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This post rests nowhere. Its only excuse is its theme.

The first extended simile in Paradise Lost compares Satan to

                                          that Sea-beast
Leviathan, which God of all his works
Created hugest that swim th’ Ocean stream:
Him haply slumb’ring on the Norway foam
The Pilot of some small night-founder’d Skiff,
Deeming some Island, oft, as Seamen tell,
With fixed Anchor in his scaly rind
Moors by his side under the Lee, while Night
Invests the Sea, and wished Morn delays:
So stretcht out huge in length the Arch-fiend lay
Chain’d on the burning Lake….

As first the passage deserves special attention. “Of Man’s First Disobedience,” the poem begins, and it aims to establish itself as first—before what Homer tells, before every classical myth. When we reach Leviathan there has already been speech (In the beginning was the Word), but action is now heralded by the incidental tale of the Pilot’s error; the adventures of Sinbad the Sailor commence with a like story. What does it signify here? It is obliquely cautionary: a reader seduced by the fallen angel will but repeat the experience of Eve; no stability is in Satan, the leviathan that the Lord will punish.[1]

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In “The Two-handed Engine and the Fatal Bellman: ‘Lycidas’ and ‘Macbeth’” (Notes and Queries, April 1979, 126–128), June Winter showed that “Milton in his passage about the corrupt clergy (Lycidas, 108–31) is invoking imagery used by Shakespeare in passages of Act II in Macbeth, a play about corruption in the state of Scotland.”  Before learning of her work, I had collected evidence that the poem was connected to Act III of Macbeth, and in such a way as to suggest the association of Milton, or the singer of Lycidas, with Macbeth, and Edward King, or Lycidas, with legitimate royalty and Banquo in particular.

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