Table of ContentsIntroductionMilton's Encounter with Death in “Lycidas”Pagan Deities and Questions of FaithDeath as a Character in “Paradise Lost”The Encounter of Adam and Eve with deathMilton's Four Dimensions of DeathConclusionIntroductionJohn Milton's initial encounter with death left a profound impact, inducing a feeling of disorientation and introspection that found expression in his famous poem, Lycidas. This poignant work reflects young Milton's harsh realization of his own mortality and prompts reflection on the purpose and vocation of his life. In Lycidas, Milton candidly explores his quest for answers, turning to Christian and pagan deities while documenting his journey through their answers. However, as Milton's life journey unfolds, including through his involvement in a prolonged rebellion and witnessing numerous deaths, his perspective on death undergoes a transformation. This transformation is evident in Paradise Lost, where the characters, after tasting the forbidden fruit, face death for the first time but leave the garden with newfound resilience, ready to embrace a fulfilling life like they have never known before . A close examination of Lycidas and Paradise Lost reveals Milton's evolving belief that death serves as a divine instrument, shaping individuals and influencing their life trajectories. Say no to plagiarism. Get a tailor-made essay on 'Why Violent Video Games Should Not Be Banned'?Get the Original EssayMilton's Encounter with Death in 'Lycidas'John Milton's Limited Acquaintance with Edward King Did Not Lessen the Grief and the palpable shock evident in Lycidas' opening verses. He cries: “Now you are gone and you must never come back!” Milton's struggle to cope with King's disappearance is intriguing, especially considering their superficial connection. This lament implies that Milton's troubles stemmed not only from King's death but from his initial confrontation with the inexorable reality of death. This tension in the poem's tragic dynamic, as articulated by Brown, highlights the interplay between serenity and reconciliation on the one hand and lamentations and existential questioning on the other, culminating in the eventual exhaustion of all passions (Brown 7). Milton's struggle to cope with this tragic event imbues Lycidas with a raw, multifaceted quality, encapsulating young Milton's multiple thoughts and questions. Of particular note is Milton's emphasis on King's untimely death: "Lycidas is dead, dead before his prime." At the time of King's death, Milton himself was in his youth, and this phrase hints at an element of introspection. This implies that Milton was forced to ask himself whether he too might fail in fulfilling his divine mission in this world. King's disappearance forced Milton to confront the troubling idea that he might never have the opportunity to realize his goal. This apprehension of an unfulfilled destiny was the driving force behind Milton's decision to compose this poem. Lycidas begins with Milton expressing his apprehensions about composing poetry at a tender age: "You, brown myrtles, with ivy never serene, / I come to pluck your berries hard and coarse, / And with forced fingers coarse / Break your leaves before the softened year. " Fearful of venturing prematurely into the realm of poetry, Milton uses the metaphor of harvesting unripe berries to signal to his reader these concerns. Nevertheless, Milton recognizes that it is better to compose prematurely than to lose one's potentialcreative due to an untimely death. King's death proved to be a catalyst in shaping Milton's perception of the role of death in shaping the lives of the living, both in terms of preparing individuals for their own mortality and of reactions to the deaths of others. Initially, Milton views death as a tragic conclusion that prematurely cuts off the potential contributions individuals could make to the world. Throughout Lycidas, he idealizes King as if they had shared a long history together. He writes: “For we were fed on the same hill, / Fed the same flock, by the fountain, the shade, and the stream. » This statement is obviously false, but it highlights Milton's propensity to praise the deceased. This pattern continues throughout the poem as Milton depicts King as a shepherd. In Christian and pagan traditions, shepherds are often depicted as virtuous figures, sometimes even as heroes or divine beings in disguise. Notable figures such as David, who would become the future king of Israel, came from humble shepherd origins before achieving legendary feats, such as his battle with Goliath. Shepherds like Orpheus, Pan, and Paris, as well as heroes like Romulus, Remus, and Oedipus, all received the care and protection of shepherds from a young age. Furthermore, Christ himself invoked the metaphor of the good shepherd. By making Lycidas a shepherd, Milton seemingly places him in a position of modest insignificance, while simultaneously elevating him to the status of hidden hero. come from the deceased, like famous figures like David, Orpheus or Paris, who transcended their initial roles as shepherds to fulfill their destiny and make profound contributions to the world. Milton's romanticization and exaltation of an acquaintance he barely knew inadvertently reveals his struggle to accept death. By creating an image of King as an unrealistic hero deprived of the opportunity to bestow his gifts on the world, Milton indirectly reflects on his own apprehensions. Beyond Edward King, Milton seems to be struggling with his own insecurities. Faced with the fragility of life and the imminent possibility of his own death, Milton grew increasingly concerned that he could never escape the metaphorical life of the shepherd and fulfill his divine calling as a great poet on a mission. of God. This realization highlighted the importance of seizing immediate opportunities despite fears of unpreparedness, as such opportunities may never present themselves again. Milton's personal journey taught him that death profoundly shapes human existence, often serving as a catalyst for individuals to embark on their true life's work. In his quest for answers, Milton unexpectedly turns to the pagan gods to seek to understand the inexplicable. He asks: “Where were you, nymphs, when the pitiless abyss / closed over the head of your beloved Lycidas? » In a curious departure from his Christian faith, Milton addresses his questions not to God but to the nymphs. During this phase, Milton's faith seems less absolute compared to his later work in Paradise Lost, where references to pagan deities and figures are fleeting and derogatory when juxtaposed with their Christian counterparts. At this point, Milton turns to the pagan gods before invoking the Christian gods, but finds no satisfactory solution. He struggles with "the meaning of this loss in the unfolding providential plan", firmly believing in a divine plan and purpose for human life, while wondering why Edward King died so early and why suchfate was necessary (Brown 6). Notably, Milton does not ask whether there is a benevolent divine power that loves humanity; his crisis of faith instead focuses on why individuals like King are allowed to perish in their youth. This lingering question remains unanswered until Paradise Lost, when death enters the world and God reveals his perspective on death's role in the grand scheme of existence. Therefore, existential questions arise regarding the purpose of life if mortality is an inevitable outcome. Reflecting on King’s untimely death, Milton laments, “Alas! What is it that launches him with incessant care / To occupy himself with the simple profession of the despised shepherd, / And meditate strictly on the ungrateful Muse?" King, having devoted his life to the shepherd without freeing himself from his metaphorical disguise, does not failed to realize his potential heroism. Milton fears that if he were to lead a life as a shepherd, his existence would be aimless, as he would not be remembered for caring for the sheep, and the world. would remain unchanged by his presence It is at this point that Phoebus, a pagan deity, intervenes in Milton's spiritual journey and imparts his wisdom on how to achieve immortality: "Fame is not a plant. which grows on mortal soil, of so much fame in heaven, await your happiness initially symbolize immortality (Adams 184). Milton towards obtaining a form of immortality This quest for memory materialized in the form of Paradise Lost, the summary of Milton's life experiences. and deeply held beliefs. Death as a Character in "Paradise Lost" Milton's early encounters with death provide a compelling backdrop for his depiction of Death as a character in Paradise Lost. In the epic, Milton makes the intriguing choice of personifying death, granting it. lines, actions and his own agenda throughout the story. Remarkably, death exists without bodily form; she possesses the faculties of smell and taste and is called “he,” but she “has no body and feeds on life” ( Goldsmith 69). The defining trait of death is its insatiable hunger; whatever the extent of mortality in the world, Death remains perpetually voracious. As such, Death appears as a character, albeit an unconventional one, lacking a fixed form but possessing senses and impulses. Additionally, her body shape is changeable, as she transforms into a more fearsome and grotesque figure when consumed by anger, thus reinforcing her strange and supernatural personality (Goldsmith 54). At no point does Milton present Death as a sympathetic character; its insatiable appetite is disgusting and terrifying. She is characterized as “black as night, fierce as ten furies, terrible as hell”. For Milton, death represents an unstoppable force that can only be thwarted by the other powerful figure to whom he attributes form and identity: God. By endowing Death with a personification, Milton gives it an identity, thus allowing the possibility of a divine triumph over it. In Paradise Lost, God will not and cannot overcome abstract concepts such as justice, mercy, or emotions; nevertheless, He retains the ability to conquer any corporeal entity, even if He chooses not to do so. Although the characterization of death remains abstract and disturbing, it elevates it from a simple concept or inevitability to a discernible entity. Just as God can potentially defeat Satan, so can death. Milton also chooses to incorporate death into a corrupt lineage,describing her as the offspring of sin. It is important to note that death and sin do not simply manifest themselves in the post-Fall world; rather, death emanates from sin itself. Milton posits that death is a consequence of living in a fallen world, but also emphasizes that death results from sin. However, when death is born, it almost extinguishes sin, emerging violently from its womb. Death exerts such power that it can erase everything in its path, including sin. Surprisingly, Death adorns himself with “the image of a royal crown”, emblematic of his sovereign domination. It becomes clear that death is unstoppable, making human resistance, lament, or escape futile. At his birth, Death accomplishes what is beyond human capabilities: conquering sin. The underlying message is clear: death has a supremacy beyond human reach, surmountable only by a privileged few exempt from its grip – God, the Son and the angels – because of their immunity from sin. In Miltonperspective, one transcends the other. Those who are immune to death are also immune to sin. Although death makes rare appearances in the poem, its presence appears as a formidable and fearsome force, reflecting its impact on all mortals. His authority over humanity and his ability to master sin make him an almost insurmountable entity, conquered only by celestial beings of the highest order. When death becomes a tangible reality, God views it as an adversary, although it is an unpleasant but necessary part of His plan for His children. God perceives death as a debt to be paid by humanity, reinforcing the notion of the particular formlessness of death as represented in Paradise Lost. Death does not figure prominently as a character in the poem's celestial realm; God refrains from any direct interaction with death and speaks of it only as an obligatory tribute to be exacted from humanity. Adam and Eve's Encounter with Death In Paradise Lost, death serves as a substitute for divine justice in God's plan. God considers death “the ultimate cure” for humanity (IV 197). Toward the conclusion of the poem, Adam receives a vision that reveals God's boundless mercy for humanity, even as they falter and repeatedly commit evil actions. Adam is moved to tears as he witnesses the future horrors his descendants will inflict on each other. However, Michael reassures him by pointing out that God will send a Messiah to atone for humanity's sins and save its children. From Milton's point of view, the only inescapable debt that humans must honor is death. Just as Christ himself must suffer death, so must all individuals, for death is an essential component of God's plan. It is a necessity that everyone must face, including God's own Son, who sacrifices himself to accomplish the redemption of all humanity. Implicit in Milton's depiction is a recognition of the immense power inherent in death, an influence beyond common perception. Christ's victory over death means that he saved humanity through death, but returned to conquer it, triumphing over the supposedly invincible adversary of mortals. As a heavenly messenger, Michael brings comfort to Adam about death and gives advice on how to lead a just society. life. When Eve considers suicide as a way to avoid their impending punishment, Michael advises: "They don't love life and only hate what you live / Live well, how long or little do you allow to go to the Heaven” (VI 553-554). Michael's view of death diverges sharply from that of themortals. He resides in heaven and understands that there is more to existence beyond earthly life, with heaven being infinitely superior to the fallen Earth. Despite this realization, Michael does not recommend that Adam and Eve simply endure life until they can return to heaven; rather he asks them to lead a virtuous life. For Michael, death means a simple change of scenery; upon their demise, Adam and Eve will return to heaven, where all will be well (McElroy 17). The overarching directive is to live virtuously, interpreted as adhering to God's commandments and instilling this obedience in their offspring (Erskine 580). Through Michael, Milton expresses one of his life philosophies: life should be neither ardently cherished nor vehemently reviled. Excessive attachment to life can evolve into a form of idolatry, drawing attention away from God Himself and toward the earthly blessings He bestows. Milton argues that everything comes from God and is intrinsically good. Nevertheless, he emphasizes that all things are equally good because it is a reminder of God's benevolence and what he has bestowed on humanity. Focusing excessively on God's gifts, rather than on God himself, is considered a sin. Michael's advice to Adam and Eve emphasizes the importance of living a righteous life. By obeying God's commandments and teaching their descendants to do the same, they obtain their reward in heaven. Milton's depiction of death in the mouths of diabolical characters departs from popular heroic notions of death. When Satan encounters Death, despite their family ties, they harbor mutual enmity, clashing like "two black clouds / With the artillery of the charged sky" (II 714-715). This confrontation reflects the heroic duels between knights characteristic of Arthurian legends (Rovang 4). Milton also satirizes conventional heroic epics when the serpent challenges Eve's claim that eating the fruit will result in death. The serpent presents temptation as a heroic ordeal similar to those found in classical Greek epics, positing that Eve's willingness to risk death by eating manifests the fruit of courage and commitment. According to the serpent, by daring to face death, Eve demonstrates the qualities of a classic hero. The serpent maintains that God will be impressed by his “intrepid virtue” and will never follow through on his threat (XI 694). Both of these arguments are presented by the devil himself, making them invalid without the need for counter-argument. Death undeniably exists and is the consequence of submission to temptation and sin. As previously established, death emanates from sin, and by participating in the fruit and sin, Eve exposes herself to the inevitability of death, a fate that all her descendants will share. Milton rejects the argument that death is heroic, admirable, or worthy of adulation, especially since it comes from Satan. For Milton, death is not a subject to be defied valiantly; rather, it must be recognized and respected. Satan's casual attitude toward death is both hypocritical and inappropriate. After consuming the fruit, Adam and Eve have an experience similar to that of Milton in Lycidas: an awakening to the nature of death that dispels their innocence. In the Garden of Eden, they remain oblivious to the concept of death, but their enlightenment brings additional fear and loss of innocence. Lycidas essentially revolves around Milton's inaugural encounter with death, an experience that marks the end of his innocence. He is forced to mature and recognize his role in the world, beginning to write to fulfill his destiny, even if he feels unprepared. Likewise, Adam and Eve, althoughstill retaining childish attributes, must face the need to mature and perceive the reality of the world. The garden will no longer provide for all their needs and they will no longer inhabit a paradise free from sin and adversity. Milton combines an understanding of death with recognition of the imperative to mature and see the world as it actually exists. At the conclusion of the epic, Adam and Eve no longer view death as “a curse but a comforter, not a gift from Satan but a gift from God” (Erskine 573). While eating the fruit robs them of their innocence, Eve has a dream from God and informs Adam that she has received a favorable omen, a prospect of hope previously absent from their vision (XII 612-613). Although Eve briefly considered suicide to escape their impending punishment, Adam and Eve ultimately conclude that it is best to live and obey God, thereby seeking to improve their relationship with Him (Waddington 15). In this passage, Milton reveals his transformed perspective on death: he no longer resents death and no longer seeks immortalization. Instead, like Adam and Eve, he longs to live fully and fulfill God's commandments. As they now face the prospect of death, all is not lost and it is best to adhere to Michael's advice to "live well." In the end, Adam and Eve leave the garden optimistically, ready to lead a long and meaningful life together. Milton's Four Dimensions of Death Milton's transformation in his understanding of death is reflected in his work, as his beliefs about death became more complex than those of his contemporaries. In the “Christian Doctrine,” Milton categorizes death into four distinct degrees: preliminary punishments leading to death, spiritual death, temporal death, and eternal death (Woelfel 33). The first three forms of death are common to all individuals, and Milton assures his audience that they can be overcome. The first two degrees of death result from human failures and ignorance, and to transcend them one must live with determination and diligence. The third degree of death plays a central role in shaping human existence, pushing individuals toward obedience or defiance of God, ultimately determining whether they will experience the fourth type of death. In "Paradise Lost", the first degree of death describes the transformation of human happiness into misery, the second depicts human helplessness resulting from obscured reason, the third offers a cure for what seems to be perpetual punishment, and the fourth degree establishes the penalty for continued disobedience – eternal punishment (Woelfel 34). Through the experiences of Adam and Eve, readers encounter the first three degrees of death, while Satan embodies the fourth. Milton's belief that death is a divine and indispensable instrument is only convincing when one refrains from embracing the fourth degree of death and recognizes the existence of the other three. Understanding the four forms of death allows us to better understand and accept death as an inevitable reality, not intrinsically negative. When Adam and Eve leave the Garden of Eden, they possess the ability to experience all three types of death. They also leave ready to follow Michael's advice to live virtuously, armed with improved reasoning skills and a deeper understanding of life, rather than the serene, innocent optimism they possessed at the beginning of the poem. Keep in mind: this is just a sample. a personalized article now written by our expert writers. Get a Custom Essay Conclusion Milton's journey to accept death is artfully depicted throughout "Paradise Lost." In his. 9-21.