Miltons multi

Miltons multi-layered poem Lycidas is a literary work with a variety of interpretations and meanings Essay Miltons multi-layered poem Lycidas is a literary work with a variety of interpretations and meanings. One of the many angles from which we can attempt to understand the poem is the meta-poetic level. Meta-poetics is quite a wide range of ideas, which generally can be described as dealing with authorship and the poets relations with the audience and the poem itself, as well the exploration of the process of writing a poem. The meta-poetic, or ars-poetic, tone will concentrate on identifying Miltons emotional and psychological experiences in the process of creation-his intentions, hesitations and hopes-all in the light of the fascinating triangle of poet-poem-audience. The focus will be on the formation and reformation of Miltons psyche in the poem, as a reflection of himself and as a work of art. When reading a work of literature, and a poem in particular, the reader must always bear in mind the poets position and involvement in the text, but we usually use it to reach a deeper insight about the meaning of the poem. On the other hand, the ars-poetic imagination, which will be used in this paper, will try to look at the meaning as created equally by the poet and by the poem itself. In this vision, a poem is the documentation of life, as a reflection of the psyche, a portrait of the author as an artist and a philosopher, and eventually as a human being. This would be a good place to mention that Watterson quotes in his notes Harold Bloom, saying that a poetic text, as I interpret it, is not a gathering of signs on a page, but is a psychic battlefield upon which authentic forces struggle for the only victory worth winning, the divinating triumph over oblivion. The scope of this realm of interpretation is probably too wide, and therefore I will only provide a glimpse at the man behind the poem, touching this rich world of content, mainly through the post-modern psychological theories regarding the poem. The complexity of the poem demands from us a familiarity with some of the more basic, though not less intriguing layers of Lycidas, before we move to the deep levels of interpretations. The poem was written as an elegy lamenting Edward King-a schoolmate of John Milton whose short life ended with a unfortunate drowning. The poet declares in the head-note that besides lamenting his friend, he will also engage in foretelling the fall of the corrupted clergy, which implies a political and ideological critique. This initial statement develops certain expectations in the readers minds-expectations regarding the tone and the themes discussed in the poem. After this head-note, the poem begins with a mourning tone, warning the natural world of his grief and sorrow-I com to pluck your Berries harsh and crude/ and with forced fingers rude 3-4. Only then, with a slight delay over his melancholic mood, the poet invokes the muses to assist him in his mission of creating a poem-begin then, Sisters of the sacred well 15. After securing the support of inspiration, the poet turns to speak of young Lycidas, a symbolic character of nature, poetry and music, and the happy times of delight he shared with the speaker of the poem. The poem then seems to get complicated by involving different speakers, among them the voice of Pheobus and the Pilot of the Galilean lake , who represent two of the thematic realms of the poem-the mythological and the Christian. After a series of accusations and condemnation- anow of such as for their bellies sake/ creep and intrude, and climb into the fold 113, the poem returns to its pastoral mood of peace and quiet, with a note of acceptance and reconciliation with reality-now Lycidas the Shepherds weep no more 181. The poem concludes with a sense of vitality and reinforcement: And now the Sun had stretched out all the hills, And now was dropt into the Western bay; At last he rose, and twitchd his Mantle blew: To morrow to fresh Woods, and Pastures new. 90-193 the optimistic lines above conclude an elaborate poem, which combines the natural, the mythical and the human to convey its messages, and shows the notion of the psycho-dynamic movement from denial to anger to depression to resolution Creaser 144. This conclusion could probably represent the fact that author managed to overcome egos recognition of unattainable or illicit desire-the desire of everlasting honor and fame. According to my reading and understanding of the poem, the content appears to be a reflection of Miltons itself, rather than a detached artifact, thus creating a voice which contains complex dynamics and interaction. A dialogue exists between the poet and his poem, each one reinventing the other in an everlasting cycle of birth and re-birth. The poem is a part of the poet, just as much as the poet is a part of the poem. They are one but also separate, both harmonious and conflicted; a notion somewhat similar to Turners dialectic of presence and absence 34. A poem is subsequently a journey-an awareness of constant movement and dynamics. The first major place to look for such a complicated relationship might be the issue of fame in the poem. The poet, as an individual, is concerned with the death and mortality; like others before him, he uses the eternalizing power of poetry to make his name last forever: Fame is the spur that the clear spirit doth raise That last infirmity of Noble mind to scorn delights, and live laborious dayes; But the fair Guerdon when we hope to find, And think to burst out into sudden blaze, Comes the blind Fury with th abhorred shears, And slits the thin spun life. But not the praiseÃÆ' ¢Ãƒ ¢Ã¢â‚¬Å¡Ã‚ ¬Ãƒâ€šÃ‚ ¦ 69-75 These lines create a sense that the poems focus, or at least its underlying attention is on the poet and his psyche, making it harder to distinguish between the poet and the different speakers in the poem. Poetry can be interpreted in this light as the mortal revenge over death-it is a need to pass something on, to create continuity and to create a monument of oneself. Fame thus becomes not merely a desire for honor and prestige but also the striving to overcome nature. In James Grantham Turners words, this is the instance of authorship emerging from catastrophe. The poem itself remains as a constant reminder that a part of Milton will live forever, or as Douglas Brooks describes it, the poem is offering the power of memory as a definitive gesture against time and death. This possible identification of the immortalizing power of poetry leads us to a somewhat broader and wider concept of authorship. Milton as an author sees himself in a complex light-as a prophet and an artist. As early as in the head-note, the author declares that he by occasion fortels the ruine of our corrupted clergy, making himself not only a poetic master of the aesthetic but also an accomplished political analyst. Throughout the poem, the poet undergoes a mental journey, which is both difficult and fascinating-from the bitter constraint and sad occasion dear 6, via the fact that Lycidas sunk low but mounted high 171 to the Saints that wipe the tears forever from his eyes 181. The poem is a quest to find comfort and a renewal of faith in the power of poetry and in the poets own ability to transcend far above the uncouth Swain 186. When this notion is recognized, it is probable to assume that what we actually find here is that the guilt of an ambitious survivor is both revealed and repressed Watterson 54. The poet turns determined and motivated to achieve his earthly fame, and thus duplicating something of the sublime and heavenly: Fame is no plant that grows on mortal soil, Nor in the glistering foil Set off to th world, nor in broad rumour lies, But lives and spreds aloft by those pure eyes, And perfect witnes of all judging Jove; As he pronounces lastly on each deed, Of so much fame in Heavn expect thy meed. 7-83 Therefore, we can detect the poets ambition to experience life and death to the fullest through the occupation with the deepest aspects of human existence and the most basic surfaces of individual reality. One can argue that John Creaser was right in his assertion that the events of Lycidas are all in the minds eye; but contrary to Creasers view, I would suppose that this is not a lonely poem of fel lowship lost, but an individualistic protest of self-esteem regained. A Deferred American Dream EssayIn a way, Milton replies to the question who would not sing for Lycidas? 10 with the decision that he wouldnt-he would not spend the time immortalizing and praising others while he can do this great service for his own self. This insight of Miltons objectives resembles William Collins Wattersons suggestion that the poem is simultaneously both a repression of envy and an expression of it, which consequently creates an ego both relieved and guilty at the death of a poetic competitor. So could it be said that in the process of writing the poem Milton confirms, or at least reassures his belief in poetrys mightiness, and therefore also his capabilities as an author-a creator of poetry. One can generalize by saying that a poem is an autobiography uncovering the mystery of the poet behind the poem and allowing access into some of the deep corners of his mind and soul, sometimes even corners that he didnt want to take us to. Stephen Booth mentions that great works of art can be seen as saying what they can not want to say. Moreover it gives the reader the paradoxical capacity to comprehend the incomprehensible. The poem is created in a manner where inside and outside collide to create a whole, which we later try to disintegrate and analyze. The outside here is the occasion, while the inside is the individual spirit with all of its complexities. In this meta-poetic perspective I have tried to apply here, meaning is created less through an objective interpretation of ideas and images, and rather through psychological and psychoanalytical observations of the poet as an artist and as a human being. They pose as definitions to each another, and thus create meaning through a mixture of a battle and mutual understanding. When identifying what poetry means for him, Miltons remark Ay me, I fondly dream! 55 can be translated into action in the form of poetic achievements. The poet now attempts to materialize his desire to say everything and nothing at the same time and so to interpose a little ease 150. Mark Womack states clearly that the poet achieved at least partial success since it dared push the limits set by the poetic values and attained dynamism, otherwise known as originality. This success, however, seems to be the result of Miltons stubborn and intentional struggle to outdo even himself Watterson 51. The reading I have tried to apply here, since it is necessarily extra-literary, looks at the human being behind the artifact. This post-modern social sciences perspective is much more interested with undercurrent human forces and less with mere aesthetic and formal criticism. In a certain way it is also the need to bring to life a text which became opaque by the multitude of meanings, in the way of looking for the creator rather than the creation itself . It is both an attempt to find something new to say about a poem so loaded with critical commentary, as much as an attempt to reveal the consistency of the human spirit throughout ages and locations; a certain need to show that human beings are so similar yet so individualistically unique. It is eventually an attempt to create a formula of the predictability of human nature; a formula that determines that nothing is predictable but a lot is possible. On the process of writing in such a mode, one might realize that the poem itself becomes almost irrelevant on the expanse of the poet, yet once again, those two are genuinely and authentically inseparable. This is also the making of Milton a human being with fears and conflicts; no longer the distant genius but a simple man who made himself become great. Moreover, that sort of reflexivity found in the text, definitely might affect the researcher itself, so as to get to an identification with Milton, not as the superior writer who aspires to be the very essence of literary brilliance, but as a fellow human being, motivated by primal urges, universal desires and globally human traits. It even seems fair to say that Milton did not even anticipate such identification with him, just as much as he could not predict other features and characterizations of his mind, part of which can be seen in this text . From our postmodern perspective one can see more of Milton than it seems at first glance. The notion that silence speaks louder than words also has some room here-Milton does not have to say what he thinks loud and clear , since he communicates to the reader through a much deeper level than words and utterances-the language of the human spirit. Moreover, it seems as if literature becomes more and more a tool to apply the theories of psychology and other social science; the implication is broad-not only the fact that now literature is no more the exclusive interest of literary critics, but also the fact that literature might be even more full of meaning than the authors/poets probably knew. This phase of literary history in which it seems that everything was said about a poem as a work of art, brings the vibrant interest in widening the boarders of the critical scope to meta-literary and interdisciplinary interpretations of literature. The implication is that literature at least to some extant, becomes more accessible to the average reader who doesnt have to look for philosophical and transcendent insights in the literary work, but a search for the roots of humanity; the clearest common denominators of people in all times and places. In my opinion, this kind of an evolution brings renewed interest and fascination with texts that otherwise could have been considered archaic and old-fashioned, but now receive again scholarly legitimacy and thus gain further depth and breadth. It could even be said that this kind of renewed fascination rules out the vision of art for arts sake, and help it acquire the status of an aesthetic embodiment of the everlasting attempt to decipher humanity. In accordance with my vision, it is essential to emphasize how deep Miltons unawareness was, regarding what will be made of his creation-he is now analyzed from within and without; the critic serving as his perceptive therapist. A dead man is resurrected-yet another achievement of poetry that Milton wasnt even aware of. If we get back to the terms of the meta-poetics, than it is possible to argue that Milton opened a realm of interaction he might didnt even imagine to exist, between his audience, his text and himself. I would even argue that in through the kaleidoscope of the human psyche, the critic receives a bit firmer authorization to be judgmental, since the way to understanding human complexity is through constant questioning and skepticism; building and rebuilding ones impression of a given situation in a given moment. This is the power the post-modern critic and reader have over Milton-the great awareness of the unawareness. I suggest that it is thus significant to mention that a reading similar to the one I have tried to develop here, is not only meta-poetic, but also meta-critical-following both the process of writing the poem and the process of writing this very essay, and the essence of criticism as a whole. Such a criticism is almost inevitably reflexive and self examining, since it deals with the issue of human psycho-dynamics. The critic is obliged to put himself into the text, to get emotionally and mentally involved in this process of learning and discovery. Through his writing, he unknowingly allowed us to penetrate into the innermost parts of his mind, in the name of science, in the name of art, or of mere curiosity; especially regarding the fact that those three are often intertwined and generate each other. Ultimately, there is no one proper way of reading Lycidas, and poetry in general, and by understanding it, we can begin trying to attach some meaning of our own, according to our terms of reference. At this point we might also develop a similar relationship of dependence and disparity with our texts, and therefore learn a lot about ourselves as writers and readers. Just as Lycidas is a poem that documents a journey-a private Odyssey for Milton, this text also serves as an embodiment of its composer in numerous ways-some premeditated, others unconscious.