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( Hong Won Suh ) 한국밀턴과 근세영문학회(구 한국밀턴학회) 2008 중세근세영문학 Vol.18 No.2
By the time Milton published the second edition of The Readie and Easie Way, it was now too late to change the course of England`s history, and his proposed political model was already beyond the reach of his people. Milton`s decision go ahead with the publication of the second edition, therefore, deserves some scrutiny. In this essay, I propose that this decision was prompted by the very defeat of his cause. I also propose that the title of treatise now contains an intentional irony that was not discernible in the first edition. In fact there are two opposing types of the ready and easy way suggested by the second edition: the one, if it had been carefully considered and swiftly acted upon, would have saved the country from thralldom; the opposite, the way back to thralldom chosen by the people of England, would lead to certain destruction. Milton stresses time and again the opportunity given by God, which the English people had disgracefully ignored. Such opportunity is not to come again. So clearly on display before the people of England, the reformation had been so tantalizingly close to fruition. Now, according to Milton, the true ready and easy way is no longer ready and easy. Only its opposite shadow remains, a path leading to "a precipice of destruction" that "the deluge of this epidemic madness would hurrie us through the general defection of a misguided and abus`d multitude" (YP7: 463). Milton`s stance at the end of the treatise is that of a prophet who finds triumph in the face of defeat. While his cause is utterly lost, his prophecies (he had, after all, warned England of the dire consequences of disobedience as early as the beginning of his prose career) remain true and tested.
Subtlety as Evil and Milton`s Enemies
( Hae Yeon Kim ) 한국밀턴과 근세영문학회(구 한국밀턴학회) 2008 중세근세영문학 Vol.18 No.2
The purpose of this study is to analyze the nature of subtlety in John Milton`s attack of the prelates in his antiprelatical prose and in the character of Satan in Paradise Lost. In the antiprelatical tracts, Milton severely criticizes the prelates as subtle demons or serpents that eschew clear, plain and most simple Truth. And in Paradise Lost, Milton portrays Satan as the subtlest fiend, full of vagueness, crookedness and ambiguity, as "involved in rising mist." The prelate, by which Milton means especially a bishop of the Church of England, is a "subtle Janus" (a subtle person is one "who cleverly uses indirect methods to achieve something"). He is an "eternal disturbance" of simple truth who disguises himself as truth and emphasizes the indirect way to attain truth. He transforms the plainest and easiest truth into abstruse canons and insists on the necessity of interpreter for truth. Similarly the serpent, which Satan chooses for his disguise in the temptation of Eve, is appropriately called "the subtlest beast of all the field," almost as an epithet, for Satan`s task is to make the most obvious truth ambiguous and elusive by the subtlest means possible, thereby ensuring his success in corrupting Man. Satan`s close affinity to the corrupt prelates in the antiprelatical tracts makes it difficult to view him as a tragic or an epic hero. The ambiguity whether Satan is a hero or only a perversion of it is another obvious evidence of Satan`s subtlety against absolutely clear Truth.
Forbidden Fruit as Impedimental Peach: A Scholarly "Pesher" on Paradise Lost 9.850-852
( Horace Jeffery Hodges ) 한국밀턴과 근세영문학회(구 한국밀턴학회) 2008 중세근세영문학 Vol.18 No.2
This paper builds upon recent scholarship by Robert Appelbaum, who has argued that John Milton depicted the forbidden fruit not as an apple, in our contemporary sense of the term, but as a peach instead, based upon the description of the fruit as "downy," among other characteristics. I find Appelbaum`s interpretation persuasive, but what remains not entirely clear in Appelbaum`s account is Milton`s motive for choosing the peach. The implication seems to be that the peach`s technical name, Malum persicum-or "Persian apple-" enabled Milton to associate the peach with paradise, supposedly located in Persia. The commonly described `nectarous,` `ambrosial` qualities of peaches would also perhaps accord better with the `divine` forbidden fruit as a peach rather than as an apple. Milton, however, might have found additional motivation. As this paper shows, the poet could have been working with a couple of wordplays: (1) from the French pun on peche (peach) and peche (sin) across the language barrier and (2) from peach (Malum persicum) and peach/appeach (accuse) within the English language. The argument relies upon circumstantial evidence and layers of interpretation to make its case. For instance, following their sin in eating the peach, Eve and Adam fall into mutual accusations in the postlapsarian portion of Book 9, in which they effectively "appeach," or "peach" (aphetic form of "appeach"), one another. Adam even `appeaches` Eve rather formally before the divine judge early in Book 10 of Paradise Lost, and he does so in a way that Milton advises against in his Doctrine and Discipline of Divorce, in which he argues that one should deal privately with an adulterous wife rather than publicly appeaching her as an unfaithful woman. The argument is somewhat speculative, but it is justified, given Appelbaum`s persuasive argument that the "downy" fruit is a peach, and it adds a potentially significant depth of meaning to how we interpret Milton`s understanding of the forbidden fruit that brought evil into the world.