By Robert McMahon
Publication through McMahon, Robert
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Additional resources for The Two Poets of Paradise Lost
Sample text
Adam's visions in Book XI, with but one exception, are taken from Genesis 49; Michael's discourse in Book XII telescopes the rest of salvation history, down to the Redemption and Last Judgment. Classical allusions and epic topoi appear hardly at all, and they are handled more distantly or more critically. When Michael leads Adam to a mountain top to give him visions of his descendants, for example, the poem recalls Anchises' leading Aeneas up a hill to view the pageant of the Roman heroes. But it also recalls passages from Scripture about Moses and Ezekiel.
In the world we live in, the ladder of Nature can no longer be climbed, for it has been ruptured by the Fall. Although Raphael's ladder is often said to be "Milton's," Paradise Lost as a whole shows us that the historical Milton did not endorse the doctrine. True, he wrote Raphael's speech and clearly felt the charm of the subject, but the poem as a whole declares the ladder of Nature an error, false to the world in which we live. Book X records the disruptions in Nature caused by the Fall: Raphael's ladder is no longer a viable way to Heaven.
Hence, the four proems should be considered with "the sequential principle" in mind: later utterances can modify earlier ones, but earlier ones cannot modify later ones. Because a poem is a design in movement, later utterances enjoy authority simply by being later. Milton structured the movement of Paradise Lost, and if we wish to argue for Milton's position from his Bard's four proems, we should give priority to the fourth and the third, in that order. The ambiguity of "Milton" is resolutely denied, but that denial does not sunder the mature Milton from his Bard.