Paradise Within: The Essentiality of a Holistic Human Experience
A Literary Analysis of Milton’s Characterization of Eden as a Paradise
In his 1667 epic poem, Paradise Lost, John Milton retells the biblical tale of the Fall of Man, utilizing the constraints of the widely known story as a medium to convey a set of personal/political arguments about the nature of the human condition. This sort of challenging constraint is nothing new for Milton, who was “concerned with the conventions of genre, yet infused every genre with new energy” (Norton, 1448). Writing sonnets with “entirely different sound qualities” and taking “confined” forms to discuss “new and grand subjects” in a “radical reconstructive” manner was a form of subversive writing that was typical of Milton, and allowed him to insert his own “moral and political wisdom” into literature (Norton, 1449–1451). Taking into account this pattern of stylistic choice and Milton’s own politics — characterized by republican ideals of “free will” and free press — creates a lens with which to read Paradise Lost, a lens that is revelatory of Milton’s exigence: purposely challenging structural limitations to comment on the flaws of narrative/human limitations. Through the use of revelatory syntax characterizing “Paradise” and sympathetic diction towards the character of Eve, Milton casts doubt on the status of the Garden of Eden as a Paradise for mankind. In doing so, Milton is able to question the harmful constraints of a world without evil, a world without true free will that serves as a prerequisite for human morality.
It is important to note that not only does Milton challenge the structural constraints of a biblical tale to assert his political argument, but his contestation with imposed limitations is reflected in the very narrative of the story, in which Adam and Eve are limited by the constraints of Paradise. Milton’s self-imposed constraint allows him to subvert a medium of poetry by refusing to be tethered by the “bondage of rhyming,” (Norton, 1495) and to unsettle societal takeaways from the bible, as Milton asserts that mankind “attained…A paradise within thee…” after the Fall (Milton 12.575–587). The argument Milton makes is twofold. First, the garden of Eden, constructed by God, was never a Paradise for humans to begin with; human values and imperfections are not reflected in the “perfect” world, which places constraints on their experience. Second, true free will — and subsequently, morality — cannot exist in a “perfect” world that restricts or limits the human experience. Together, these arguments coalesce to convey how Milton believes that the fall of mankind was not only inevitable and without culpability, but also a necessary course of action that advanced the human condition.
Not only will this paper analyze how the Fall of mankind is characterized as an inevitability in a literary sense, but it will assert that Milton’s deliberate diction and narrative deviations from scripture are reflective of his personal appraisal of the importance of free will. This paper will work to convey how the syntactical world-building of Eden reveals that mankind is inherently incompatible with the environment. Additionally, it will examine how contrasting values of God and man serve as the basis of this incompatibility. In particular, this essay will analyze Milton’s characterization of Eden and man’s reaction to “the Fall,” as these components of the epic are evidence of the precedent argument.
No Paradise to Lose
First, it is important to closely examine Milton’s depiction of Paradise. Described by Milton with adjectives such as “sapphire,” “gold,” “pearl,” “happy,” “delicious,” “tender,” “luxuriant,” “crystal,” and “eternal spring,” Eden is characterized by an overwhelming sense of indulgence (Milton 4.237, 238, 247, 253, 260, 263, 269). Despite the abundance of this surrounding luxury, Adam’s first words in the poem are a lengthy speech about the importance of duty, restraint from the Tree of Knowledge, and an emphasis on the importance of obedience (Milton 4.411–439). In fact, his short description of Eden being a place of “infinitely good” with “manifold delights’’ (Milton 4.414, 435) not only pales in comparison to Miltion’s prior characterization, but the words become lost amidst diction such as “requires,” “service,” “charge,” “not,” “death,” “dreadful,” “obedience,” “power,” “rule,” “prohibition,” and “toilsome” (Milton 4.419, 420, 421, 423, 426, 427, 428, 429, 433, 439). This contrast of diction is representative of how Adam (man) first perceives the bounty of paradise from the perspective of an exchange of labor and obedience, unable to truly appreciate its beauty. Adam’s diction is laced with negative and restraining connotations, highlighting how Eden might not be a “paradise” for humans, as their experience is tied to a set of constraints that limit both practice and perspective. Additionally, Milton’s syntax in characterizing Eden both as an omniscient narrator and through Adam is revelatory of how the contrasting values of God (creator of Eden) and the values of humans serve as the basis of human incompatibility with the setting of Eden. As an omniscient narrator, Milton himself is an all-knowing character — a “God” in the sense that he constructs the narrative. By having this godly description of Eden precede Adam’s underwhelming characterization, Milton’s syntax actively casts doubt on the status of the Garden of Eden as a Paradise for mankind.
Not only does Milton’s syntax introducing Eden hint at its potential problems, his depictions of humans both before and after the fall reveal its suffocating properties. Following Adam’s speech, Eve tells of her first encounter with Adam — an embedded narrative that reveals mankind’s inherent imperfections. Eve notes that upon seeing her own reflection in water she was “pined with vain desire,” found Adam to be incomparable to her own “soft” beauty, and referred to herself as the “Mother of the human race” (Milton 4.466, 475). Here, Milton characterizes Eve as already processing the trait of vanity — derivative of the deadly sin of pride. In a perfect paradise, prior to the Fall of Man where Adam and Eve are made to be “pure,” Milton intentionally introduces imperfections to pre-Fall depictions of mankind (Milton 4.293). In doing so, Milton is able to further suggest that Eden, a perfect paradise, can never serve as such for mankind, and what sets humans apart from God in the hierarchy of beings is that humanity itself is defined by the presence of imperfections.
When casting this doubt on the Garden of Eden’s status as a paradise, Milton not only introduces sin, but illustrates feelings of pain and conceptions of evil as also existing within the bounds of a supposed heaven on Earth. After Satan’s first attempt to seduce Eve towards further sin, Eve awakens in a state of distress, having experienced a prophetic dream about the Fall. Upon awakening, Eve weeps tears that are described as “gentle tears,” “precious drops,” “crystal sluice,” and “gracious signs of sweet remorse.” (Milton 5.130,132, 134, 135). This statement serves as evidence that, already, there exists the capacity to cry in Eden, contradicting the notion that it is a paradise free of pain. Milton’s inclusion of Eve’s tears highlights how Eden is not pure bliss and allows him to further argue the inevitability (and even necessity) of the impending Fall. Contrasting Eve’s tears in paradise to her tears towards the end of the poem (post-Fall), the tears are simply described as “natural” (Milton 12.645). The connotation of the word “natural” is one that suggests innate existence, meaning it is normal, natural, for humans to feel and express pain: to cry. In a post-Fall world, pain (while unpleasant) is allowed to exist and to be a part of the human experience. In Eden, the series of adjectives dedicated to describing Eve’s cries serves as an unnatural justification, an attempt to account for crying where crying should not happen. In a way, this re-packaging of tears to be an act of “gracious remorse” serves to actively deny the presence of pain and holistic human emotion, rather than having Eden be a “paradise” where pain does not exist. In doing so, Milton conveys the notion that Eden is not paradise for people, as it limits their emotional range.
What is more surprising is Adam responding to his wife’s woe with the phrase, “Evil into the mind of god or man” before launching into an explanation of the dangerous potentials of evil (Milton 5.117). As Satan did not attempt to contact Adam, and Adam himself asserts that “thee can harbor none [evil]” as they are “created pure,” Milton still writes Adam to somehow be ingrained with a clear conception of evil (Milton 5.99–100). Adam’s diction reveals that both he and Eve are not made as “pure” as they claim to be. Instead, understanding of evil, feelings of pain, and capacity to sin are already woven into both their characters. Numerous subtle examples in Milton’s choice of diction reveals that humans “raised from dust and placed here” were always imperfect, despite being cast in the “divine resemblance” of God (Milton 4.416, 364). Having shown how Milton depicts the inherent flaws of humans, it can then be argued that if imperfect beings with imperfect desires are placed in God’s ideal conception of paradise, humans will be unhappy — limited to a “perfection” where emotions are rationalized and perceptions are constrained. This is Eden. It is not paradise. It never was.
No Fault in the Inevitable
Having established man as imperfect and Eden as a constraint on the human condition, Milton then goes on to argue that the Fall of man is inevitable, without fault, and necessary. This argument is first evident in Milton’s sympathetic diction towards the character of Eve. Having established that Eden is not Paradise, Milton’s diction is indicative of both his sympathy and encouragement of Adam and Eve’s descent towards the Fall. Eve is described by Milton as “hapless,” an unfortunate victim of her circumstances rather than a guilty sinner responsible for the Fall (Milton 9.404). Milton’s sympathy with Eve’s circumstances contradicts the blame that both Adam and Eve herself place upon her actions. This structural revelation of Milton’s argument is only strengthened by Milton’s narrative. Directly diverting from the story of the Bible, Milton begins book ten of the poem with the Son “pitying” Adam and Eve, helping them dress to cover their bodies, and providing them reassurance about possible salvation (Milton 10.211). Thus far in the epic, Milton has relied upon the narrative structure of the biblical tale as a vehicle to insert creative elements. By directly diverting from this narrative constraint, Milton’s diversion then highlights his personal feelings of pity towards Adam and Eve, supporting the argument that they are free of culpability.
Milton furthers these claims by suggesting that the Fall of man is inevitable, implying that human dissatisfaction with Paradise could result in disobedience. While both Adam and Eve are instructed to value nothing more than obedience (a godly value) by practicing restraint, recurring mentions of their personal, human, values of curiosity and desire to “truly” experience permeates the poem. These compounding examples serve as evidence of growing tensions within the constraints of Paradise. In book seven, Adam is “sinless, with a desire to know,” as he continues to question the angel Raphael about the creation of the world (Milton 7.61). While it is Eve’s curiosity and temptation towards the literal tree of knowledge that leads to the Fall, Adam’s curiosity tests the limits of “the bounds” of theoretical knowledge (Milton 7.120). Milton’s inclusion of Adam’s desire to know and experience more is indicative of how temptation towards knowledge already existed within both Adam and Eve prior to Satan’s direct intervention, supporting the argument that the Fall was bound to occur.
It is important to note the paradox of how Adam and Eve are provided with “free will” and choice that is “infinite” while also having their obedience tested by God in the Garden of Eden (Milton 4.14). This contradiction exists for true free will requires a sense of informed transparency. And obedience without knowledge is not willful, but fearful. Essentially, in a world without knowledge of sin, it is not obedient or virtuous to act in ways that are good — it is merely a given.
Eve herself questions the constraints of this contradiction, first stating:
If this be our condition, thus to dwell
In narrow circuit straightened by a foe (Milton 9.322–323)
Eve follows this statement by later adding:
How are we happy, still, in fear of harm?
But harm precedes not sin: our only foe
Tempting affronts us with his foul esteem
Of our integrity: his foul esteen (Milton 9.235–395)
And what is faith, love, and virtue unassayed (Milton 9.335)
And Eden were no Eden thus exposed (Milton 9.341)
Here, Eve questions her loyalty to Adam in a world where he is the only option. Eve wonders what is defined as virtuous in a world that is “narrow” and limited by threats and fear. Analysis of her doubts combined with the precedent information about Milton’s own personal ideologies on the importance of free will paint a picture of Paradise as a place that limits the human experience. As humans, it is inevitable that both Adam and Eve yearn for more. Additionally, “no Eden thus exposed” expresses how “exposure” (or experience) is broader than just perfection, as pleasure is defined by knowing pain and a lack thereof. In a world without “exposure,” it is impossible to know what virtue or morality is. In Eden, where obedience is promoted and experience is limited, it becomes clear that “free [is] will that obeys” is a fictitious notion (Milton 9.351). Milton argues that Eden not only confines the human experience, but this contradictory environment eradicates the precursors of true free will. Therefore, not only is the Fall then inevitable or without fault — for Milton, it is necessary.
The Fall Towards Free Will
Finally, the aforementioned claims of Eden not being paradise for man and man not being culpable for the Fall coalesce to support Milton’s overarching larger argument: that a post-Fall world uniquely and positively allows for a holistic human experience, true free will — and thus, morality. Upon leaving paradise, Milton describes Adam and Eve with “eyes how opened” and the “veil” of innocence that “shadowed them from knowing ill” being lifted (Milton 9.1053, 1054, 1055). Here, it is critical to note that ill did not arrive to Eden, but Adam and Eve were now aware of its existence with “eyes open” and “knowing.” Until the Fall, Adam and Eve were limited in perception, unable to perceive (and therefore deal with) existing evils. While this ignorance might be interpreted as blissful Paradise, it is established that this constraint is harmful for humans — inherently flawed and curious beings who crave experience. In allowing this experience, Milton argues that leaving Eden is the birth of both true free will and morality. When finally comforting Adam and Eve, the angel Michael states:
Deeds to thy knowledge answerable, add faith,
Add virtue, patience, temperance, add love,
By name to come called charity, the soul
Of all the rest: then wilt thou not be loath
To leave this Paradise, but shalt possess,
A Paradise within thee, happier far. (Milton 12.582–587)
Here, despite all the pain and suffering, the word “add” is of the utmost importance. An addition of something implies that what is being added was not present before. In a post-Fall world, “virtue,” alongside a plethora of other qualities, is added to the capacities of Adam and Eve. With the veil of ignorance lifted, Adam and Eve — amidst all suffering — now can (and must) make the conscious choice to be virtuous. Now, blind obedience evolves into “faith,” and purity turns into “virtue,” into morality. The “paradise within,” to which Milton alludes, is an internal quality that can provide salvation, dictate virtue, and allow humans to navigate a world full of sin — paradise within is morality. And simply put, “paradise within” could never and can never exist within an external paradise, in a world where there are no trials or no requisites/demand for morality. If the choice is to obey anything without knowledge of an alternative, then that is not a true choice. That is not true free will. And that is not morality.
Through the use of this revelatory syntax to characterize Eden and his own sympathy towards Eve, Milton emphasizes the value of a world with free will and subsequent morality. As someone who ardently challenged conventional genre constraints, Milton’s argument is revealed through both the form of his writing and his narrative diversions. In fact, his very act of subverting poetic form and altering biblical narrative is a commentary against constraint, against places like Eden. In writing Paradise Lost, Milton exercises creative free will whilst arguing its importance.
Conclusion: Finding the Paradise Within
This paper asserts the following argument. First, paradise is a constraint, placing limits on the extent of free will and the human experience. Second, placing humans who value experience in a limited environment made the fall of mankind inevitable — and thus nobody’s fault. Finally, the fall of man liberates humans from constraint and allows them to experience a deeper life. Milton argues that this holistic condition is necessary to serve as a basis of true free will and morality. Milton challenging conventions of poetic structure extends to challenge narrative arguments of the Bible and allows him to insert his own views about free will. The very act (form) of intentionally using a biblical allegory as a medium to construct a heroic epic is evidentiary of the argument (function) Milton makes: one where he relies upon syntax characterizing “Paradise” and diction towards the character of Eve to question the constraints of a world without evil, a harmful world without true free will or human morality.
Paradoxically, Paradise is not paradise because its perfection prevents inherently imperfect beings from experiencing a life without limitations, shrouding them from anything negative, and eradicating true free will. Pleasure is indescribable without the contrast of pain. Spring is taken for granted without the presence of Winter. And willful obedience (faith), free will, and morality cannot exist or be deemed commendable in a world without exposure to all potential choices/outcomes.
Constraint confines humanity. In challenging both structural and narrative constraint, Milton is able to place emphasis on his exigence of free will. And in a world with such autonomy, Paradise can never truly be lost. Instead, a life worth living — a life with ups and downs, without imposed restraints — can be found.
Works Cited:
“John Milton [Biography]” The Norton Anthology of English Literature: The Sixteenth Century & The Early Seventeenth Century. edited by Greenblatt, Stephen, et al. Vol. 10 W.W. Norton & Company, New York, 2018. pp 1447–1451.
Milton, John. “Paradise Lost.” The Norton Anthology of English Literature: The Sixteenth Century & The Early Seventeenth Century. edited by Greenblatt, Stephen, et al. Vol. 10 W.W. Norton & Company, New York, 2018. pp 1495–1727.
