sometimes legal and political in nature. By declaring that they were Independents, Cromwell and Milton publicly chose to pursue their Independent doctrine, which was controversial for this time period.

Both men had knowledge of political and religious issues that were cause to divide the church and state. They had knowledge about complex issues that needed to be solved within Parliament but unlike Cromwell; Milton was more passive and did not involve himself as a military person. Milton chose to use literature to form his opinions about religion, which was controversial for this time period.

During Cromwell’s political career with Parliament in the mid sixteen hundreds, he persistently pursued political control of England and was identified in a highly acclaimed position, the Protector of the People. While in this position, his army was responsible for killing priests and royalists (JSTOR).

Satan is expelled from heaven after he challenges the hierarchy of the divine God. He desires power and attempts to claim Eden for himself. Milton expresses Satan’s doubt in himself as he pursues his passions: he is grieved with doubt, fear and envies Adam and Eve (Book 4,108). Although Satan is temporarily diverted with these feelings, he continues on his mission to deceive Adam and Eve. Cromwell, Milton and Charles I are also willing to fight for their beliefs, religion and what they perceived to be moral rights. In their society, the religion and law were the morals. Milton expresses reverence for reform and is possibly revering Cromwell also in the following poem:

Who from his private Gardens, where
He lived reserved and austere.
As if his highest plot
To plant the Bergamot.
Could by industrious Valour climbe
To ruine the great work of Time,
And cast the kingdome old
Into another Mold. (Milton’s Hero)

Although there may be other interpretations to this verse, the content identifies some facts relating to this respected gentleman in the poem. He is laboriously attempting to change the kingdom or state, which may be paralleled with England during the 1640’s.

Many conflicts existed between royalists and Independent’s during the birth of Milton’s epic poem; this conflict led to political corruption, murder and war. When Milton rendered Paradise Lost, his surroundings, politically and religiously were filled with chaos and his personal life was filled with many struggles also. Cromwell and Milton both fought for independence and free will for their religion against another ruler, the king. All of them allowed their religion to dominate their lives and were willing to fight and die for their liberty. Satan rebelled against a powerful sovereign also; his mission was to become powerful. He also deceived Adam and Eve, perhaps deception that Cromwell also followed through with to achieve the separation between church and state. All were passionate about their belief systems and risked their bodies and souls to proclaim their creed; characteristics that labeled them as rebels.

JSTOR. John Milton’s Movement toward Deism, by Joseph Frank The Journal of British Studies © 1961 The University of Chicago Press.

JSTOR. Milton’s Hero, by Frank KermodeThe Review of English Studies © 1953 Oxford University Press.

The New Hero

April 10th, 2008

“Even in the Middle Ages themselves, of course, the epic hero’s character and role were gradually modified.  The nature of the hero of the twelfth-century is conspicuous not only for his energetic courage and his strategic skill, but also for his prudence and his loyalty to a king whose favor he had lost” (Burns 199).

           

Dante’s Inferno leads to a change in the hero character.  No longer does the hero “refer to men of great strength, ability or courage especially favored by the gods” (Burns 27).  Dante introduces a new hero, a more subtle, but noticeable hero.  Dante gives a hero that exists in literature, but is beyond the average mankind in spiritual strength (29).  By incorporating Virgil into the Inferno, Dante forces the “definition” of hero to change as the traditional heroic traits are worn away through Dante and Virgil’s journey through Hell.  By Virgil’s words and deeds, Dante cleverly weaves a new type of hero in the Inferno.

            From the beginning of the Inferno, Dante makes it very clear that Virgil has a “special” role in the journey.  Dante makes it known that Virgil is the leader, which cleverly places him as the stronger character, which inadverently makes him a candidate for the hero character.  In Canto II, Dante says:

From now, we two will share one will together:

                        You are my teacher, my master, and my guide.”

                        So I spoke, and when he moved I followed after

                        And entered on that deep and savage road  (112-15).

Virgil represents Dante’s master; his guide through Hell, Virgil represents the highest achievements of human reason and classical learning as he teaches Dante through their voyage (Magill 195).  Through human reason, Virgil’s wisdom is revealed, wisdom that Dante so desperately needs. Throughout their entire travels, Virgil is constantly guiding Dante through each circle of Hell, as well as counseling him about virtuous life.  In Canto XXVIII, Virgil makes his purpose even more clear:

            “Neither has death yet reached him, nor does he stay

            For punishment of guilt,” my master replied,

            “But for experience.  And for that purpose I,

            Who am dead, lead him through Hell as rightful guide,

            From circle to circle.  Of this, you can be as sure

            As that I speak to you here at his side.” (43-8)

In the final stages of their travels through Hell, Virgil continues to uphold the heroic role has Dante’s “protector” or “helper” as he delivers Dante to Lucifer and then delivers Dante out of Hell (Burns 27).  In Canto XXXIV Virgil protects Dante by at first shielding him and then by advising him about what he is about to experience: 

            He made me stop, and moved from in front of me.

            “Look: here is Dis [Lucifer],” he said, “and her is the place

            Where you must arm yourself with the quality

            Of fortitude.”  (22-24)

After their visit with Lucifer, Virgil helps Dante leave Hell:

            He grappled the hair as someone climbing would—

            So I supposed we were heading back to Hell.

            “Cling tight, for it is stairs like these,” he sighed

            Like one who is exhausted, “which we must scale

            To part from so much evil.”  Then he came up

            Through a split stone, and placed me on its sill, (79-84).

In Dante’s Inferno Virgil is revealed as the new type of hero character.  By way of Dante’s use of Virgil’s character’s words, and actions, a new hero is created.  No longer is Homer’s overly masculine hero highlighted or glorified.  A more subtle, reasonable, hero is now the ultimate goal.

 Works Cited Aligheri, Dante.  The Inferno of Dante.  Trans.  Robert Pinsky.  New York:  Farrar, Straus, and Giroux Inc., 1994.Burns, Norman, and Christopher Reagan, eds.  Concepts f the Hero in the Middle Ages and the Renaissance.  New YorkState University of New York Press, 1975.Magill, Frank N, ed.  Masterpiece of World Literature.  New York:  Harper Collins, 1989.   

           

     

Dante’s Inferno and Politics

April 9th, 2008

Jessica J. Rouse

 

ENG 580

 

Dr. Kent-Drury

 

8 April 2008

 

                                                Dante’s Inferno and Politics

 

            Dante held many political offices while living in Florence before he was exiled because of his political identity (Wetherbee 1). While Dante writes of his travels through the rings of Hell in his work Inferno, he integrates discussions of political thought and political figures of his time.

            The first look a reader gets at Dante’s political ideology is in Canto X where a soul named Ferinada asks Dante who his ancestors are, and after Dante responds, Ferinada tells Dante that Dante’s ancestors were “fiercely adverse” to himself, his fathers and his party (10 46-47). Ferinada was a political leader of an opposing party in Florence, Italy during Dante’s life (University 1). Ferinada was a leader of the Ghibellines, and Dante was a political leader of the Guelphs. The Ghibellines and the Guelphs were two political parties that derived from two feuding royal houses in Germany and became distinguished by their claims to the emperor (Ghibelline), and the pope (Guelph) (University 1). The fighting between the two parties split the city of Florence in half, as Dante refers to the city as “divided” and expresses his distress to Ciacco in Canto VI : But tell me, if thou knowest, to what shall come / The citizens of the divided city; / If there be any just; and the occasion / Tell me why so much discord has assailed it” (6 60-63).

            The Guelphs eventually defeated the Ghibellines and after the victory split into two factions, one called the black Guelphs and one called the white Guelphs (University 1). Eventually, with the help of Pope Benedict VIII, Dante, as a leader of the white Guelphs, was exiled by the black Guelphs and never returned to Florence (Wetherbee). Farinata was also exiled by the Guelphs when the Guelphs defeated the Ghibellines (University 1).

            References to these political parties continues throughout Inferno. In Canto XV, Dante is told by the soul of Brunetto Latini that he will be rewarded for his political actions: “Thy fortune so much honor doth reserve thee, / One party and the other shall be hungry / For thee; but far from goat shall be the grass” (15 70-72). In Canto XIX, a man of the church  mistakes Dante for Pope Boniface, who was Dante’s rival in political thought. The defeat of Dante’s White Guelphs is foretold to Dante in Canto XXIV by a soul named Vanni Fucci (24 142-151).  

            Politically, Dante stood for the separation of church and state and was known for an attitude of political optimism (Peterman 1). Peterman describes a philosophy of Dante’s in his essay on Dante and Machiavellianism: “For Dante the Christian view of man “as a creature of the elect spirit” is politically born home in an argument for a temporal order that parallels the divine order and in which happiness is equitable with scripture’s “fullness of time,” (1).

 

                                                            Work Cited

 

 Alighieri, Dante. Inferno. Tr. Henry Wadsworth Longfellow. Random House, Inc. New

            York: 2003.

Peterman, Larry. “Dante and the setting for Machiavellianism. The American Political

 Science Review. 76 3 (1982) 630-644. JSTOR.

 http://www.jstor.org/stable/1963736

The University of Texas at Austin. “Circle 6, canto 10”. Study Guide. Liberal Arts

Instruction Technology Services. 04/03/08.   <htttp://danteworlds.laits.utexas.edu/circle6.html#farinata>

Wetherbee, Winthrop. “Dante Alighieri.” The Stanford Encyclopedia of Philosophy. Fall

2006. Ed. Edward N. Zalta. <http://plato.stanford.edu/archives/fall2006/entries/dante>

 

Dante’s Inferno and Politics

April 9th, 2008

 

dantes-inferno-and-politics.doc 

April 4th, 2008

Jennifer Ethridge

Dr. Kent-Drury

ENG 685

3 April 2008

The Seven Deadly Sins and Their Punishment

                Issues of justice were a concern of the poet, Dante.  He was active in politics and even served for a short while as a magistrate in Florence, his native city.  In a letter to a patron, Dante wrote: “If the work (The Divine Comedy) is taken allegorically, the subject is man as by meriting or not meriting through his freedom of choice he is subject to justice, which has the function of rewarding or punishing him.”  In The Inferno of Dante, Dante uses this belief to show justice betweens sins and punishment. (Chevigony)

“The conception that the gravity of crimes is rooted in ‘desert’; understood to depend particularly on the offenders state of mind and to a lesser extent on the harm done or threatened to society.” (Chevigony)

                The poem takes you through the circles of Hell.  The first circle that Virgil and Dante reach is the Ante-Inferno which is not truly a part of hell, but it is where people who lived their lives without making moral choices reside

“Whose lives earned neither honor nor bad fame.  And they are mingled with angels of that base sort/ Who, neither rebellious to God nor faithful to Him,/ Chose neither side, but kept themselves apart - / Now Heaven expels them, not to mar its splendor,/ And Hell rejects them, the least wicked of heart” (Canto III, lines 31 – 36)

  Their punishment was to continuously chase a blank banner while wasps and flies constantly bit them.  In Cantos XVII they travel to the Eighth circle, which contains the souls of people who committed normal fraud or sins that violate the nature of trust between people such as hypocrisy.  “A man should close his lips, if he’s able to, / when faced by truth that has the face of lies,” (Canto XVI, lines 107-108)

                Reviewing Dante’s layers of Hell, in which you have, in order from least offensive to most:  (souls who did not make conscious moral decisions, souls who led virtuous lives but were ignorant of God while they lived, lustful, gluttonous, avaricious & prodigal, wrathful, heretics, violent (neighbors, self, god), normal fraud, hypocrites you can see which sins/crimes he views as more offensive and requiring the greater punishment. (Dante)

                Dante considered fraud and betrayal as the most serious of crimes.  That is because they were the crimes that people had to be more calculating.  Not only did these crimes require deliberate exercise of free will, but they also did the greater amount of destruction to the ethical obligation in society. (Chevigony)

                In our society today, we regard violence as a more offensive crime rather than fraud.  In Dante’s time violence was not extraordinary or to be condemned.  It was more of a normal reaction.   Therefore, it was not punished more severely in the poem. 

                His views about different crimes, is socially constructed.  They are shaped by the ethical and political concerns that were at the time of the writing of the poem. He also uses a religious –philosophical rational for the crimes and punishment.  For sins to be a crime, the Christian concept of free will is essential.  Through medieval philosophy, he draws upon Aristotle for the three states of mind that underlies serious crimes and sins – malice, the bestial, and akrasia (which basically means men’s weaknesses in light of what reason tells them to be right).  (Chevigony)

                Crimes that people had to consciously think about committing were far worse than crimes that happened in the “heat of the moment” or actions taken without any thought about right and wrong.  It was viewed that man has a choice or free will and it is his choosing to do wrong purposely that was the greatest sin.

Works Cited

Chevigony, Paul G. “From Betrayal to Violence: Dante’s Inferno and the Social Construction of Crime.” Law and Social Inquiry 26.4 (2001): 787 - 818.Dante. The Inferno of Dante. Trans. Robert Pinsky. New York: Farrar, Straus and Giroux, 1994.

The New Epic Hero: Renaissance Man

April 3rd, 2008

The New Epic Hero: Renaissance Man

By Meghan Curry

 

“The main character or protagonist in an epic that is heroically larger than life, often the source and subject of legend or a national hero; one who displays the qualities and virtues that are of value to a society,” (iclasses.org) is the technical definition of an epic hero. In the Inferno this person is Dante himself. He is the protagonist of the poem. He is guided through hell by the poet who knows most about Italy’s national hero, and the departed love of Dante’s, Beatrice, shows concern for him from Heaven which makes him technically larger than life. Although he does not battle in the physical sense, as Achilles, nor does he possess the fate to be the founder of a great nation, as Aeneas, he is the very definition of the qualities and characteristics important and valuable to people during the Renaissance. All of these examples of the pieces that make up a hero are quite clear in the text of the Inferno, and point to Dante as hero, except for the last one. The society and culture of the European Renaissance is different from any of the others in the previous classical epics and therefore it is worth examining in depth.

 

The word “Renaissance” means to reconsider or reinterpret. In Europe, it was a time in which scholars looked back to the beliefs and work of the Classical Era scholars and construct new ideas based on the old ones. Chaos, for example, is one of the ideas revisited. Classical theology tells us that in the beginning all the elements were in chaos and a God calmed them and created the earth. Renaissance theology dictates that same elemental turmoil was “Cosmic anarchy” that existed before man was created. It was believed that if Providence, or God’s will, did not hold the elements together the chaos would resume and thus would stop the laws of nature from functioning. Man can not understand the laws of nature because they are God’s will. Based on reason, these rules governed the universe of the Renaissance, (Tillyard).

 

Building on the principles of stoicism, reason is the capacity man has for rational thought; the ability one possesses to reason between what is perceived good and bad. Reason is emotionless, and by combining reason with free will, that man has the ability to choose the best course of action, man is able to choose to live by Divine Providence; man should choose to let go of vices and be loyal to God, Until now, the one truth that has been stressed in all of the epics is that fate cannot be changed. People of the Renaissance do not agree; they believe that because people possess free will, if we are strong and use reason, we can overcome fate. That is not to say the people of the Renaissance did not believe in Fate; they believed that by using reason, fate could be altered. Man must possess two things; will, which he is born with, and wit, or understanding. In order to understand, man must seek to know himself and to know oneself is the way to achieve virtue, (Tillyard).

 

All of theses issues are addressed in the Inferno. Right in the first few lines of Dante’s example of life of man the matter of Nature is approached, “Midway on our life’s journey, I found myself in dark woods, the right road lost,” (Dante lines 1-2).  The laws of nature are beyond the understanding of man, so it is only natural that Dante would be frightened of the woods. The woods represent the unknown, and to stray from the “right path” of reason into the unknown woods would be a sin. Not using his reason would mean Dante to be as a beast that does not have the free will to do so.

 

Just as Dante uses himself as the example of man, he also uses the people he comes upon in the different circles of Hell as examples of what comes of sinning in the natural life. In the Second Circle Dante meets the lustful, “They suffer here who sinned in carnal things- their reason mastered by desire, (lines 35-36). Desire is an emotion and therefore it is the opposite of emotionless reason. Those who commit the sin of lust in life will suffer for eternity for letting reason escape them. The same fate is earned by offenders of the other six deadly sins; they let their reason be overcome by the sin and will therefore be punished.

 

What makes Dante the hero, ultimately, is that throughout his journey of Hell Dante is able to witness what will happen to him, to all of humankind, if reason is lost to sin. Because he is strong enough to make it through the voyage he is able to write about his experience and pass along the information, thereby passing on the will of God. The fate of the nation of mankind is not dependant on Dante’s fate as was the previous heroes; however, by sharing his experiences he is able to encourage mankind to follow the right path.

 

 

 

Working Bibliography

 

Alighieri, Dante. The Inferno of Dante. Tr. Robert Pinsky. New York: Farrar, Straus and Giroux, 1997.

 

Tillyard, E M W. The Elizabethan World Picture. RK Drury. 3 April 2008. http://www.nku.edu/~rkdrury/.

Dante’s Inferno

April 3rd, 2008

Julie Cohen

ENG 685

Imagery of Death in Dante’s Inferno 

According to Virgil in Dante’s Inferno, Hell is the place for those who in life chose not to reflect.  While traveling deeper through the circles of Hell, Dante uses multi-sensory images to clearly build anticipation through the progression of the journey. It is evident that as Virgil and Dante travel deeper into Hell, the imagery becomes more vivid to emphasize the suitability and harshness of Hell’s specific punishments for all sinners.

 

Immediately the tone and mood are set for readers in the beginning of the journey. As the poet enters upon the Gate of Hell, he hears innumerable cries of terror, suffering, and torment. Not only are we able to hear the suffering of these souls who are in neither Heaven nor Hell, we can feel the wrath of punishment they endure as wasps continually bite them, and worms suck the blood and tears that some from their bodies.      

 

With rage or despair, cries as of troubled sleep

Or of a tortured shrillness-they rose in a coil

Or of tumult, along with noises like a slap

Of beating hands, all fused in a ceaseless flail

That churns and frenzies that dark and timeless air

Like sand in a whirlwind (III.22-27).

 

As Dante and Virgil continue inward through the circles of Hell, the sins become more and more severe as well as the punishments, thus the details and descriptions become more gruesome and horrifying.  The first circle of Hell contains those who are in Limbo, the second contains the Lustful who swirl in the harsh winds sweeping helplessly in the air, and the third is the circle of Gluttonous who have sewage raining on them.

 

A dark, accursed torrent eternally poured

With a changeless measure and nature. Enormous hail

And tainted water mixed with snow are showered

Steadily through the shadowy air of Hell;

The soil they drench gives off a putrid odor (VI.4-8).

 

While the punishments do seem somewhat harsh at this point, they gradually become more severe as they align or serve as the proper justice for the sinners.  Up until the seventh circle the sinners push weights in pain, and are in a swampy river covered with mud. Dante can tolerate what he sees, smells, and feels up until this point; however, it is when he reaches the seventh circle when the environment becomes overwhelming.

 

Up on the topmost rim of the deep-cut bank

Formed by a circle of massive, fissured rock,

We stood above a pen more cruel.  The stink

Thrown up from the abyss had grown so thick

Its excess drove us to a shelter in the space

Behind a great tomb’s lid (XI. 1-6).

With the three rings within this circle, there is a more intense experience. Not only does he endure an overwhelming stench in this ring, he sees sinners boiling in a river of blood, fire raining from the sky and sinners walking on hot sand, and hears wails and cries of sinners who are transformed into trees in a dark forest. This circle is the most horrific circle yet for Dante and clearly demonstrates how the punishments are gradually becoming more severe.

 

As Dante embarks upon this journey through Hell, he is originally distraught and sympathetic as he encounters the harshness and torment the sinners experience. However, as he moves through the circles of Hell, he becomes more tolerant of what he sees and hears and realizes the punishments are suitable for the sinners.

 

Figurative language appears throughout the poem; however, as the journey through Hell continues to the ninth circle, the descriptions become more detailed giving horrifying images and daunting thoughts on one’s mind.  It is evident that the purpose of using figurative language/imagery is to gradually show the progression through the circles of Hell and to emphasize the severity of the punishment that is suitable for the sinners. 

 Alighieri, Dante. The Inferno of Dante: Bilingual Edition, trans. Robert Pinsky. New York: Farrar, Straus and Giroux, 2000.

Carol, John Smyth. Exiles of Eternity: An Exposition of Dante’s Inferno. London: Hodder and Stoughton, 1903.

Dante’s Sinners

April 3rd, 2008

C. Ross Hughes

ENG 685

3 April 2008.

Dante is rescued from the Dark Wood of Error by Virgil, sent from Beatrice in Heaven.  Accordingly, he is to be taught the way to Paradise by visiting all the parts of the Catholic conception of the afterlife, beginning with a trip to hell, retold in The Inferno.  Here, the poet recounts the horrors of everlasting death and those who suffer it with the aim of not only teaching himself the sins to avoid, but also edify the reader.  The condemned souls in Dante’s Inferno are compelled by their guilt to seek out their place in hell, where the punishment fits their sins.  Dante convinces us that these punishments are not underserved; rather, they are dictated by divine justice.

            Perhaps the most famous lines of the epic come in the third canto, when Dante and his guide pass through the gates of hell.  Though it bears no repeating, it reads:

            Through me you enter into the city of woes,

            Through me you enter into eternal pain,

            Through me you enter the population of loss.

            Justice moved my high maker, in power divine,

            Wisdom supreme, love primal. No things were

            Before me not eternal; eternal I remain.

             Abandon all hope, you who enter here (III.1-7).

The gate to hell, as John A. Scott says: “…itself is marked by the kind of gateway that guarded access to medieval towns…the gateway guards nothing, since the entrance to hell is open to all who died in a state of mortal sin” (Scott 217).  And yet this is the antithesis of an earthly city; it is a world turned upside down. But Dante reminds the reader that it is not out of hatred for those whose sin condemns them to this place, but out of love, wisdom and justice that God created it.  Therefore, it is something that we should not question because it is beyond human understanding.

            This is not to say that God damns the souls to hell of his own accord, but rather that it is the sinners themselves who will it.  As Dante recounts later in the third Canto:

            …Then, when I turned my eyes

            Farther along our course, I could make out

            People upon the shore of some great river.

            “Master,” I said, “it seems by this dim light

            That all of these are eager to cross over—

            Can you tell me by what law, and who they are?”

            He answered, “Those are things you will discover

            When we have paused at Acheron’s dismal shore” (III.57-64).

The souls are eager to make their journey across the river Acheron.  “Eager” is not a word that comes to mind when thinking about making a trip down to hell.  Therefore, it must be that the souls on the river’s bank have lost their minds, or as Dante says “lost/ The good of intellect…”(III.14-15).  Impelled by their sin, which led to their demise in life, they are led by this same sin to seek the eternal torment.  This, perhaps, is the law of which he asks Virgil—it is part of the divine law.

            The torments that the maledicted suffer fit their sins, but in a metaphorical fashion.  As Dante and Virgil venture into the fifth circle, they encounter:

            …the marsh whose name is Styx.

            Gazing intently, I saw there were people warrened

            Within that bog, all naked and muddy—with looks

            Of fury, striking each other: with a hand

            But also with their heads, chests, feet and backs (VII.95-99).

These are the wrathful, who beat each other senseless as they did in life.  These souls continue because they are impelled as before to continue a path to destruction that never ends.  But here they are mired in the filth of their sin, and their souls which are naked before god reek in it.  Nearby are the sullen, as Virgil explains:

            Others, whose sighing makes these bubbles come

            That pock the surface everywhere you look.

            Lodged in the slime they say: “Once we were grim

            And sullen in the sweet air above, that took

            A further gladness from the play of sun;

            Inside us, we bore acedia’s dismal smoke.

            We have this black mire now to be sullen in” (VII.103-109).

Virgil tells Dante what they say because they are lodged within the swamp and therefore cannot be heard, except to themselves.  The sullen temperament they bore through life, which created a gloomy world where they may have tended to solipsism has given way to a world where they are truly alone and unable to vociferate to others.  As they painted the mortal world (which is the glory of God’s creation) dark, they are covered in the darkness of the next, far from God.

            The plan of hell is not disclosed to us until the eleventh Canto.  Taking a break to accustom themselves to the foul air that rises from the bottom of the pit, Virgil depicts their journey to the bottom, the types of souls they will encounter, and why they are there.   As Scott summarizes the trip they have already completed: “…before reaching the walls of the City of Dis, the travelers pass through the circle of limbo or Lack of Faith, Lust, Gluttony, Avarice, and Anger” (Scott 191).  These are the sins of Incontinence, which Dante considers to be less evil than what is to come.  Virgil explains:

            Three dispositions counter to Heaven’s will:

            Incontinence, malice, insane brutality…

            And how incontinence is less distasteful

            To God, and earns less blame?  Think carefully

            About this doctrine, consider who they are

            Whose punishment is above, outside: you’ll see

            Clearly why they are apart from the wicked here [in the circles to come]

            And why His vengeance smites them with less wrath (XI.79-86).

This is an Aristotelian concept, glossed from his Ethics.  As Scott summarizes: “…Virgil delivers a lecture in which he uses the basic Aristotelian distinction between incontinence…and malice…to differentiate the sins punished in the first six circles from those found with the City of Dis” (Scott 191).  One may wonder why a Christian God has grafted onto his system of the afterlife ideas from a pagan philosopher.  However, it is obvious that Dante admired him and placed him amongst the virtuous unbaptized in Limbo as well as St. Thomas Aquinas’ reworking of the philosopher’s thoughts into a Christian context.

            Therefore, sins of lower hell are those of malice.  This is because, as Virgil states

            Heaven’s hatred is injustice—and each end

            Of this kind, whether by force or fraud, afflicts

            Some other person.  But since fraud is found

            In humankind as its peculiar vice,

            It angers God more: so the fraudulent

            Are lower, and suffer more unhappiness (XI.22-27).

Because human beings are given intelligence, violence and fraud constitute a deliberate choice to do wrong, unlike incontinence, which is controlled by the passions (Scott 191).  The great Roman poet once again appeals to divine justice, which puts all in its proper place.  Finally, there are the sins of betrayal, which is a sin against

            The love that nature makes, but the special trust

            That further, added love creates: therefore

            At the universe’s core, inside the least

            Circle, the seat of Dis, every betrayer

            Eternally is consumed…(XI.61-65)

Dante places these sinners at the very bottom, near to Satan himself (or being eaten alive by him) because of his own experiences.  During the civil wars that fractured his native Florence, betrayal was commonplace. 

Therefore, there is an obvious religious and political message to be gleaned from the poem.  If one brings the justice of God (morality) into one’s life and in turn brings it into the world, there will be no more conflicts or temporal suffering, or torment afterwards.  Dante is convinced of God’s righteousness, even if those who turn away from Him are tortured for it.  The punishment is well-deserved and secretly hoped for in one’s undoing, but to long for God is to release oneself of these fears.

 Works Cited

Alighieri, Dante. The Inferno of Dante: Bilingual Edition, trans. Robert Pinsky. New York:

            Farrar, Straus and Giroux, 2000.

 Scott, John A. Understanding Dante. Notre Dame, IN: University of Notre Dame Press, 2004.  

Rape and Repercussions in Ovid, Greece and Rome

March 28th, 2008

Jessica J. Rouse

 

March 27, 2008

 

English 580

 

Dr. Kent-Drury

 

                                    Examining Rape and Repercussions in Ovid, Greece and Rome

  

 In Roman poet Ovid’s Metamorphoses, like many other early works, rape occurs often as a theme. Stories from this book have been used countless times in later literature, such as book four’s story of Pyramus and Thisbee in William Shakespeare’s “A Midsummer Night’s Dream.” Many of the stories in Metamorphoses are about rape, and those, too, have generated throughout later literature, like the story of Tereus and Philomela is used in Shakespeare’s “Titus Andronicus.” The amount of rape and the attitude taken toward rape in Metamorphosis may surprise some readers. I have been examining democracy and democratic ideas in the works we have read, and I couldn’t help but begin to wonder how rape was viewed and punished by the governments of early Rome and Greece.

The rapes in most of the literature we have read are rapes by a god to a nymph or a mortal, and therefore would go unpunished because mortal law can not punish a god. However, these stories of rape were told by mortals and recorded by mortal writers like Ovid, so it may be worthwhile to think about the attitudes and repercussions of rape that the authors and audience of the time may be familiar with.

The English word “rape” comes from the Latin word “rapere,” which means to steal, seize or carry away (Macnamara 2). This probably was used in the sense that, through marriage, a man used to actually own his wife, including her body, and if a man raped her it was like his property was being stolen.

After the Greek warriors sacked Troy, they raped the Trojan women. Ovid writing about rape was nothing new to Rome, a city that has been said to have been created basically by the raping of an Italian tribe of women called Sabine women. Wanting to create families shortly after the foundation of Rome by Romulus, the male followers kidnapped and sexually assaulted the tribe.

While in Greek literature we can find no definite definition of rape or sexual assault, there were sanctions against the offense (Cole 98). One can observe the way rape was viewed in early Greece and Rome by determining how severe the punishment was for committing the crime. Often, the degree of punishment for rape depended on three factors: the social status of the victim and/or defender, the location of the rape and the way society viewed the woman who was raped (Macnamara 3). 

Relying on legal evidence from recording of laws or speeches made in court and literary accounts, scholars have been able to pin down the most frequent punishment for committing rape in Greece, with the most detailed information coming from Athens (Cole 99). There was a law against forcible rape reported in tow versions, one way in Plutarch Solon and another a speech of Lysias, and in both versions the penalty is a monetary fine (Cole 99). The cases would be brought to the court as a broad charge of assault, and there was not a specific lawsuit for sexual assault (Cole 99). Sometimes, the court would charge the rapist with a charge of hybris, which was a legal term appearing to have involved a kind of arrogant attitude accompanying excessively violent acts meant to dishonor or shame the victim (Cole 99).

There is an ancient law found in the Hebrew Bible or the Old Testament that was adhered to in ancient Israel, where rape was a capital crime punishable by death. The lines come from Deuteronomy 22: 23-29 :  “If a man comes upon such a girl in the country and rapes her, then the man alone shall die because he lay with her. You shall do nothing to the girl, she has done nothing worthy of death; this deed upon her in her country, and though the girl cried for help, there was no one to rescue her.”

And while this excerpt calls for the victim to be unharmed, in Rome often women were expected to kill themselves after they were raped, as Donna Macnamara explains in her research. “In ancient Rome, the honorable course for a rape victim-even one totally understood to be blameless-was to commit suicide. Rape victims may have been expected to follow this prescription well into the Middle Ages. In ancient Greece, a male lover was considered to be far more heinous than a rapist, since the lover gained the confidence of the wife and thus access to the household goods” (Macnamara 5).

There are numerous accounts of rape and adultery in Metamorphosis, and the rapes often go unpunished. Even when Juno, the wife of Jupiter, finds out her husband has raped yet another women, she punishes the woman instead of Jupiter, the rapist. The book begins with Jupiter’s desire to rape and the second book tells of the famous rape of Callisto by Jupiter. In book four, Vulcan finds Venus in an affair. Book 12 tells the well-known story of the affair of Helen and Paris of Troy, and Semele is raped in Book three. While the stories all involve changing the make-up of mortals by turning them into trees, birds, etc., it seems the attitudes toward sexual assault were not changing much at all.

  

                                                Word Cited

 

Cole, Susan Guettel. “Greek Sanctions Against Sexual Assault”. JSTOR. The

 University of Chicago:1984. 03/26/08. <http://www.jstor.org>

 

Macanamara, Donna. “History of Sexual Violence.” 03/26/08.

 http://www.interactivetheatre.org/resc/history.html

            

            Ovid. Metamorphosis. Edt. Mary M. Innes. Penguin Books. New York: 1955.