Monday, 18 January 2021

'The English Patient' Critical Analysis; Identity Crises in the novel. Literature Review of 'The English Patient' by Michael Ondaatje

 




Literature review

The novel “The English Patient”, written by Philip Michael Ondaatje, has been analysed largely by different critics since its publication and is acclaimed by many as the best literature of all time. This study has aimed at identifying the crises of identity in the novel “The English Patient”. The lens that has been used is that of Erikson’s psychosocial development of identity (McLeod, 2018), a closely related theory to psychoanalysis of Sigmund Freud. Different characters of the novel especially the protagonist Almasy, has been analysed in the light of this theory.

“The English Patient” written in 1992, tells the story of a badly burned man named Almasy, referred to as the English patient in the novel. His Canadian nurse Hana, Kip an Indian sapper in the British Army, Katherine, the married lady with whom Almasy developed an intimate relation of love, Katherine’s husband Geoffrey Clifton, and Caravaggio a Canadian thief enlisted as a spy in the British Royal Army. The novel’s setting is that of the end of the World War two. The four characters of the novel: Almasy, Hana, Kip, and Caravaggio are staying at a deserted Villa during the end of the war (WW2) in the novel. the novel is a gradually revealed story of the critically burned man, ‘The English Patient’ and his affair with Katherine.

The metaphysical aspects of body, history, and nation in the novel used by Ondaatje has been discussed by Christopher McVey (McVey, 2014), In which McVey has examined the connection between body, history, and nation in the novel. Where it has been shown that the novel, although dramatizes and answers to the questions concerning national belonging and community, still tries to escape the shackles of identity and nationality, as Almasy the English patient, says to Catherine, “Ownership. I hate being owned.” Or at another place he declares, “All I wanted was a world without map” (Ondaatje, 1992).

Almasy rejects the notion of ownership and identity and denies any attachment to any material thing or any place on Earth. His views about the desert are the same where he thinks of the desert as something that cannot be owned or controlled, “The desert should not be owned” (Ondaatje, 1992) he famously says in the novel.

The aspects of the treatment of memory have been analysed by Amy Noval and Mirja Lobnik (Novak, 2004) (Lobnik, 2007).  Memory, in their views, is the capacity of the mind by which any data or information is encrypted, saved, and recovered whenever needed. Almasy, after being burned badly, is unable to remember all the information and says quite frequently “I think so” in the novel. his memory is being washed away partly by the fire that burned him, and partly because he does not want to recall it, which he eventually does in the novel anyway. This notion makes a link with his refusal of identity and proves that identity is not something that is very clear in the course of “The English Patient”.  

In addition to this, Herodotus and his references have been explored lucidly by Thomas Harrison and Rachel Friedman in the novel (Harrison, 1998) (Friedman, 2008). Herodotus is the protagonist’s ideal and Almasy not only follows his teachings, but also reads him in the novel. Furthermore, Almasy fell in love with Katherine while she was reading Herodotus. This is the reason for the main conflict of the story and the identity crises that erupts afterwards in the novel.

Furthermore, the effects of World War two are being rampant on all the characters in the novel. Even the cause of anxiety for the characters of the story and their scepticism for identity. Almasy and Katherine met their eventual downfall because of war. Hana is being, time and again, traumatized and agonized by the cruelties of war done on her part, making her lose her father and lover. Caravaggio is being questioned and tortured. Hence in this sense, all the characters in the novel are one way or another, affected by the war up to great extent. Such and other similar aspects of the novel have been analysed by Madhumalati Adhikari (Madhumalati).

The psyche of the characters especially of Almasy is under observation in this particular study. A close psychoanalytical analysis of “The English Patient” discloses that no matter how different the outer appearances would be, as long as the inner sides of the people living in the same place resembles, it is quite possible for them to live with harmony with one another at one place (Mala, 2015) (Pesc, 1999). Just like all the four characters of the novel: Hana, Kip, Caravaggio, and the English Patient live in one place, at the reconstructed villa San Girolamo. Although they all are from different places, origins, cultures, and religions, still they are living at one place for some time and share their stories with one another. This shows that true cultural identity is not really needed for humans to live among one another. Humans can live with each other collectively no matter which race or culture do they belong to.

Identity is ‘the distinguished character or personality of an individual’. In the field of psychology, even more detailed and variable definitions of different kinds of identities are being given by Erikson. Perhaps he is the first one to coin the term ‘identity crisis’.

The researcher has tried to analyse the text and has searched for aspects of identity in the novels using Erikson’s model of identity crises. The researcher has analysed the text by applying a theory of Erikson’s psychosocial development theory (Cherry, 2020), closely related to Freud’s Psychoanalytic theory.

 Erikson was a theorist of ego psychology. Erikson was the one who introduced the famous theory of identity development. Although the theory was influenced by Sigmund Freud’s Psychoanalyst theory, Erikson’s theory mostly focuses on psychosocial development unlike Freud’s psychosexual development.

 Erikson has defined and distinguished between ‘ego identity’, ‘idiosyncrasies’, and ‘social’ or ‘cultural identity’. ‘Ego identity’ simply refers to ‘the self’, ‘idiosyncrasies’ or the ‘personal identity’ is the identity that distinguishes one person from another, and ‘social identity’ is the identity that is being given to him by the society due to his role that he plays in the society (Erikson, 1968) (Erikson, Identity and The Life Cycle , 1959). In the views of Erikson, when ego identity is strongly inbuilt, in an established and firmly rooted society, it results in a powerful sense of identity. Similarly, a lack of such identity will result in the crisis of identity or perplexity (Cote & Levine, 2002).

 According to the “Neo-Eriksonian” identity paradigm, steered largely by James Marcia, the paradigm centres on the notions of ‘exploration’ and ‘commitment’. The focus of this is that any person’s sense of identity is decided by the explorations that he or she makes concerning certain personal and social qualities. A person might show either considerable weakness or considerable strength in terms of both exploration and commitments.  Marcia further gives the four types of identity namely: Foreclosure, Identity diffusion, moratorium, and Identity achievement (Clarke & Justice) (Marica).

 In Foreclosure, an obligation is made without any substitute. Like ideas and views that are being told by the ancestors and elders. In Marcia’s words, “the individual about to become a Methodist, Republican farmer like his Methodist, Republican farmer father, with little or no thought in the matter, certainly cannot be said to have “achieved” an identity, in spite of his commitment”. (Marcia). According to Marica, once an identity crisis takes place, it is almost Impossible to return to foreclosure status (Marcia).

 Identity diffusion is the state when one’s identity is not sure or formed and the individual does not care or try to find his identity, like the identity of a newly born baby or those diagnosed with schizophrenic, although, it can affect an individual’s status in the society resulting in his alienation in the society. This type of identity is something negative and can be fatal (Marcia) (Birch, 1997).

Moratorium is the identity condition of those who are in the middle of their identity crises.  Such individuals’ allegiances are either not totally present or if present, are not lucidly defined, but they are constantly trying to explore them. (Clarke & Justice). According to Marcia for such individuals the world is not something foreseeable place, hence they continuously try to make it so, resulting in more anxiety in their mental state (Marcia). This phenomenon was termed by Gail Sheehy as, “provisional Adulthood”.

Identity achievement is the stage where an individual reaches after experiencing his or her crises state starting from diffusion through moratorium, finally reaches to this stage of identity achievement (Marica). In other words, this is the stage where an individual gains his or her ego identity.

 In “The English Patient” we see all these aspects of identity and identity crises going on side by side in different characters. Almasy, the protagonist of the novel especially deals with all these aspects of identity. Almasy in the very first place, rejects the notion of identity and belonging, as he famously says that he does not like to be owned. His connection with Herodotus is also evident of this as both are from different time period but are still connected with each other, thus rejecting the importance of identity. Almsy, from the start of the novel, is of the view that identity is nothing else but a delusion and false hope, he does not like the notion of belonging to countries and the identities attached with them, as he says, “I came to hate nations” (Ondaatje, 1992).

Almasy, the protagonist of the novel, loves the desert for the reason that it “erases everything” in its sand storms and belongs to no one. Almasy tells Hana that he didn’t need his name and identity while living in the desert, “erase the family name”. He also said that, “Erase nations! I was taught such things in the desert” (Ondaatje, 1992). He sticks to these principles throughout the novel, finally erasing his own identity by burning in the fire.

Although, Almasy is having a distinguished personality and sometimes behaves in strange ways, but still he does not want to be attached with anything or any place. Thus, identity becomes nothing but a delusion in his books. Almasy’s affair with Katherine, in the first place, is the brazen evidence of his no concern for any one’s true identity. As Katherine is someone’s wife and is in a serious relationship of wedlock, but still, Almasy doesn’t care about that and develop an intimate and sexual relationship with her anyway.

 Similarly, other characters of the novel also display this lack of belongingness and the absence of any true identity. If they are attached with anything or anyone, that is just because they want some kind of escape from their present situation. Hana is devoted to her profession of nursing (an attachment), just because she wants to be busy in her life, not remembering her agonies of life and the people she lost. Her temporary connection with the English patient is because she wanted to escape into her little world of fantasy, where she wants to be with someone who will never leave her and will stay with her no matter what.

The most conflicting character of the novel Kip, although is from India, is serving in the British Army thus ignoring his true identity. Although he is still emotionally attached with his country, but we don’t find any passage where he openly expresses this desire. He is miles and miles away from his native country serving in the army of those who have colonized his motherland. Thus, kip actually doesn’t care for the attachment and identity.  His departure, back to India, at the end of the novel, simply shows his emotional withdrawal when he found out about the bombing of Hiroshima and Nagasaki, and leaves the British Army that gave him a sense of identity (temporarily), is another example of the notion that he doesn’t care for any fixed identity.

The desert itself, in the novel, is a lucid sign of uncontrollable identity and of something that cannot be tamed. The desert is being tried to explore by the scientists, including Almasy, but they are constantly in vain. The desert, in this sense, proves the notion of lack of belongingness and attachment. Also, the shape of the desert changes regularly with sand storms that occurs in the desert time by time. Only one of the hills has been termed as, ‘the shape of a woman’s back’. Thus, anyone who will try to map or control it, will ultimately find himself nowhere, and will be lost forever (Gultekin).

Similarly the novel did not directly talk about the Erikson’s ‘ego identity’, rather it tells us about the lost identities (the burned English Patient) or the delusional identities (the desert). About the idiosyncratic identity, the novel shows this in the form of all the characters living in the villa or the soldiers serving in the army. All the main characters of the novel belong to different cultures and nationalities but are living in the same place. Almasy is a Hungarian, Hana is a Canadian nurse serving for the allies as a nurse, Kip in Indian and is serving in the Royal army of the British, and Caravaggio actually an Italian, but serving as a spy for the British intelligence.

 So, in the light of above argument, the element of ‘idiosyncratic identity is there in disguise but in spite of that the characters live in one place, rejecting this type of identity. Even in the desert, all the scientists and the locals belong to different cultures and are having their own so-called identities but are bound to work together and side by side. We see in the novel that the ‘social identity’ of all the characters, is clearly defined and is there. Almasy is a Hungarian and is a member of Hungarian expedition society, serving as a cartographer. Later in the novel, after he is burnt in the plane crash, is referred as “The English Patient”. Hana is a 20 years old Canadian nurse and is the daughter of Patrick, who also has been burned but we know very little about him. She devotedly performs her duty as a nurse throughout the novel and enjoys it. Kip is an Indian Sikh, serving in the British Army as a Sapper who disposes bombs and explosives. He also does his job wholeheartedly in the novel, even risking his life for it. Caravaggio, being an Italian immigrant, but due to his qualities in deceiving and theft, is enrolled in the British intelligence and serves as a spy. He did his job w2ell in the novel too on the price of his thumbs that are being cut off by the Germans. Thus, making him a hero while reaching at a hospital in the Rome. Katherine and Geoffrey are husband and wife. Patrick, Hana’s father, is also enlisted in the Canadian Army and dies while fighting in World War two.

In this sense, the ‘social identity’ of all the characters is being given and is there in the novel. Almasy’s ego identity, in the sense of Erikson, when it is rooted firmly in the society is strongly inbuilt, is in a sense unmoved and is present there. Where he is defined although up to some extent, a Hungarian member of the expedition team who are mapping Libya or the dessert. But at the same time, his true identity, throughout the course of the novel, is vaguely and absurdly shown, in other words his identity is rather an identity crisis than true ‘ego identity’. As in the very start of the novel, when he is totally burned and is interrogated by an army officer about his identity, he is unable to answer to the questions as he cannot recall his past, so the officer writes in his form “English?” with a ‘sign of interrogation’. This shows that his identity is not clear and is yet to be found. similarly, his helping of the Germans, as the Germans were unable to sort out his identity, and then misrecognizing by the allied forces in the end of the novel shows the lack of his ego identity resulted by the crises of identity.

According to the Marcian paradigm of identity, a person is ought to find his ego identity by exploration and commitment. And hence the English Patient, in the novel, does not try to do such explorations, so his identity is left blanked and vague. He is now unable to go to his ‘Foreclosure’ state of identity rather he steps in the state of ‘identity diffusion’, leaving him on the mercy of others to give him any name or identity. As we know that in the case Almasy, they gave him the name “The English Patient” and the identity of being an English rather than a Hungarian which is his true identity. So, the researcher has tried to analyze the novel from these perspectives of identity and has pointed out the lack of identity and the crises of identity in the characters of the novel, especially the character of Almasy, ‘The English Patient’.


 

References

(n.d.).

Aron, J. (2016). The Compact Reader. Macmillan Education.

Birch, A. (1997). Devolopmental Psychology (London 1997).

Cherry, K. ( 2020, june 26). Erisk Erikson's Stages of Psychosocila Development . Retrieved from verywell mind : https://www.verywellmind.com/erik-eriksons-stages-of-psychosocial-development-2795740

Clarke, E. G., & Justice, E. M. (n.d.). Identity Development: Aspects of identity . Child Development Reference-Vol 4.

Cote, J. E., & Levine, C. (2002). Identity Formation, Agency, and Culture, New Jersey:. Lawrence Erlbaum Associates.

Erikson, E. (1959). Identity and The Life Cycle .

Erikson, E. (1968). Identity Youth and Crisis.

Friedman, R. (2008). Deserts and Gardens: Herodotus and The English Patient. Arion: A journal of humanities and the classics.

Gultekin, L. (n.d.). Identitiy Crises in Michael Ondaatje's The English Patient. Atilim University in Ankara, Turkey.

Harrison, T. (1998). Herodotus and The English Patient. Classics Irealnd, JSTOR.

Lobnik, M. (2007). Echoes of the past: Nomad memory in Michael Ondaatje's The English Patient. JSTOR.

Madhumalati, A. (n.d.). History and Story: Unconventional History in Michael Ondaatje's The English Patient and James A. Michener's Tales of the South Pacific. History and Theory; JSTOR https://doi.org/10.1111%2F1468-2303.00219.

Mala, D. S. (2015). Immigrants' Experience in Michael Ondaatje's Novel in the Skin of a Lion and The English Patient'. Language in India ISSN.

Marcia, J. (n.d.). In J. Marcia, Ego-status Identity (p. 352).

Marica, J. (n.d.). "Ego-status Identity".

Mcleod, S. (2018). Erik Erikson's Stages of Psychosocial Development. Retrieved from Simply Psychology: https://www.simplypsychology.org/Erik-Erikson.html#:~:text=Erikson%20maintained%20that%20personality%20develops,negative%20outcome%20for%20personality%20development.

McVey, C. (2014). Reclaiming the past: Michael Ondaatje and the Body of History. Journal Of Modern Literature.

Merriam Webster. (n.d.).

Novak, A. (2004). TEXTUAL HUNTINGS: NARRATING HISTORY, MEMORY, AND SILENCE IN "THE ENGLISH PATIENT". JSTOR.

Ondaatje, M. (1992). The English Patient.

Pesc, J. (1999). Dropping The Bomb? On Critical and Cinematic Reactions to Michael Ondaatje's The English Patient. Press Sorbonne Nouvelle.

SCHILLINGER, L. (2011). Michael Ondaatje's Passage From Ceylon. New York Times.

Sheehan, B. (2016). Michael Ondaatje. Retrieved from BRITISH COUNCEL Literature.

Thesen, S. (2016). Michael Ondaatje. The Canadian Encyclopedia.

 

 

Tuesday, 15 September 2020

LIST OF NOBEL PRIZE WINNERS IN ENGLISH LITERATURE, Nobel Prize winners in English Literature, Literature Nobel Prize winners

 


LIST OF NOBEL PRIZE WINNERS IN ENGLISH LITERATURE

1. Rudyard Kipling – 1907


2. William Butler Yeats – 1923


3. George Bernard Shaw - 1925
4. Sinclair Lewis – 1930


5. John Galsworthy – 1932


6. Eugene O'Neill – 1936


7. Pearl S. Buck – 1938


8. T.S. Eliot – 1948


9. William Faulkner – 1949


10. Bertrand Russell – 1950


11. Sir Winston Churchill  - 1953


12. Ernest Hemingway – 1954


13. John Steinbeck – 1962


14. Samuel Beckett – 1969


15. Patrick White – 1973


16. Saul Bellow -  1976


17. William Golding – 1983


18. Akinwande Oluwole Soyinka -1986


19.  Joseph Brodsky – 1987


20. Nadine Gordimer – 1991


21. Derek Walcott – 1992


22 Toni Morrison – 1993


23. Seamus Heaney – 1995


24. Vidiadhar Surajprasad Naipaul – 2001


25. John Maxwell Coetzee – 2003


26. Harold Pinter – 2005


27. Doris Lessing – 2007


28. Alice Munro – 2013

 

 

Friday, 11 September 2020

Deviant Behavior, What Is A Deviant Behavior, outcast, criminal behaviour, crime, outlaw, It’s Nature, Types, Forms, And Causes. ( Sociology)

 




Deviant behavior, it’s nature, types, forms, and causes.

Ø  Definition

Horton and Hunt

“Any behavior defined as a violation of the norms of a group or society is called deviance”

J.J. Macionis

“Deviance is the recognized violation of cultural norms.”

D.M. Newman

“Deviance is the violation of some agreed-upon norms that prevail in a community or in society at large.”

M.B. Clinard

“When human behavior is in disapproved direction and exceeds limit of community’s toleration is called a deviant behavior”

Robert Merten

“Deviance is a mean by which some people adapt to the dominant culture.”

David Popenoe

“Behavior that violates the social norms of a group or society is called deviance.”

John M. Shepard

“Behavior that violates the social norms is called deviance.”

R.S. Denisoff

“Conduct which violates accepted standards of behavior valued by the group or society.”

Ø  Types of deviance

1.       Primary deviance

Primary deviance is a deviance in which deviants are not being treated as deviant because people are unaware of it.

2.       Secondary deviance

In this type of deviant behavior, people are labeled and treated as deviant. Deviance becomes an important part of their lives.

Ø  Forms of deviance

1.       Drug addiction

2.       Suicide

3.       Family conflicts

4.       Discrimination against minorities

5.       Womanizing

6.       Homosexuality

7.       Child abuse

8.       Delinquency

9.       Crimes

Causes of deviance (theories of deviance)

Individual and society both can be the cause of deviance.

1.       Individual as a cause

There are many sociologists who believe that an individual can be the cause of deviance.

1)      Biological theory

Cesare Lombroso, William Sheldon, Hooton, Hentig are the sociologists, who have given such type of theory.

According to them, criminals could be identified by physical traits having low foreheads, prominent jaws and cheekbones, big ears, lots of body hair, and usually long arms. According to them, the body structure of the people may become the reason for deviance.

2)      Chromosome theory

A normal man has an XY chromosome pattern, a normal woman XX pattern. Occasionally, males are born with an extra Y chromosome, giving them XYY pattern that predisposes them to violent behavior. So, the individual is responsible for deviance.

3)      Religious theory

Walter Reckless and Simon Dinitz have presented this theory. According to them, mental illness and personality mal-adjustment are associated with some kinds of deviant behavior. One is diagnosed as mentally ill because of one’s deviant behavior, and then their deviant behavior is attributed to the mental illness. It goes like this:

“He is deviant because he is mentally ill.”

“What makes you think he is mentally ill?”

 “His deviant behavior.”

2.       Society as cause

Ø  Socialization theory

There are three theories of deviance which are related to socialization.

(a)    Cultural transmission theory

This version of socialization theory notes that people usually, internalize the values of those with whom they associate comfortably.

(b)   Deviant  subcultures

Shaw and McKay have introduced this theory. According to them, if most of one’s associates are deviants, one will probably become deviant. Thus, youths learn deviant values and behaviors which become fixated in their personalities.

(c)    Differential association

Sutherland has introduced this theory. According to him, criminal behavior is learned through contact with criminal patterns which are present, are acceptable and are rewarded in one’s physical and social environment. Thus a person becomes deviant if the deviant patterns are more common or more commonly rewarded, in the social world in which the persons move.

      II.            Anomie Theory

The concept of anomie was developed by Durkheim. The term translates roughly as “normlessness”. According to him, it is a state of harmlessness or rootlessness that results when cultural expectations are inconsistent with social realities.

Merton has listed four types of deviant behavior that may emerge if anomie is present.

(a)    Innovation

It occurs when people accept the cultural goals of a society but reject the actually accepted means of achieving the goals.

(b)   Ritualism

It takes place when a person accepts the culturally approved means but reject the goals.

(c)    Retreatism

When a person rejects both culturally accepted goals and the means of achieving those goals.

(d)   Rebellion

When the individual tries to overthrow the existing system and replace them with new goals and means.

 

 



 

 

 

Wednesday, 9 September 2020

John Milton----As A Poet; Chief Characteristics Of His Poetry




 John Milton (9 December 1608 – 8 November 1674) was an English poet, polemicist, a man of letters, and a civil servant for the Commonwealth of England under Oliver Cromwell. He wrote at a time of religious variability and political turbulence and is best known for his epic poem Paradise Lost (1667), written in blank verse.

Milton’s poetry and prose reflect deep personal convictions, a passion for freedom and self-determination, and the urgent issues and political turbulence of his day. Writing in English, Latin, Greek, and Italian, he achieved international renown within his lifetime, and his celebrated Areopagitica (1644)—written in condemnation of pre-publication censorship—is among history’s most influential and impassioned defenses of free speech and freedom of the press.
Let's discover some of his poetical characteristics here...

1)   His melody of diction:

Coleridge says of Milton that he is ‘not picturesque but a musical poet.’ Hallam says that ‘the sense of vision delighted his imagination, but that of sound wrapped his soul in ecstasy.’ Tillyard rightly calls him the ‘God-gifted organ voice of England.’ We may note Milton’s own view as expressed in Il Penseroso:

“There let the pealing organ blow

To the full Voic’d quire below

In service high and anthem clear

As may with sweetness, through mine ear

Dissolve me into ecstasies

And bring all Heaven before mine eyes.”

Music, both vocal and instrumental, was diligently practiced and cultivated in the Elizabethan age. Milton was born to the tradition of the Elizabethan poets and song-writers, who had the musical notes tuning in their heads when they wrote verses. Trevelyan rightly says,” in the poetry of John Milton, born five years after Elizabethan died, we read clearly how the three chief elements in the English culture of the day-music, the classics, and the Bible-combined to inspire the “ God-gifted organ-voice of England.”

The point is that Milton, without conscious effort, wrote in melodious lines, phrases and cadences. He had not to assemble musical sounds and study musical effects like Tennyson. With his remarkable gift of choosing and making musical phrase and cadence, he could easily untwist ‘all the chains that tie The hidden soul of harmony.’ This can be appreciated by reading his verse aloud.

To take an example from Book 1 of Paradise Lost, we see how well the line:

“ Can execute their aery purposes”— ( line 430),

Illustrates its meaning by the swift flow of its metre while he describes the air as:

“ Brushed with the hiss of rustling wings” — ( line 768)

We can almost hear, as we read, the rush and the sweep of the diabolic wings. So perfect, indeed, is the music of Milton’s line that they can charm us even when they are little more than a mere string of names.

Note the following lines from Book 1 of Paradise Lost—

“ From Aroer to Nebo, and the wild

Of southmost Abraim; in Hesebon

And Horoniam, Seon’s realm, beyond

The flowery dale of Sibma, clad with vines

And Eleale, to the Asphaltic pool”— (2. 407-411)

The sublime association of scholarship and romance which these names carry contributes no less to their musical effect.

 His Suggestive Power:

The most striking characteristic feature of Milton’s poetry is his suggestive power. The effect of hid poetry produced, not so much by what it expresses, as by what it suggests. The opening vista of associations is the main thing in his poetry. It may be remembered that Milton was well-studied in Latin and Greek. His poetry is full of allusion to the Bible and the classics. This accounts for the suggestiveness of hod poetry.

Macaulay writes, “We often hear of the magical influence of poetry. The expression in general means nothing; but applied to the writing of Milton, it is most appropriate. His poetry acts like an incantation. Its merits lie less in its obvious meaning than its occult power. They would seem, at first sight, to be no more in his words than in other words, but they are words of enchantment. No sooner are they pronounced than the past is present and the distant near. New forms of beauty start at once into existence and all the burial-places of the memory give up their dead. Change the structure of the sentence, substitute one synonym for another, and the whole effect is destroyed. The spell loses its power.”

“ In support of these observations, we may remark that any passage in the poems of Milton is more generally known or more frequently repeated than those which are little more than muster-rolls of names. They are not always more appropriate or more melodious than other names. Every one of them is the first link in a long chain of associated ideas. Like the dwelling place of our infancy revisited in manhood, like the song of our country heard in a strange land, they produce upon us an effect wholly independent of their intrinsic value. One transports us back to a remote period of history. Another places us among the noble scenes and manners of a distant region. A third evokes all the dear classical recollections of childhood, the schoolroom, the dog-eared Virgil, the holiday, and the prize. A forth bring before us the splendid phantoms of chivalrous romance, the trophied lists, the embroidered housings, the quaint devices, the haunted forests, the enchanted gardens, the achievements of enamored knights, and the smiles of a rescued princess.”

His sense of beauty:

In a letter, dated September 23, 1637, to his friend Diodati, Milton wrote, “Whatever the Deity may have bestowed upon me in other respects, he has certainly inspired me, if any ever were inspired, with a passion for the good and the beautiful. Nor did Ceres, according to the table, ever seek her daughter Proserpine with such unceasing solicitude as I have sought this idea of the beautiful in all the forms and appearances of things, for many are the shapes of things Divine. Day and night I am wont to continue the search.” Keats could not have expressed his love of the beautiful on more passionate language. One of the inheritors of the Renaissance culture, Milton gives expression to this love of beauty in almost all his poems. In L’Allegro and Il Penseroso there is little, that is distinctly Puritan. Note how tenderly he sketches a rural scene in L’Allegro—

“ the ploughman, near at hand,

Whistles o’er the furrowed land,

And the milk-maid singeth blithe,

And every shepherd tells his tale,

Under the hawthorn in the dale.”

Then he proceeds to describe his love of romance:

“ Towered cities please us then,” etc.

The poem breathes the joyous spirit of the Renaissance, coupled with a passionate love of beauty which the Renaissance fostered. Then in Il Penseroso, he depicts a scholar’s life:

“ let my lamp at midnight hour

Be seen in some high lonely tower

Where I may outwatch the Bear,

Which thrice-great Hermes, unsphere

The spirit of Plato.”

This is again the spirit of the Renaissance. However, the tone becomes austere in Il Penseroso than in L’Allegro. The poet is attracted by pagan learning and music of the cathedral. It is all in Elizabethan tradition in which a perception of the beauty of Greek myths and legends and a pagan note are inextricably woven. This pagan learning which Milton’s spirit had imbibed could not be wholly discarded even when he begins to write a more serious poem dominated by the puritan spirit. Not that in Lycidas where his puritanism is definitely articulate, he begins with and returns again and again to the imagery and style of a pagan poet:

“ For we were nursed upon the self-same hill,

For the same flock, by fountain, shade, and rill.”

His puritanism however aggressive it becomes, could not wholly kill his sense of beauty. When Milton could write in paradise lost of —

“ All that bowery loveliness,

The brooks of Eden mazily murmuring

And bloom profuse and cedar arches.”

Or of—

“The smell of grain, of tended grass, or kine,

On dairy, each rural sight, each rural sound”

To which he adds the lovely picture—

“It chanced with nymph-like step fair virgin pass

What pleasing seemed for her now pleases more.”

His sense of beauty could not have been lost.

His high Seriousness:

According to Mathew Arnold, ‘ High seriousness’ is the test of all great poetry. High seriousness marks both Milton’s character and poetry. He always had a high standard of poetry in his view with which he was always comparing himself, nothing short of which could satisfy his zealous ambition. He thought of nobler forms and nobler things than those he found about him. In fact, Milton’s chief talent, and indeed his distinguishing excellence lies in the sublimity of hod thoughts. He lived apart in the solitude of his own thoughts, carefully excluding from his mind whatever might distract his purpose or alloys its purity or damp his zeal. “With darkness and with dangers compassed around, he had the mighty models of antiquity always present to his thoughts, determined to raise a monument of equal height and glory, piling up every stone of luster from the brook,” for the delight and wonder of posterity. That monument certainly is the Paradise Lost, in which he” pursues things un-attempted yet in prose or rhyme.”

His superb Imagination:

It is the sustained power of imagination of none but Milton himself that could have shaped Paradise Lost. It is claimed for paradise Lost that the theme it handles is vaster and of a more universal human interest than any handled by Milton’s predecessors. In fact, it deals with the fortune of the whole human race, not of a city or of an empire. Apart from the profoundest significance of the Fall Of Man, the foregoing issue of the rebellion of the angels reacts upon Milton’s scheme of the universe, leading to the creation of the world for the habituation of man and to represent these changes being wrought in universal space through eternity in their true proportion and magnitude and in relation to the development of the theme is the task of a supreme imagination—an imagination that can soar above time and space, and feel at home only in infinity.

Lowell rightly says.”In reading Paradise Lost one has the feeling of vastness. You float under an illimitable sky brimmed with sunshine or hung with constellations; the abysses of space are about you; you hear the cadenced surges of an unseen ocean; thunders mutter round the horizon; and if the scene changes, it is with an elemental movement like the shifting of mighty winds......He produced these effects by dilating our imagination with an impalpable hint rather than by concentrating them upon too precise particulars.”

 


 

Sunday, 23 August 2020

Paradise Lost as an Epic; How Paradise Lost is an Epic.

 Paradise Lost




Paradise lost as an epic

Paradise lost is one of the world’s greatest epic. Milton composed it in accordance with the established classical rules and conventions as laid down by Aristotle and practiced by Homer in the Iliad and Virgil in the Aeneid. However, in conception, design, and execution it far surpasses the classical models before it. According to Aristotle, epic has the following constituent elements or characteristics:

1.       Fable

2.       Probable and marvelous theme

3.       Characters

4.       Machinery

5.       Episodes

6.       Integrity

7.       Sentiments

8.       Grand style

Let’s judge ‘paradise lost’ on the basis of these characteristics;

1.       Fable

Fable is the basis of the epic. Milton chose a theme to establish a preconceived moral, i.e., “to justify the ways of God to men.” Discussing the fable or action of paradise lost, Addison writes: “the first thing to be considered in the epic poem is the fable. Which is perfect or imperfect according to the action is more or less so? The actions should have three qualifications in it,

1.       It should be one action.

2.       It should be an entire action,

3.       It should be a great action

Homer to preserve the unity of his action opens his poem with the discord of his princess, and artfully interweaves in the several succeeding parts, an account of everything material which relates to them and had passed before that fatal dissension. In the same manner, Aeneas makes his first appearance on the Tuscan Seas, within sight of Italy, because the action proposed to be celebrated was that of setting in Latium.

But it was necessary for the reader to know what had happened to him in the taking of Troy and in the preceding parts of his voyage. Milton in imitation of these great poets opens his paradise lost, with an infernal council plotting the fall of man, which is the action he proposed to celebrate; and casts the great actions which preceded it. The war in heaven and the creation, into the fifth, sixth, and Seventh book, by way of episode, in order to preserve the unity of the principal action.”

The second qualification that is, the action should be entire, requires that nothing should be stated as going before it, intermixed with it, or following it not related to it. In this particular paradise lost excels the Iliad and Aeneid. The action is contrived in hell, executed on earth, and punished by heaven.

The 3rd qualification is greatness. The anger of Achilles was of such consequence that it embroiled the heroes of Greece, destroyed those of Asia, and engaged all the gods in the faction. The actions of the Iliad and that of the Aeneid were in themselves very short, but are so beautiful, diversified and extended by the invention of episodes. Milton’s action is enriched by such a variety of circumstances that we take as much pleasure in reading the contents of his books, as in the best-invented story we ever met with.

2.       Themes

The theme of an epic, according to Aristotle, “must be probable and marvelous,” In other words, the theme must be grand, elevated, and marvelous but not unconvincing or improbable. Explaining the subject and theme of paradise lost, Hallam says “it is the finest ever chosen for heroic poetry.”

3.       Characters

An epic introduces a multitude of characters. The characters must have novelty and variety. The principal characters must have dignity and sublimity enough to be regarded as the representatives of mankind. The characters in paradise lost are the most sublime that human beings can conceive. They are God, Christ, the two good and evil angels, and Adam and Eve. God and Christ, the two supreme characters, are outside the range of human comprehension. The Angels include Raphael and Michael. The virtue of Raphael is mild and placid. Michael is regal and lofty. Abdel and Gabriel appear occasionally. Satan is the rebel Archfiend. He revolts against God. Yet Milton portrays him so skillfully that he appears to be the most exalted and the most depraved being.

4.       Machinery

A great epic poet employs an elaborate supernatural machinery to produce the effect of the
“marvelous”. In paradise lost, everything is wrought through supernatural machinery. Everything is done under the immediate and visible direction of Heaven. It contains the history of a miracle, of creation, and redemption, and displays the power and the mercy of the Supreme Being.

5.       Episodes

“Of episodes,” says Dr. Johnson, “there are only two, contained in Raphael’s relation of war, in heaven, and Michael’s prophetic account of the changes to happen in this world. Both are closely connected with the great action.

6.       Integrity

The integrity of the design is one of the most important requisites of an epic. In this long narrative poem, there are occasional episodes, digressions, long narrative and descriptive passages, but they are all so interwoven into the main theme that they neither appear disjointed nor do they hinder or retard the main action.

7.       Sentiment

As paradise lost primarily deals with the supernatural powers and agencies, there is very little scope for the expression of human sentiments. Adam and Eve are the only two characters who are human. Their sentiments both of fear and repentance have, of course, been beautifully and forcefully rendered. But the real greatness of Milton lies in the fact that he has rendered supernatural powers as human beings and ascribed to them human sentiments.

8.       Diction and style

Milton’s style in paradise lost is genuinely grand. Here is a beautiful harmony between the sublimity of thought and sublimity of style. His Blank Verse remains unsurpassed in point of eloquence, force, grandeur, and sublime beauty. His use of the heroic simile remains unsurpassed by any other English poet. Thus wither we consider paradise lost from the point of view of classical rules, or conventions, or of innovations, it is the greatest epic in the English language. In fact, Milton is counted among the greatest epic poets of the world.

 

 


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