Samson Agonistes

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An etching of Samson destroying the temple, from an 1882 German Bible

Samson Agonistes (from Greek Σαμσών ἀγωνιστής, "Samson the champion") is a tragic closet drama by John Milton. It appeared with the publication of Milton's Paradise Regained in 1671, as the title page of that volume states: "Paradise Regained / A Poem / In IV Books / To Which Is Added / Samson Agonistes". It is generally thought that Samson Agonistes was begun around the same time as Paradise Regained but was completed after the larger work, possibly very close to the date of publishing, but there is no certainty.

Background

Title page of Paradise Regained (1671), the first publication of Samson Agonistes.

Milton began plotting various subjects for tragedies in a notebook created in the 1640s. Many of the ideas dealt with the topic of Samson, and he gave them titles such as Samson pursophorus or Hybristes ("Samson the Firebrand, or Samson the Violent"), Samson marriing or in Ramath Lechi, and Dagonalia (the unholy rites at which Samson performed his vindication of God). The title he chose emphasises Samson as a warrior or an athlete, and the play was included with Paradise Regained and printed on 29 May 1671 by John Starkey. It is uncertain as to when the work was composed, which leaves the possibility that it was an early work that was filled with Milton's ideas about the English Civil War or it was a later work that incorporates his despair over the Restoration. Evidence for the early dating is based on his early works and his belief in revolution whereas evidence for a later dating connects the play with his later works, such as Paradise Lost, and comments reflecting on the fall of the Commonwealth. In 1671, the work was printed with a new title page and prefaced his work with a discussion on Greek tragedy and Aristotle's Poetics.

On the title page, Milton wrote that the piece was a "Dramatic Poem" rather than a drama. He did not wish for it to be performed on stage, but thought that the text could still influence people. He hoped that by giving Samson attributes of other Biblical figures, including Job or the Psalmist, he could create a complex hero who would embody and help resolve theological issues. In writing the poem and choosing the character of Samson as his hero, Milton was also illustrating his own blindness, which afflicted him in his later life.

Play

Samson Agonistes draws on the story of Samson from the Old Testament, Judges 13–16; in fact it is a dramatisation of the story starting at Judges 16:23. The drama starts in medias res. Samson has been captured by the Philistines, had his hair, the container of his strength, cut off and his eyes cut out. Samson is "Blind among enemies, O worse than chains" (line 66).

Near the beginning of the play, Samson humbles himself before God by admitting that his power is not his own: "God, when he gave me strength, to show withal / How slight the gift was, hung it in my hair" (lines 58–9).

The Chorus discusses Samson's background and describes his various military accomplishments:

Ran on embattled armies clad in iron,

And, weaponless himself,

Made arms ridiculous, useless the forgery

Of brazen shield and spear, the hammered cuirass,

Chalybean-tempered steel, and frock of mail

Adamantean proof;

...

Samson Slays 1,000 Philistines, 1860 woodcut by Julius Schnorr von Karolsfeld

Then with what trivial weapon came to hand,

The jaw of a dead ass, his sword of bone,

A thousand foreskins fell

(lines 129–134, 142–4)

Although he is great, the Chorus points out that, through his blindness (actual and metaphorically), he is a prisoner:

Thou art become (O worst imprisonment!)

The Dungeon of thy self; thy soul

(Which men enjoying sight oft without cause complain)

Imprisoned now indeed,

In real darkness of the body dwells,

Shut up from outward light

To incorporate with gloomy night

For inward light alas

Puts forth no visual beam

(lines 155–163)

Samson reveals how he lost his power because of his desire for Dalila, and, through this act, betrayed God:

I yielded, and unlocked her all my heart,

Who with a grain of manhood well resolved
Might easily have shook off all her snares:
But foul effeminancy held me yoked
Her bond-slave. O indignity, O blot
To honor and religion! Servile mind
Rewarded well with servile punishment!

(lines 407–413)

However, his state is more than just his own, and it represents a metaphor for the suffering of God's chosen people when Samson says:

Or to th' unjust tribunals, under change of times,

And condemnation of the ingrateful multitude.

If these they scape, perhaps in poverty

With sickness and disease thou bow'st them down,

(lines 695–698)

After Samson rejects Dalila's pleas, she asks for Samson to "let me approach at least, and touch thy hand" (line 951), and Samson responds, "Not for thy life, lest fierce remembrance wake / My sudden rage to tear thee joint by joint" (lines 952–3). He shows Dalila how not to upset him: “At distance I forgive thee, go with that" (line 954). The Chorus, shortly after, complains about the nature of women and how deceptive they are:

Whate'er it be, to wisest men and best

Seeming at first all heavenly under virgin veil,

Soft, modest, meek, demure,

Once joined, the contrary she proves, a thorn

Intestine, far within defensive arms

A cleaving mischief, in his way to virtue

Adverse and turbulent, or by her charms

Draws him awry enslaved

With dotage, and his sense depraved

To folly and shameful deeds which ruin ends.

(lines 1034–1043)

Harapha points out that Samson is

... no worthy match

For valor to assail, nor by the sword

Of noble warrior ...

But by the barber’s razor best subdued

(lines 1164-7)

But he does describe Samson's past accomplishments when he says "thou art famed / To have wrought such wonders with an ass’s jaw" (lines 1094–5).

The Chorus discusses how God grants individuals with the power to free his people from their bonds, especially through violent means:

He all their ammunition

And feats of war defeats

With plain heroic magnitude of mind

And celestial vigor armed;

Their armouries and magazines contemns,

Renders them useless, while

With winged expedition

Swift as the lightning glance he executes

His errand on the wicked, who surprised

Lose their defence, distracted and amazed.

(lines 1277–86)

The last two hundred and fifty lines describe the violent act that actually occurs while the play was unfolding: Samson is granted the power to destroy the temple and kill all of the Philistines along with himself. However, this event does not take place on stage but is told through others. When the temple's destruction is reported, there is an emphasis on death and not peace:

Man. I know your friendly minds and – O what noise!

Mercy of Heav’n, what hideous noise was that!

Horribly loud, unlike the former shout.

Chor. Noise call you it, or universal groan,

As if the whole inhabitation perished?

Blood, death, and dreadful deeds are in that noise,

Ruin, destruction at the utmost point.

Man. Of ruin indeed methought I heard the noise.

Oh it continues, they have slain my son.

Chor. Thy son is rather slaying them; that outcry

From slaughter of one foe could not ascend.

Man. Some dismal accident it needs must be;

What shall we do, stay here or run and see?

Chor. Best keep together here, lest running thither

We unawares run into danger’s mouth.

This evil on the Philistines is fall’n;

From whom could else a general cry be heard?

(lines 1508–24)

Manoah describes the event as "Sad, but thou know’st to Israelites not saddest / The desolation of a hostile city" (lines 1560–1)

The final lines describe a catharsis that seems to take over at the end of the play:

His servants he with new acquist

Of true experience from this great event

With peace and consolation hath dismissed,

And calm of mind, all passion spent.

(lines 1755–1758)

Cast

The Persons

• Samson
• Manoa the Father of Samson
• Dalila his Wife
• Harapha of Gath
• Public Officer
• Messenger
• Chorus of Danites

Themes

Samson Agonistes, pen sketch by George Hayter, 1821

Samson Agonistes combines Greek tragedy with Hebrew Scripture, which alters both forms. Milton believed that the Bible was better in its classical forms than those written by the Greeks and Romans. In his introduction, Milton discusses Aristotle's definition of tragedy and sets out his own paraphrase of it to connect it to Samson Agonistes:

Tragedy, as it was anciently composed, hath been ever held the gravest, moralest, and most profitable of all other poems: therefore said by Aristotle to be of power by raising pity and fear, or terror, to purge the mind of those and such-like passions, that is to temper and reduce them to just measure with a kind of delight, stirred up by reading or seeing those passions well imitated. Nor is nature wanting in her own effects to make good his assertion: for so in physic things of melancholic hue and quality are used against melancholy, sour against sour, salt to remove salt humors.

Milton continues, "Of the style and uniformity, and that commonly called the plot, whether intricate or explicit... they only will best judge who are not unacquainted with Aeschylus, Sophocles, and Euripides, the three tragic poets unequaled yet by any, and the best rule to all who endeavor to write tragedy".

The reliance on Hebrew Scripture allows Milton to emphasise a plot that he feels is worthy of discussion, while the elements of Greek tragedy allows Milton to deal with complex issues through use of choruses and messengers instead of directly depicting them in addition to softening the Hebrew characters. This merging of two forms alters Samson from a rough barbarian into a pious warrior of God.

Violence

Acts of violence are an important theme within Samson Agonistes as the play attempts to deal with revenge and the destruction of God's enemies. Michael Lieb posits that "the drama is a work of violence to its very core. It extols violence. Indeed, it exults in violence". John Coffey simply describes the action in the play as "a spectacular act of holy violence and revenge". Likewise, David Loewenstein remarks that "the destruction and vengeance depicted in Samson Agonistes, then, dramatizes a kind of awesome religious terror". Gordon Teskey describes the plot of the work when he says, "delirious violence of the hero of Samson Agonistes, who cancels the Philistine hallucination of a unified and harmonious world". Against the backdrop of the challenge posed by suicide terrorism, Arata Takeda points to ethical implications arising from Samson's "brutal massacre committed against civilians attending a religious feast" and the following "lyrical extolment of the suicide mass murder".

The play itself suggests the horror within the actions through descriptive phrases, including "evil news" (line 538), "this so horrid spectacle" (line 1542), "the place of horror" (line 1550) and "the sad event" (line 1551). Although Samson is the hero and he causes the violence, Elizabeth Sauer points out that "Milton devotes nearly twice as many lines to the Chorus’ reactions in the denouement than to the Messenger's description of the catastrophe in order to deemphasize spectacle and performance and instead to highlight the interior drama while encouraging active interpretation of the reported events".

Women

The play, focusing around the betrayal of Samson at the hands of Dalila, his wife, produces a negative portrayal of love and love's effects. Women, and men's desire for women, are connected to idolatry against God and the idea that there is no possibility for the sacred within the bonds of marital love. Samson, who is both holy and desirous of Dalila, is seduced into betraying the source of his strength, and thus betrays God. He is emasculated, through blindness, because of his sexual desires. The Chorus, after Dalila attempts to seduce Samson again, criticises women for being deceptive.

Samson's argument against Dalila is to discuss the proper role of a wife but also the superiority of men. The depiction of Dalila, and women, is similar to that in Milton's divorce tracts and, as John Guillory states and then asks, "We scarcely need to observe that Samson Agonistes assumes the subjection of women, a practice to which Milton gives his unequivocal endorsement; but is there any sense in which that practice of subjection is modified by the contemporaneous form of the sexual divisions of labor?". A wife is supposed to help a husband, and the husband, regardless of the status of the woman, is supposed to have the superior status. In blaming Dalila, he rationalises his actions and removes blame from himself, which is similar to what Adam attempts in Paradise Lost after the fall. However, Samson develops through the play and Dalila reveals that she is concerned only with her status among her people. This places Dalila in a different role from Milton's Eve. Instead, she is an emasculating force and represents Samson's past failings.

Religion

Samson undergoes despair when he loses God's favour in the form of his strength. In his searching for a way to return to being true to God and to serve his will, Samson is compared to the non-conformists after the English Restoration who are attacked and abused simply because they, according to their own view, serve God in the correct way.

Blindness

As blindness overtook Milton, it becomes a major trope in Samson Agonistes, and is seen also in Paradise Lost (3.22–55) and his 19th Sonnet. Many scholars have written about the impact of Milton's increasing blindness on his works. This recurrence of blindness came after Milton temporarily gave up his poetry to work for Oliver Cromwell and the Commonwealth government. He continued this service even though his eyesight was failing and he knew that he was hastening his own blindness. The correlation is significant to the Agonistes plot: Milton describes Samson as being "Eyeless in Gaza", a phrase that has become the most quoted line of Agonistes. Novelist Aldous Huxley used it as the title for his 1936 novel Eyeless in Gaza.

Samson's blindness, however, is not exactly analogous to Milton's. Rather, Samson's blindness plays various symbolic roles. One is the correlation between Samson's inner blindness as well as outer, the fact that he believes his "intimate impulses" to be divine messages, yet is never in any way divinely affirmed in this, unlike the rest of Milton's divinely influenced characters. Samson's inability to see that his inner vision does not correlate to divine vision is manifest in his physical blindness. It also plays on his blindness to reason, leading him to act hastily, plus the fact that he is so easily deceived by Delila, "blinded" by her feminine wiles. Some of the chorus's lines in Samson Agonistes are rhymed, thus suggesting a return of the "chain of rhymes", which itself reflects upon Samson's imprisonment.

Paradise Lost

From Wikipedia, the free encyclopedia

 

Paradise Lost

Title page of the first edition (1667)
Author	John Milton
Cover artist	J. B. de Medina Henry Aldrich
Country	England
Language	English
Genre	Epic poetry Christian mythology
Publisher	Samuel Simmons (original)
Publication date	1667
Media type	Print
Followed by	Paradise Regained
Text	Paradise Lost at Wikisource

25:16

LibriVox recording by Owen. Book One, Part 1.

Paradise Lost is an epic poem in blank verse by the 17th-century English poet John Milton (1608–1674). The first version, published in 1667, consists of ten books with over ten thousand lines of verse. A second edition followed in 1674, arranged into twelve books (in the manner of Virgil's Aeneid) with minor revisions throughout. It is considered to be Milton's masterpiece, and it helped solidify his reputation as one of the greatest English poets of all time. The poem concerns the biblical story of the Fall of Man: the temptation of Adam and Eve by the fallen angel Satan and their expulsion from the Garden of Eden.

Composition

Milton Dictating to His Daughter, Henry Fuseli (1794)

In his introduction to the Penguin edition of Paradise Lost, the Milton scholar John Leonard notes, "John Milton was nearly sixty when he published Paradise Lost in 1667. The biographer John Aubrey (1626–1697) tells us that the poem was begun in about 1658 and finished in about 1663. However, parts were almost certainly written earlier, and its roots lie in Milton's earliest youth." Leonard speculates that the English Civil War interrupted Milton's earliest attempts to start his "epic [poem] that would encompass all space and time."

Leonard also notes that Milton "did not at first plan to write a biblical epic." Since epics were typically written about heroic kings and queens (and with pagan gods), Milton originally envisioned his epic to be based on a legendary Saxon or British king like the legend of King Arthur.

Having gone blind in 1652, Milton wrote Paradise Lost entirely through dictation with the help of amanuenses and friends. He also wrote the epic poem while often ill, suffering from gout, and suffering emotionally after the early death of his second wife, Katherine Woodcock, in 1658, and their infant daughter.

Structure

In the 1667 version of Paradise Lost, the poem was divided into ten books. However, in the 1674 edition, the text was reorganized into twelve books. In later printing, "Arguments" (brief summaries) were inserted at the beginning of each book.

Synopsis

Gustave Doré, The Heavenly Hosts, c. 1866, illustration to Paradise Lost.

The poem follows the epic tradition of starting in medias res (in the midst of things), the background story being recounted later.

Milton's story has two narrative arcs, one about Satan (Lucifer) and the other, Adam and Eve. It begins after Satan and the other fallen angels have been defeated and banished to Hell, or, as it is also called in the poem, Tartarus. In Pandæmonium, the capital city of Hell, Satan employs his rhetorical skill to organise his followers; he is aided by Mammon and Beelzebub. Belial and Moloch are also present. At the end of the debate, Satan volunteers to corrupt the newly created Earth and God's new and most favoured creation, Mankind. He braves the dangers of the Abyss alone, in a manner reminiscent of Odysseus or Aeneas. After an arduous traversal of the Chaos outside Hell, he enters God's new material World, and later the Garden of Eden.

At several points in the poem, an Angelic War over Heaven is recounted from different perspectives. Satan's rebellion follows the epic convention of large-scale warfare. The battles between the faithful angels and Satan's forces take place over three days. At the final battle, the Son of God single-handedly defeats the entire legion of angelic rebels and banishes them from Heaven. Following this purge, God creates the World, culminating in his creation of Adam and Eve. While God gave Adam and Eve total freedom and power to rule over all creation, he gave them one explicit command: not to eat from the tree of the knowledge of good and evil on penalty of death.

The story of Adam and Eve's temptation and fall is a fundamentally different, new kind of epic: a domestic one. Adam and Eve are presented as having a romantic and sexual relationship while still being without sin. They have passions and distinct personalities. Satan, disguised in the form of a serpent, successfully tempts Eve to eat from the Tree by preying on her vanity and tricking her with rhetoric. Adam, learning that Eve has sinned, knowingly commits the same sin. He declares to Eve that since she was made from his flesh, they are bound to one another – if she dies, he must also die. In this manner, Milton portrays Adam as a heroic figure, but also as a greater sinner than Eve, as he is aware that what he is doing is wrong.

After eating the fruit, Adam and Eve have lustful sex. At first, Adam is convinced that Eve was right in thinking that eating the fruit would be beneficial. However, they soon fall asleep and have terrible nightmares, and after they awake, they experience guilt and shame for the first time. Realising that they have committed a terrible act against God, they engage in mutual recrimination.

Meanwhile, Satan returns triumphantly to Hell, amid the praise of his fellow fallen angels. He tells them about how their scheme worked and Mankind has fallen, giving them complete dominion over Paradise. As he finishes his speech, however, the fallen angels around him become hideous snakes, and soon enough, Satan himself turns into a snake, deprived of limbs and unable to talk. Thus, they share the same punishment, as they shared the same guilt.

Eve appeals to Adam for reconciliation of their actions. Her encouragement enables them to approach God, and sue for grace, bowing on supplicant knee, to receive forgiveness. In a vision shown to him by the Archangel Michael, Adam witnesses everything that will happen to Mankind until the Great Flood. Adam is very upset by this vision of the future, so Michael also tells him about Mankind's potential redemption from original sin through Jesus Christ (whom Michael calls "King Messiah").

Adam and Eve are cast out of Eden, and Michael says that Adam may find "a paradise within thee, happier far." Adam and Eve now have a more distant relationship with God, who is omnipresent but invisible (unlike the tangible Father in the Garden of Eden).

Image extracted from page 362 of The Poetical Works of John Milton. Containing Paradise Lost. Paradise Regained. Samson Agonistes, and his Poems on several occasions., by Milton, John., Michael Burghers (1695)

Characters

Satan

Satan Arousing the Rebel Angels, William Blake (1808)

 

Main article: Prince of Darkness (Satan)

Satan, formerly called Lucifer, is the first major character introduced in the poem. He is a tragic figure who famously declares: "Better to reign in Hell than serve in Heaven" (1.263). Following his vain rebellion against God he is cast out from Heaven and condemned to Hell. The rebellion stems from Satan's pride and envy (5.660ff.).

Opinions on the character are often sharply divided. Milton presents Satan as the origin of all evil, but readers have historically struggled with accepting this interpretation. Romanticist critics in particular, among them William Blake, Lord Byron, Percy Bysshe Shelley, and William Hazlitt, are known for reading Satan as the "true hero" of Paradise Lost. This has led other critics, such as C. S. Lewis and Charles Williams, both of whom were devout Christians, to argue against reading Satan as a sympathetic, heroic figure. John Carey argues that this conflict cannot be solved, because the character of Satan exists in more modes and greater depth than the other characters of Paradise Lost: in this way, Milton has created an ambivalent character, and any "pro-Satan" or "anti-Satan" argument is by its nature discarding half the evidence. Satan's ambivalence, Carey says, is "a precondition of the poem's success - a major factor in the attention it has aroused."

Adam

Adam is the first human created by God. Adam requests a companion from God:

Of fellowship I speak
Such as I seek, fit to participate
All rational delight, wherein the brute
Cannot be human consort. (8.389–392)

God approves his request then creates Eve. God appoints Adam and Eve to rule over all the creatures of the world and to reside in the Garden of Eden.

Adam is more gregarious than Eve and yearns for her company. He is completely infatuated with her. Raphael advises him to "take heed lest Passion sway / Thy Judgment" (5.635–636). But Adam's great love for Eve contributes to his disobedience to God.

Unlike the biblical Adam, before Milton's Adam leaves Paradise he is given a glimpse of the future of mankind by the Archangel Michael, which includes stories from the Old and New Testaments.

Eve

William Blake, The Temptation and Fall of Eve, 1808 (illustration of Milton's Paradise Lost)

Eve is the second human created by God. God takes one of Adam's ribs and shapes it into Eve. Whether Eve is actually inferior to Adam is a vexed point. She is often unwilling to be submissive. Eve may be the more intelligent of the two. She is generally happy, but longs for knowledge, specifically for self-knowledge. When she first met Adam she turned away, more interested in herself. She had been looking at her reflection in a lake before being led invisibly to Adam. Recounting this to Adam she confesses that she found him less enticing than her reflection (4.477-480). Nonetheless, Adam later explains this to Raphael as Eve's

Innocence and Virgin Modestie,
Her vertue and the conscience of her worth,
That would be woo'd, and not unsought be won. (8.501–503)

But Adam's judgment is not always sound. And Eve is beautiful.

Though Eve does love Adam she may feel suffocated by his constant presence. Eve feels the need to be on her own and explore her individuality. In Book 9 she convinces Adam to separate for a time to work in different parts of the Garden. In her solitude she is deceived by Satan. Satan in the serpent leads Eve to the forbidden tree then persuades her that he has eaten of its fruit and gained knowledge and that she should do the same. She is not easily persuaded to eat, but is hungry in body and in mind.

The Son of God

The Judgment of Adam and Eve: "So Judged He Man", William Blake (1808)

The Son of God is the spirit who will become incarnate as Jesus Christ, though he is never named explicitly because he has not yet entered human form. Milton believed in a subordinationist doctrine of Christology that regarded the Son as secondary to the Father and as God's "great Vice-regent" (5.609).

Milton's God in Paradise Lost refers to the Son as "My word, my wisdom, and effectual might" (3.170). The poem is not explicitly anti-trinitarian, but it is consistent with Milton's convictions. The Son is the ultimate hero of the epic and is infinitely powerful—he single-handedly defeats Satan and his followers and drives them into Hell. After their fall, the Son of God tells Adam and Eve about God's judgment. Before their fall the Father foretells their "Treason" (3.207) and that Man

with his whole posteritie must dye,
Dye hee or Justice must; unless for him
Som other able, and as willing, pay
The rigid satisfaction, death for death. (3.210–212)

The Father then asks whether there "Dwels in all Heaven charitie so deare?" (3.216) And the Son volunteers himself.

In the final book a vision of Salvation through the Son is revealed to Adam by Michael. The name Jesus of Nazareth, and the details of Jesus' story are not depicted in the poem, though they are alluded to. Michael explains that "Joshua, whom the Gentiles Jesus call," prefigures the Son of God, "his name and office bearing" to "quell / The adversarie Serpent, and bring back [...] long wander[e]d man / Safe to eternal Paradise of rest."

God the Father

God the Father is the creator of Heaven, Hell, the world, of everyone and everything there is, through the agency of His Son. Milton presents God as all-powerful and all-knowing, as an infinitely great being who cannot be overthrown by even the great army of angels Satan incites against him. Milton portrays God as often conversing about his plans and his motives for his actions with the Son of God. The poem shows God creating the world in the way Milton believed it was done, that is, God created Heaven, Earth, Hell, and all the creatures that inhabit these separate planes from part of Himself, not out of nothing. Thus, according to Milton, the ultimate authority of God over all things that happen derives from his being the "author" of all creation. Satan tries to justify his rebellion by denying this aspect of God and claiming self-creation, but he admits to himself the truth otherwise, and that God "deserved no such return / From me, whom He created what I was."

Raphael

The Archangel Raphael with Adam and Eve (Illustration to Milton's "Paradise Lost"), William Blake (1808)

Raphael is an archangel who is sent by God to Eden in order to strengthen Adam and Eve against Satan. He tells a heroic tale about the War in Heaven that takes up most of Book 6 of Paradise Lost. Ultimately, the story told by Raphael, in which Satan is portrayed as bold and decisive, does not prepare Adam and Eve to counter Satan's subtle temptations - and may even have caused the Fall in the first place.

Michael

Michael is an archangel who is preeminent in military prowess. He leads in battle and uses a sword which was "giv'n him temperd so, that neither keen / Nor solid might resist that edge" (6.322–323).

God sends Michael to Eden, charging him:

from the Paradise of God
Without remorse drive out the sinful Pair
From hallowd ground th' unholie, and denounce
To them and to thir Progenie from thence
Perpetual banishment. [...]
If patiently thy bidding they obey,
Dismiss them not disconsolate; reveale
To Adam what shall come in future dayes,
As I shall thee enlighten, intermix
My Cov'nant in the womans seed renewd;
So send them forth, though sorrowing, yet in peace. (11.103–117)

He is also charged with establishing a guard for Paradise.

When Adam sees him coming he describes him to Eve as

not terrible,
That I should fear, nor sociably mild,
As Raphael, that I should much confide,
But solemn and sublime, whom not to offend,
With reverence I must meet, and thou retire. (11.233–237)

Themes

Marriage

Satan Watching the Caresses of Adam and Eve, William Blake (1808)

Milton first presented Adam and Eve in Book IV with impartiality. The relationship between Adam and Eve is one of "mutual dependence, not a relation of domination or hierarchy." While the author placed Adam above Eve in his intellectual knowledge and, in turn, his relation to God, he granted Eve the benefit of knowledge through experience. Hermine Van Nuis clarifies, that although there was stringency specified for the roles of male and female, Adam and Eve unreservedly accept their designated roles. Rather than viewing these roles as forced upon them, each uses their assignment as an asset in their relationship with each other. These distinctions can be interpreted as Milton's view on the importance of mutuality between husband and wife.

When examining the relationship between Adam and Eve, some critics apply either an Adam-centered or Eve-centered view of hierarchy and importance to God. David Mikics argues, by contrast, these positions "overstate the independence of the characters' stances, and therefore miss the way in which Adam and Eve are entwined with each other." Milton's narrative depicts a relationship where the husband and wife (here, Adam and Eve) depend on each other and, through each other's differences, thrive. Still, there are several instances where Adam communicates directly with God while Eve must go through Adam to God; thus, some have described Adam as her guide.

The Return of Milton's Wife, Henry Fuseli (1798–99)

Although Milton does not directly mention divorce, critics posit theories on Milton's view of divorce based upon their inferences from the poem and from his tracts on divorce written earlier in his life. Other works by Milton suggest he viewed marriage as an entity separate from the church. Discussing Paradise Lost, Biberman entertains the idea that "marriage is a contract made by both the man and the woman." These ideas imply Milton may have favored that both man and woman have equal access to marriage and to divorce.

Idolatry

Milton's 17th-century contemporaries by and large criticised his ideas and considered him as a radical, mostly because of his Calvinist views on politics and religion. One of Milton's most controversial arguments centred on his concept of what is idolatrous, which subject is deeply embedded in Paradise Lost.

Milton's first criticism of idolatry focused on the constructing of temples and other buildings to serve as places of worship. In Book XI of Paradise Lost, Adam tries to atone for his sins by offering to build altars to worship God. In response, the angel Michael explains that Adam does not need to build physical objects to experience the presence of God. Joseph Lyle points to this example, explaining "When Milton objects to architecture, it is not a quality inherent in buildings themselves he finds offensive, but rather their tendency to act as convenient loci to which idolatry, over time, will inevitably adhere." Even if the idea is pure in nature, Milton thought it would unavoidably lead to idolatry simply because of the nature of humans. That is, instead of directing their thoughts towards God, humans will turn to erected objects and falsely invest their faith there. While Adam attempts to build an altar to God, critics note Eve is similarly guilty of idolatry, but in a different manner. Harding believes Eve's narcissism and obsession with herself constitutes idolatry. Specifically, Harding claims that "... under the serpent's influence, Eve's idolatry and self-deification foreshadow the errors into which her 'Sons' will stray." Much like Adam, Eve falsely places her faith in herself, the Tree of Knowledge, and to some extent the Serpent, all of which do not compare to the ideal nature of God.

Milton made his views on idolatry more explicit with the creation of Pandæmonium and his allusion to Solomon's temple. In the beginning of Paradise Lost and throughout the poem, there are several references to the rise and eventual fall of Solomon's temple. Critics elucidate that "Solomon's temple provides an explicit demonstration of how an artefact moves from its genesis in devotional practice to an idolatrous end." This example, out of the many presented, distinctly conveys Milton's views on the dangers of idolatry. Even if one builds a structure in the name of God, the best of intentions can become immoral in idolatry. The majority of these similarities revolve around a structural likeness, but as Lyle explains, they play a greater role. By linking Saint Peter's Basilica and the Pantheon to Pandemonium—an ideally false structure—the two famous buildings take on a false meaning. This comparison best represents Milton's Protestant views, as it rejects both the purely Catholic perspective and the Pagan perspective.

In addition to rejecting Catholicism, Milton revolted against the idea of a monarch ruling by divine right. He saw the practice as idolatrous. Barbara Lewalski concludes that the theme of idolatry in Paradise Lost "is an exaggerated version of the idolatry Milton had long associated with the Stuart ideology of divine kingship." In the opinion of Milton, any object, human or non-human, that receives special attention befitting of God, is considered idolatrous.

Criticism of monarchy

Although Satan's army inevitably loses the war against God, Satan achieves a position of power and begins his reign in Hell with his band of loyal followers, composed of fallen angels, which is described to be a "third of heaven." Similar to Milton's republican sentiments of overthrowing the King of England for both better representation and parliamentary power, Satan argues that his shared rebellion with the fallen angels is an effort to "explain the hypocrisy of God," and in doing so, they will be treated with the respect and acknowledgement that they deserve. As Wayne Rebhorn argues, "Satan insists that he and his fellow revolutionaries held their places by right and even leading him to claim that they were self-created and self-sustained" and thus Satan's position in the rebellion is much like that of his own real world creator.

Milton scholar John Leonard interpreted the "impious war" between Heaven and Hell as civil war:

Paradise Lost is, among other things, a poem about civil war. Satan raises 'impious war in Heav'n' (i 43) by leading a third of the angels in revolt against God. The term 'impious war' implies that civil war is impious. But Milton applauded the English people for having the courage to depose and execute King Charles I. In his poem, however, he takes the side of 'Heav'n's awful Monarch' (iv 960). Critics have long wrestled with the question of why an antimonarchist and defender of regicide should have chosen a subject that obliged him to defend monarchical authority.

The editors at the Poetry Foundation argue that Milton's criticism of the English monarchy was being directed specifically at the Stuart monarchy and not at the monarchy system in general.

In a similar vein, C.S. Lewis argued that there was no contradiction in Milton's position in the poem since "Milton believed that God was his 'natural superior' and that Charles Stuart was not."

Morality

C. S. Lewis interpreted the poem as a genuine Christian morality tale. Other critics, like William Empson, view it as a more ambiguous work, with Milton's complex characterization of Satan playing a large part in that perceived ambiguity. Empson argued that "Milton deserves credit for making God wicked, since the God of Christianity is 'a wicked God.'" Leonard places Empson's interpretation "in the [Romantic interpretive] tradition of William Blake and Percy Bysshe Shelley."

Empson's view is complex. John Leonard points out that "Empson never denies that Satan's plan is wicked. What he does deny is that God is innocent of its wickedness: 'Milton steadily drives home that the inmost counsel of God was the Fortunate Fall of man; however wicked Satan's plan may be, it is God's plan too [since God in Paradise Lost is depicted as being both omniscient and omnipotent].'" Leonard calls Empson's view "a powerful argument"; he notes that this interpretation was challenged by Dennis Danielson in his book Milton's Good God (1982).

Style

Milton used a number of acrostics in the poem. In Book 9, a verse describing the serpent which tempted Eve to eat the forbidden fruit in the Garden of Eden spells out "SATAN" (9.510), while elsewhere in the same book, Milton spells out "FFAALL" and "FALL" (9.333). Respectively, these probably represent the double fall of humanity embodied in Adam and Eve, as well as Satan's fall from Heaven.

Blank verse

Main articles: Blank verse and John Milton's poetic style

Blank verse was not much used in the non-dramatic poetry of the 17th century until Paradise Lost, in which Milton used it with much license and tremendous skill. Milton used the flexibility of blank verse, and its capacity to support syntactic complexity, to the utmost. Milton also wrote Paradise Regained and parts of Samson Agonistes in blank verse.

Although Milton was not the first to use blank verse, his use of it was very influential and he became known for the style. When Miltonic verse became popular, Samuel Johnson mocked Milton for inspiring bad blank verse, but he recognized that Milton's verse style was very influential. Poets such as Alexander Pope, whose final, incomplete work was intended to be written in the form, and John Keats, who complained that he relied too heavily on Milton, adopted and picked up various aspects of his poetry. In particular, Miltonic blank verse became the standard for those attempting to write English epics for centuries following the publication of Paradise Lost and his later poetry. The poet Robert Bridges analyzed his versification in the monograph Milton's Prosody.

Interpretation and critique

Plate prefacing Book 3, Creation of Man, engraving by Michael Burgesse based on John Baptist Medina, from the 1688 edition.

Eighteenth-century critics

The writer and critic Samuel Johnson wrote that Paradise Lost shows off "[Milton's] peculiar power to astonish" and that "[Milton] seems to have been well acquainted with his own genius, and to know what it was that Nature had bestowed upon him more bountifully than upon others: the power of displaying the vast, illuminating the splendid, enforcing the awful, darkening the gloomy, and aggravating the dreadful."

William Blake famously wrote in The Marriage of Heaven and Hell: "The reason Milton wrote in fetters when he wrote of Angels & God, and at liberty when of Devils & Hell, is because he was a true Poet and of the Devil's party without knowing it." This quotation succinctly represents the way in which some 18th- and 19th-century English Romantic poets viewed Milton.

Christian epic

Tobias Gregory wrote that Milton was "the most theologically learned among early modern epic poets. He was, moreover, a theologian of great independence of mind, and one who developed his talents within a society where the problem of divine justice was debated with particular intensity." Gregory says that Milton is able to establish divine action and his divine characters in a superior way to other Renaissance epic poets, including Ludovico Ariosto or Tasso.

In Paradise Lost Milton also ignores the traditional epic format of a plot based on a mortal conflict between opposing armies with deities watching over and occasionally interfering with the action. Instead, both divinity and mortal are involved in a conflict that, while momentarily ending in tragedy, offers a future salvation. In both Paradise Lost and Paradise Regained, Milton incorporates aspects of Lucan's epic model, the epic from the view of the defeated. Although he does not accept the model completely within Paradise Regained, he incorporates the "anti-Virgilian, anti-imperial epic tradition of Lucan". Milton goes further than Lucan in this belief and "Paradise Lost and Paradise Regained carry further, too, the movement toward and valorization of romance that Lucan's tradition had begun, to the point where Milton's poems effectively create their own new genre".

Iconography

See also: William Blake's illustrations of Paradise Lost

 

In Sin, Death and the Devil (1792), James Gillray caricatured the political battle between Pitt and Thurlow as a scene from Paradise Lost. Pitt is Death and Thurlow Satan, with Queen Charlotte as Sin in the middle.

 

The Shepherd’s Dream, from "Paradise Lost", Henry Fuseli (1793)

 

John Martin, Eve's Dream, Satan Aroused, from Paradise Lost (1824–1827). Mezzotint, plate, 14 × 20.2 cm. Museum of Fine Arts, Houston

The first illustrations to accompany the text of Paradise Lost were added to the fourth edition of 1688, with one engraving prefacing each book, of which up to eight of the twelve were by Sir John Baptist Medina, one by Bernard Lens II, and perhaps up to four (including Books I and XII, perhaps the most memorable) by another hand. The engraver was Michael Burghers (given as 'Burgesse' in some sources). By 1730 the same images had been re-engraved on a smaller scale by Paul Fourdrinier.

Some of the most notable illustrators of Paradise Lost included William Blake, Gustave Doré, and Henry Fuseli. However, the epic's illustrators also include John Martin, Edward Francis Burney, Richard Westall, Francis Hayman, and many others.

Outside of book illustrations, the epic has also inspired other visual works by well-known painters like Salvador Dalí who executed a set of ten colour engravings in 1974. Milton's achievement in writing Paradise Lost while blind (he dictated to helpers) inspired loosely biographical paintings by both Fuseli and Eugène Delacroix.

Paradise

From Wikipedia, the free encyclopedia

Paradise by Jan Bruegel

In religion, paradise is a place of exceptional happiness and delight. Paradisiacal notions are often laden with pastoral imagery, and may be cosmogonical or eschatological or both, often compared to the miseries of human civilization: in paradise there is only peace, prosperity, and happiness. Paradise is a place of contentment, a land of luxury and fulfillment. Paradise is often described as a "higher place", the holiest place, in contrast to this world, or underworlds such as Hell.

In eschatological contexts, paradise is imagined as an abode of the virtuous dead. In Christianity and Islam, Heaven is a paradisiacal relief. In old Egyptian beliefs, the underworld is Aaru, the reed-fields of ideal hunting and fishing grounds where the dead lived after judgment. For the Celts, it was the Fortunate Isle of Mag Mell. For the classical Greeks, the Elysian fields was a paradisiacal land of plenty where the heroic and righteous dead hoped to spend eternity. In Buddhism, paradise and the heaven are synonymous, with higher levels available to beings who have achieved special attainments of virtue and meditation. In the Zoroastrian Avesta, the "Best Existence" and the "House of Song" are places of the righteous dead. On the other hand, in cosmogonical contexts 'paradise' describes the world before it was tainted by evil.

The concept is a theme in art and literature, particularly of the pre-Enlightenment era, a well-known representative of which is John Milton's Paradise Lost.

Etymology and concept history

The luxurious palace and gardens of Neo-Assyrian king Ashurbanipal (ruled 668–631 BCE) at Nineveh, with original color reconstitution. Irrigation canals radiate from an aqueduct. The king appears under the porch. British Museum.

 

Incense burner, sometimes called a "hill censer" because of its shape (Mountains of Paradise, Bo Mountain, a paradise inhabited by immortals and mythical animals). Eastern Han Dynasty, 25-220 CE. From China. Victoria and Albert Museum

The word "paradise" entered English from the French paradis, inherited from the Latin paradisus, from Greek parádeisos (παράδεισος), from an Old Iranian form, from Proto-Iranian*parādaiĵah- "walled enclosure", whence Old Persian 𐎱𐎼𐎭𐎹𐎭𐎠𐎶 p-r-d-y-d-a-m /paridaidam/, Avestan 𐬞𐬀𐬌𐬭𐬌⸱𐬛𐬀𐬉𐬰𐬀 pairi-daêza-. The literal meaning of this Eastern Old Iranian language word is "walled (enclosure)", from pairi- 'around' (cognate with Greek περί, English peri- of identical meaning) and -diz "to make, form (a wall), build" (cognate with Greek τεῖχος 'wall'). The word's etymology is ultimately derived from a PIE root *dheigʷ "to stick and set up (a wall)", and *per "around".

By the 6th/5th century BCE, the Old Iranian word had been borrowed into Assyrian pardesu "domain". It subsequently came to indicate the expansive walled gardens of the First Persian Empire, and was subsequently borrowed into Greek as παράδεισος parádeisos "park for animals" in the Anabasis of the early 4th century BCE Athenian Xenophon, Aramaic as pardaysa "royal park", and Hebrew as פַּרְדֵּס pardes, "orchard" (appearing thrice in the Tanakh; in the Song of Solomon (Song of Songs 4:13), Ecclesiastes (Ecclesiastes 2:5) and Nehemiah (Nehemiah 2:8)). In the Septuagint (3rd–1st centuries BCE), Greek παράδεισος parádeisos was used to translate both Hebrew פרדס pardes and Hebrew גן gan, "garden" (e.g. (Genesis 2:8, Ezekiel 28:13): it is from this usage that the use of "paradise" to refer to the Garden of Eden derives. The same usage also appears in Arabic and in the Quran as firdaws فردوس.

The idea of a walled enclosure was not preserved in most Iranian usage, and generally came to refer to a plantation or other cultivated area, not necessarily walled. For example, the Old Iranian word survives as Pardis in New Persian as well as its derivative pālīz (or "jālīz"), which denotes a vegetable patch.

Biblical

Hebrew Bible

Nicolas Poussin, Four seasons of paradise, 1660–1664

The Hebrew word pardes appears only in the post-Exilic period (after 538 BCE); it occurs in the Song of Songs 4:13, Ecclesiastes 2:5, and Nehemiah 2:8, in each case meaning "park" or "garden", the original Persian meaning of the word, where it describes the royal parks of Cyrus the Great by Xenophon in Anabasis.

In Second Temple era Judaism, "paradise" came to be associated with the Garden of Eden and prophecies of restoration of Eden, and transferred to heaven.

In the apocryphal Apocalypse of Moses, Adam and Eve are expelled from paradise (rather than Eden) after the Fall of man, having been tricked by the serpent. After the death of Adam, the Archangel Michael carries Adam's body to be buried in Paradise, in the Third Heaven.

New Testament

The Greek word παράδεισος appears three times in the New Testament:

• Luke 23:43 – by Jesus on the cross, in response to the thief's request that Jesus remember him when he came into his kingdom.
• 2 Cor. 12:4 – in Paul's description of a third heaven paradise.
• Rev. 2:7 – alluding to the tree of life mentioned at Gen.2:8.

Judaism

See also: Paradise in Judaism

According to Jewish eschatology, the higher Gan Eden is called the "Garden of Righteousness". It has been created since the beginning of the world, and will appear gloriously at the end of time. The righteous dwelling there will enjoy the sight of the heavenly chayot carrying the throne of God. Each of the righteous will walk with God, who will lead them in a dance. Its Jewish and non-Jewish inhabitants are "clothed with garments of light and eternal life, and eat of the tree of life" (Enoch 58,3) near to God and His anointed ones. This Jewish rabbinical concept of a higher Gan Eden is opposed by the Hebrew terms gehinnom and sheol, figurative names for the place of spiritual purification for the wicked dead in Judaism, a place envisioned as being at the greatest possible distance from heaven.

Rabbinic Judaism

In modern Jewish eschatology it is believed that history will complete itself and the ultimate destination will be when all mankind returns to the Garden of Eden.

In the Talmud and the Jewish Kabbalah, the scholars agree that there are two types of spiritual places called "Garden in Eden". The first is rather terrestrial, of abundant fertility and luxuriant vegetation, known as the "lower Gan Eden". The second is envisioned as being celestial, the habitation of righteous, Jewish and non-Jewish, immortal souls, known as the "higher Gan Eden". The rabbis differentiate between Gan and Eden. Adam is said to have dwelt only in the Gan, whereas Eden is said never to be witnessed by any mortal eye. In Rabbinic Judaism, the word 'Pardes' recurs, but less often in the Second Temple context of Eden or restored Eden. A well-known reference is in the Pardes story, where the word may allude to mystic philosophy.

The Zohar gives the word a mystical interpretation, and associates it with the four kinds of Biblical exegesis: peshat (literal meaning), remez (allusion), derash (anagogical), and sod (mystic). The initial letters of those four words then form פַּרְדֵּס – p(a)rd(e)s, which was in turn felt to represent the fourfold interpretation of the Torah (in which sod – the mystical interpretation – ranks highest).

Christianity

See also: World to Come, Kingship and kingdom of God, and Hades in Christianity

 

Braddock Mead, Paradise According to Three Different Hypotheses, 1747

 

Abraham in paradise, Gračanica Monastery, Serbia

In the 2nd century AD, Irenaeus distinguished paradise from heaven. In Against Heresies, he wrote that only those deemed worthy would inherit a home in heaven, while others would enjoy paradise, and the rest live in the restored Jerusalem (which was mostly a ruin after the Jewish–Roman wars but was rebuilt beginning with Constantine the Great in the 4th century). Origen likewise distinguished paradise from heaven, describing paradise as the earthly "school" for souls of the righteous dead, preparing them for their ascent through the celestial spheres to heaven.

Many early Christians identified Abraham's bosom with paradise, where the souls of the righteous go until the resurrection of the dead; others were inconsistent in their identification of paradise, such as St. Augustine, whose views varied.

In Luke 23:43, Jesus has a conversation with one of those crucified with him, who asks, “Jesus, remember me when you come into your kingdom". Jesus answers him, “Truly I tell you, today you will be with me in paradise”. This has often been interpreted to mean that on that same day the thief and Jesus would enter the intermediate resting place of the dead who were waiting for the Resurrection. Divergent views on paradise, and when one enters it, may have been responsible for a punctuation difference in Luke; for example, the two early Syriac versions translate Luke 23:43 differently. The Curetonian Gospels read "Today I tell you that you will be with me in paradise", whereas the Sinaitic Palimpsest reads "I tell you, today you will be with me in paradise". Likewise the two earliest Greek codices with punctuation disagree: Codex Vaticanus has a pause mark (a single dot on the baseline) in the original ink equidistant between 'today' and the following word (with no later corrections and no dot before "today"), whereas Codex Alexandrinus has the "today in paradise" reading. In addition, an adverb of time is never used in the nearly 100 other places in the Gospels where Jesus uses the phrase, "Truly I say to you".

In Christian art, Fra Angelico's Last Judgement painting shows Paradise on its left side. There is a tree of life (and another tree) and a circle dance of liberated souls. In the middle is a hole. In Muslim art it similarly indicates the presence of the Prophet or divine beings. It visually says, "Those here cannot be depicted".

Jehovah's Witnesses

See also: Jehovah's Witnesses and salvation

Jehovah's Witnesses believe, from their interpretation of the Book of Genesis, that God's original purpose was, and is, to have the earth filled with the offspring of Adam and Eve as caretakers of a global paradise. However, Adam and Eve rebelled against God's sovereignty and were banished from the Garden of Eden, driven out of paradise into toil and misery.

Jehovah's Witnesses believe that disobedient and wicked people will be destroyed by Christ at Armageddon and those obedient to Christ will live eternally in a restored earthly paradise. Joining the survivors will be the resurrected righteous and unrighteous people who died prior to Armageddon. The latter are brought back because they paid for their sins by their death and/or because they lacked opportunity to learn of Jehovah's requirements before dying. These will be judged on the basis of their post-resurrection obedience to instructions revealed in new "scrolls". They believe that resurrection of the dead to paradise earth is made possible by Christ's blood and the ransom sacrifice. This provision does not apply to those whom Christ as Judge deems to have sinned against God's holy spirit.

One of Jesus' statements before he died were the words to a man hanging alongside him, "you will be with me in Paradise."^{[Luke 23:43]} The New World Translation places a comma after the word 'today', dividing it into two separate phrases, "I tell you today" and "you will be with me in Paradise". This differs from standard translations of this verse as "I tell you today you will be with me in Paradise". Based on scriptures such as Matthew 12:40, 27:63, Mark 8:31 and 9:31, Witnesses believe Jesus' expectation that he would be bodily resurrected after three days precluded his being in paradise on the same day that he died.

Mormonism

In Latter Day Saint theology, paradise usually refers to the spirit world, the place where spirits dwell following death and awaiting the resurrection. In that context, "paradise" is the state of the righteous after death. In contrast, the wicked and those who have not yet learned the gospel of Jesus Christ await the resurrection in spirit prison. After the universal resurrection, all persons will be assigned to a particular kingdom or degree of glory. This may also be termed "paradise".

Islam

Main article: Jannah

In the Quran, Heaven is denoted as Jannah (garden), with the highest level being called Firdaus, i.e. Paradise. It is used instead of Heaven to describe the ultimate pleasurable place after death, accessible by those who pray, donate to charity, and believe in: Allah, the angels, his revealed books, his prophets and messengers, the Day of Judgement and divine decree (Qadr), and follow God's will in their life. Heaven in Islam is used to describe skies in the literal sense and metaphorically to refer to the universe. In Islam, the bounties and beauty of Heaven are immense, so much so that they are beyond the abilities of mankind's worldly mind to comprehend. There are eight doors of Jannah. These are eight grades of Jannah:

• 1. Jannah al-Mawa
• 2. Dar al-Maqam
• 3. Dar al-Salam
• 4. Dar al-Khuld
• 5. Jannah al-Adn
• 6. Jannah al-Na'im
• 7. Jannah al-Kasif
• 8. Jannah al-Firdaus

Jannah al-Mawa is in the lowest, Jannah al-Adn is the middle and Jannah al-Firdaus is the highest.

Imam Bukhari has also recorded the tradition in which the Prophet said,

'When you ask from Allah, ask Him for Al-Firdaus, for it is the middle of Paradise and it is the highest place and from it the rivers of Paradise flow.' (Bukhari, Ahmad, Baihaqi)

In this tradition, it is evident that Al-Firdaus is the highest place in Paradise, yet, it is stated that it is in the middle. While giving an explanation of this description of Al-Firdaus, the great scholar, Ibn Hibban states,

'Al-Firdaus being in the middle of Paradise means that with respect to the width and breadth of Paradise, Al-Firdaus is in the middle. And with respect to being 'the highest place in Paradise', it refers to it being on a height.'

This explanation is in agreement to the explanation which has been given by Abu Hurairah (r.a.) who said that

'Al Firdaus is a mountain in Paradise from which the rivers flow.' (Tafseer Al Qurtubi Vol. 12 pg. 100)

The Quran also gave a warning that not all Muslims or even the believers will assuredly be permitted to enter Jannah except those who had struggled in the name of God and tested from God's trials as faced by the messengers of God or ancient prophets:

Or do you think that you will enter Paradise while such [trial] has not yet come to you as came to those who passed on before you? They were touched by poverty and hardship and were shaken until [even their] messenger and those who believed with him said,"When is the help of Allah ?" Unquestionably, the help of Allah is near.
— Qur'an 2:214 (Al-Baqarah) (Saheeh International)

Other instances where paradise is mentioned in the Qur'an includes descriptions of springs, silk garments, embellished carpets and women with beautiful eyes. These elements can also be seen as depicted within Islamic art and architecture.

"The semblance of Paradise (Jannah) promised the pious and devout (is that of a garden) with streams of water that will not go rank, and rivers of milk whose taste will not undergo a change, and rivers of wine delectable to drinkers, and streams of purified honey, and fruits of every kind in them, and forgiveness from their Lord." (47:15).

References to Paradise (Jannah) in the Qur'an as reflected in Islamic art

The Qur'an contains multiple passages in which paradise, or 'Jannah', is referred to. The Holy Book contains 166 references to gardens, of which nineteen mention 'Jannah', connoting both images of paradise through gardens, water features, and fruit-bearing trees. Scholars are unable to confirm that certain artistic choices were solely intended to reflect the Qur'an's description of paradise, since there are not extensive historical records to reference to. However, many elements of Islamic art and architecture can certainly be interpreted as being intended to reflect paradise as described in the Qur'an, and there are particular historical records which support a number of case studies in this claim.

Historical evidence does support the claim that certain Islamic garden structures and mosaics, particularly those of Spanish, Persian and Indian origins, were intended to mirror a scene of paradise as described in the Qur'an.

Water features in Islamic gardens

The Alhambra, Court of the Lions, Grenada, Spain

The structural layout of the gardens of the Alhambra in Grenada, embodies the idea of water as a symbol of representing paradise within Islamic gardens. In particular, the Courtyard of the Lions, which follows the Quarter Garden, or the 'Chahar-Bagh' layout, typical to Islamic gardens, features a serene water fountain at its centre. The fountain is carved with stone lions, with the water emerging from the mouths of these lions. The static nature of the locally sourced water features within the Courtyard of the Lions at the Alhambra, adds to the atmosphere of serenity and stillness which is typical of Islamic gardens that utilise water features, resembling the image of paradise as found in the Qur'an.

Central water fountain feature within the Courtyard of the Lions, the Alhambra, Grenada

Tomb Gardens as representing Paradise

There is not yet concrete evidence that Islamic gardens were solely intended to represent images of paradise. However, it can be deduced from certain inscriptions and intentions of structures, that creating an atmosphere of divinity and serenity were part of the artists' intentions.

Tombs became the metaphorical 'paradise on Earth' for Islamic architecture and gardens; they were a place of eternal peace were devout followers of God could rest.

The Taj Mahal

Upon the exterior of the tomb mausoleum of the Taj Mahal, inscriptions of passages from the Qur'an adorn the exterior facades, encasing the iwans. These inscriptions rehearse passages of an eschatological nature, referencing the Day of Judgement and themes of paradise. Similarly, the placement of the tomb structure within the waterscape garden environment heightens the conceptual relationship between tomb gardens and a place of paradise as discussed in the Qur'an. Similarly, the white marble used for the construction of the tomb mausoleum, furthers the relationship between the purity and divinity of the tomb, elevating the status of the tomb to that of paradise.

Tomb mausoleum at the Taj Mahal

Mosaic representations of paradise within Islamic Architecture

Preserved historical writings from an interview with the artisan of the Prophet's Mosque at Medina between 705 and 715, revealed how the mosaic depictions of gardens within this mosque were in fact created "according to the picture of the Tree of Paradise and its palaces". Structures that are similarly adorned with naturalistic mosaics, and were created during the same period as the Prophet's Mosque at Medina, can be said to have had the same intended effect.

The mosaic of the Dome of the Rock, Jerusalem

Constructed between 690 and 692, the Dome of the Rock at Jerusalem features a large-scale mosaic on the interior of the domed structure. It is likely that this richly embellished and detailed mosaic was intended to replicate an image of paradise, featuring fruit-bearing trees, vegetal motifs and flowing rivers. Accompanied by a calligraphic frieze, the mosaic depicts symmetrical and vegetal vine scrolls, surrounded by trees of blue, green and turquoise mosaics. Jewel-like embellishments as well as gold pigment complete the mosaic. Not only did mosaics of this kind seek to reflect paradise as described in the Qur'an, but they were also thought to represent and proclaim Muslim victories.

The mosaic of The Great Mosque of Damascus, Syria

In a similar instance, the mosaic within the Great Mosque of Damascus, constructed within a similar timeframe to the Dome of the Rock, features the most noticeable elements of a paradisiacal garden as described in the Qur'an. Therefore, it would not be unreasonable to suggest that the mosaic on the exterior facade of the Great Mosque of Damascus, was similarly intended to replicate an image of paradise in the viewer's mind.

Gnosticism

On the Origin of the World, a text from the Nag Hammadi library held in ancient Gnosticism, describes Paradise as being located outside the circuit of the Sun and Moon in the luxuriant Earth east in the midst of stones. The Tree of Life, which will provide for the souls of saints after they come out of their corrupted bodies, is located in the north of Paradise besides the Tree of Knowledge that contains the power of God.