John Milton's Sonnet 16
In his sonnets, John Milton tackles a number of subjects which he addresses at considerably greater length in his other poetry and prose. These subjects range from religious to political, and rarely is any one piece of writing limited to one or the other of those fields. While his Sonnet 16 begins with a challenge to familiar biblical passages, Milton ultimately uses it to offer a critique of the nearly ubiquitous comparison between the king and God.
The sonnet features two motifs that run throughout the first seven lines. Both are biblical, and both are introduced in the first line. The one that seems to be the most significant is the light and dark imagery. In the first line, it sounds like a reference to Milton’s blindness (this is more or less plausible depending on which date of publication you accept). As this language continues to crop up, it appears that Milton’s darkness has a larger importance. In the second line, he refers to the world as dark, and in line seven, he uses the lack of light to pose a frustrated question to God. By using this vocabulary to describe his fears, Milton creates a connection with two passages from the Bible that use the same language to explain the will of God and the way of the world. In Matthew 25: 1-13, a brightly shining lantern symbolizes a person’s preparedness for God’s coming, and in John 9:4, Christ refers to the limited time he (and every man) has to do God’s work on earth before “the night cometh, when no man can work” (King James Bible). Milton engages with these passages, so that when he reaches the height of his dilemma, “Doth God exact day-labour, light denied,/I fondly ask” he is issuing a direct challenge to a statement made b...
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... God has a tireless band of angels as well as his followers among men who have learned to set aside all else and worship him.
In this sonnet, Milton manages to turn his personal complaint into not one but two of his favorite things: praise of God, and intense criticism of the king. By focusing on the parable of the talents and its ties to both the worldly and the spiritual, Milton calls God and King into relief. He is then able to use God and His eternal, abiding goodness to highlight the King’s small-minded, self-centered tyranny. This direct comparison gives readers a sense of Milton’s belief that earthly authority is corrupt, and should never be a part of religion. God and the King are so vastly far apart that to bring them together, whether in poetry or in a church hierarchy, is offensive to God and can only bring out the weaknesses of the King.
Nonetheless, this sonnet greatly relates, as it wonderfully demonstrates, how individuals can change their perspectives. Knowing what one has or what one is capable of, better enables anyone to identify with oneself. Though Milton’s experience in finding himself does not provide him with a new love or appreciation for another individual, it more importantly offers him love for himself and his God. He learns to appreciate the art of patience and what he still has and uses it to make his existence worth while. Milton experiences a world in which half of his days are spent “in this dark world” (line 2), yet he continues to carry out his poetry writing - the “talent” (3) God has given him.
Canfield Reisman, Rosemary M. “Sonnet 43.” Masterplots II. Philip K. Jason. Vol. 7. Pasadena: Salem Press, 2002. 3526-3528. Print.
Holy Sonnet XV deals with the question of reciprocal love that runs throughout Donne’s religious poetry. The Sonnet is an address of the speaker’s mind to the speaker’s soul; it is a meditation on the Trinity and man’s relationship to God. The poem’s form and the multi-layered conflation throughout expound upon the nature of the Trinity. The theme of humility in reciprocal religious love or receiving and understanding God’s glory (as Donne understood it) runs throughout the poem. This allows the speaker’s soul to understand his own need for humility in order to love god fully. Donne uses the Sonnet form cunningly in this poem; the formal divisions of the Sonnet reflect the trinity, with three four-line sections, while the inner workings of the poem expound upon God’s love for mankind and the need for humility. The poem’s rhyme scheme is abba/abba/cddc/ee. This formally divides the poem into three four part sections that move from the spiritual to the physical downward through the Trinity, increasing tangibility with regard to the physical and allowing the speaker to achieve a closer relationship with God through Christ.
Throughout the text of Milton’s Paradise Lost, we can see many instances of binary relationships connecting separate conceptual ideas. The construction of "authorship" in the poem exists as a good example of just such a relationship. This theme incorporates two very different ideas in the poem, and is central to the understanding of issues concerning the creation and use of power.
First to consider is that the poem used in The Norton Anthology of English Literature is an edited version from The Complete Poetry and Major Prose of Milton, edited by Merritt Y. Hughes. The poem that will be considered here is the 1673 text printed in The Riverside Milton, edited by Roy Flannagan. The decision of Riverside was not to intervene into the text, but to leave as it was written. Hughes’ changes insert punctuation, capitalization and spelling to update it to a modern audience. By modernizing the poem Hughes has effectively changed the meaning to what he as the editor had in mind. Milton wanted good readers, readers that read deeper than surface meanings and by changing the text the art of Milton’s words are compromised for the poem was designed to confuse the reader. Milton as a wordsmith is preparing the reader for a spiritual confusion that leads one to a question. Hughes’ editing reinforces the binary aspects of the poem that sets up one speaker in the octave and one speaker in the sestet, the problem in the octave then the solution in the sestet, if one likes. If one leaves out the editorial changes, the octave speaker and the sestet speaker become erased...
Although the epic poem centers around the story of the fall of man, it is interesting that Milton intertwines in this story the fall of Satan from heaven and the consequences it has not only for Satan himself, but for Adam, Eve, and the world as a whole. Milton allows the reader to see the fall from the point of view of Satan, God, as well as Adam and Eve. Because Milton gives insight into these characters feelings regarding the fall, it is no surprise that he uses “eternal providence” in conjunction with the stories of Satan, Adam, and Eve. The providence being described here is the knowledge of good and evil. However, ev...
John Milton's contemplative "Sonnet XIX" reveals the idea of man in adversity coming to terms with fate. Milton reflects upon the condition of his own soul in physical blindness through his ideas of service, duty, and talent in order to explore his relationship with God and his art: writing. Milton's use of diction and structure provide clues to the sonnet's interpretation and help resolve the thematic dilemma presented. The sonnet's imagery connotes multiple meanings. An examination of Milton's allusions to biblical verse and historical parallels help give important insight towards understanding the sonnet.
Milton: Modern Essays in Criticism. Ed. Arthur E. Barker, b. 1875. New York: Oxford University Press, 1965. 205-217.
... middle of paper ... ... Thus, the poet accepts time passing in order to reach the more powerful God towards the end of the sonnet. Milton’s use of double meaning and his additions or modifications to the structure of the poem portray the poet’s surrender to time and his respect for its path to God.
John Milton’s Paradise Lost is a religious work, and is in many ways an autobiography of Milton’s own life. John Milton was raised catholic and converted to Protestantism. Later in life he became a Calvinist. His strong Calvinists beliefs can be seen throughout Paradise Lost. It was Milton’s desire to be a great poet, but he did not believe that was his purpose in life. He believed that he had been put here to serve God, and that any thing that he wrote should be in one way or another related to that purpose. In this way Milton felt that in writing Paradise Lost not only was he writing the epic poem he had always wanted to, but also fulfilling his godly purpose here on earth.
In his epic poem Paradise Lost, John Milton presents Satan as a complex and multifaceted figure. As Jeffrey Burton Russell describes in The Prince of Darkness, Milton’s goal in writing this epic poem was to “justify the ways of God to men” (Russell, chap.12, p.15). With this in mind, it is easy to interpret the character of Satan as a mere foe, the evil at the opposite of God’s goodness, and to see God as the obvious protagonist of the poem. Things in Milton, however, are not quite as black and white, and while the justification of God’s actions is at the centre here, it is the character of Satan who drives the poem forward, as a protagonist should.
Milton returned to England about 1641 when the political and religious affairs were very disturbing to many. He started to apply his work in practice for that one great work like Paradise Lost when penning the Sonnets. Not every sonnet is identical but they can be difficult in interpretation, styles, word use, and so forth. The purpose of this paper is to analyze Milton’s Sonnet 8 (ca 1642), “Captain or Colonel.” This will be done by explaining the type of theme and then separating the sonnet into three sections: lines 1-4, 5-8, and 9-14 for a better understanding of how Milton used the development of ongoing events to present problems with a mystical resolution.
The regularity with which Milton frequently conforms to principles of epic structure make his occasional (but nevertheless fundamental) variations on the epic tradition all the more striking by contrast. The most important departures from epic decorum--the rejection of a martial theme, and the choice of an argument that emphasizes the hero's transgression and defeat instead of celebrating his virtues and triumphs--are paradoxically conditioned by concern for the ethical and religious decorum of the epic genre. On the whole, Milton has retained the formal motifs and devices of the heroic poem but has invested them with Christian matter and meaning. In this sense his epic is . . . something of a "pseudomorph"--retaining the form of classical epic but replacing its values and contents with Judeo-Christian correlatives. (Epic and Tragic Structure . . . 20)
In Shakespeare’s sonnet 130, the speaker ponders the beauty, or the lack thereof, of his lover. Throughout the sonnet, the speaker presents his lover as an unattractive mistress with displeasing features, but in fact, the speaker is ridiculing, through the use of vivid imagery, the conventions of love poems and the way woman are portrayed through the use of false comparisons. In the end, the speaker argues that his mistress may not be perfect, but in his eyes, her beauty is equal to any woman who is abundantly admired and put through the untrue comparison.
In conclusion, Paradise Lost can be seen through a historically contextual lens that allows us to see the parallels between Milton’s life and experiences during the reign of Charles I, and the predominant themes in his epic poem. Many of the themes in Paradise Lost, from the broader situational occurrences to the behavior of individual character’s and their attitudes toward the situations in which they find themselves can be seen as directly influenced by Milton’s time as a Parliamentarian in 17th century England.