[Milton-L] Milton and "the majesty of darkness" (was "Credited Wiki")

Carol Barton, PhD, CPCM cbartonphd1 at verizon.net
Sat Nov 4 10:52:23 EDT 2017

Think about a camera’s flash, or a solar eclipse, or someone’s “brights” in your eyes, on an otherwise dark road: too-bright light can be blinding, hence “dark with excessive bright.” Light and dark are not antitheses, but dualities, in Milton’s world: each is inextricably bound to the other, yin and yang.

Carol Barton, PhD, CPCM
cbartonphd1 at verizon.net

I have lived in this world just long enough to look carefully the second time into things that I am most certain of the first time. -Josh Billings, columnist and humorist (21 Apr 1818-1885)

> On Nov 4, 2017, at 10:37 AM, Jameela Lares <Jameela.Lares at usm.edu> wrote:
> Not to mention “Dark with excessive bright thy skirts appeer” (3.380).
> Jameela Lares
> Professor of English
> Charles W. Moorman Distinguished Professor, 2017-2019
> The University of Southern Mississippi
> 108 College Drive #5037
> Hattiesburg, MS 39406-0001
> From: milton-l-bounces at richmond.edu <mailto:milton-l-bounces at richmond.edu> [mailto:milton-l-bounces at richmond.edu <mailto:milton-l-bounces at richmond.edu>] On Behalf Of John Leonard
> Sent: Saturday, November 4, 2017 8:24 AM
> To: John Milton Discussion List <milton-l at richmond.edu <mailto:milton-l at richmond.edu>>
> Subject: [Milton-L] Milton and "the majesty of darkness" (was "Credited Wiki")
> In the note he appends to his illustration of Satan as “a black man,” Terrance Liddell writes: “In Paradise Lost clearly dark is bad and light is good. So Satan as a black man might be symbolically appropriate. . .” But is it really the case in Paradise Lost that “dark is bad and light is good”? The statement has a certain prima facie plausibility based on some memorable lines (“Hail holy light”, “what in me is dark,” “the dark unbottomed infinite abyss”) which is no doubt why the topic of “dark and light” has so often (and boringly) been assigned for student essays. (I wonder if that is where Terrance’s image comes from?) Milton’s imagination is much richer than this crude binary. Some of his most hauntingly beautiful images come from the mingling of light and dark, and the challenging of our easy assumption that “dark is bad and light is good.” Recall the eclipse simile in book one where Satan “darkened so, yet shone.” Milton’s Satan is the Prince of Twilight, not the Prince of Darkness.  If there is something light about Hell’s darkness, there is also something dark about Heaven’s light. God also has his dark side, and not in a bad way:
>                                                        This deep world
>       Of darkness do we dread? How oft amidst
>       Thick clouds and dark doth Heav’n’s all-ruling Sire
>       Choose to reside, his glory unobscured,
>       And with the majesty of darkness round
>       Covers his throne; from whence deep thunders roar
>       Must’ring their rage, and Heav’n resembles Hell?
>       As he our darkness, cannot we his light
>       Imitate when we please? (PL 2.262-70)
> The speaker is admittedly Mammon, but the lines also have a ring of truth (biblical truth): “he made darkness his secret place” (Ps. 18); “the Lord hath said he would dwell in thick darkness” (II Chron. 6.1). Terrance coarsens both Milton’s art and his own with that flat statement “in Paradise Lost clearly dark is bad and light is good.” Mammon claims darkness for Hell, but his acknowledgement of God’s “majesty of darkness” gives him the lie. Hell’s darkness, no less than its light, is plagiarized from Heaven (“cannot we . . . Imitate when we please?”) 
> John Leonard
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