Of Chaos, and his dark pavilion spread Wide on the wasteful Deep! With him enthroned 960 The consort of his reign; and by them stood Orcus and Ades, and the dreaded name Of Demogorgon; Rumour next, and Chance, To whom Satan, turning boldly, thus :- Ye Powers And Spirits of this nethermost Abyss, Chaos and ancient Night, I come no spy The secrets of your realm; but, by constraint What readiest path leads where your gloomy bounds 970 980 I travel this profound. Direct my course: Made head against Heaven's King, though overthrown. Fled not in silence through the frighted Deep, With ruin upon ruin, rout on rout, Confusion worse confounded; and Heaven-gates Encroached on still through our intestine broils He ceased; and Satan staid not to reply, Into the wild expanse, and through the shock Over the dark Abyss, whose boiling gulf Tamely endured a bridge of wondrous length, 1000 1010 1020 Of this frail World; by which the Spirits perverse 1030 With easy intercourse pass to and fro To tempt or punish mortals, except whom But now at last the sacred influence Comm Of light appears, and from the walls of Heaven 1040 1050 THE END OF THE SECOND BOOK. NOTES. 1. first disobedience. Until Adam sinned and disobeyed God man was without sin. 2. that forbidden tree, the tree of the knowledge of good and evil, the fruit of which Adam and Eve were forbidden to taste. As forbid' in the active voice can govern two accusatives, one of the person, another of the thing, in the passive we may say either that a person is forbidden to do something, or, as here, that something is forbidden. mortal taste, taste producing death. 'Mortal' is used in the same sense in the common phrase 'mortal wound.' See i. 766; ii. 729; and note on i. 266. 3. death. The whole human race was made liable to death in order to punish Adam and Eve for their act of disobedience. 4. loss of Eden. Adam and Eve were also, as a punishment for the same offence, driven out of the beautiful garden of Eden, in which they dwelt before their fall. In this line Eden means the garden of Eden; in the last line of the poem, and in iv. 210, Eden means the country in which the garden was situated. After Adam and Eve had been expelled from the garden of Eden they were still in the country of Eden. one greater Man, Jesus Christ, who by His death on the cross atoned for the sin of the first man and obtained for the human race restoration to Paradise. Milton does not seem to think that the new Paradise will be identical with the old. See book xii. 463, where he does not decide whether the new blissful seat is to be in heaven or earth. It must be remembered that, though Christ by His life and death secured the eventual restoration of mankind to Paradise, the actual restoration will not be realized until the end of the world, when He will judge the world and receive the righteous into bliss. Therefore the present subjunctive 'restore, not the imperfect subjunctive, is used, because the restoration to Eden is still in the future as compared with the time at which Milton is writing. These words seem to suggest that the idea of writing a poem on the subject of Paradise Regained, as the natural sequel to Paradise Lost, may have been present in Milton's mind long before Ellwood, after reading Paradise Lost through, said to him, 'Thou hast said much here of Paradise Lost, but what hast thou to say of Paradise Found?' 5. Regain for the human race the blissful seat, Paradise. 6. Sing, Heavenly Muse. In the opening lines of his two great epics Homer asks for inspiration from the Muse, the Greek goddess of poetry. All later epic poets are fond of imitating the practice of Homer, the father of epic poetry, and in this spirit of imitation Milton determines, like Homer, to begin with an invocation addressed to a Muse. Being a Christian he cannot ask for inspiration from one of the goddesses of Greek mythology, particularly as elsewhere he identifies the Greek deities with devils or fallen angels (see line 508). He therefore invents a new Muse, whom he supposes to have inspired Moses and the other sacred writers. Milton's Muse may be considered as a personification of divine inspiration. In the opening lines of book vii., borrowing, as Dante had done before him, the name of the Greek Muse of astronomy, he calls his Muse Urania (lit., 'the heavenly one'), and addresses her as a goddess, thereby adding a fourth person and perhaps a second deity to the three persons and one God of the Christian Trinity. It is difficult indeed for the poet to escape such inconsistencies when he attempts to combine Greek mythology with Christian theology. 7. The two names Sinai and Horeb, for so the word is usually spelt, are applied in the Bible to one and the same mountain, namely that on which Moses more than once received inspiration from God. See xii. 227; Exodus iii. 1; xix. 20. The conjunction or here shows that either Milton did not identify the two names, or possibly that, if he did so, he was doubtful which was the more suitable appellation. For a similar doubt see iii. 7. Horeb also means in the Bible a valley or district under Mount Horeb, in which sense the word is used in 1. 484. Bentley very needlessly substituted the commonplace 'sacred' for 'secret.' The top of Sinai is called secret, because when Moses went there to receive God's commandments he went alone into a thick cloud, and the rest of the children of Israel were forbidden to approach. 8. That shepherd, Moses, who, before he was called by God to deliver Israel from the Egyptian yoke, 'kept the flock of Jethro his father-in-law, the priest of Midian' (Exodus iii. 1). To him is ascribed the authorship of the first five books of the Bible, called the Pentateuch, in the opening verses of which we are told how in the beginning God created the heaven and the earth' (Genesis i. 1). Chaos, which prevailed everywhere before the creation of the world, is described in book ii. 890-915, and the creation is described in book vii. |