Eve’s Food Preparation: Art and Experience in Eden

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Eve’s Food Preparation: Art and Experience in Eden

The arts of the first couple before the Fall have been

extensively written on. It seems that most critics view prelapsarian art

as congruous and natural to Eden, as evidence of prelapsarian splendor.

Ann Torday Gulden states that art in Eden is socially neutral: “Surely

art is innocuous [in Eden], an integral part of paradisal bliss” (18).

Indeed, Eve’s artistic activity makes Eden seem all the more delightful

to the reader. However, with a careful examination of how Eve’s art

is perceived by the poem’s male characters, it becomes evident that

Eve’s aesthetics do not quite fit. It is tempting for the reader, who

lives in a “fallen” world, so unequivocally in favor of artistic culture,

to praise Eden for examples of cultural activity within it. However,

just about every example of Eve’s artistic activity is characterized by an

aloofness from divine discourse. The male authoritative characters of

Paradise Lost primarily ignore Eve’s examples of talented artistry, giving

neither praise nor disapproval. But while the lack of recognition speaks

volumes about her low status, it allows her an expansive autonomy from

the divinely recognized modes of Edenic worship and devotion which

serve to revere God. If the authoritative male characters regard her

creativity as inconsequential, then there is almost no limit to the degree

of autonomous creativity she can have within that localized sphere of

artistry; no one is watching her or correcting her. The way in which

Eve prepares food for the dinner guest, the angel Raphael, is a prime

illustration of both Eve’s removal from the divine discourse and her

expansion of a cultural, creative realm in which she can act, rather than

follow.

The first thing to recognize about the scene of Raphael’s arrival

to instruct Adam and Eve is that Eve is excluded from proximity to the

divine by Adam. To some degree, Adam actually forces her removal.

The first one to see Raphael coming is Adam, of course. He says:

Haste hither, Eve, and, worth thy sight, behold

Eastward among the trees what glorious shape

Comes this way moving; seems another morn

Risen on mid-noon. Some great behest from Heaven

To us perhaps he brings, and will vouchsafe

This day to be our guest. But go with speed,

And what thy stores contain bring forth, and pour

Abundance fit to honour and receive

Our heavenly stranger...

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Adam’s language is unquestioning. It is clear that he knows a guest

from Heaven is on his way. The speed with which he recognizes that

the thing on the horizon is from Heaven shows that he has an intuitive

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