This is the kind of transformation that Milton uses to tell his story: This is an archetypal story of how the lightness is made dark. His description of the diminishing of once-great and powerful (and beneficent) gods and their transmutation into their own opposites provides us with an epistemological microcosm of Milton's world. (Milton would no doubt argue that this is also a microcosm of God's world.)
Whose Story?
One of the most important structural aspects of the poem is that as we move through it we shift our connection to the characters. The point of perspective does not shift, or not exactly, for we always hear the story through the narrator's voice. But as different characters take center-stage in the story, we feel our own sense of not quite allegiance but identification shift. Milton takes nearly one quarter of the epic to tell us the story of Satan and it feels impossible not to identify with him in some measure. And even although we know this story, even though we know who is good and who is evil and where this is all heading, as we hear Milton's description of Lucifer's strength and even his magnificence (for he is wondrous, if dark) we find ourselves sympathizing with Lucifer.
The story for the first several books is Lucifer's story, or it seems as if it might be (Forsyth 16). For Milton makes it clear the strength that Lucifer has gained in his fall and how naive Adam and Eve are. As we read through the first four books, as we read of Satan's stratagems and, we are made viscerally aware of the ways in which Eve and Adam will be dragged across the line into the world of darkness with Lucifer, of how they have been transformed. And of how much energy the original humans will need to turn themselves back to the life (Fish 71). As we read Milton's version of this well-known story we understand the choice that each of us has to turn to the darkness or the light.
The Garden of Eden: At Every Turn An Opposite
Once we arrive, in Book Four, in Eden and the creation of humanity, we are plunged almost violently into a world in which everything has its opposite. There is, of course, the opposition of male to female. This is another moment in the poem in which Milton asks us to contemplate the ways in which dualism and transformation are linked to each other. Adam and Eve are direct opposites: Male and female, first and not-first, original and derivation, master and servant. And yet they begin as the same being. This is one of the conundrums of creation -- how opposites can emerge out of each other. (Ironically, this version of creation is of course the opposite of what occurs in reality, in which a male being emerges from a woman.)
Reading Milton's tale of a twofold universe reminds one of how fundamentally misogynistic the story that he is relating is, and Milton's retelling of the fall from the garden is at least as poisoned against Eve as the original. For the fundamental opposition in the chapter of the expulsion from the garden is not that of male against female (although that is there) or even goodness (Adam) against evil (the snake, but also Eve as the snake's enabler), but that of life against death. And in this pairing, Adam is given to us on the side of life while Eve (and again the serpent) are representative of death. This symbolism is expressed in Milton's description of the two trees in the garden in which Adam reminds Eve of the obedience that they owe to God. (This passage limns some of the other important points of dualism in the poem -- Adam's obedience against Eve's disobedience and human control over the natural world within the garden against humanity's helplessness once the gates of the garden are closed against them.) Here Adam speaks:
That rais'd us from the dust and plac't us here-In all this happiness, who at his hand-Have nothing merited, nor can performe-Aught whereof hee hath need, hee who requires-From us no other service then to keep-This one, this easie charge, of all the Trees-In Paradise that bear delicious fruit-So various, not to taste that onely Tree-Of knowledge, planted by the Tree of Life, So neer grows Death to Life, what ere Death is, ?Som dreadful thing no doubt; for well thou knowst-God hath...
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