John Milton's epic poem "Paradise Lost" is widely regarded as a masterpiece of literature, not only for its theological depth and inventive narrative but for its stunning use of language and grand style. All the works of Milton have the stamp of his "indomitable personality and irrepressible originality". But the most distinguished feature of Milton's poetry is his grand and sublime style. He employs a range of poetic techniques to create a rich tapestry of language and imagery that is at once beautiful and powerful. At the heart of Milton's Paradise Lost is his grand style - a highly ornate and complex form of poetic diction that seeks to elevate the text, creating a rich and complex amalgam of ideas and images that is designed to move the reader in profound ways. In Mathew Arnold's words: "He is our first great artist in style, our first-rate master in grand style."
One of the most famous passages in Paradise Lost, the opening lines, begins with the invocation of the "Heavenly Muse", in a direct reference to the invocation of the muse in classical epic poetry. Milton elevates his subject matter by appealing to the divine, and by invoking the authority of tradition and classical epic, he establishes the importance and significance of the poem. The invocation begins with a 'syntactical leap' by which we are kept suspended for thirty six words without a verb. The lines, "Of Man's First Disobedience, and the Fruit/Of that Forbidden Tree whose mortal taste/Brought Death into the World, and all our woe," use inverted syntax and complex phrasing to convey the complexity and weight of the subject matter. Here, Milton's use of words like "disobedience," "forbidden," and "mortal" imbues the scene with a sense of gravitas and significance, elevating the story to the level of myth and legend.
In reply to the observation that Shakespeare never blotted a line, Ben Jonson said: "Would he had blotted a thousand." No one has ever uttered such a wish with regard to Milton's poetry. There is hardly any line in Milton's work that is superfluous or unpoetical. The whole treasury of poetry, ancient and modern, and the whole store-house of learning are at his command. Everything in Paradise Lost is conceived in a mighty way, and it is solitary example of sustained grandeur in English poetry. A variety of sources of sublime thoughts can be noted in the description of Satan, after his fall, appearing as the head of infernal host, and whose physical glory has become dimmed. A balance is maintained in up and down imagery, greatness and smallness, light and darkness. His vocabulary contains large proportions of Latinized words and love for digressions, ellipses and inversions makes his style truly sublime. Mathew Arnold remarks: "In the sure and flawless perfection of his rhythm and diction, he is as admirable as Virgil and Dante, and in this respect, he is unique amongst us."
Milton's use of epic similes is another striking feature of his grand style. Epic similes or metaphors are extended comparisons that develop over several lines to add depth and significance to the narrative. Milton uses extended similes in Paradise Lost to amplify the grandeur of the characters and the events he describes. For example, When the poet describes Satan, he calls up the picture of the huge Leviathan, whom, "the pilot of some night-foundered skiff" deemed "some island". The shield of Satan is presented "Like the moon, whose orb/Through optic glass the Tuscan artist views/At evening from the top Fesole." The fallen angels floating on the lake of Hell "Lay entranced/Thick as autumnal leaves that strow the brooks/In Vallombrosa". When they spring upon the wing, they look like a cloud of locusts: "As when the potent rod/Of Amram's son, in Egypt's evil day/Waved round the coast, up-called a pitchy cloud/Of locusts, warping on the eastern wind /...So numberless were those bad angels seen /Hovering on wing under the cope of Hell."
Milton also makes extensive use of classical allusions in Paradise Lost. Allusion is a technique that involves referencing other works of literature, mythology or history. For example, in Book VII, Milton alludes to the story of Icarus, who flew too close to the sun and fell to his death. He writes: "As when Icarus, with ambitious wings / Fell from his father's hands to prove his flight". By referencing the story of Icarus, Milton creates a powerful image of the fallen angels who are cast out of heaven. Then, Milton uses archaic and classical expressions, as well as complex syntactic structures to create a sense of grandeur and elevated significance. For example, in Book I, Milton describes Satan as "Th' infernal Serpent; he who first made way / In the hot womb of chaos, and produc'd /... bright luminaries". Here, Milton uses elevated language to convey the enormity of Satan's power and the catastrophic consequences of his actions.
Another hallmark of Milton's grand style is his use of Biblical imagery. He draws heavily on the imagery and language of the Bible to create a sense of grandeur and solemnity in the poem. For example, in Book IV, Milton uses biblical imagery to describe Eve: "Grace was in all her steps, Heaven in her eye / In every gesture dignity and love". By using biblical imagery to describe Eve, Milton reinforces the idea that she is a figure of pure and divine beauty.
Milton, then, uses vivid visual images to create a rich and complex world in which his characters inhabit. He uses imagery to evoke the grandeur of his vision and to lend weight to the themes he explores throughout the poem. In Book 1, for example, the description of Satan’s fall from heaven is depicted using vivid imagery: "Him the Almighty Power/Hurled headlong flaming from the ethereal sky/With hideous ruin and combustion, down/To bottomless perdition, there to dwell/In adamantine chains and penal fire/Who durst defy th’ Omnipotent to arms."
Milton's use of literary devices also plays a significant role in his grand style. For example, he frequently employs the use of foreshadowing and allusion to create a sense of power and weight to his narrative. In Book One, for example, the character of Satan is introduced as the fallen angel who once served God but now seeks to overthrow him. Satan's introduction is deeply ominous, with Milton describing him as "fierce" and "unconquered" and suggesting that he is poised to cause great destruction and chaos.
This ominous tone is reinforced by Milton's use of foreshadowing, with the character of Satan being described as "bent on man's destruction" and "an immortal worm". This foreshadowing creates an air of inevitability and inexorability in the narrative, and helps to reinforce the complex themes of free will, sin and temptation that are explored in the poem.
Finally, Milton’s grand style is characterized by its philosophical musings. Paradise Lost is not just an epic poem but a profound exploration of theology, philosophy, and human nature. The poem addresses complex issues such as free will, the nature of sin and redemption, and the role of God in human affairs. It is in its philosophical ambition that Milton's grand style shines most brightly. He uses his grand language, vivid imagery, and extended similes to explore these issues in a way that is both profound and accessible, creating a rich and thought-provoking work of literature.
In conclusion, John Milton’s Paradise Lost is a masterpiece of epic poetry, which is characterized by its grand style, majestic language, and evocative imagery. His use of blank verse, extended similes, and philosophical musings contribute to the overarching grandeur of the poem. Milton’s grand style, coupled with the poem’s themes and subject matter, has made it one of the most widely read and studied works of English literature. Paradise Lost remains a testament to the enduring power of the epic genre as a platform for exploring the most profound questions of human existence.