Introduction
John Milton’s “Paradise Lost” gives a vivid description of the Garden of Eden – it is presented as a dynamic place with a prelapsarian setting. The first seven books of the epic poem give an overview of paradise’s purity, emphasizing the relationship between humanity, nature, and divinity (Milton, 2000). Milton managed to provide a clear vision of Eden that captures its ever-changing beauty with prelapsarian nature. For clarity, a dynamic place in the context of Eden describes paradise’s continuous evolutionary process combined with the sense of constant movement.
In other words, as defined by Milton (2000), Eden is a place where nature is in constant motion. The term prelapsarian nature represents the state of Eden before the fall of humanity. During this time, nature existed in its purest form, without sin or corruption. This state of nature, unaffected by the consequences of human disobedience, acts as the foundation upon which the dynamic qualities of Eden thrive. In essence, Milton’s Paradise Lost explores the multifaceted nature of Eden, presenting it as a dynamic and prelapsarian place characterized by its ever-changing beauty, the unity between humanity and nature, and the presence of divinity.
The Garden’s Unique Beauty and Ever-Changing Nature
The book gives a detailed overview of the dynamic qualities of Eden’s landscape. More specifically, Book IV presents Eden’s lush and varied scenery through Eve’s narration of her dream. Throughout the book, there is a clear demonstration that there is indeed a constant sense of movement and beauty through its inhabitants, Adam and Eve and that the paradise is full of life.
For instance, the unique beauty of Eden is brought out clearly through Satan’s point of view as he gazes upon Adam and Eve. When he lays his eyes on them for the first time, he marvels at their “excellent form and happy state” (Milton, 2000, line 10, p. 122). The description in this line of the poem emphasizes more on the perfection of Adam and Eve’s physical forms and their harmonious existence within the garden. Milton’s use of words such as “excellent” shows the level of admiration and astonishment, underscoring the Garden’s unparalleled beauty.
In line with the above, there is a clear indication that within this beauty, there is a gentle sense of upcoming and worrying change. While it is true that Satan wondered about their excellent form and happy state, he resolved to work on their fall after overhearing their discourse. This, in itself, marks the start of the dynamic change. The impending fall of mankind creates a sense of tension throughout the Garden of Eden. This underlines the ever-changing nature of Eden, where beauty and Calmness are juxtaposed with the potential for disruption and loss.
Similarly, the Garden’s dynamic nature is also reflected in the description of the landscape. Book I of the poem introduces the concept of the Tree of Knowledge – “Of that forbidden tree, whose mortal taste” (Milton, 2000, line 2, p. 48). The tree represents the existing boundaries and limitations within the Garden, an indication that change and choice are inevitable regardless of how perfect one is. In essence, the Garden’s beauty was destined for potential transformation – it was a place for happiness and challenges.
A review of scholarly sources also gives an account of the unique beauty and ever-changing nature of the Garden. For instance, Marcus (2015) argues that the portrayal of the Garden in “Paradise Lost” is characterized by its dynamic and multifaceted attributes. The Garden is depicted as a living entity that responds to the actions of its inhabitants, Adam and Eve. This perspective aligns with vitalist materialism prevalent in the seventeenth century. Here, nature is considered infused with spirit and capable of agency and reaction.
It is imperative to note that the Garden’s beauty is not fixed but rather linked directly to the actions of its inhabitants and their choices. This is evident when Eve plucks the forbidden fruit, causing a sympathetic reaction in the Earth itself, described as “Sighing through all her Works” and exhibiting signs of distress (Marcus, 2015, p. 98). The Garden’s ever-changing nature is also tied to its responsiveness, as demonstrated by the dramatic shifts in climate and atmosphere following the Fall. This portrayal aligns with modern ecological concerns about human environmental impact, highlighting the Garden’s sensitivity to human actions.
The Unity of Humanity and Nature
Unity of humanity and nature is evidenced throughout Book V, reflecting the relationship between Adam, Eve, and the natural world within the setting of the Garden of Eden. Adam and Eve operate within a prelapsarian state where they have ultimate dominance over other animals. Milton’s vivid account in line 20 of Book IV shows a direct relationship between humans, Animals, and plants.
“Awake, the morning shines, and the fresh field
Calls us; we lose the prime, to mark how spring
Our tended plants, how blows the citron grove,
What drops the myrrh, and what the balmy reed,
How Nature paints her colors, how the bee
Sits on the bloom extracting liquid sweet” (lines 20-25, p. 152).
This further demonstrates the direct relationship and connection between humans and their environment. Ideally, Milton’s depiction of Eden underscores the fact that the unity between humanity and nature is a key determinant of the harmony witnessed in paradise.
Raphael’s mission to warn Adam about the impending threat underscores the need to maintain harmony. More importantly, line 239, page 157 of the poem emphasizes that the imminent threat from Satan was done deliberately to preserve the fragile unity.
Moreover, in line 235, the concept of free will, presented as both a blessing and a possible pitfall, illustrates Adam’s dynamic nature. The line of the poem reads, “Happiness in his power left free to will, Left to his own free will, his will though free, Yet mutable; whence warn him to beware” (Milton, 2003, line 235-240, p. 157). This passage underscores the idea that maintaining the unity between humanity and nature requires conscious effort and awareness.
This is similar to humans’ responsibility as the natural world’s designated stewards. The same can explain the broader human relationship with the environment. From a wider perspective, humanity’s direct relationship with nature has become increasingly relevant as recent environmental concerns and discussions about ecological balance have taken center stage.
The unity of humanity and nature has also been discussed extensively by various scholars. One such scholar, Welburn (2019), comprehensively analyzes the interplay between humanity and nature in John Milton’s Paradise Lost. Welburn’s study shows how Milton’s work challenges the traditional dichotomy between utopia and the mythic past – the author introduced temporality, materiality, and social organization into the Genesis narrative.
Nature’s chaotic vitality, as explicated by Welburn (2019), is aimed at infusing Adam and Eve’s labor with purpose and necessity. This portrayal transcends a mere state of nature and presents it as a foundational element of a broader social order. While paradise and utopia are often opposites, Milton’s Paradise Lost intricately weaves these concepts. By depicting meaningful labor in Eden as a source of potential utopian harmony and a precursor of the Fall, Milton successfully highlighted the unity between humanity’s purposeful endeavors and the natural world.
The Role of Divine Presence in Eden
The divine presence in Eden contributes mainly to the Garden’s dynamic nature and purity. From the onset, God was actively involved in maintaining the harmony between creatures and in the upkeep of the Garden. In Book VII, Milton gives an overview of Raphael in Eden. This, in essence, shows that angels were constantly involved in maintaining the Garden’s splendor. Milton uses vivid imagery and description to show how Raphael was descending from heaven. For instance, line 5 describes this journey as soaring “above the flight of pegasean wing (Milton, 2000, line 4, p. 203). These words describe Raphael’s celestial nature and, at the same time, emphasize the divine connection between Heaven and Earth.
Moreover, the poem highlights a cosmic perspective on creation, presenting God as omnipotent and omnipresent due to his ability to give life. A critical look at lines 340 – 380 of the poem shows that God’s powerful nature is manifested through the sun and moon, specifically on the fourth day. The two celestial bodies are essential in illuminating the world, symbolizing the intertwining of all things guided by the unity of God’s great plan for humanity.
The passage states “Again th’ Almighty spake: Let there be lights, High in th’ expanse of heaven to divide The day from night; and let them be for signs” (Milton, 2000, line 340, p.212). In simpler terms, as commanded by the Almighty God, the Sun radiates during the day while the moon’s reflective light controls the night. The separation between the day and night is a clear reflection of the harmony and balance in the natural world. This equally plays a vital role in cementing the relationship between human beings and the divine.
The divine presence in the Garden is further demonstrated in the emergency of life from the waters. On the fifth day, God’s main tasks include populating the seas with fish while, at the same time, filling the skies with birds:
“Displayed on the op’n firmament of heav’n.
And God created the great whales, and each
Soul living, each that crept, which plenteously
The waters generated by their kinds” ((Milton, 2000, lines 390-393, p. 213).
The proliferation of life from waters and the skies, as evidenced in Book VII, resonates with the concept of interdependence and interconnectedness. For instance, the sea is filled with a diverse array of creatures, while the skies echo with the songs of birds. This is clear proof of the role of the divine presence in sustaining the relationship between birds in the skies and fish in the sea.
A similar pattern is replicated on day six where land animals and livestock were introduced (Milton, 2000, lines 450-465, p. 215). These creatures occupy various landscapes of Eden, ranging from forests to fields and flocks. Milton’s description of the introduction of these creatures suggests a harmonious coexistence between humans and the animal kingdom.
In line with the above, the role of divine presence is further highlighted in Books V –VIII. These four books are linked by Raphael, whose main role was to act as an instructor and advisor to Adam and Even during their stay in the Garden of Eden. At the beginning of Book V, God’s divine presence is manifested through his decision to send Raphael to prevent Adam and Eve from transgressing their appointed roles. This brings forth the delicate balance between free will and God’s all-knowing nature.
Furthermore, Raphael’s arrival in the Garden of Eden brings on the core interesting revelations, particularly those related to food. For instance, the process of preparing meals for guests, a task often undertaken by Eve, acts as the beginning of Raphael’s instructive discourse. This act of food preparation by women aligns with conventional gender norms of the time and expounds on the type of relationship between Eve’s behavior and her eventual transgression. Additionally, Raphael’s ability to eat and shift between spiritual and corporeal states helps a lot in understanding the gradual transformation of humanity towards a more angelic, spiritual condition.
Overall, Raphael’s instructive interactions with Adam, as explicated in Books VI-VIII, act as the foundation for the prelapsarian nature before the eventual fall of man. Adam, through interactions with Raphael, gained insights into divine reasoning. The link between reason and free will becomes central as Raphael emphasizes that their future decisions and actions are not predestined but determined by their choices. This concept brings forth the dynamic nature of the Garden through Eve’s actions and decisions. This dynamic nature is further reflected in the dramatic tension of the narrative, highlighting the struggle between the gift of reason and the limitations inherent in comprehending God’s purpose.
Conclusion
As observed above, Milton’s “Paradise Lost” depicts Eden as a dynamic place with a prelapsarian nature. More specifically, Eden is defined by its constant beauty, the harmony between humanity and nature, and the presence of the divine. This dynamic nature is brought out clearly through the Garden’s landscape, consisting of lush and varied scenery and the ongoing movements of its inhabitants, Adam and Eve. However, this unique beauty of Eden is contrasted with the potential for disruption and loss, as symbolized by the Tree of Knowledge. The unity between humanity and nature is evident in Adam and Eve’s stewardship of the land and animals, emphasizing their symbiotic relationship with the environment. The divine presence in Eden contributes to its dynamic nature, with angels actively maintaining its splendor and God’s cosmic perspective on creation, highlighting the interconnectedness of all things.
Moreover, there is a delicate balance between free will and divine omniscience, as in Books V- VII. The arrival of the angel Raphael and his instructive interactions with Adam and Eve shed light on the complexities of their roles and choices. Similarly, the tension between reason and comprehension of God’s purpose adds to the Garden’s dynamic nature. Milton’s portrayal of the Garden of Eden showcases its dynamic and prelapsarian nature, where beauty and change, unity and disruption, divine presence, and human agency are all interlinked.
References
Marcus, L. S. (2015). Ecocriticism and vitalism in Paradise Lost. Milton Quarterly, 49(2), 96–111. Web.
Milton, J. (2000). Paradise lost. (J. Leonard, Ed). Penguin Classics.
Welburn, J. (2019). Divided labors: Work, nature, and the utopian impulse in John Milton’s Paradise Lost. Studies in Philology, 116(3), 506–538. Web.