Paradise Lost By John Milton Summary and Analysis Book IX

Summary

In the prologue to Book IX, Milton says that his work must now take a tragic tone and that this Christian epic, though different, is nonetheless more heroic than earlier epics like the Iliad and the Aeneid. Again, he calls on Urania as the muse of Christian inspiration to help him complete his work and show the true heroism that lies in the Christian idea of sacrifice. Then Milton returns to his story.

Satan returns to Eden eight days after being forced out by Gabriel. He has studied all the animals and has decided to approach Eve in the form of a serpent which he considers to be the "subtlest Beast of all the Field" (86).

The following morning, Adam and Eve prepare for their daily work tending the Garden. Because the Garden's growth seems to surpass their labors, Eve suggests that on this day they work apart. She thinks they can accomplish more working individually. Adam argues the point with Eve, saying that Raphael has warned them of dangers and that she is more vulnerable by herself. He and she continue this argument — she proposing that they work alone; he proposing that they work together — until Adam finally relents; however, he makes Eve promise to return to their bower soon, but Milton comments that she will never return to Adam in the way that she was that morning.

Satan in the form of the serpent is surprised and excited to find Eve alone tending flowers. He watches her and for a few moments becomes enraptured and forgets his evil nature. Then he remembers what his purpose is — to destroy God's creation. The serpent approaches Eve upright upon its tail. His various acts fail to attract Eve's attention because she is used to dealing with animals. However, when the serpent speaks, complimenting Eve on her beauty, playing on both her vanity and curiosity, Eve is suddenly interested. She is especially curious about how the serpent learned to speak. Satan replies through the serpent that he learned speech by eating the fruit of a particular tree in the Garden. He acquired speech and the ability to reason and has, therefore, sought Eve out to worship as the most beautiful of God's creations.

When Eve inquires which tree gave the serpent his abilities, he takes her to the Tree of Knowledge. Eve tells the serpent that God has forbidden Man to eat from that tree, and she chooses to obey God. Satan, using the same sophistic reasoning he has used throughout the story, tells Eve that God has tricked her and Adam. He has eaten of the tree and is not dead; neither will they die. Instead the tree will give them knowledge, which will make them like God. This fact makes God envious and has caused him to demand that Adam and Eve not eat of the tree. Eve is taken in by the words of the serpent, and after some rationalizing, she convinces herself that she should eat the fruit. And she does.

Now Eve suddenly worships the Tree of Knowledge as a god, even as all nature weeps for her fall. Her thoughts turn to Adam, and she decides that he must eat the fruit also. She cannot bear the idea that she might die and Adam would be given another wife. When Eve approaches Adam, he drops the wreath of flowers that he was weaving for her hair. Eve quickly tells him what she has done, and Adam just as quickly makes his own decision. He allows his physical love and passion for Eve to outweigh his reason. He knowingly eats the fruit and is immediately affected with carnal desire for Eve. The two humans exit to engage in "amorous play" (1045). The description here is not of love but lust.

After sex, Adam and Eve fall into a deep sleep. They awake and are overcome with shame and guilty knowledge. They both are weeping, and they launch into arguments with each other. Adam says Eve is at fault; she replies in kind. Milton describes them as spending "fruitless hours" (1188) in bitter accusation. Each is willing to blame the other, but neither is willing to accept responsibility. Paradise is gone and in its place guilt, blame, and shame. Milton says that both of them have given way to "Appetite" (1129), and reason is lost. Paradise has ended; the earth has begun.

Analysis

Milton's fourth invocation differs from earlier ones in that he does not call on Urania, except obliquely, and he does not mention his blindness. Rather he offers an explanation for his epic and says that the tone must now become "Tragic" (6). The word "tragic" had two connotations for Milton. First, it carried the simple moral meaning of something terribly bad or unfortunate. Christians since the Middle Ages had always considered the falls of Lucifer and Adam tragic. But "tragic' also refers to the dramatic concept of tragedy as first defined by Aristotle and developed through the centuries to its high achievement in Elizabethan England. Milton knew the nature of dramatic tragedy from his study of the Greeks (he patterned Samson Agonistes on Greek tragedy) as well as from reading Shakespeare and other Elizabethan dramatists (he wrote an essay On Shakespeare for the Second Folio).

By the seventeenth century, tragedies had assumed a basic format. The play would have a noble hero who had a tragic flaw in either personality or actions. The fortunes of the hero would reverse during the play from good to bad with the hero recognizing his own responsibility for these consequences that resulted from his flaw. The end of the play would result in the death of the hero. Throughout the play, fate would, in one form or another, control the action, and, at the end, the audience would experience a catharsis or purging of emotions, resulting from their empathy with the hero. They should feel pity for the hero and fear for themselves.

To see that Paradise Lost has an underlying tragic structure is not difficult. Adam is a noble character. He has a flaw in his passion for Eve that overrides his reason. He makes the mistake of eating the fruit. He recognizes, eventually, his responsibility for his actions. Death, though not occurring in the epic, is the main result of Adam's action. Fate (God) knows what will happen throughout the poem. And finally, Milton wanted his audience to experience pity for Adam and all mankind but fear for the consequences of their own sinful lives. So when Milton speaks of changing his "Notes to Tragic" (6), he means more than a passing remark.

Yet for all of these connections to tragedy, Paradise Lost is not a tragedy; it is a Christian epic with a tragic core. Adam is a noble hero, but as Milton notes in this prologue, he is not a hero like Achilles, Aeneas, or Odysseus. He is, in Milton's words, a hero of "Patience and Heroic Martyrdom" (33). Ultimately too, Adam is regenerated and reconciled rather than just killed. Paradise Lost will end on a hopeful — even joyful — note, since through Adam's fall, salvation and eternal life will come to Man through God's mercy and grace. This felix culpa or "happy fault" is not the stuff of tragedy.

Moreover, even as an epic, Milton says that he was attempting something different in Paradise Lost. He did not want to glorify warfare as in earlier epics like the Iliad. Instead, in his only description of warfare (Book VI), he creates parody rather than magnificence. Rather Milton's goal was to write a Christian epic, specifically a Protestant Christian epic with a new sort of hero, one who wins ultimately through patience and suffering. At the time Milton wrote this particular invocation, he still prayed to the Muse (Urania, Christian inspiration) to help him complete his work and to let it gain acceptance in a time when such a work's fate was unclear.

After the invocation, Milton begins this book with Satan who has been absent for the three books in which Adam and Raphael talked. Satan has degenerated as a character. In his speech in Eden, he is unable to make his thoughts logical. He thinks Earth may be more beautiful than Heaven since God created it after Heaven. He thinks he might be happy on Earth but then argues that he could not be happy in Heaven. He fusses about Man being tended by angels. Satan's ability to think, which seemed potent in Book I, now appears weak and confused. An even greater indication of Satan's character degeneration is that he is now self-delusional. In the early books, he lied but only to get others to do his bidding. In this speech, he lies to himself. He questions whether God actually created the angels, he sees Man as God's revenge on him, he says he took half of all the angels out of Heaven. Satan who seemed somewhat heroic in his rebellion now seems to be a dangerous con man who has come to believe his own lies. In the early books, the reader can at least see reasoning as well as envy behind Satan's actions, but, here in Book IX, Satan has become the delusional psychopath who believes his own lies. The concept of heroism cannot be stretched to include Satan's attitude and thinking at this point in the epic.

Milton reinforces Satan's degeneration with visual images. Satan creeps along the ground of Eden in a low-lying mist and ultimately takes on the form of the serpent who crawls along the ground. The shape changes Satan has made in Paradise Lost show a pattern. From angel to cherub, from cherub to cormorant, then to lion and tiger, and finally to toad and snake, Satan has progressively made himself more and more earthbound and lowly. The irony of these shifts in shape is not lost on Satan. As he searches for a serpent to enter, he complains of the bestial nature of the animal that he must "incarnate and imbrute, / That to the highth of deity aspired" (166-167). That is, as he tries to become like God, he takes on lower and lower forms.

The next scene of Book IX involves the argument between Adam and Eve over whether they should work alone or separately. Some commentators have seen Eve's arguments as a kind of calculated sophistry akin to Satan's that demonstrates Eve's complicity in her own fall. Her argument, however, is more of innocence. She has played the proper womanly role during Raphael's visit, and now she simply wants more freedom and responsibility. Perhaps she wants to show that she can be Adam's equal. To read Eve as a conniver is to overlook her naiveté and innocent desire to be more like Adam.

Satan's attitude when he finds Eve alone shows that the two humans made the wrong decision in separating. When Satan sees Eve by herself, he is pleased that she is not with Adam, who would have been a "Foe not informidable" (486). Eve's only real defense against Satan seems to be her basic beauty and goodness. Satan is so astounded when he first sees her that for a brief period he forgets his purpose and stands "Stupidly good" (465). The scene makes two points: First, the goodness expressed just by Eve's physical person is overwhelming. And second, Satan has lost the capacity for real goodness. He may be momentarily struck dumb and be "stupidly good," but he quickly recovers and is not in any way deflected from his evil purpose.

Satan's temptation of Eve is a cunning masterpiece. As a prelapsarian serpent, he is able to approach her standing upright upon his tail, a "Circular base of rising folds, that tow'r'd / Fold above fold, a surging maze" (498-99). The images of circuitous, folding mazes occur intermittently throughout Paradise Lost and reach their culmination in this image of the serpent rising to tempt Eve with his body a coiling labyrinth. Visually, Eve is pure, simple innocence; the serpent, unfathomable, complex evil. Eve will soon be lost in his labyrinthine argument and plot.

Satan as serpent first uses his physical beauty and speech to impress Eve, who finds him beautiful. A number of writers have found sexual undertones in the description of the serpent: "pleasing was his shape, / And lovely" (503-04). An old Jewish tradition even had it that Eve made love with the serpent. Milton's subtle sexualizing of the serpent followed this tradition and adds another element to Eve's fall. William Blake, in his illustration for this scene, certainly noticed sexual imagery. At first glance, Eve appears to kiss the serpent, but is, in fact, taking a bite of a very phallic apple in the serpent's mouth. The fruit hanging from the Tree of Life in Blake's illustration suggests nothing so much as male genitalia.

Eve is also taken with the fact that the serpent talks. Further, the snake is not in the angelic form of the tempter in Eve's dream, so she is not put on guard by the creature. (Milton has made it clear earlier that Adam and Eve were never threatened by any animal in Eden.) Satan first flatters Eve. He licks the ground. He says he worships her beauty. The reader recalls that Eve narcissistically became enamored of her own image in the water at her creation. She is vain, but she is also secondary to Adam. Here a talking snake praises her beauty and says he worships her. She is interested though not enraptured.

But when the serpent takes Eve to the Tree of Knowledge, his arguments come so fast and so deviously that she cannot follow them. At first, she does what she should. She tells the serpent that she cannot eat from the tree. He argues that he has eaten and did not die. Then he adds that God wants her to eat of the tree and, contradictorily, that he envies what the humans might learn if they did eat. The arguments come so fast that Eve cannot answer, let alone think through them. Her innocence in comparison with Satan's cunning overcomes her reason. She is no match for Satan, and so his sophistic arguments seem reason to her. Unlike Adam, Eve buys into the arguments without grasping what is really happening. Eve eats the fruit, and eats, for the first time, gluttonously, letting her appetite take control of her reason.

After she eats, Eve at first feels elated. She thinks that she has reached a higher level but shows this ironically by starting to worship the tree. Her thoughts turn to Adam. Initially, she thinks she might keep this new power for herself and perhaps become his equal. At this point, Eve is conniving; already the fruit has changed her innocence. Even her reason for telling Adam shows this fact. If the fruit indeed leads to death, she does not want to die and leave Adam to another woman. She selfishly wants him to be in the same condition she is.

Adam's temptation and fall is much less complicated than Eve's. When Adam drops the flowery chaplet that he has been making for Eve, he symbolically drops all that he has in Eden. He immediately realizes what Eve has done. Adam makes a conscious decision to eat the fruit because he cannot give up Eve. He allows his physical passion for her to outweigh his reason, and so he eats. Adam's decision is willful, unlike Eve's, which was based on fraudulent argument and weak reason.

After the fall, the two are overcome by lust. Adam says to Eve, "if such pleasure be / In things to us forbidden, it might be wish'd, / For this one Tree had been forbidden ten" (1024-26). The language of the entire scene is charged with sexual imagery and innuendo. Their appetites are in control, and reason is lost. After their lovemaking, they fall into a troubled sleep — no more innocent dreams. When they wake, they are cognizant of what they have done, and their arguing is that of real people. If their argument at the end of Book IX is compared with their discussion of whether to work alone or together at the beginning, the difference in Man before and after the fall is clear. The opening discussion is reasoned and pleasant; the closing, irrational and bitter.

Glossary

harbinger (13) a person or thing that comes before to announce or give an indication of what follows; herald.

sedulous (27) working hard and steadily; diligent.

Seneschal (38) a steward or major-domo in the household of a medieval noble.

wanton (211) [Now Rare] luxuriant (said of vegetation, etc.).

patriarch (376) the father and ruler of a family or tribe; Adam is identified in Paradise Lost as the patriarch of all Mankind.

verdant (500) covered with green vegetation.

unctuous (635 ) oily or greasy; made up of or containing fat or oil. Milton uses the word to describe one of the elements of ignis fatuus or fool's fire, a phenomenon like St. Elmo's Fire which often led the foolish astray.

dalliance (1016) flirting, toying, or trifling. Milton uses the term as a euphemism for sex.

umbrage (1087) shade; shadow; foliage, considered as shade-giving.

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