You’re right, Karen, that Milton’s sentences are typically very long and syntactically complex. But sometimes he can fire off a short one that is downright aphoristic, e.g., lines 254–55:
The mind is its own place, and in itself
Can make a Heav’n of Hell, a Hell of Heav’n.
(I’m reading the Hackett edition of Complete Poems and Major Prose edited by Merritt Hughes, in which the apostrophe often appears to indicate elision of a syllable for the meter’s sake.)
These two lines could be taken as summing up the tragic confusions that humanity’s fallen state is prone to—and the mind itself being a “place” is evocative too, of the wandering over an interior landscape of which we are all capable.
Oh, man. That is one of the passages I meant to include in my post! THANK YOU for pointing us to it. It is one of the most brilliant in Book 1, I think.
Karen, I'm reading my son's edition of "Paradise Lost," edited by David Scott Kastan -- and he does not point out something that stood out to me. Could I be over-interpreting? When Milton invokes the Holy Spirit in lines 19-22, he writes,
"Instruct me, for thou know'st; thou from the first
Wast present, and, with mighty wings outspread,
Dove-like sat'st brooding on the vast abyss
And mad'st it pregnant."
Professor Kastan notes the reference to Genesis 1:2 when the Spirit hovers over the waters; but he does not mention Milton's foreshadowing of Jesus. Not only does the Holy Spirit appear as a dove at Jesus' baptism, but Milton's use of the word "pregnant" is -- well, pregnant. Obviously, the dark abyss is made expectant and full of possibility here -- as in the phrase "a pregnant pause" -- but also, in the New Testament, it is this same Holy Spirit that makes Mary pregnant with Jesus. Even at the beginning of this poem -- before the need has arisen -- our salvation is at hand.
Roy Flanagan, editor of the Riverside Milton, says that because Milton was not an orthodox Trintiarian, he is portraying the Spirit as a “world mother,” a brooding dove, an untraditional portrayal of the Holy Spirit. That’s a brief summary of his gloss. Not sure I agree that the image is that heterodox.
Karen, thank you for following up about this! I'm with you that the image can't be very heterodox since the Spirit appears as a dove at Jesus' baptism. That, combined with the word "pregnant," is pretty suggestive -- of a pregnancy! Many Renaissance painters of the Annunciation also combined these images when they depicted the Holy Spirit's visitation as a dove descending upon Mary -- of which the Prado Annunciation by Fra Angelico is just one.
Perfect! That's exactly right! With that same imagery, Hopkins seems to compare the "seared," "bleared, smeared" world we have made with the image of Milton's vast abyss. By God's grace, "nature is never spent," and a fresh dawn and new life rises "Because [of] the Holy Spirit" with his dove-like wings. Thank you for hearing the resonance through the ages!
There seems to have been a great deal of anti-trinitarianism that emerged in the wake of the English Reformation. One wonders how that influenced English Christianity and shuffled the priorities of what religion was supposed to accomplish for them.
I don't think this is over-reading it at all. I think all this is there in the language! I will check notes in some of my other editions and see if they say anything about this.
Satan has so many good lines in this first chapter, many of which would be deeply wise or even inspiring in other contexts. It's a powerful demonstration that this is someone who was quite literally built to be brilliant, and who still retains some of those qualities while fallen. For me, though, the moment when my reaction shifted from 'cool monologue, bro' into something deeper was here: "Cruel his eye, but cast / Signs of remorse and passion, to behold / The fellows of his crime, the followers rather / (Far other once beheld in bliss), condemned / For ever now to have their lot in pain— / Millions of Spirits for his fault amerced / Of Heaven, and from eternal splendours flung / For his revolt—yet faithful how they stood / Their glory withered ... "
Satan has regrets! Satan has to attempt to speak three times before he doesn't get too choked up to say anything! Crucially, though, neither regret nor remorse is the same as repentance. Indeed, Satan goes on to excuse himself by saying that God "his strength concealed—
Which tempted our attempt, and wrought our fall." This is a direct contradiction of all his prior eloquent defiance about "Better to reign in Hell, than serve in Heaven." Which is it? Was the attempt worthwhile even though it failed, or was the temptation of success responsible for the consequences?
Such contradiction makes for a deeply compelling character. Milton's Satan is an antihero fit to surpass Richard III or Walter White. I'm so glad to be finally reading this great poem, and alongside a community of people with great comments, too!
Gemma, this is such an insightful read of Satan’s character (and the poem). What a gift you have brought to the table!
This, along with your last note about this community, touches me so deeply. I didn’t know when I started the Substack what exactly I was going to do. Then I fell into doing the survey of British literature. I never planned to do a slow read of Paradise Lost! The 17th century is not even my specialty, haha! But it developed organically and through this community. I did know when I set up the Substack that I wanted to build a special community here. I believe that we have done that and thank you for affirming it.
I like what you point out about the two sentences being both profound and yet contradictory. I've been trying to peel back the character and I think Milton built him to be the paragon of self-deception. Even his love of freedom is merely something to sooth his wounded pride. Kant speaks of the fact that we cannot lie to others without first lying to ourselves; but because of the illumination which Satan beheld in the heavens, his lies must be better than most. In this kind of consequentialist reading, Satan is attempting to find the best reasoning to lead him into temptation ... even if such reasoning is built upon contradictory arguments.
Gemma - I also noticed that line "Better to reign in Hell..." and was struck by how simple it is first of all. It was one of the shortest and clearest sentences of the book. And for whatever motive, it's certainly a sentiment that I can relate to at times. How often have I said to myself, "Things may be bad, but at least I'm in control," or "Yes, but if I change, then I'll be out of my depth..." Such a tempting thought in itself away from Heaven!
The imagery of Milton's Satan and his demonic allies has inspired countless fantasy descriptions of gigantic fire demons, swarms of evil creatures, and desolate, fiery lands.
Being a musical nerd, these are the lines I noticed:
'Anon they move
In perfect Phalanx to the Dorian mood
Of Flutes and soft Recorders; such as rais'd
To hight of noblest temper Hero's old
Arming to Battel, and in stead of rage
Deliberate valour breath'd, firm and unmov'd'
The 'Dorian mood', or Dorian mode is a musical scale or motif (a mode is not the same as a musical key) and is actually the name of three different modal forms: 1) the original ancient Greek mode; 2) the Medieval plainchant mode; and 2) the modern Dorian mode, which is often used in folk music.
I immediately wondered to which of these three modes was Milton referring? In ancient and medieval philosophy, musical modes had moral significance, so I wondered what was the reason Milton chose the Dorian mode for Satan's militant swarm.
The 8 Medieval plainchant or church modes were given characteristic descriptions. Dorian is the first Medieval mode. The great English Renaissance composer Thomas Tallis wrote eight tunes, one for each church mode, for the first English Psalter published under Elizabeth I. Tallis describes the Dorian mode thus: "The first is meeke, devout to see". Here is Tallis's Dorian setting for Psalm 1: https://youtu.be/Bhgf1cpBz1c?feature=shared. I don't think Milton had the Dorian Church mode in mind.
The modern Dorian mode is a scale almost exactly like the key of C (i.e. all white notes on the piano), except it begins and ends on D. It has a wild, melancholy sound - a famous folktune in modern Dorian mode is the Swallowtail Jig: https://youtu.be/UNkLy3yoFDU?feature=shared. The modern Dorian is similar to the medieval mode of the same name, but it is likely Milton, living in the between era of the 1600s would not yet have heard the modern iteration of the mode.
That leaves the ancient Greek Dorian mode, which is entirely different than the medieval or modern versions. Ancient Greek modes, so far as I understand them, are less like modern Western scales and more like Indian ragas, motifs with a specific social function. Here is a recreation of what the ancient mode sounded like: https://youtu.be/fJBqbpxOGC4?feature=shared. Milton would never have heard the ancient mode, since only recently has ancient Greek musical notation been deciphered, but he would have been familiar with the ancient Greek philosopher Plato's description of the modes in 'The Republic': "Two remain—the Dorian and Phrygian, the first for war, the second for peace; the one expressive of courage, the other of obedience or instruction or religious feeling." Milton is describing the minions of Hell preparing for battle, so the ancient Greek Dorian mode it was.
Fascinating, Holly! Being a not-very-musical person, some of it was “Greek to me,” but it very much makes sense that Milton would have the fitting music in mind when depicting these grand scenes. (I wonder if anyone has created an opera or symphony on this work?)
Your question got me looking. It seems there is a gothic metal band named 'Paradise Lost' and another prog rock band has produced an album called 'Paradise Lost' which is not surprising, as Milton's material is the stuff that heavy metal and prog artists thrive on. In the classical music world, there is a late 20th century opera (1st performance was in 1978) of 'Paradise Lost', composed by Polish composer Krzysztof Penderecki. I studied a little Penderecki when I took music history and found him too cerebral for my taste (his early composition were atonal, meaning they had no fixed key, which can be very grating on the ears) - but his music for 'Paradise Lost' is more traditionally classical, with a fixed key. You can listen to and/or view the entire opera on YouTube - the opening lines of music are quite ominous: https://youtu.be/_Z75cdL2Kv8?feature=shared
Thanks for this, Karen! I know this is something I SHOULD read but I struggle with poetry and probably would not get through it on my own.
Obviously all of the Biblical allusions were expected but it seems that Milton really, really knows the text. I especially liked this one:
“At once as far as angels ken he views
The dismal situation waste and wild,
A dungeon horrible, on all sides round
As one great furnace flamed, yet from those flames
No light, but rather darkness visible”
The ‘waste and wild’ takes me right back to Genesis 1 (tohuw and bohuw). And the ‘darkness’ is there as well. It’s like his decisions have led to de-creation, something that we see throughout the rest of the Hebrew Bible (the flood, ten plagues, etc).
I’m very much looking forward to the rest of the read-through. Thanks again!
This is a beautiful insight, Kyle! Wow. Milton surely knew the text (and so many other texts) very well. Amazing to find such biblical theology in just a few words.
And consider this: “not light but darkness visible” !!!!
What a treat to begin this beautiful work! While I'm certain I do not understand much of what I'm reading, I'm trying to just read it through, sort of letting the poetry wash over me, and it's a glorious feeling.
One line that jumped out at me was lines 528-530, where Satan speaks to his fellow demons with "words that bore semblance of worth, not substance." Oh, how common those kids of words are today, especially from people in positions of power! And how fitting that they come from the mouth of the chief demon himself.
I also have a question. In lines 209-220, Milton seems to suggest that God Himself allows Satan to move - to do anything. Is this a correct reading? If so, it's an enormous "spoiler" revealing that all of what we are about to read about Satan's mischief is in fact to be worked for Heaven's purposes. And which makes the more the hubris of line 634 when Satan claims to be "self-raised." He may be strong and cunning, but he is without substance or power of his own. He is deluded and can never succeed in his ultimate aims of thwarting Heaven. What comfort!
I am certain 90% of what is there escapes me as well. But oh for that 10% how much richer I am!
Yes, that is a correct reading and an important one. Those lines point out Milton’s belief in God’s sovereignty, including his “permissive” will. Maybe not so much a spoiler as foreshadowing. 🙂
Gina mentioned Mammon (lines 678-684). I was struck by the way Milton personifies Mammom and says:
"for even in Heaven his looks and thoughts were always downward bent, admiring more the riches of Heaven's pavement, trodden gold, then aught divine or holy else enjoyed in vision beatific." He then goes on to speak of men, given over to the spirit of Mammom, who "rifled the bowels of their mother Earth for treasures better hid."
The idea of being in the presence of God in Heaven but being more enthralled by the golden pavement underfoot, or of lusting after the created treasures of earth while ignoring the Creator is so perfectly modern, such a timeless indictment of our human sin and the constant struggle to keep our hearts focused on what is above.
That's good! What makes it especially poignant is how it connects to Satan's earlier claim that 'The mind is its own place.' Both passages reveal how our focus shapes our reality - Mammon makes a hell of heaven by focusing on gold, while Satan tries to make a heaven of hell through sheer force of will. Yet neither succeeds because they're trying to create meaning apart from God. It's a startlingly relevant warning for our own time.
I've read Paradise Lost in a day (not recently), but afterwards had told my students of succeeding years: Paradise Lost is like a gigantic chocolate cake. You can love it all, but you wouldn't want to eat it all at once.
The part that surprised and intrigued me was the part about riches growing in Hell and Mammon digging them out. I'd never heard about this part before, but whew, it rings true.
Karen, I enjoy parsing out new words that are either new or have some obvious meaning sitting right there is only I had taken the time to parse it out. So I appreciated your parsing of 'pandemonium.' With that in mind, I decided to stop at each word that I don't know and at least look up the definition rather than skip over as I usually do. I'm commenting on this just in case there might be someone else for whom these words are new.
45 - adamantine chains - rigidly firm, unyielding
115 - ignominy - deep personal humiliation, disgrace (Greek: ig- not; nomin - name)
115 - empyreal - relating to the highest heaven, outermost heavenly sphere. (Greek: em-in, prye-fire.)
125 - compeer - person of equal status (co peer)
400 - opprobrious hill - expressing severe criticism, blame
630 - puissant legions - very strong, powerful, effective
Ok my Riverside Milton explains that “ammiral” is a variant spelling of a Norwegian fit tree used for ship masts. So here the simile is saying that the tallest piece of wood is a walking stick to Satan in his great size.
Oh, I love this! Thank you, Paul! Thank you for this gift to us! I’m on the road right now but when I’m home I will check my notes in my main edition of Milton’s works to see what they say about this word.
This is a wonderful contribution to the discussion.
Thank you, Karen to you and The Priory community for inviting us to read Paradise Lost together! I last read this book as a college English major with Professor Reynolds Price. One of my fondest memories was Professor Price beginning each class by sitting in front of us in his wheelchair reading long excerpts of the poem. I was always amazed by how he would not stop at the end of the line but wrap around to the next line — the way I suppose Milton intended, but it struck me as dramatic and unusual as a young student. He had a booming, powerful, wonderful reading voice.
Satan has lost all hope of rest, the great gift of the sabbath and heaven. Lines 65 and 66: “Regions of sorrow, doleful shades, where peace And rest can never dwell . . . “ Lines 183-185: “Thither let us tend From off the tossing of these fiery waves There rest, if any rest can harbor there . . . “ Reading Book One makes Satan seem very real, which he often does not in our modern world, and generates renewed fervor to resist him who hates us and hates Him so.
That's a great observation, and I'm adding that Herbert book to my list! I live The Pulley and think of that poem often. It seems more and more relevant the older that I get.
Yes! He needs to be understood as real and not cartoonish or silly or like a villain in a superhero movie. You are absolutely right. And your point about rest (a great need and gift!) reminds of George Herbert’s poem, “The Pulley,” which we discussed here not long ago. I will link it in the next reply.
Thank you for reminding me about that post. That was one of my many favorites that you’ve done! In fact, it inspired me to track down a book called “A year with George Herbert: a guide to 52 of his best loved poems” as well as a book by Gene Veith called “Reformation Spirituality: the religion of George Herbert”
Another question, please, if I may: do you think Milton would want us to read Satan's words as entirely truthful expressions or might he share CS Lewis' precautionary note to the readers of The Screwtape Letters that "the devil is a liar [and so] not everything Screwtape says should be assumed to be true even from his own angle"?
Oh, I am going through these comments one by one and just made a point above (or below?) about a parallel here in Satan's upside down perspective and what Lewis does in Screwtape. Satan's perspective is upside down most of the time, I think. But I think it's not always nor always exactly an inverse (as we have in Screwtape). I think Milton's Satan is more complicated, speaks some truth sometimes, and that all makes him harder to read--and also seem at times to be heroic. (I don't think we'd ever think that about Uncle Screwtape, would we?)
Thanks Karen. That Milton's Satan is more complicated is perhaps very helpful in thereby challenging us, the readers, about ourselves and our motivations, words, deeds etc. And, no, definitely wouldn't think of Screwtape as heroic!
I've always been struck by Screwtape's cruelty and vindictiveness to his nephew. John Cleese's audiobook reading of him is quite masterful. Just now I'm reading a work of OT theology, Adam as Israel by Seth Postell and he draws comparisons between the serpent in the garden deceiving Eve and the deception of Israel by the Gibeonites in Joshua - I mentioned the parallels to a friend who said he'd always been rather fond of the latter and finds it hard not to like them, albeit he refrained from suggesting them to be heroic :)
A Shakespearean comment: We know that Milton read Shakespeare closely, so I would assume he knew The Merchant of Venice. In which we can find the line, "The devil can cite Scripture for his purpose."
I also think Iago is relevant, who mostly tells the truth, partially.
One more general observation from the first book. Satan and his angel armies are utterly defeated by God, cast into oblivion, and yet he is not humbled, he is not repentant. Quite the opposite: his hatred and delusions are fired up all the more, and he sets about planning his renewed assault on Heaven, confident that this time he will win. It made me think about the power of hatred to blind us, to become an obsession that overpowers us. We see its destructiveness every single day in the news.
This reminds me of some wisdom my dad once shared: "Never fight a drunk man - he won't know when to stop." Satan here is drunk, not on wine, but on pride and hatred. That's why being "utterly defeated" only fires up his delusions more. Like someone who's intoxicated, he's lost all sense of reality and consequences. He'll keep swinging at heaven even though he's already lost everything.
Milton shows us how hatred works like spiritual intoxication - it blinds us, removes our limits, and makes us keep fighting long after we should have stopped. We see this same pattern playing out in the news every day, just as you noted. People become so intoxicated with hatred that they lose sight of how they're really just destroying themselves.
You’re right, Karen, that Milton’s sentences are typically very long and syntactically complex. But sometimes he can fire off a short one that is downright aphoristic, e.g., lines 254–55:
The mind is its own place, and in itself
Can make a Heav’n of Hell, a Hell of Heav’n.
(I’m reading the Hackett edition of Complete Poems and Major Prose edited by Merritt Hughes, in which the apostrophe often appears to indicate elision of a syllable for the meter’s sake.)
These two lines could be taken as summing up the tragic confusions that humanity’s fallen state is prone to—and the mind itself being a “place” is evocative too, of the wandering over an interior landscape of which we are all capable.
Oh, man. That is one of the passages I meant to include in my post! THANK YOU for pointing us to it. It is one of the most brilliant in Book 1, I think.
Matthew, I resonated with this as well regarding mental health.
That was my favorite quote as well. A profound truth!
Book pre-ordered! :)
🙌
Karen, I'm reading my son's edition of "Paradise Lost," edited by David Scott Kastan -- and he does not point out something that stood out to me. Could I be over-interpreting? When Milton invokes the Holy Spirit in lines 19-22, he writes,
"Instruct me, for thou know'st; thou from the first
Wast present, and, with mighty wings outspread,
Dove-like sat'st brooding on the vast abyss
And mad'st it pregnant."
Professor Kastan notes the reference to Genesis 1:2 when the Spirit hovers over the waters; but he does not mention Milton's foreshadowing of Jesus. Not only does the Holy Spirit appear as a dove at Jesus' baptism, but Milton's use of the word "pregnant" is -- well, pregnant. Obviously, the dark abyss is made expectant and full of possibility here -- as in the phrase "a pregnant pause" -- but also, in the New Testament, it is this same Holy Spirit that makes Mary pregnant with Jesus. Even at the beginning of this poem -- before the need has arisen -- our salvation is at hand.
Roy Flanagan, editor of the Riverside Milton, says that because Milton was not an orthodox Trintiarian, he is portraying the Spirit as a “world mother,” a brooding dove, an untraditional portrayal of the Holy Spirit. That’s a brief summary of his gloss. Not sure I agree that the image is that heterodox.
Karen, thank you for following up about this! I'm with you that the image can't be very heterodox since the Spirit appears as a dove at Jesus' baptism. That, combined with the word "pregnant," is pretty suggestive -- of a pregnancy! Many Renaissance painters of the Annunciation also combined these images when they depicted the Holy Spirit's visitation as a dove descending upon Mary -- of which the Prado Annunciation by Fra Angelico is just one.
Yes! And I think to of Gerard Manley Hopkins’ sonnet “The Grandeur of God.”
Perfect! That's exactly right! With that same imagery, Hopkins seems to compare the "seared," "bleared, smeared" world we have made with the image of Milton's vast abyss. By God's grace, "nature is never spent," and a fresh dawn and new life rises "Because [of] the Holy Spirit" with his dove-like wings. Thank you for hearing the resonance through the ages!
🤗
There seems to have been a great deal of anti-trinitarianism that emerged in the wake of the English Reformation. One wonders how that influenced English Christianity and shuffled the priorities of what religion was supposed to accomplish for them.
I don't think this is over-reading it at all. I think all this is there in the language! I will check notes in some of my other editions and see if they say anything about this.
Like the proteevangelium just after the fall of man...a promise to give hope when darkness seems to have won.
Yes!
Yes, thank you!
Satan has so many good lines in this first chapter, many of which would be deeply wise or even inspiring in other contexts. It's a powerful demonstration that this is someone who was quite literally built to be brilliant, and who still retains some of those qualities while fallen. For me, though, the moment when my reaction shifted from 'cool monologue, bro' into something deeper was here: "Cruel his eye, but cast / Signs of remorse and passion, to behold / The fellows of his crime, the followers rather / (Far other once beheld in bliss), condemned / For ever now to have their lot in pain— / Millions of Spirits for his fault amerced / Of Heaven, and from eternal splendours flung / For his revolt—yet faithful how they stood / Their glory withered ... "
Satan has regrets! Satan has to attempt to speak three times before he doesn't get too choked up to say anything! Crucially, though, neither regret nor remorse is the same as repentance. Indeed, Satan goes on to excuse himself by saying that God "his strength concealed—
Which tempted our attempt, and wrought our fall." This is a direct contradiction of all his prior eloquent defiance about "Better to reign in Hell, than serve in Heaven." Which is it? Was the attempt worthwhile even though it failed, or was the temptation of success responsible for the consequences?
Such contradiction makes for a deeply compelling character. Milton's Satan is an antihero fit to surpass Richard III or Walter White. I'm so glad to be finally reading this great poem, and alongside a community of people with great comments, too!
Gemma, this is such an insightful read of Satan’s character (and the poem). What a gift you have brought to the table!
This, along with your last note about this community, touches me so deeply. I didn’t know when I started the Substack what exactly I was going to do. Then I fell into doing the survey of British literature. I never planned to do a slow read of Paradise Lost! The 17th century is not even my specialty, haha! But it developed organically and through this community. I did know when I set up the Substack that I wanted to build a special community here. I believe that we have done that and thank you for affirming it.
I like what you point out about the two sentences being both profound and yet contradictory. I've been trying to peel back the character and I think Milton built him to be the paragon of self-deception. Even his love of freedom is merely something to sooth his wounded pride. Kant speaks of the fact that we cannot lie to others without first lying to ourselves; but because of the illumination which Satan beheld in the heavens, his lies must be better than most. In this kind of consequentialist reading, Satan is attempting to find the best reasoning to lead him into temptation ... even if such reasoning is built upon contradictory arguments.
That is very insightful. I agree that self-deception is key to Milton’s character.
Gemma - I also noticed that line "Better to reign in Hell..." and was struck by how simple it is first of all. It was one of the shortest and clearest sentences of the book. And for whatever motive, it's certainly a sentiment that I can relate to at times. How often have I said to myself, "Things may be bad, but at least I'm in control," or "Yes, but if I change, then I'll be out of my depth..." Such a tempting thought in itself away from Heaven!
The imagery of Milton's Satan and his demonic allies has inspired countless fantasy descriptions of gigantic fire demons, swarms of evil creatures, and desolate, fiery lands.
Being a musical nerd, these are the lines I noticed:
'Anon they move
In perfect Phalanx to the Dorian mood
Of Flutes and soft Recorders; such as rais'd
To hight of noblest temper Hero's old
Arming to Battel, and in stead of rage
Deliberate valour breath'd, firm and unmov'd'
The 'Dorian mood', or Dorian mode is a musical scale or motif (a mode is not the same as a musical key) and is actually the name of three different modal forms: 1) the original ancient Greek mode; 2) the Medieval plainchant mode; and 2) the modern Dorian mode, which is often used in folk music.
I immediately wondered to which of these three modes was Milton referring? In ancient and medieval philosophy, musical modes had moral significance, so I wondered what was the reason Milton chose the Dorian mode for Satan's militant swarm.
The 8 Medieval plainchant or church modes were given characteristic descriptions. Dorian is the first Medieval mode. The great English Renaissance composer Thomas Tallis wrote eight tunes, one for each church mode, for the first English Psalter published under Elizabeth I. Tallis describes the Dorian mode thus: "The first is meeke, devout to see". Here is Tallis's Dorian setting for Psalm 1: https://youtu.be/Bhgf1cpBz1c?feature=shared. I don't think Milton had the Dorian Church mode in mind.
The modern Dorian mode is a scale almost exactly like the key of C (i.e. all white notes on the piano), except it begins and ends on D. It has a wild, melancholy sound - a famous folktune in modern Dorian mode is the Swallowtail Jig: https://youtu.be/UNkLy3yoFDU?feature=shared. The modern Dorian is similar to the medieval mode of the same name, but it is likely Milton, living in the between era of the 1600s would not yet have heard the modern iteration of the mode.
That leaves the ancient Greek Dorian mode, which is entirely different than the medieval or modern versions. Ancient Greek modes, so far as I understand them, are less like modern Western scales and more like Indian ragas, motifs with a specific social function. Here is a recreation of what the ancient mode sounded like: https://youtu.be/fJBqbpxOGC4?feature=shared. Milton would never have heard the ancient mode, since only recently has ancient Greek musical notation been deciphered, but he would have been familiar with the ancient Greek philosopher Plato's description of the modes in 'The Republic': "Two remain—the Dorian and Phrygian, the first for war, the second for peace; the one expressive of courage, the other of obedience or instruction or religious feeling." Milton is describing the minions of Hell preparing for battle, so the ancient Greek Dorian mode it was.
Thank you for the expertise, this was interesting to read!
Fascinating, Holly! Being a not-very-musical person, some of it was “Greek to me,” but it very much makes sense that Milton would have the fitting music in mind when depicting these grand scenes. (I wonder if anyone has created an opera or symphony on this work?)
Your question got me looking. It seems there is a gothic metal band named 'Paradise Lost' and another prog rock band has produced an album called 'Paradise Lost' which is not surprising, as Milton's material is the stuff that heavy metal and prog artists thrive on. In the classical music world, there is a late 20th century opera (1st performance was in 1978) of 'Paradise Lost', composed by Polish composer Krzysztof Penderecki. I studied a little Penderecki when I took music history and found him too cerebral for my taste (his early composition were atonal, meaning they had no fixed key, which can be very grating on the ears) - but his music for 'Paradise Lost' is more traditionally classical, with a fixed key. You can listen to and/or view the entire opera on YouTube - the opening lines of music are quite ominous: https://youtu.be/_Z75cdL2Kv8?feature=shared
I listened to some of this and it is exactly as I imagined (and wanted) it to be! I’d attend this opera.
Well Holly, that’s really cool info.
Thanks for this, Karen! I know this is something I SHOULD read but I struggle with poetry and probably would not get through it on my own.
Obviously all of the Biblical allusions were expected but it seems that Milton really, really knows the text. I especially liked this one:
“At once as far as angels ken he views
The dismal situation waste and wild,
A dungeon horrible, on all sides round
As one great furnace flamed, yet from those flames
No light, but rather darkness visible”
The ‘waste and wild’ takes me right back to Genesis 1 (tohuw and bohuw). And the ‘darkness’ is there as well. It’s like his decisions have led to de-creation, something that we see throughout the rest of the Hebrew Bible (the flood, ten plagues, etc).
I’m very much looking forward to the rest of the read-through. Thanks again!
This is a beautiful insight, Kyle! Wow. Milton surely knew the text (and so many other texts) very well. Amazing to find such biblical theology in just a few words.
And consider this: “not light but darkness visible” !!!!
Yes indeed. The darkness visible image got me. So good!
What a treat to begin this beautiful work! While I'm certain I do not understand much of what I'm reading, I'm trying to just read it through, sort of letting the poetry wash over me, and it's a glorious feeling.
One line that jumped out at me was lines 528-530, where Satan speaks to his fellow demons with "words that bore semblance of worth, not substance." Oh, how common those kids of words are today, especially from people in positions of power! And how fitting that they come from the mouth of the chief demon himself.
I also have a question. In lines 209-220, Milton seems to suggest that God Himself allows Satan to move - to do anything. Is this a correct reading? If so, it's an enormous "spoiler" revealing that all of what we are about to read about Satan's mischief is in fact to be worked for Heaven's purposes. And which makes the more the hubris of line 634 when Satan claims to be "self-raised." He may be strong and cunning, but he is without substance or power of his own. He is deluded and can never succeed in his ultimate aims of thwarting Heaven. What comfort!
I am certain 90% of what is there escapes me as well. But oh for that 10% how much richer I am!
Yes, that is a correct reading and an important one. Those lines point out Milton’s belief in God’s sovereignty, including his “permissive” will. Maybe not so much a spoiler as foreshadowing. 🙂
Gina mentioned Mammon (lines 678-684). I was struck by the way Milton personifies Mammom and says:
"for even in Heaven his looks and thoughts were always downward bent, admiring more the riches of Heaven's pavement, trodden gold, then aught divine or holy else enjoyed in vision beatific." He then goes on to speak of men, given over to the spirit of Mammom, who "rifled the bowels of their mother Earth for treasures better hid."
The idea of being in the presence of God in Heaven but being more enthralled by the golden pavement underfoot, or of lusting after the created treasures of earth while ignoring the Creator is so perfectly modern, such a timeless indictment of our human sin and the constant struggle to keep our hearts focused on what is above.
Powerful and sobering lines with so much timeless insight.
That's good! What makes it especially poignant is how it connects to Satan's earlier claim that 'The mind is its own place.' Both passages reveal how our focus shapes our reality - Mammon makes a hell of heaven by focusing on gold, while Satan tries to make a heaven of hell through sheer force of will. Yet neither succeeds because they're trying to create meaning apart from God. It's a startlingly relevant warning for our own time.
Oops! I missed this, and I posted the same passage. Such a needed reminder today.
I've read Paradise Lost in a day (not recently), but afterwards had told my students of succeeding years: Paradise Lost is like a gigantic chocolate cake. You can love it all, but you wouldn't want to eat it all at once.
😅
The part that surprised and intrigued me was the part about riches growing in Hell and Mammon digging them out. I'd never heard about this part before, but whew, it rings true.
What a brilliant little insight that is. Thanks for pointing it out, Gina.
Yeah, Milton was an environmentalist!
Karen, I enjoy parsing out new words that are either new or have some obvious meaning sitting right there is only I had taken the time to parse it out. So I appreciated your parsing of 'pandemonium.' With that in mind, I decided to stop at each word that I don't know and at least look up the definition rather than skip over as I usually do. I'm commenting on this just in case there might be someone else for whom these words are new.
45 - adamantine chains - rigidly firm, unyielding
115 - ignominy - deep personal humiliation, disgrace (Greek: ig- not; nomin - name)
115 - empyreal - relating to the highest heaven, outermost heavenly sphere. (Greek: em-in, prye-fire.)
125 - compeer - person of equal status (co peer)
400 - opprobrious hill - expressing severe criticism, blame
630 - puissant legions - very strong, powerful, effective
The one I couldn't find was at 290 - 'ammiral'
Ok my Riverside Milton explains that “ammiral” is a variant spelling of a Norwegian fit tree used for ship masts. So here the simile is saying that the tallest piece of wood is a walking stick to Satan in his great size.
Oh, I love this! Thank you, Paul! Thank you for this gift to us! I’m on the road right now but when I’m home I will check my notes in my main edition of Milton’s works to see what they say about this word.
This is a wonderful contribution to the discussion.
Here's an on-point comic: https://images.app.goo.gl/9ZpAqETU3wrFwL2y5
Perfect.
Excellent! Can't have that in hell! "Farewell happy fields where joy forever dwells."
Thank you, Karen to you and The Priory community for inviting us to read Paradise Lost together! I last read this book as a college English major with Professor Reynolds Price. One of my fondest memories was Professor Price beginning each class by sitting in front of us in his wheelchair reading long excerpts of the poem. I was always amazed by how he would not stop at the end of the line but wrap around to the next line — the way I suppose Milton intended, but it struck me as dramatic and unusual as a young student. He had a booming, powerful, wonderful reading voice.
What a gift to be able to “hear” even today the lines read as they should be. Thank you for sharing that beautiful memory.
Satan has lost all hope of rest, the great gift of the sabbath and heaven. Lines 65 and 66: “Regions of sorrow, doleful shades, where peace And rest can never dwell . . . “ Lines 183-185: “Thither let us tend From off the tossing of these fiery waves There rest, if any rest can harbor there . . . “ Reading Book One makes Satan seem very real, which he often does not in our modern world, and generates renewed fervor to resist him who hates us and hates Him so.
That's a great observation, and I'm adding that Herbert book to my list! I live The Pulley and think of that poem often. It seems more and more relevant the older that I get.
*love
Well, in fairness, we are living “The Pulley,” too! 😄
Ha! True!
Such a rich poem—and, yes, more meaningful with age.
Yes! He needs to be understood as real and not cartoonish or silly or like a villain in a superhero movie. You are absolutely right. And your point about rest (a great need and gift!) reminds of George Herbert’s poem, “The Pulley,” which we discussed here not long ago. I will link it in the next reply.
https://open.substack.com/pub/karenswallowprior/p/george-herbert-the-pulley?r=90e4e&utm_medium=ios
Thank you for reminding me about that post. That was one of my many favorites that you’ve done! In fact, it inspired me to track down a book called “A year with George Herbert: a guide to 52 of his best loved poems” as well as a book by Gene Veith called “Reformation Spirituality: the religion of George Herbert”
Oh wow! I need to check that book out. And I love Veith!
Also, I just pre-ordered your book -- can't wait!
THANK YOU!!!
Me too! Honored to know about it and can’t wait to read it :)
Same here!
Another question, please, if I may: do you think Milton would want us to read Satan's words as entirely truthful expressions or might he share CS Lewis' precautionary note to the readers of The Screwtape Letters that "the devil is a liar [and so] not everything Screwtape says should be assumed to be true even from his own angle"?
Oh, I am going through these comments one by one and just made a point above (or below?) about a parallel here in Satan's upside down perspective and what Lewis does in Screwtape. Satan's perspective is upside down most of the time, I think. But I think it's not always nor always exactly an inverse (as we have in Screwtape). I think Milton's Satan is more complicated, speaks some truth sometimes, and that all makes him harder to read--and also seem at times to be heroic. (I don't think we'd ever think that about Uncle Screwtape, would we?)
Thanks Karen. That Milton's Satan is more complicated is perhaps very helpful in thereby challenging us, the readers, about ourselves and our motivations, words, deeds etc. And, no, definitely wouldn't think of Screwtape as heroic!
I meant that as a real question, haha! It’s been a while since I read Screwtape and I find people can be weird about Lewis…so was definitely not sure!
I've always been struck by Screwtape's cruelty and vindictiveness to his nephew. John Cleese's audiobook reading of him is quite masterful. Just now I'm reading a work of OT theology, Adam as Israel by Seth Postell and he draws comparisons between the serpent in the garden deceiving Eve and the deception of Israel by the Gibeonites in Joshua - I mentioned the parallels to a friend who said he'd always been rather fond of the latter and finds it hard not to like them, albeit he refrained from suggesting them to be heroic :)
A Shakespearean comment: We know that Milton read Shakespeare closely, so I would assume he knew The Merchant of Venice. In which we can find the line, "The devil can cite Scripture for his purpose."
I also think Iago is relevant, who mostly tells the truth, partially.
Great connection, Jack.
One more general observation from the first book. Satan and his angel armies are utterly defeated by God, cast into oblivion, and yet he is not humbled, he is not repentant. Quite the opposite: his hatred and delusions are fired up all the more, and he sets about planning his renewed assault on Heaven, confident that this time he will win. It made me think about the power of hatred to blind us, to become an obsession that overpowers us. We see its destructiveness every single day in the news.
So true, Charlie. What insight into HUMAN nature. We can learn so much about ourselves from this work.
This reminds me of some wisdom my dad once shared: "Never fight a drunk man - he won't know when to stop." Satan here is drunk, not on wine, but on pride and hatred. That's why being "utterly defeated" only fires up his delusions more. Like someone who's intoxicated, he's lost all sense of reality and consequences. He'll keep swinging at heaven even though he's already lost everything.
Milton shows us how hatred works like spiritual intoxication - it blinds us, removes our limits, and makes us keep fighting long after we should have stopped. We see this same pattern playing out in the news every day, just as you noted. People become so intoxicated with hatred that they lose sight of how they're really just destroying themselves.
One can see that at work everywhere, can’t you?
Satan really is consumed by pride and hatred.
This is great. Satan is drunk on pride and hatred, and we’re prone to the same. Thanks, Kyle.