Miltons Paridise

Movement across or through space becomes a process of colonization of that space." During the period of Milton's Paradise Lost as well as myriad of poets construction of an epoque submerged in metaphysical literature, a number of significant events both socio-political, entwined with a systematic religious metamorphism of the sixteenth and seventeenth century led to a time of unrest and discovery. The creators and author's of work of this periods placed their emphasis not specifically on a level of morality or self understanding but rather a rediscovery of the body and soul, almost a form of existensionalism or physical cosmos with a geography. 'All things are subject to the Mind... It measures in one thought the whole circumference of heaven and by the same line it takes the geography of the earth. The seas, the air, the fire all things of either, are within the comprehension of the mind. It has an influence on them all, whence it lakes all that may be useful, all that may be helpful in government. No limitation is prescribed to it, no restriction is upon it, but in a free scope it has a liberty upon all. And in this liberty is the excellence of the mind; in this power and composition of the mind is perfection of a man... Man is an absolute master of himself; his own safety, and tranquillity by God... are made dependent on himself.'1 In this short example of Puritanism text as it stands, alone contains a number of various references to the process of colonization, of expanding, perceiving all geographically and manipulating, making man or perhaps more specifically the colonisers omniscient and God-like. The crusader self-reliant and independent with the knowledge that God is his guardian of safety and tranquillity. In this particular the growing number of Puritans played a significant role both in the cultivation and transformation of the Christian religion and foreign territories. The Puritans themselves comprised of those in the Church of England unhappy with limitations of the Elizabethan Settlement; some were Presbyterians, and all were to some extent or other Calvinists (though not all Calvinists were Puritans). They were a people of scrupulous moral rigour and favoured plain styles of dress, detesting any form of luxury or decadence. The name Puritan later became a catch-all label for the disparate groups who led much of the New World colonization and won the English Civil Wars. New World colonization began as early as 1480 by English seamen performing spectacular feats of exploration under Elizabeth I. These seamen made various claims of territorial annexation in America in an effort to outflank their Spanish rivals however, all foundations of permanent colonies proved abortive until the early 17th century. Thereafter, there was steady progress in acquiring territories in the Caribbean and mainland North America. Much settlement in the latter had a religious motive, with colonists seeking to escape the constraints of the English Established Church. As a result, there was an uneasy relationship between many colonial administrations and the royal government at home. Further to these tensions the 'colonies were split in their allegiances during the civil wars in Britain, but Charles I derived little useful help from those who supported his cause. The collapse of James II regime (1688-9) proved a blow to the efforts of Westminster to encroach on ! self-rule in North America. The relationship between the centre and the colonies remained problematic right until the War of American Independence.'2 The metaphysical tradition established during the seventeenth century can find its foundations in the colonization explorations and the domestic unrest caused by the civil wars. The combination of the two contextually, both in spirituality, imagery and definitions of time and space; have the unique effect of creating a devout religious protagonist's perceptions of his environment and its history, encompassed in as often was the case one work of art, as a testimony to the period and the Church of England. Frequently such works could be found in the form of poetry, commonly regarded as the most eloquent and essential part of the English language as a means of communications, via its plurality, richness of language and syntax. Poets of the era harnessed the tools of poetry to the spiritual essence of their communication create an impact of divine, gospel-like proportions, which were received and regarded as perhaps the most innovative and highly appreciated works of poetry! to have arisen.

One such poet was John Milton whose epic work Paradise Lost (written in 1667) was ultimately the last and great Adamite3 work. John Milton (1608-74), was an English poet, the son of a composer of some distinction. The preparation for his life's work included attendance at St. Paul's School, Christ's College and Cambridge for several years. His reputation as a poet preceded him as addressed to the conscience of Europe. As fame through his work augmented so with it did his political career. 'The theme of Paradise Lost (completed 1665, published 1667) had been in Milton's mind since 1641. It was to be a sacred drama then; but when in 1658 his official duties were lightened so as to allow him to write, he chose the epic form. The first three books reflect the triumph of the godly--so soon to be reversed; the last books, written in 1663, are tinged with despair. God's kingdom is not of this world. Man's intractable nature frustrates the planning of the wise. The hetero! dox theology of the poem which is made clear in his late De Doctrina Christiana did not trouble Protestant readers till modern critics examined it with hostile intent.'4 Part of the poem's greatness, apart from its length, is a function of the visual immediacy with which Milton realizes the imagined scenes. Milton has been criticized for glossing over certain contemporary developments in scientific and intellectual thought (the astronomical ambiguities in book VII, for example), eg '.... What if the sun Be centre to the world , and other stars By his attractive virtue and their own Incited, dance about him various rounds?5 Their wander course now high, now low, then still Progressive, retrograde, or standing still, In sixth thou seest, and what if seventh to these The planet earth, so steadfast though she seem, Insensibly three different motions move?6 Which else to several spheres thou must ascribe,7 The poem's realism is that of a myth, and its credibility dependent on the outlines of Christian belief, rather than specific historical details. The entire concern or major theme of Paradise Lost is to confute predestination and demonstrate the freedom of will. However Satan is portrayed as an almost romantic, recognizable character with whom we share every twist and turn his thinking takes throughout his physical and