classical poetry english literature notes

8/9/2019 Classical Poetry English Literature Notes

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M.A. ENGLISH PART-1

NOTES

Classical Poetry Notes

Milton: Character o !Satan!

Satan occ"#ies the $ost #ro$inent #osition in the action o Para%ise Lost.Tho"&h the $ain the$e o the #oe$ is the 'Man(s irst %iso)e%ience* yet it is thecharacter o Satan +hich &i,es a to"ch o &reatness to this e#ic. Al the #oetic#o+ers o Milton are sho+n on the %elineation o the $aestic #ersonality o theene$y o Go% an% Man i.e. Satan.

As it is sho+n in Para%ise Lost /oo0-I that the character o Satan is a )len% othe no)le an% the i&no)le the ealte% an% the $ean the &reat an% the lo+thereore it )eco$es %iic"lt to %eclare hi$ either a hero or a +holly ,illain.

In Para%ise Lost /oo0-I +e can har%ly %o")t his heroic 2"alities )eca"se this

)oo0 "lly ehi)its his ee$#lary +ill-#o+er "ns"r#assa)le %eter$ination"nsha0a)le coni%ence an% "n)elie,a)le co"ra&e. Ho+e,er the encyclo#e%ia oreli&ion re$o,es so$e o the con"sion ro$ o"r $in%s re&ar%in& Satan(scharacter in the ollo+in& +or%s:

'Satan $eans the arch-ene$y o $en the a%,ersary o Go% an% o Christianitya re)el a&ainst Go% a lost arch-an&le.*

Milton also conir$s the re$ar0s an% tells "s that Satan is an archan&el. 3henGo% %eclares the Holy Christ his ,iceroy Satan re"ses to acce#t Go%(s or%er)eca"se he hi$sel is a coni%ent or it his alse stren&th an% #ri%e lea%s hi$ tore,olt a&ainst Go% or the "lill$ent o his l"st or #o+er )"t he an% his ar$ys"ers a hea,y %eeat an% thro+ hea%lon& into the #it o hell.

Milton(s %escri#tion o Satan(s h"&e #hysical %i$ension the hea,y ar$s hecarries his to+er li0e #ersonality an% his &est"re $a0e hi$ e,ery inch a hero. Inhis irst s#eech Satan tells /eel4e)") that he %oes not re#ent o +hat he %i% an%that %eeat has )ro"&ht no chan&e in hi$ at all. He "tters $e$ora)le lines:

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a&ent an% thence to a thin& that #eers in at )e%-roo$ or )ath-roo$ +in%o+ an%thence toa% an% inally to a sna0e 6 s"ch is the #ro&ress o Satan.*

So it can easily )e sai% in the li&ht o a)o,e $entione% acts that Satan is o"tan% #o"ter hero in /oo0-I o Para%ise Lost )"t in /oo0-I9 he a##ears )eore "s

e,ery inch a ,illain )eca"se o his e,il %esi&n an% he hi$sel says that his chie#leas"re lies in the %estr"ction o $an0in% +hich lo+ers hi$ in o"r esti$ation asa hero.

ohn ;onne a $eta#hysical #oet

;ry%en once re$ar0e%:

';onne aects $eta#hysics not only in his satires )"t in a$oro"s ,erses too+here nat"re only sho"l% rei&n.*

Tho"&h ;onne +as inl"ence% )y the siteenth an% the se,enteenth cent"ry#oets yet he %i% not trea% on the )eaten trac0. His conce#t o #oetry +as"ncon,entional. In his #oetry intellect ta0es the or$ #ri$arily o +it )y +hichhetero&eneo"s i%eas are yo0e% to&ether )y ,iolence. The se,enteenth cent"ry#oets la)ele% his #oetry as 7stron& line #oetry( $ainly on acco"nt o his concisee#ression an% his %eli)erate to"&hness. In his lie he +as ne,er calle% a$eta#hysical #oet. Ater his %eath his #oetry +as re-e,al"ate% an% so$e otheri$#ortant eat"res +ere o"n% in it +hich +on the na$e o a $eta#hysical #oetor ;onne.

Grierson(s %eines $eta#hysical #oetry as:

'Poetry ins#ire% )y a #hiloso#hical conce#t o the "ni,erse an% the role assi&ne%to h"$an s#irit in the &reat %ra$a o eistence*.

This %einition is )ase% on the $eta#hysical #oetry o ;ante Goethe an%


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#oetry. So$e o his conceits are ar-etche% )e+il%erin& an% intri&"in&. He +el%s%i,erse #assions into so$ethin& har$onio"s.

'3hen tho" +ee#(st "n0in%ly 0in%e

My lies )loo% %oth %ecay.*

'3hen a teare alls that tho" alst +hich it )ore*

'Here lies a she-s"n an% a he-$oon there*

'All +o$en shall a%ore "s an% so$e $en.*

His a##roach is )ase% on lo&ical reasonin& an% ar&"$ents. He #ro,i%es

intellect"al #arallels to his e$otional e#eriences. His $o%"s o#eran%i +as 'to$o,e ro$ the conte$#lation o act to a %e%"ction ro$ it an% thence to aconcl"sion*. He conte$#lates i%elity in a +o$an )"t in reality %ra+s iti$#ossi)le o in% a aith"l +o$an.

'No +hereLi,es a +o$an tr"e an% aire.*

He %oes not e$#loy e$otionally ecitin& rhyth$. His #oetry &oes on lo+er e)).E,en his lo,e #oe$s %o not ecite e$otions in "s. E,en in a 'Son&* +hile

se#aratin& he is lo&ical that he is not #artin& or +eariness o his )elo,e%.

'/"t since that IM"st %ye at last (tis )estTo "se $y sele in estTh"s )y ain(% %eaths to %ye=*

His s#ec"lations an% %octrines are )eyon% co$$on h"$an e#erience. Hisi%eas are )eyon% the "n%erstan%in& o a lay$an an% are a )len% o intellect an%e$otions $a0in& his a##roach %ialectical an% scholastic. He as0s his )elo,e% in'The Messa&e* to 0ee# his eyes an% heart )eca"se they $i&ht ha,e learntcertain ills ro$ her )"t then he as0s her to &i,e the$ )ac0 so that he $ay la"&hat her an% see her %yin& +hen so$e other #ro,es as alse to her as she has#ro,e% to the #oet.

;onne +as a sel-conscio"s artist thereore ha% a %esire to sho+ o hislearnin&. In his lo,e #oetry he &i,es ill"strations ro$ the re$ote #ast. In his%i,ine #oe$s he &i,es )i)lical reerences li0e the Cr"ciication.


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'Or snorte% +e in the sea,en slee#ers %en5*

'Get +ith chil% a $an%ra0e roote.*

'/"t that Christ on this Crosse %i% rise an% all.*

Meta#hysical #oetry is hi&hly concentrate% an% so is ;onne(s #oetry. In 'TheGoo% Morro+* he says

'8or lo,e all lo,e o other si&hts contro"les.*

'8or not in nothin& nor in thin&sEtre$e an% scatt(rin& )ri&ht can lo,e inhere.*

'Hee that hath all can ha,e no $ore.*

His #oetry is "ll o ar&"$ents #ers"asion shoc0 an% s"r#rise. Instea% ocon,entional ro$antic +or%s he "se% scientiic an% $athe$atical +or%s tointro%"ce ro"&hness in his #oetry= e.&. he "se% the +or%s 7stie t+in co$#asses(7cos$o&ra#hers( 7tre#i%ation o the s#heres( etc.

His style is hi&hly antastic c"rt an% he "ses ro"&h +or%s. He reects thecon,entional style +hich +as ro$antic sot an% %i"se%.

Para%oical state$ents are also o"n% in his #oe$s. In 'The In%ierent* ;onne%escri)es constancy in $en as ,ice an% as0 the$:

'3ill no other ,ice content yo"5*

In 'The Le&acy* the lo,er )eco$es his o+n 7eec"tor an% le&acy(. In 'Lo,e(sGro+th* the #oet(s lo,e see$s to ha,e increase% in s#rin& )"t no+ it cannotincrease )eca"se it +as alrea%y ininite an% yet it has increase%:

'No +inter shall a)ate the srin&(s increase.*

He %eals +ith the #ro)le$ o )o%y an% so"l in 'The Anni,ersarie* o the in%i,i%"alan% the "ni,erse in 'The S"nne Risin&* an% o %e#ri,ation an% act"ality in 'ANoctr"nall*. In his %i,ine #oe$s he tal0s a)o"t the Cr"ciication ranso$ sects >schis$ reli&ion etc.

;onne is a coterie #oet. He reects the Patrarchan tra%ition o #oetry a%o#te% )y


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the Eli4a)ethans. The Eli4a)ethan #oetry +as the #ro%"ct o e$otions. Hereecte% #latonic i%ealis$ ela)orate %escri#tion an% orna$entation. He +as#recise an% concentrate% in #oetry +hile the Eli4a)ethan are co#io"s an%#lenti"l in +or%s.

Se,enteenth cent"ry ha% o"r $aor #rere2"isites= collo2"ial in %iction #ersonalin tone lo&ical in str"ct"re an% "n%ecorati,e an% "ntra%itional i$a&ination +hich+ere also #resent in ;onne.

To concl"%e he is $ore a se,enteenth cent"ry #oet than a $eta#hysical #oet.There are so$e eat"res in his #oetry +hich %ierentiate hi$ e.&. he is a$onarch o +ith an% $ore collo2"ial than any other se,enteenth cent"ry #oet. Iother se,enteenth cent"ry #oet )rin& to&ether e$otions an% intellect he %einese$otional e#erience +ith intellect"al #arallels etc. Still he +rites in the tra%itiono the se,enteenth cent"ry #oets.

Para%ise Lost: A Classical E#ic

Ho$er an% ?ir&il +ere the t+o &reat $asters o the Classical e#ic. Ho$er(s Ilia%an% ?ir&il(s Aenei% ha,e in,aria)ly ser,e% as $o%els or all +riters o theclassical e#ic. Milton +as a &reat classical scholar an% he so"&ht to +rite ane#ic. He %rea$t o i$$ortality an% he as#ire% to )e one +ith Ho$er an% ?ir&il asthe a"thor o a classical e#ic. Milton t"rne% his &reat classical an% /i)licallearnin& to a #oe$ to 'assert eternal #ro,i%ence an% "stiy the +ays o Go% to$en*.

'I $ay assert Eternal Pro,i%ence

An% "stiy the +ays o Go% to $en.*

Milton achie,e% e$inent s"ccess in $a0in& Para%ise Lost as classical e#ic. Ins#ite o certain %ra+)ac0s an% %eects Milton(s e#ic is entitle% to ta0e its ri&ht"l#lace a$on& hal a %o4en classical e#ics in the +orl%. The irst essential eat"reo the e#ic is its the$e. The the$e o an e#ic $"st ha,e a national i$#ortance or si&niicance= that is the e#ic $"st )e a tr"e an% aith"l $irror o the lie an% o anation. Ho$er re#resente% the national lie tho"&ht an% c"lt"re o ht Gree0s inthe Ilia% an% ?ir&il &a,e e#ression to the ho#es an% as#irations o the Ro$ansin the Aenei%. The 8all o Man is the the$e o the e#ic.

'O Man(s irst %iso)e%ience an% the r"itO that or)i%%en tree +hose $ortal taste/ro"&ht %eath into the +orl% an% all o"r +oe*

The e#ic action has three 2"aliications. 8irst it sho"l% )e one action secon%ly itsho"l% )e an entire action an% thir%ly it sho"l% )e a &reat action. In short theaction o an e#ic sho"l% )e one entire an% &reat. All these three 2"alities o e#icaction are ollo+e% )y Milton.

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Ill"$ine +hat is lo+ raise an% s"##ort*

In an% e#ic #oe$ the #oet narrates ,ery little in his #erson. The charactersthe$sel,es carry or+ar% the $ission o the #oet.

Lastly the lan&"a&e o an e#ic $"st )e s")li$e an% rose a)o,e the lan&"a&e oco$$on #arlance.

'- - - - - - - - - - - - - - - - - - - - 3hat tho"&h the iel%s )e lost5 All is not lost*

Aristotle o)ser,es that a s")li$e style can )e or$e% )y three $etho%s --- )y the"se o $eta#hors )y $a0in& "se o the i%io$s an% )y len&thenin& o the #hrase)y the a%%ition o +or%s. Milton e$#loys all these three $etho%s to &i,e the air o &ran%e"r to his e#ic. His si$iles an% $eta#hors are e#ical. Latin +or%s arere2"ently intro%"ce%. The style o Para%ise Lost is the tr"est ea$#le o &ran%

style. On one #lace Satan says:

'The $in% is its o+n #lace an% in itsel Can $a0e a Hea,en o Hell a Hell o Hea,(n*

On the other #lace:

'/etter to rei&n in Hell than ser,e in Hea,en.*

Milton(s Para%ise Lost is a s"ccess"l classical e#ic. Para%ise lost has th"s $anyecellences as an e#ic )"t the %eects in it also not )e or&otten. The intro%"ction

o alle&orical #ersons li0e sin an% %eath the re2"ent all"sions to heathen$ytholo&ical a)les the inter,ention o &rotes2"e inci%ents the re2"entin%"l&ence in #"ns an% "seless %is#lay o learnin& an% the "nnecessary "se otechnical ter$s as in the %escri#tion o Pan%e$oni"$ are so$e )le$ishes in thestyle o the #oe$.

One other #oint $"st also )e note%. An e#ic is an o)ecti,e #oe$ an% #ersonalrelections are o"t o #lace in it. /"t the $ost s")li$e #arts o Para%ise Lostrelect the in%i,i%"ality o the #oet. Ho+ e,er this has a%%e% to the interest o the+or0 as a #oe$ tho"&h it is not strictly s#ea0in& #er$issi)le in an e#ic.

ohn ;onne: a lo,e #oet

;onne +as the irst En&lish #oet to challen&e an% )rea0 the s"#re$acy oPetrarchan tra%ition. Tho"&h at ti$es he a%o#ts the Petrarchan %e,ices yet hisi$a&ery an% rhyth$ tet"re an% colo"r o his lo,e #oetry is %ierent. There arethree %istinct strains o his lo,e #oetry 6 Cynical Platonic an% Con"&al lo,e.



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#leas"re o se the oy o secret $eetin&. Ho+e,er he tries to esta)lish arelationshi# )et+een the )o%y an% the so"l. ;onne is ,ery realistic #oet.

Grierson %istin&"ishe% three %istinct strains in it. 8irst there is the cynical strain.Secon%ly there is the strain con"&al lo,e to )e notice% in #oe$s li0e

',ale%iction: or)i%%in& $o"rnin&*. Thir%ly there is #latonic strain. The #latonicstrain is to ) o"n% in #oe$s li0e 'T+ic0na$ Gar%en* 'The 8"neral* 'The/losso$s* an% 'The Pri$roses*. These #oe$s +ere #ro)a)ly a%%resse% to thehi&h-)orn la%y rien%s. To+ar%s the$ he a%o#ts the hel#less #ose o lirtationsan% in hi&h #latonic ,ein )oasts that:

;ierent o se no $ore +e 0no+Than o"r G"ar%ian An&lles %oe

In )et+een the cynical realistic strain an% the hi&hest s#irit"al strain there are an"$)er o #oe$s +hich sho+ an en%less ,ariety o $oo% an% tone. Th"s thee

are #oe$s in +hich the tone is harsh others +hich are coarse an% )r"tal stillother in +hich he hol%s o"t a $a0in& threat to his aithless $istress an% stillothers in +hich he is in a relecti,e $oo%. More oten that not a n"$)er ostrains an% $oo%s are $ie% "# in the sa$e #oe$. This $a0es ;onne as a lo,e#oet sin&"larly ori&inal "ncon,entional an% realistic.

3hate,er $ay )e the tone or $oo% o a #artic"lar #oe$ it is al+ays ane#ression o so$e #ersonal e#erience an% is thereore #resente% +ithre$ar0a)le orce sincerity an% serio"sness. Each #oe$ %eals +ith a lo,esit"ation +hich is intellect"ally analy4e% +ith the s0ill o an e#erience% la+yer.

Hence the %iic"lt nat"re o his #oetry an% the char&e o o)sc"rity ha,e )een)ro"&ht a&ainst hi$. The %iic"lty o the rea%ers is "rther increase% )y theetre$e con%ensation an% %estiny o ;onne(s #oetry.

The antastic nat"re o the $eta#hysical conceits an% #oetry +o"l% )eco$e clear e,en +e ea$ine a e+ ea$#les. In '?ale%iction: 8or)i%%en Mo"rnin&* tr"elo,ers no+ #arte% are li0ene% to the le&s o a co$#ass. The i$a&e is ela)orate%at len&th. The lo,ers are s#irit"ally one "st as the hea% o the co$#ass is onee,en +hen the le&s are a#art. One le& re$ains ie% an% the other $o,es ro"n%it. The lo,er cannot or&et the )elo,e% e,en +hen se#arate% ro$ her. The t+olo,es $eet to&ether in the en% "st as the t+o le&s o the co$#ass are to&ethera&ain as soon as circle has )een %ra+n.

At other ti$es he "ses e2"ally etra,a&ate% hy#er)oles. 8or ea$#le he$ista0es his )elo,e% to an an&el or to i$a&ine her less than an an&le +o"l% )e#roanity.

In ;onne(s #oetry there is al+ays an 'intellect"al analysis* o e$otion. Li0e acle,er la+yer ;onne &i,es ar&"$ents ater ar&"$ents in s"##ort o his #oints o


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,ie+. Th"s in '?ale%iction: 8or)i%%en Mo"rnin&* he #ro,es that tr"e lo,ers nee%not $o"rn at the ti$e o #artin&. In 'Canoni4ation* he esta)lishes that lo,ers aresaints o lo,e an% in 'The /losso$e* he ar&"es a&ainst the #etrarchan lo,etra%ition. In all this ;onne is a realistic lo,e #oet.

Cha"cer: Art o Characteri4ation

On the aisle o En&lish #oetry Cha"cer lo"rishes the antastic colo"rs o his+or%s an% #aints %ierent characters o his a&e +ith $in"te o)ser,ation. In%ee%he is a &reat #ainter +ho #aints not +ith colo"rs )"t +ith +or%s. n%o")te%ly hehas:

'The Seein& Eye the retenti,e $e$ory the "%&$ent to select an% the a)ility toe#o"n%.*

His 0een analysis o the $in"test %etail o his characters their %resses loo0san% $anners ena)le hi$ to #resent his characters lieli0e an% not $ere )loo%lessa)stractions.

His #oetical #iece 'The Prolo&"e to the Canter)"ry Tales* is a real #ict"re &alleryin +hich thirty #ortraits are han&in& on the +all +ith all o their %etails an%#ec"liarities. Rather it is a &ran% #rocession +ith all the lie an% $o,e$ent thecolo"r an% so"n%. In%ee%

'His characters re#resent En&lish society $orally an% socially in the real an%reco&ni4a)le ty#es*.

An% still $ore re#resentati,e o h"$anity in &eneral. So the characters inCha"cerBs 'The Prolo&"e* are or all a&es an% or all lan%s.

Cha"cer is the irst &reat #ainter o character in En&lish literat"re. Inact net toSha0es#eare he is the &reatest in this iel%. In 'The Prolo&"e to the Canter)"ryTales* the thirty #ortraits trace% )y Cha"cer &i,e "s an ecellent i%ea o thesociety at that ti$e. Ece#t or royalty an% aristocracy on one han% an% thero))ers or o"t casts on the other he has #ainte% in )rie #ractically the +holeEn&lish nation.

The thirty #il&ri$s incl"%in& the host )elon& to the $ost ,arie% #roessions. Theni&ht an% the S2"ire #resents the +arli0e ele$ent o the society. The learne%an% li)eral ,ocations are si&niie% )y the Man o La+ the ;octor the Oor%Cler0 an% the Poet hi$sel. The Merchant an% the Shi#$an stan% or the hi&herco$$ercial co$$"nity +hile the 3ie o /ath an e#ert Cloth $a0er re#resentsthe tra%ers an% $an"act"rers. A&ric"lt"re is re#resente% )y the Plo"&h$an theMiller an% the 8ran0lin. The "##er ser,ants li0e Manci#le an% the Ree,e an% thelo+er ser,ant li0e


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Cha"cer(s $etho% o #ortrayin& characters is a scientiic $anner )y%ierentiatin& the$ )y $eans o their o),io"s %istinctions. It +as or the irst ti$ein E"ro#ean literat"re that a +riter #ro,e% hi$sel clearly conscio"s o therelation )et+een in%i,i%"als an% i%eas. Moreo,er Cha"cer(s characters are

consistent an% instea% o )ein& static they &ro+ an% %e,elo# in the co"rse o thetale li0e li,in& h"$an )ein&s. They &i,e their o#inions on the stories that ha,e)een tol% an% these co$$ents re,eal their %o$inant tho"&hts their eelin&s an%the o)ects o their interests.

Th"s Cha"cer is the $aster in the art o characteri4ation.

Cha"cer: A H"$orist

H"$o"r is an essential in&re%ient o Cha"cerBs #oetry an% the )ac0-)one o 'TheProlo&"e an% The Canter)"ry Tales*. All the characters in The Prolo&"e ha,e)een h"$oro"sly %escri)e%. H"$o"r inact $a0es Cha"cer(s characteri4ation%istinct. A h"$orist is one +ho is 2"ic0 to #ercei,e the "nny si%e o the thin&san% +ho has the ca#acity to la"&h an% $a0es other la"&h at +hat is a)s"r% orri%ic"lo"s or incon&r"o"s.

Cha"cer is calle% the irst h"$orist o En&lish literat"re. No En&lish literary +or0)eore hi$ re,eals h"$o"r in the $o%ern sense. An% Cha"cer is a &reaterh"$orist than /occaccio. Cha"cer(s h"$o"r is consistent all #er,asi,e an%

intense as +e in% in Sha0es#eare(s #lays. He #aints all the characters in 'TheProlo&"e* in a h"$oro"s $anner. The ni&ht is as &entle as a $ai%= the S2"ireis too senti$ental in his lo,e to slee# at ni&ht= the 8riar has relations +ith the )ar-$ai%s instea% o the #oor= the Parson is too innocent an% Cler0 is too st"%io"s.Cha"cer e,en %oes not s#are hi$sel an% says:

'My +it is short ye $ay +ell "n%erston%e*

His h"$o"r has reine% an% so#histicate% to"ches an% it %oes not oen%any)o%y. 8or ea$#le +hen he tells "s that Prioress is so a$ia)le an% #leasantin her $anners that she ta0es #aints to i$itate the $anners o the co"rt +ecannot 0no+ +hether he is #raisin& her or la"&hin& at her aection:

An% "ll #leasant an% a$ia)le o #ort= An% #eyne% hire to co"nterete cheereO co"rt an% )een es(attich o $anere

/"t his h"$o"r is o the inest ty#e. It is #leasant an% sy$#athetic )eca"se he isa $an o #leasant te$#era$ent. He 0no+s that e,ery h"$an )ein& has one ty#e


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Mon0.

Cha"cer(s h"$o"r is +i%e in ran&e. It co,ers all 0in%s o h"$o"r ro$ %o+nri&ht o0es to &oo%-nat"re% stro0es +hen he #aints the #hysical a##earances ocharacters. 8or ea$#le he %escri)es Ree,e:

8"l lon&e +ere his le&&es an% "l lene


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#oetical #iece )"t a social history o En&lan%. He e#oses al$ost all the as#ectso his a&e as +ell as o the #eo#le alon& +ith the %etail o their a##earance se#roession attire an% con%"ct.

Cha"cer she% o the inl"ence o the 8rench an% Italian $o%els )ase% on

antasies an% %rea$s "#on +hich he ha% +or0e% or so lon& an% entere% thea)"n%ance o his o+n real sel. He +or0e% li0e a tr"e inter#reter or chroniclerrelatin& in a $ost realistic $anner the stories he ha% hear% +itho"t chan&e o+or%in& or tone.

The settin& o 'The Canter)"ry Tales* is hi&hly realistic. A #il&ri$a&e +as one othe $ost co$$on si&hts in the o"rteenth cent"ry En&lan%. To relate the storieso these #il&ri$s Cha"cer &i,es the ill"sion not o an i$a&inary +orl% )"t o realone. The $ore real the +orl% o his settin& is the $ore his tales )y contrastsee$s li0e tales e,en tho"&h so$e to the$ %eal +ith real e,ery%ay lie. nli0e/occaccio +ho in his tales 2"ic0ly sli#s )ac0 into ran0 artiiciality Cha"cer hel%

consistently to realis$ thro"&ho"t 'The Canter)"ry Tales*.

Gite% +ith an ac"te #o+er o o)ser,ation Cha"cer sees thin&s as they are an%he #ossesses the art o #rintin& the$ as he sees the$. He %oes not #roect thetint o his li0es an% %isli0es ,ie+s an% #re"%ices on +hat he #aints.

'Cha"cer sees +hat is an% #aints it as he sees it.*

In the #ortrayal o characters in 'The Prolo&"e* he &i,es "s his $in"te an%%elicate recor%s o %etails in %ress )eha,io"r +hich $a0es it a $i$e oo)ser,ation as ro$ the #ortrait o Prioress:

'She leet no $orsel ro$ hir li##es alleNe +ette hir yn&res in hir sa"ce %e#e3el 0o"%e she carie a $orsel an% +el 0e#eThat no %ro#e no ille "#on hir )rest.*

In 'The Canter)"ry Tales* Cha"cer has )len%e% la"&hter an% tears the co$ican% tra&ic as is o"n% in lie +ith s"ch case an% &race that his story-tellin&see$s li0e a ,eracio"s #ict"re o real lie. Tho"&h his #il&ri$a&e is re$ote or$o"r e#erience yet +e eel that this is +hat +e $i&ht see i +e co"l% t"rn thecloc0 )ac0 e+ cent"ries.

Cha"cer as a realist #resents )eore "s in The Canter)"ry Tales the #"lsatin& lieo the co$$on #eo#le. Cha"cer(s #il&ri$s tal0 o 'their #"rse their lo,e aairs or their #ri,ate en%s*. Their ,ision is conir$e% to the occ"rrences +ithin their#arish. This is the ty#ical ,ision o the co$$on #eo#le +hich is realistically#resente% )y Cha"cer in the Canter)"ry Tales.

Cha"cer(s %e#iction o the Shi#$an re#resents the salient eat"res o the tra%e.


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+here the $ost #o+er"l eect is #ro%"ce% )y the s"%%en contrast o theassociations o ')ri&ht hair* an% o ')one*. So it is to )e $aintaine% that$eta#hysical #oetry is the ela)oration o ar-etche% i$a&es an% co$$"nicate%association o #oet(s $ental #rocesses.

ohnson e$#loye% the ter$ 7$eta#hysical #oets( a##arently ha,in& ;onneCle,elan% an% Co+ley chiely in $in%. In their #oetry he re$ar0s:

'the $ost hetero&eneo"s i%eas are yo0e% )y ,iolence to&ether*.

The orce o this acc"sation lies in the act that oten the i%eas are yo0e% )"t not"nite%. /"t this is not )la$e+orthy in itsel as it has )een #ractise% )y a n"$)ero #oets an% e,en )y ohnson hi$sel. ohnson shre+% an% sensiti,e critic Eliotconcl"%es aile% to %eine $eta#hysical #oetry )y its a"lts.

Eliot a%o#ts the o##osite $etho% to %eine $eta#hysical #oetry. Instea% o callin&these #oets $eta#hysical he calls the$ 'the #oets o the se,enteenth cent"ry*.He ass"$es that these #oets +ere the %irect an% nor$al %e,elo#$ent o the#rece%ent a&e. 3itho"t #re"%icin& their case )y the a%ecti,e 7$eta#hysical( +e$ay consi%er '+hether their ,irt"e +as not so$ethin& #er$anently ,al"a)le*.

Eliot lays e$#hasis on the synthetic 2"ality in these #oets. Eliot #raises the$eta#hysical #oets or their s"ccess"l atte$#t to "nite +hat resists "niication.To "nite tho"&ht an% eelin& the #oetic an% "n#oetic or$ an% content +as the$ain 2"ality o the $eta#hysical #oets. Eliot #oints o"t the %ierence )y %i,i%in&

the #oets into t+o 0in%s: intellect"al #oets an% relecti,e #oets.

'Tennyson an% /ro+nin& are #oets an% they thin0= )"t they %o not eel theirtho"&h as i$$e%iately as the o%o"r o a rose. A tho"&h to ;onne +as ane#erience= it $o%iie% his sensi)ility. 3hen a #oet(s $in% is #erectly e2"i##e%or its +or0 it is constantly $er&in& %is#arate e#erience= the or%inary $an(se#erience is chaotic irre&"lar ra&$entary*.

In the $in% o the #oet e#eriences are relate% to one another an% ro$ ne++holes.

F ;ISSOCIATION O8 SENSI/ILIT<The #oets o the 1Jth cent"ry #ossesse% a $echanis$ o sensi)ility +hich co"l%%e,o"r any 0in% o e#erience. They are si$#le artiicial %iic"lt or antastic. Inthe 1Jth cent"ry %issociation o sensi)ility set in an% Milton an% ;ry%en the t+o&reat #oets carrie% on +ith this #rocess. 3hile the lan&"a&e )eca$e $orereine% the eelin& )eca$e cr"%er. The lan&"a&e )eca$e "nnat"ral an% artiicial./"t this %e,elo#$ent o lan&"a&e re%"ce% the i$#ortance o eelin&. The lo&icalconcl"sion o the inl"ence o Milton an% ;ry%en +as that:


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+hy it is +ritten in )o$)astic lan&"a&en heroic co"#let. Its style too is &ran%.

A $oc0-e#ic is a satire o an e#ic. It sho+s "s that e,en a tri,ial s")ect can also)e treate% on e#ical scale. The s")ect o 'The Ra#e o the Loc0* is tri,ial 6 alo,e %is#"te )et+een a la%y a% a &entle$an. Lor% /yron #ro#oses /elin%a +ho

reects his #ro#osal. /aron c"ts one o her )ea"ti"l loo0s. This tri,ial the$e has)een &i,en e#ical treat$ent as i it +ere so$e &ra,e e,ent o #ara$o"nti$#ortance.

The style o the #oet is $oc0-heroic. He e$#loys )o$)astic an% sho+y %ictionor tho"&hts an% i%eas +hich are not really &ran% 6 #o$#o"s e#ression or lo+action 6 or ea$#le the &a$e o O$)re ha% )een %escri)e% as a +ar o ner,esthe ta)le has )een ter$e% as the )attleiel% the %is#erse% car%s ha,e )een%"))e% as ro"te% ar$y etc.

Si$ilarly the #rocess o /elin%a(s $a0e 6"# has )een ter$e% s a%oration an%

the sacre% rites o #rice%. /elin%a is calle% 7inerior #riestess( an% her toilet an7alter( etc.

The #oet has e$#loye% the e#ical $etho% to hei&hten the eect i.e. the &reat has)een $a%e loo0 s$all an% ,ice ,ersa. The intro%"ction o the aerial $achinery is"se% or hei&htenin& o eect. /elin%a is an or%inary ashiona)le &irl )"t she has)een sho+n )ein& #rotecte% )y tho"san%s o s#irits. The tri,ial &a$e o O$)rehas )een co$#are% +ith a &ra,e +ar o ner,es. The or%inary li&ht )et+een thes"##orts o /elin%a an% those o Peter has )een co$#are% +ith the atal +ar)et+een &o%s an% &o%%esses an% their hair #ins ans etc. +ith +hich theyo"&ht ha,e )een ter$e% as 7%ea%ly +ea#ons( s#ears etc. The &rie o /elin%a

at the loss o the loc0 has )een co$#are% +ith the shoc0 at the %eath o ah"s)an% or a la#%o& or at the )rea0a&e o a China ,essel. Th"s the #oet raises ala#%o& to the le,el o a h"s)an% or re%"ces a h"s)an% to the le,el o a la#%o&.

The #oet has also e$#loye% e#ical an% heroic i$a&es +hich is one o the#rere2"isites o a $oc0-e#ic. 8or ea$#le /elin%a has )een na$e% as 7theairest o $ortals( the 7)ri&ht air(. The car%s ha,e )een calle% 7#arti-colo"re%troo#s(. The #air o scissors has )een ter$e% as a t+o-e%&e% 7+ea#on( 7littleen&ine( 7ore( 7atal en&ine( etc.

/elin%a(s %rea$s ha,e )een calle% $ystic ,ision. The air-#ins ha,e )eenco$#are% +ith 7%ea%ly +ea#ons( an% 7%ea%ly s#ears( etc. /elin%a(s eyes ha,e)een %"))e% as 7air s"ns(.

H"$o"r is one o the #rere2"isites o a $oc0-e#ic an% the #oe$ is "ll o h"$o"r an% its h"$o"r is #leasin& as co$#are% to S+it(s h"$o"r.

Moral is an essential #art o a $oc0-e#ic. This #oe$ is "ll o $orals ro$ the)e&innin& till the en%. Ho+e,er the s#eeches o /elin%a an% Clarissa are



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es#ecially soa0e% in $oral. /elin%a re#ents that she +o"l% ha,e )een ten ti$esha##ier i she ha% in%"l&e% hersel in the #"rs"its o the ashiona)le circle. Sothe $ore a +o$an e#oses hersel an% her )ea"ty the $ore her chastity is in%an&er.

RAPE O8 THE LOC SOCIAL SATIRE

As Sha0es#eare is the #oet o $an Po#e is a #oet o society. 'The Ra#e o theLoc0* is a social %oc"$ent )eca"se it $irrors conte$#orary society an% containsa social satire too. Po#e #aints a)o"t En&lan% in 1Kth cent"ry.

The +hole #anora$a o 'The Ra#e o the Loc0* re,ol,es aro"n% the alsestan%ar% o 1Kth cent"ry. Po#e satiri4es the yo"n& &irls an% )oys aristocratic+o$en an% $en their ree ti$e acti,ities nat"re o h"s)an%s an% +i,es the#roessional "%&es an% #oliticians o the %ay.

Po#e clearly %e#icts the a)s"r%ities an% the ri,olities o the ashiona)le circle othe 1Kth cent"ry En&lan%. The +orl% o /elin%a 6 the +orl% o ashion is a tri,ial+orl%. The +hole lie o /elin%a is conine% to slee#in& $a0e-"# enoy$ent an%all"rin& the lor%s. There are no transcen%ental ele$ents in her lie. This lie is$ar0e% )y ill-nat"re aection $ischie,o"sness co2"etry yiel%in& an%s")$issi,e nat"re ierce an% "nr"ly nat"re ini%elity chea#ness $eannesstri,ialities an% ri,olities etc. /elin%a re#resents all the ashion str"c0 +o$en)"sy in s"ch st"#i%ities.

The &allants o the ti$e ha,e not )een s#are% )y Po#e. /aron not onlyre#resents Peter )"t also ty#iies the aristocratic &allants o the a&e.

Po#e satiri4es $an(s nat"re that is al+ays +ea0 at )ea"ty. Men sacriicee,erythin& at the altar o )ea"ty an% e,en the $ost intelli&ent $an )eha,esoolishly +hen he all a ,icti$ to )ea"ty.

In or%er to $a0e his satire shar#er an% all the $ore eecti,e Po#e intro%"cesthe aerial $achinery +hich acilitates the satire. Thro"&h this +ea#on the #oetthro+s in contrast the +ea0nesses o the ashiona)le+o$en o that a&e. Hesatiri4es +o$en +ho are intereste% in ashiona)le lie an% its #"rs"its an% +ho&o on eercisin& their e,il inl"ence e,en ater their %eath. 8or the sa0e o +orl%ly&ran%e"r they can )i% are+ell e,en to their chastity an% hono"r. He satiri4es+o$en o iery co2"ettish $ischie,o"s an% yiel%in& nat"re an% &i,es the$%ierent na$es. It also #ro,i%es the #oet +ith an o##ort"nity to satiri4e the classconscio"sness o +o$en.

All the +o$en an% )ea"s &ather at the #lace +here they echan&e tal0s on tri,ialthin&s e.&. ,isits )alls il$s $otions loo0s eyes etc. an% 'at e,ery +or% are#"tation %ies*.


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'A )ea" an% +itlin& #erishe% in the thron&One %ie% in $eta#hor an% one in son&.*

Man(s a,o"rite acti,ity is to ta0e s"ere% +o$en to #lay +ith an. There issin&in& %ancin& la"&hin& o&lin& etc. an% nothin& else. 3o$en are )"sy

all"rin& the %"0es an% lor%s. The #oet relects the hollo+ness o $en in thecharacter o Sir Pl"$e +ho is co+ar% oolish an% senseless lac0in& co"ra&e.3o$en are on the +hole irresol"te an% they ha,e $a%e toysho#s o their hearts.They ha,e e,en illicit relations +ith the )ea"s. 3o$en are $eant only or theentertain$ent o $en +ho #lay toy +ith the$.

Po#e also satiri4es o the h"s)an%s an% +i,es o the %ay. H"s)an%s al+ayss"s#ect their +i,es. They thin0 that their +i,es ha,e )een $erry $a0in& +iththeir lo,ers.

3i,es are also not ,irt"o"s at all. They lo,e their la#-%o&s $ore than their

h"s)an%s. An% the %eath o h"s)an%s is not $ore shoc0in& than the %eath o ala# %o& or the )rea0a&e o a china ,essel.

So thro"&h the $e%i"$ o satire Po#e #aints a #ict"re o 1Kth cent"ry En&lishsociety. His satire is %i%actic an% i$#ersonal. It is not inlicte% a&ainst any #ersonor in%i,i%"al rather a&ainst the society an% that too o+in& to so$e $oral a"lts.He is %issatisie% +ith the society aro"n% +hich he +ants to reor$. The societyhe #ict"re% is the aristocratic &ro"# o 1Kth cent"ry ashiona)le En&lish society./"t thee are se,eral allie% s")ects too on +hich he inlicts his satire. 8orea$#le he satiri4e% the "%&e% +ho $a0e hasty %ecisions.

'The h"n&ry "%&es soon the sentence si&n An% +retches han& that "ry$en $ay %ine*

He also satiri4e% those rien%s +hose rien%shi# is )"t l"st those #oliticians+ho%o not ha,e a %ee#er insi&ht an% cannot see )eyon% the sho+s an% ta0e ste#s

"st or their o+n interests an% en%s etc.

To s"$ "# the #oe$ is a relection o this artiicial an% hollo+ lie #ainte% +ith ah"$oro"s an% %elicate satire. Po#e(s satire is intellect"al an% "ll o +it an%e#i&ra$. Is #ict"re o A%%ison as Attic"s tho"&h "n"st an% #ro$#te% )y $aliceis a )rilliant #iece o satire.

'As an intellect"al o)ser,er an% %escri)er o #ersonal +ea0ness Po#e stan%s )yhi$sel in En&lish ,erse.*

RAPE O8 THE LOC SPERNATRAL MACHINER


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Po#e e#lains that '$achinery* is a ter$ in,ente% )y the critics to si&niy the #art+hich %eities an&les or %e$ons #lay in a #oe$. He &oes on to say that the$achinery in this #oe$ is )ase% on the Rosicr"cian %octrine o s#irits in +hichthe o"r ele$ents are inha)ite% )y syl#hs ny$#hs &no$es an% sala$an%ers.

The syl#hs +hose ha)itation is in the air are the )est-con%itione% creat"res.

Po#e tells "s that )ea"ti"l +o$en ret"rn ater their %eath to the ele$ents ro$+hich they +ere %eri,e%. Ter$a&ants or ,iolent te$#ere% +o$en )eco$esala$an%ers or s#irit o the ire. 3o$en o &entle an% #leasin& %is#osition #assinto ny$#hs or +ater-s#irits. Pr"%ish +o$en )eco$e &no$es or earth s#irits.Li&ht-hearte% co2"ettes are chan&e% into syl#hs or s#irits o the air.

The irst an% the ore$ost acti,ity o the syl#hs is the #rotection o air an% chastela%ies +ho reect the $ale se. They &"ar% an% sa,e the chastity o $ai%ens an%sa,e the$ ro$ allin& ,icti$s to the 'treachero"s rien%s*. The &no$es or earth

s#irits ill the $in%s o #ro"% $ai%ens +ith oolish i%eas o )ein& $arrie% to lor%san% #eers. These &no$es teach yo"n& co2"ette to o&le an% #reten% )l"shin& atthe si&ht o ashiona)le yo"n& $en. Ho+e,er syl#hs saely &"i%e the $ai%ensthro"&h all %an&ers. 3hene,er a $ai%en is a)o"t to yiel% to a #artic"lar yo"n&$an $ore attracti,e an% te$#tin& $an a##ears on the scene an% theashiona)le $ai%en at once transers to the ne+ co$er. This $ay )e calle% le,ityor ic0leness in +o$en )"t it is all contri,e% )y the syl#hs.

In $ost o the a$o"s e#ics '$achinery* consists in s"#ernat"ral )ein&s li0e&o%s an% an&les +ho #lay a ,ital role in the #oe$s th"s sho+in& that the h"$an+orl% is not in%e#en%ent an% that s"#ernat"ral #o+ers ha,e an i$#ortant )earin&

in this +orl%. Po#e tho"&ht that his $oc0 e#ic +o"l% )e inco$#lete+itho"t$achinery. The $achinery o his #oe$ co$#rises the syl#hs le% )y Ariel.Po#e %escri)e% +ittily the occ"#ation an% tas0s o the syl#hs in &eneral.

Ariel an% his ollo+ers +ere assi&ne% h"$)le )"t #leasant %"ty o ser,in&ashiona)le yo"n& la%ies. Their "nctions are %escri)e% h"$oro"sly incl"%in&sa,in& the #o+%er ro$ )ein& )lo+n o ro$ the chee0s o la%ies #re,entin&scents ro$ e,a#oratin& #re#arin& cos$etics teachin& the la%ies to )l"sh an% to#"t on enchantin& airs s"&&estin& ne+ i%eas a)o"t %ress.

The syl#hs sho+ a %eli&ht"l %o+nscalin& o the e#ic $achines. They are heroicstan%ar%s )"t eel scare% +hen a crisis a##roaches. They are /elin%aBsco"nselors. They e#lain the ,ario"s anieties that $a0e "# /elin%aBs %ay.

'The Ra#e o the Loc0* $ay )e %escri)e% as a satirical co$e%y o $anners. Thesyl#hs in this #oe$ are )oth in $irror an% $oc0 c"sto$s an% con,entions o thesociety o the ti$e. /elin%a is tol% in a %rea$ a)o"t the %an&er o lie.

Reass"rin& /elin%a in this +ay Ariel is in act "n%er$inin& her $oral #osition. He


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e#lains ho+ a +o$an(s %eence is achie,e%. A $ai% +o"l% all to 8lorio i;e$on +ere not at han% to %i,ert her attention. It is the syl#hs +ho $a0e her %othat.

The $achines are #resent at e,ery cr"cial sit"ation in the #lay. The syl#hs are

#resent %"rin& /elin%a(s o"rney )y )oat to Ha$#ton Co"rt. They ha,e )een+arne% )y Ariel to re$ain alert an% ,i&ilant. 8ity o the$ ta0e char&e o /elin%a(s#etticoat. They atten% on her +hen she #lays O$)re. They ho,er aro"n% her+hen she si#s coee an% they +ith%ra+ only +hen Ariel sees 'an earthly lo,erl"r0in& at her heart*. A &no$e calle% $)riel &oes to the ca,e o S#leen an%)rin&s a )a& "ll o si&hs so)s screa$s an% o"t)"rsts o an&er an% a #hial ille%+ith aintin& its &entle sorro+s sot )ries etc. all o +hich are release% o,er/elin%a. An% then syl#hs are #resent to +itness the li&ht o /elin%a(s loc0 o hairto the s0y.

The syl#hs +ere a%%e% to the #oe$ not si$#ly as shinnin& trin0ets an% three-

#enny )its to a Christ$as #"%%in& )"t to %e,elo# an% la,o"r the +hole. Theyi$#ro,e the literary an% h"$an $oc0ery. The $achinery o syl#hs is the #rinci#alsy$)ol o the tri,iality o /elin%a(s +orl%. 'The li&ht $ilitia o the lo+er s0y* is a#aro%y o )oth Ho$eric %eities an% Miltonic &"ar%ian an&les. Li0e these theyha,e an a$)i&"o"s stat"s= they eist +ithin an% +itho"t the characters. Thesyl#hs +ho #rotect /elin%a are also her acce#tance o the r"les o socialcon,ention +hich #res"$e that a co2"ette(s lie is a #"re &a$e.

The $achinery o syl#hs in this #oe$ is ,astly s"#erior to the alle&orical#ersona&es o res#ecti,e $oc0-e#ics. It allo+s Po#e to sho+ his a+areness othe a)s"r%ities +hich ne,ertheless is char$in& %eli&ht"l an% ille% +ith a real

#oetry. The $yth also allo+s hi$ to s"&&est that the char$ in #ast at leasts#rin&s ro$ the ,ery a)s"r%ity.Machinery ser,es ,ario"s #"r#oses in the #oe$. It i$#arts s#len%o"r an%+on%er to the actors an% the actions in the story. Li0e Ho$er(s &o%s Po#e(ssyl#hs $o,e easily in an% o"t o the lo+er +orl%. 3hat they really stan% or 6e$inine hono"r lirtation co"rtshi# the necessary ri,alry o $an an% +o$an 6 isseen in its essence an% is al+ays )ea"ti"l.

These 'li&ht $ilitia o the lo+er s0y* increase %ra$atic s"s#ense an% story%e#th. They hel# to "ni,ersali4e the +hole action. They are in )in%in& sy$)olis$o the little %ra$a.

The syl#han $achinery is s"#er). Ariel oers a satanic s")stit"te or Christianity. A%%ison a%,ise% Po#e a&ainst a%%in& the $achinery o the syl#hs to the #oe$)"t that Po#e i&nore% the a%,ice. Po#e s"ccee%e% e$inently in his %esi&n ointro%"cin& his ele$ent.

Accor%in& to ohn ;ennis Po#e(s $achinery contra%icts the %octrine o theChristian reli&ion an% all so"n% $orality. They #ro,i%e no instr"ction an% $a0e no


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i$#ression "#on a sensi)le rea%er. Instea% o $a0in& the action +on%er"l an%%eli&ht"l they ren%er it a)s"r% an% incre%i)le. ;ennis( o#inion is ho+e,er notso"n% or con,incin&.

Para%ise Lost: Treat$ent o +o$en

REATMENT O8 3OMEN IN !PARA;ISE LOST!ORCOMPARISON /ET3EEN A;AM E?E

A%a$ an% E,e are the ,ery irst h"$an co"#le an% the #arents o the +holeh"$an race an% the $aster#iece o Go%(s art o creation #ri$arily li,e% inE%enli)erty to enoy e,erythin& a,aila)le there +ith only one restriction that they+ere not to eat the or)i%%en r"it there )"t they co"l% not act "#on this c"r)thereore Go% #"nishe% the$ or their %iso)e%ience an% e#elle% the$ ro$

Para%ise.

3hen +e $a0e a care"l an% critical analysis o 'Para%ise Lost* /oo0 I9 +e%isco,er that in s#ite o ha,in& $any co$$on eat"res o character an%#ersonality )oth A%a$ an% E,e ha,ea +orl% o %ierence )et+een the$ as +ell./oth o the$ are $a%e o clay +hich is an in%escri)a)le )ea"ti"l &ar%en inHea,en. Go% ha% &i,en the$ the ha,e stea%ast aith in Go% an% e2"ally lo,eeach other yet at the sa$e ti$e they are %i,i%e% in o#inion a)o"t their +or0#assionear o an ene$y.

As ar as E,e is concerne% she #ossesses e$ale char$ an% attraction a

s"&&esti,e an% "stiyin& $in% a rational an% con,incin& $anner o con,ersation)"t at the sa$e ti$e she is hi&hly coni%ent short si&hte% ealo"s an% %el"%e%a)o"t her #o+ers.

A%a$ on the other han% is an e$)o%i$ento sa&acity $o%erationcontent$ent oresi&hte%ness 0no+le%&e $an0in% #assionatelo,e an%sacriice.

3hen E,e rationally s"&&ests that they sho"l% +or0 se#arately )eca"se +henthey are to&ether they +aste $ost o their ti$e in #etty thin&s. A%a$oresi&hte%ly o)ects the i%ea an% re$in%s her o the %an&er o her )ein&se%"ce% )y Satan. At this she #o"nces "#on hi$ or s"s#ectin& her aith"lness.She also "n%er-esti$ates their ene$y. A%a$ tries his )est to con,ince her thatthey sho"l% not se#arate ro$ each other )"t she re$ains "n$o,e%. At last heretreats an% rel"ctantly allo+s her to +or0 ater her o+n heart an% th"s they #artro$ each other or the ,ery irst ti$e an% this ,ery alienation in act lea%s totheir e#"lsion ro$ Hea,en.

Satan +ho #ossesses a &reat %eter$ination an% an "nyiel%ino+er an% e,er-



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sche$in& $in% is in act arai% to ace A%a$ )eca"se o his #hysical stren&thintellect"al#o+ers &reatco"ra&e an% i$#ressi,e$anlihoo%. He thereore isal+ays in search o an o##ort"nity to in% E,e alone so that he $ay s"ccee% inhis e,il an% re,en&e"l%esi&ns a&ainst Go% an% His $aster creat"re. Aterass"$in& the sha#e o a ser#ent +hich is the $ost c"nnin& o all ani$als he

$ana&e% to enter E%en +here he in%s his tar&et that E,e is allalone)"sy+ithher +or0. He ,ery cle,erly starts #raisin& an% latterin& her that she is 'thesole $istress* 'the 2"een o this "ni,erse* 'the e$#ress* an% 'the h"$ane&o%%ess*. 3hen she in the state o "tter a$a4e$ent as0s hi$ ho+ he cans#ea0 +hile he is a ser#ent he relates a a0e story o his tastin& the or)i%%enr"it o 0no+le%&e

3hen she tells hi$ a)o"t the +arnin& o Go% that tastin& the r"it o 0no+le%&eco"l% res"lt in %eath he +ashes her )rain )y sayin& that this r"it +ill raise her tothe stat"re oGo% an% that she +ill not %ie )eca"se he is a li,in& ea$#le )eoreher eyes. She is "llyentra##e% )y the oily ton&"e o Satan tastes the or)i%%en

r"it %"e to short si&hte%ness an% o,er coni%ence. Ater eatin& the r"it shethin0s i she %ies Go% +ill create another E,e or A%a$ an% he +ill li,e a lon& lieo e,erlastin& enoy$ent +ith the ne+ E,e. This ,ery tho"&ht arises in her anintense eelin& o ealo"sy or the irst ti$e an% she $o"nts to A%a$ to tell hi$a)o"t her )l"n%er.

On the other si%e A%a$ restlessly +aits or her +ith &arlan% o )ea"ti"l an%attracti,e lo+ers to +elco$e her )ac0 )"t she %oes not reach at the ie% ti$e.He &oes o"t in search o her an% in%s her on the +ay +ith a )o"&h oa##lestal0in&-ser#ent an% her act o tastin& the or)i%%en r"it. A%a$ lea,es a%ee# si&h o &rie an% scol%sher )"t at the sa$e ti$e his #assionate lo,e or E,e

o,er #o+ers hi$ an% he e#resses his "ncontrolla)le senti$ents o lo,e in theollo+in& a$o"s ro$antic an% e$otional +or%s:

The lin0 o nat"re %ra+ $e= lesh o $y lash/one o $y )one tho" art an% ro$ thy stateMine ne,er shall )e #arte%= )liss or +oe.

Th"s A%a$ also eats the or)i%%en r"it %eli)erately "st or the sa0e o hislo,e#reers a +o$an to o)e%ience o Go%.

In the en% +e can concl"%e that )oth A%a$ an% E,e are res#onsi)le or their sino%iso)e%ience an% their conse2"ent e#"lsion ro$ Hea,en. It is ho+e,er clear that E,eis entra##e% )ythe &li)-ton&"e an% the #raisin& +or%s o Satan +hile

A%a$ alls a #reyto his #assionate lo,e or E,e. an% the an% its $irac"lo"seects. in her han%. She tells hi$ all a)o"t the or E,e or A%a$ eels hi$selinco$#lete +itho"t E,e.

The Ra#e o the Loc0 as a Moc0-heroic Poe$


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3hen Po#e calle% the #oe$ 'an heroico$ical #oe$* he inten%e% to $ean it a$oc0-e#ic. He co"l% ass"$e that his ei&hteenth cent"ry rea%ers e%"cate% in the

classical an% 0no+le%&ea)le a)o"t e#ic +o"l% reco&nise that it +as a $oc0ery./esi%es the $oc0-e#ic +hich /oilea" ha% esta)lishe% as a %istincti,e #oetic&enre +ith his #oe$ Le L"trin +as +ell-s"ite% to the ei&hteenth cent"ry. nli0ethe )"rles2"e +hich la$#oons the e#ic it #lays o a hi&h sense o the heroica&ainst the %i$inishe% scale o conte$#orary lie. In this conrontation Po#e$i&ht )e e#ecte% to ha,e a clear alle&iance to the classical e#c #oets. His,eneration o the classical anti2"ity is on recor% in the Essay on Criticis$ an%his lo+ o#inion o the &eneral character o conte$#orary lie is e,i%ent in theMoral Essays an% Inti$ations o Horace. It is +orthy o re$ar0 thereore that inThe Ra#e o the Loc0 Po#e #resents a +orl% %o$inate% )y tri,ialities in ter$s oan e#ic &ran%e"r. The ashiona)le society o the )ea" an% )elles is not only

allo+e% the %eects )"t also the a%,anta&es o its scale. In the $i%st o its ironiesthe #oe$ %eli&hts in the eotic #re#arations an% instr"$ents o /elin%a(s toiletan% in the e2"isiteness o the syl#hs. It eten%s ra#t"ro"s co$#li$entary to/elin%a an% e#resses &en"ine sy$#athy or the #athetic ate o the )elles it$oc0s.Many o Po#e(s o0es in the #oe$ %eri,e their si&niicance ro$ the e#ic tra%ition.E#ic s")ects +ere &ran%= or instance the Troan 3ar Ilia% the o"n%in& the$eAenei% the 8all o Man Para%ise Lost +ere narrate% at len&th in t+el,e or$ore )oo0s each consistin& o se,eral h"n%re% lines. The e#ic hero alsotra,erse% a +i%e &eo&ra#hical area enco"nterin& )attles ro$antic interl"%es

o"rneye% )y lan% an% sea an% e,en %escen%e% into the "n%er+orl%. 8ro$ on

hi&h the &o%s +atche% the h"$an %ra$a inter,enin& +hen they chose at critical$o$ents. S"ccess or the hero +as %e#en%ent "#on the s")#lot o %i,ineintri&"e as +ell as his o+n co"ra&e an% s0ill. The $oc0 heroic i$itate% the $ostreco&nisa)le as#ects o the e#ic its or$ an% ele,ate% lan&"a&e. It "se% aninlate% style to ri%ic"le the #retensions an% #o$#osity o $inor 2"arrel. Po#ealso )orro+e% ela)orate #hrases an% si$iles ro$ the &reat e#ics o the +esterntra%ition. The o0e lies in his a##lyin& this ele,ate% lan&"a&e to 'the lie o the$o%ern la%ies in the i%le to+n* as he %e#recatin&ly %escri)e% the s")ect o !TheRa#e o the Loc0! in a letter to a la%y rien%.Po#e conscio"sly i$itates the e#ic o#enin& in his irst t+el,e lines +hich $ay )ecalle% the in,ocation in the a##ro,e% e#ic $anner. He too +ill 7sin&( his s")ect+hose i$#ortance he in%icates )y in,erte% synta an% ele,ate% lan&"a&e: '%ireoence* '$i&hty contest* 'tas0s so )ol%*. He a%%resses the $"se in or%er toin,o0e ins#iration. His tone %oes &ather %ecla$atory e#ic rin& as he co$$an%sthe &o%%ess: 'Say +hat stran&e $oti,e@5* At so$e #oints +e )e&in to sensethat Po#e is not $oc0in& the e#ic or$ so $"ch as la"&hin& at his s")ect. Once+e realise that +e are rea%in& a $oc0-e#ic it casts a %ierent li&ht on thea##arent sole$nity an% %i&nity o Po#e(s #ro#ositions an% in,ocation. The irsthint o the $oc0-e#ic co$es ro$ the thir% line o the #oe$ +hen Po#e cre%its a


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h"$an )ein& Caryll rather than the $"se +ith ins#irin& his #oe$. The lines ro$i,e to si ha,e the eect o an anticli$a:'Sli&ht is the s")ect )"t not so the #raise I she ins#ire an% a##ro,e $y lays.*

As or the s"#ernat"ral $achinery +hich neoclassical criticis$ consi%ersin%is#ensa)le or an e#ic Po#e re,eals re$ar0a)le in,enti,eness. The syl#hs o

!The Ra#e o the Loc0! are Po#e(s $oc0in& recreation o the &o%s +ho +atcho,er the heroes o e#ics an% &"i%e their ort"ne. It is nicely ittin& that Po#e(ss"#ernat"ral )ein&s +ho are s"##ose% to i$itate Ho$er(s %eities an% Milton(san&els are tiny rail an% #o+erless. Altho"&h they are an a$al&a$ o e#ic$achinery Rosicr"cian lore an En&lish tale@ they are essentially Po#e(sin,entions. As or e#ic )attles the &a$e o o$)re at the centre o the #oe$ is#resente% in ter$s o a $i&hty e#ic contest catchin& re#eate% echoes o Troan3ar an% the +ar in the hea,ens. As or the e#ic "n%er+orl% there is an eecti,eco"nter#art in the Ca,e o S#een in !The Ra#e o the Loc0! +hich is contraste%+ith the Gol%en &litterin& )ea"ty o /elin%a(s %eli&ht"l en,iron$ent.Po#e +as also $in%"l o the act that a $oc0-e#ic sho"l% ha,e a $oral "st as

an e#ic %oes. Clarissa(s s#eech in !The Ra#e o the Loc0!o#ens o"t the $oral othe #oe$ a)o"t the ashiona)le society. The s#eech can )e ta0en as an atte$#tto re%eine or conte$#orary +o$en a conce#t o hono"r +hich a##ly to $alee#ic heroes. In the +orl% o )elles hono"r )eco$es co"ra&e to ace %ecay +ithh"$o"r an% %"ty to "se the #o+er o )ea"ty +ell.

;ierence )et+een E#ic an% Moc0 E#ic

This +ill clear t+o 2"estion Para%ise Lost as an e#ic an% Ra#e o the Loc0 as$oc0 e#ic

The E#ic

The e#ic is &enerally %eine%: A lon& narrati,e #oe$ on a &reat an% serio"ss")ect relate% in an ele,ate% style an% centere% on a heroic or 2"asi-%i,inei&"re on +hose actions %e#en%s the ate o a tri)e a nation or the h"$an race.The tra%itional e#ics +ere sha#e% )y a literary artist ro$ historical an% le&en%ary$aterials +hich ha% %e,elo#e% in the oral tra%itions o his nation %"rin& a #erio%o e#ansion an% +arare /eo+"l The O%yssey The Ilia%.

'An eten%e% narrati,e #oe$"s"ally si$#le in constr"ction )"t &ran% in sco#eealte% in style an% heroic in the$e oten &i,in& e#ression to the i%eals o anation or race. *

E#ic Con,entions or characteristics co$$on to )oth ty#es incl"%e:


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1. The hero is a i&"re o &reat national or e,en cos$ic i$#ortance "s"ally thei%eal $an o his c"lt"re. He oten has s"#erh"$an or %i,ine traits. He has ani$#osin& #hysical stat"re an% is &reater in all +ays than the co$$on $an.

F. The settin& is ,ast in sco#e. It co,ers &reat &eo&ra#hical %istances #erha#s

e,en ,isitin& the "n%er+orl% other +ortl%s other ti$es.

. The action consists o %ee%s o ,alor or s"#erh"$an co"ra&e es#ecially in)attle.

D. S"#ernat"ral orces interest the$sel,es in the action an% inter,ene at ti$es.The inter,ention o the &o%s is calle% !$achinery.!

. The style o +ritin& is ele,ate% e,en cere$onial.

. A%%itional con,entions: certainly all are not al+ays #resent

1. O#ens )y statin& the the$e o the e#ic.

F. 3riter in,o0es a M"se one o the nine %a"&hters o Qe"s. The #oet #rays tothe $"ses to #ro,i%e hi$ +ith %i,ine ins#iration to tell the story o a &reat hero.

. Narrati,e o#ens in $e%ia res. This $eans !in the $i%%le o thin&s! "s"ally+ith the hero at his lo+est #oint. Earlier #ortions o the story a##ear later aslash)ac0s.

D. Catalo&s an% &eneaolo&ies are &i,en. These lon& lists o o)ects #laces an%

#eo#le #lace the inite action o the e#ic +ithin a )roa%er "ni,ersal contet.Otenti$es the #oet is also #ayin& ho$a&e to the ancestors o a"%ience$e$)ers.

. Main characters &i,e eten%e% or$al s#eeches.

. se o the e#ic si$ile. A stan%ar% si$ile is a co$#arison "sin& !li0e! or !as.! An e#ic or Ho$eric si$ile is a $ore in,ol,e% ornate co$#arison eten%e% in&reat %etail.

J. Hea,y "se o re#etition an% stoc0 #hrases. The #oet re#eats #assa&es thatconsist o se,eral lines in ,ario"s sections o the e#ic an% "ses ho$eric e#ithetsshort rec"rrent #hrases "se% to %escri)e #eo#le #laces or thin&s. /oth $a%ethe #oe$ easier to $e$ori4e.

Aristotle %escri)e% si characteristics: !a)le action characters senti$ents%iction an% $eter.! Since then critics ha,e "se% these criteria to %escri)e t+o0in%s o e#ics:


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starte% the narrati,e in $e%ias res. In $o%ern "se the ter$ !e#ic! is &enerallya##lie% to all len&thy +or0s on $atters o &reat i$#ortance. The Rha#so%oi#roessional reciters $e$ori4e% his +or0 an% #asse% it on )y +or% o $o"th as#art o an oral tra%ition.


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