Representation Of The Story Of Adam And Eve In Paradise Lost By John Milton

Published in 1667 (the second edition in 1647) Paradise Lost is a twelve volume Biblical epic poem that solidified John Milton as literary titan. It dramatises the story of Adam and Eve and their fall from grace. Written without, as Andrew Marvell describes, ‘the troublesom and modern bondage of Rimeing,’ Milton weaves evocative language, imagery and symbolism to create a true masterpiece. Samuel Johnson said the poem had a ‘peculiar power to astonish’ and that Milton had ‘the power of displaying the vast, illuminating the splendid, enforcing the awful, darkening the gloomy, and aggravating the dreadful.’ Whilst critics and scholars have written about and studied the text for over three hundred years, Johnson’s original evaluation remains true and inarguable. This essay will examine an excerpt from Book IV of the epic, as Eve remembers her first moments of existence.

Adam and his conjugal companion are introduced in the second narrative arch of the poem. The nature of their relationship, and their relationship with God, is illustrated within Eve’s opening monologue. She begins in an enthusiastic appraisal of Adam;

‘To whom thus Eve repli'd. O thou for whom

And from whom I was formd flesh of thy flesh,

And without whom am to no end, my Guide

And Head, what thou hast said is just and right.’

This opening statement immediately reveals the hierarchal order shared between Adam and Eve. Eve is ‘formd flesh of thy flesh’ and named by Adam. In being created from Adam’s rib she is only a piece of him, not his ‘Other half’ as said by Adam. Indeed, Eve was made in his image as Adam was made the image of God. This sets her relationship with God at a distance further then Adam’s. The phrase, ‘my Guide/And Head’ is a reference to Corinthians 11:3; ‘the head of every man is Christ; and the/ head of the woman is the man; and the/ head of Christ is God.’ This solidifies Eve as a subordinate to Adam, who facilitates her relationship with God. As Eve’s ‘Head’ Adam’s relationship to God is inherently closer.

In Milton’s previous work Tetrachordon (1645), he discusses this gendered hierarchy. He argues that the Pauline epistles;

‘ends the controversie by explaining that the woman is not primarily and immediately the image of God, but in reference to the man seeing woman was purposely made for man, and he her head, it cannot stand the portraiture of God, joyning to himself for his intended good and solace an inferiour sexe’ (Genesis Places)

Milton’s illustration of the relationship between Adam and Eve has been interpreted many ways. Critic Sandra M. Gilbert believes it is ‘the story of woman’s secondness how that otherness leads inexorably to her demonic anger.’ This is certainly true, as evidenced by Milton’s personal beliefs. Although according to Shari A. Zimmerman; ‘he tells another story as well, one that sensitively reveals eves desire for a separate and secure self a woman who is in search of her identity.’ Eve’s search for autonomy could be a commiseration gift. In being second to Adam, who was gifted intellectual knowledge, Eve is a step further from God and seeks knowledge and self-knowledge independently.

When Eve first wakes she ‘found herself repos'd Under a shade of flours, much wondring where And what I was.’ This can be understood as Eve born hidden from the light of God, unsure of herself without his guidance. She is alone in the wilderness, introducing the idea of her independence and Dionysian nature. Opposing this is the nature of Adam, depicted as Apollonian. An initial dichotomy between the couple is introduced from Eve’s first moments in Eden. This coupled with Adams assertion she is his ‘other half’ resembles the idea of platonic love. Two equal and opposite beings together as one. Although this would defy Milton’s beliefs on the rightful place of men and women.

As Eve looks into a river she soon sees ‘A Shape within the watry gleam.’ This vital moment illustrates Eve’s curiosity but also her vanity, which will be her ultimate downfall;

‘it returnd as soon with answering looks

Of sympathie and love; there I had fixt

Mine eyes till now, and pin'd with vain desire’.

Much like Narcissus, she is besotted with her own image, peering into the water she believes herself to be ‘fixt’ on her reflection. Narcissus’ vanity lead to death, the inclusion of this moment shared between Eve and her mirror image is an ominous forewarning of her hamartia. The imagery of the river also brings about a Stygian foreshadowing. Her journey towards God and Adam is also a journey towards her downfall.

Upon hearing the voice of God; ‘Follow me,/And I will bring thee where no shadow staies’. She is led away from her dangerous vanity and towards Adam, certainly a reversal of her later temptation. It is clearly suggested that without guidance her vanity and desire will lead her astray. This is again mirrored in her introduction to Adam, he is ‘less faire’ and ‘less amiably mild’ than herself causing her to recoil from him. Her innate vanity has her turn away from Adam and the guidance of God.

Adam tells Eve of his part in her creation; ‘to give thee being I lent . Out of my side to thee, nearest my heart’. This echoes an earlier description of the origin of Sin; ‘Out of thy head I sprung; Amazement seis’d All th’ host of Heav’n back they recoild.’ She was born from Satan's as Eve was of Adam. As Adam and Eve have a sexual relationship, so do Death and Sin. This brings the origin of Death, mirrored with the eventual murder of Abel. Indeed, it is seen that Adam and Eve and Satan and Sin are foils of each other. The relationship between Satan and Sin acts as a prophesy for the fate of the divine couple.