Michael Lieb - The dialectics of creation: patterns of birth & regeneration in Paradise lost

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title	:	The Dialectics of Creation; : Patterns of Birth & Regeneration in Paradise Lost
author	:	Lieb, Michael.
publisher	:	University of Massachusetts Press
isbn10 | asin	:	0870230492
print isbn13	:	9780870230493
ebook isbn13	:	9780585083841
language	:	English
subject	Milton, John,--1608-1674.--Paradise lost, Epic poetry, English--History and criticism, Regeneration in literature, Creation in literature.
publication date	:	1970
lcc	:	PR3562.L5eb
ddc	:	821/.4
subject	:	Milton, John,--1608-1674.--Paradise lost, Epic poetry, English--History and criticism, Regeneration in literature, Creation in literature.

Page i The Dialectics of Creation Patterns of Birth & Regeneration in Paradise Lost by Michael Lieb THE UNIVERSITY OF MASSACHUSETTS PRESS

Page ii Copyright1970 by the University of Massachusetts Press All rights reserved Standard Book Number 87023-049-2 Library of Congress Catalog Card Number 71-76047 Printed in the United States of America

Page iii For Roz & John

Page v ACKNOWLEDGMENTS My debts are too many to acknowledge sufficiently here, but I should like to thank those whose assistance has been of particular importance to my work. I have greatly benefited from the detailed and sympathetic criticism of Professors John T. Shawcross, Barbara K. Lewalski, Thomas R. Edwards, Maurice Charney, G. Stanley Koehler, Leon Barron, and Frank Evans. Their time, stimulation, and encouragement are certainly appreciated. But to Professor Shawcross goes my deepest appreciation, not only for his untiring attention and advice regarding matters both large and small, but also for his having first taught me how to read Milton. Finally, I am grateful in a very special way for the assistance I have received from my parents and from my wife Roslyn. WILLIAMSBURG, VIRGINIA APRIL 1969

Page vii CONTENTS Introduction: The Dialectics 3 Prolegomena: The Dark World 16 I: The Process Of Creation 1. The Poet as Creator 37 2. Glorious Creativity: God & Unfallen Man 56 II: The Process Of Uncreation 3. The War in Heaven: Union & Disunion 81 4. The War in Heaven: Rebellion & Reunion 107 5. Satan's Fall & Its Immediate Consequences 125 6. Satan's Fall & Its Extended Consequences: The Generation of Sin & Death 142 7. Satan's Fall & Its Extended Consequences: The Interrelationships of Sin & Death 161 8. The Temptation & Fall of Man 184 III: The Process Of Re-Creation 9. Redemption 205 Conclusion 222 Appendix: Creation & Alchemy 229 Bibliography 247 Index 255

Page 3 INTRODUCTION THE DIALECTICS When Milton refers to "this great Argument" (I. 24) in the proem to Book I of Paradise Lost,1 we can hardly overemphasize the fact that the polemicist of the prose tracts is now asserting himself poetically. That is, we cannot overlook Milton's decidedly persuasive stance as an epic poet. Indeed, by stressing his "great Argument" almost immediately, Milton does not allow us to forget that he will assume the posture of one who argues in order to convince, except that now he will argue as a poet rather than as a prose writer. This means that as a poet his "adventrous Song" will transcend the realm of prose (and, in fact, of all previous poetry), that it will "soar / Above th'Aonian Mount, while it pursues / Things unattempted yet in Prose or Rime'' (I, 1316). Or, to borrow a metaphor from the prose, Milton will use his right hand rather than his left in order to write. Therefore, his objectives in the poetry will be more nearly universal and sublime than they are in the prose. He will argue not so much about the fate of a nation, as he does in his tracts, as about a higher province, the fate of man and the world. Despite the vehicle Milton chooses to express his convictions and the degree to which his objectives differ from one form of writing to the next, however, his role as polemicist and the fundamental assumptions upon which he bases the conduct of his "great Argument" do not change. (What does change, of course, are his argumentative tactics, his recourse to the principles of decorum,2 a point I shall stress later.) Indeed, we might proceed one step further and say

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