Let's start by examining an extract of what I believe to be a representative depiction of Eve from Book IX (verses 385-396):
Thus saying, from her Husbands hand her hand
Soft she withdrew, and like a Wood-Nymph light
Oread or Dryad, or of Delia's Traine,
Betook her to the Groves, but Delia's self
In gate surpass'd and Goddess-like deport,
Though not as shee with Bow and Quiver armd,
But with such Gardning Tools as Art yet rude,
Guiltless of fire had formd, or Angels brought.
To Pales, or Pomona, thus adornd,
Likeliest she seemd, Pomona when she fled
Vertumnus, or to Ceres in her Prime,
Yet Virgin of Proserpina from Jove.
This extract is replete with references to pre-Christian pagan mythological events. It also makes numerous comparisons of the biblical Eve to pagan characters of antiquity. Milton seeks to convey a very precise meaning, and to that end, employs multifarious rhetorical devices, in the hope that all of them combined may approach the truth he seeks to tell. For the erudite reader, these rhetorical devices also help Milton weave very powerful images in a very short set of verses. Topical erudition, however, is key – only then can the reader understand the rich style tapestry woven by the poet.
Milton compares Eve to Oread or Dryad, nymphs of the trees, groves, woods, and mountain forests, who died when the tree died. At the same time, Eve is also likened to Delia (or Diana), the pagan goddess of hunting. This comparison seems a bit anachronistic, since this is clearly the age of innocence and the concept of hunting is malapropos. On closer examination, the comparison is apposite, since Eve is aware that Satan is seeking to tempt them; and she considers herself to be up to the task of frustrating Satan’s enterprise.
Unlike the pagan goddess, however, Eve is armed with simple gardening tools, not weapons of murder (such as a bow and quiver of arrows), since she is a still a gardener and gatherer. Also, her tools are “guiltless of fire” – again, the poet reminds the reader that this is the age of innocence; metals are yet to be melted or moulded, because fire is yet to be invented.
Milton appears to associate fire with sin, because he states that instruments that are not formed by fire are guilt free. This could be because fire was like a forbidden fruit for pre-Christian Hellenic mythology that Prometheus stole from the gods and gave to humans. Thus, Milton obliquely refers to Eve’s impending encounter with the serpent and the forbidden fruit in the Garden of Eden.
Milton, then, goes on to compare Eve to Pales, the deity of flock and livestock; Pomona, the Roman goddess of fruitful abundance; and Ceres, the Roman goddess of agriculture. Through these comparisons, the poet seeks to convey a pastoral image of Eve, pottering about with her plants and animals in the Garden of Eden. The comparison to Pomona is particularly pertinent because she was tricked into marriage by Vertumnus, a Roman god who could change his form at will. Similarly, the poet alludes to Satan’s impending trickery of Eve to get her to do what he wants.
Finally, Milton also alludes to Eve as Prosperina, a Roman goddess, whose birth led to the infliction of a long, dark winter on humankind. The imagery turns a dark shade here – the poet implies that Eve, through her existence and action, is set to tip the balance against humankind, when mankind is cast into the wilderness to endure its attendant hardships and miseries.
Thus saying, from her Husbands hand her hand
Soft she withdrew, and like a Wood-Nymph light
Oread or Dryad, or of Delia's Traine,
Betook her to the Groves, but Delia's self
In gate surpass'd and Goddess-like deport,
Though not as shee with Bow and Quiver armd,
But with such Gardning Tools as Art yet rude,
Guiltless of fire had formd, or Angels brought.
To Pales, or Pomona, thus adornd,
Likeliest she seemd, Pomona when she fled
Vertumnus, or to Ceres in her Prime,
Yet Virgin of Proserpina from Jove.
This extract is replete with references to pre-Christian pagan mythological events. It also makes numerous comparisons of the biblical Eve to pagan characters of antiquity. Milton seeks to convey a very precise meaning, and to that end, employs multifarious rhetorical devices, in the hope that all of them combined may approach the truth he seeks to tell. For the erudite reader, these rhetorical devices also help Milton weave very powerful images in a very short set of verses. Topical erudition, however, is key – only then can the reader understand the rich style tapestry woven by the poet.
Milton compares Eve to Oread or Dryad, nymphs of the trees, groves, woods, and mountain forests, who died when the tree died. At the same time, Eve is also likened to Delia (or Diana), the pagan goddess of hunting. This comparison seems a bit anachronistic, since this is clearly the age of innocence and the concept of hunting is malapropos. On closer examination, the comparison is apposite, since Eve is aware that Satan is seeking to tempt them; and she considers herself to be up to the task of frustrating Satan’s enterprise.
Unlike the pagan goddess, however, Eve is armed with simple gardening tools, not weapons of murder (such as a bow and quiver of arrows), since she is a still a gardener and gatherer. Also, her tools are “guiltless of fire” – again, the poet reminds the reader that this is the age of innocence; metals are yet to be melted or moulded, because fire is yet to be invented.
Milton appears to associate fire with sin, because he states that instruments that are not formed by fire are guilt free. This could be because fire was like a forbidden fruit for pre-Christian Hellenic mythology that Prometheus stole from the gods and gave to humans. Thus, Milton obliquely refers to Eve’s impending encounter with the serpent and the forbidden fruit in the Garden of Eden.
Milton, then, goes on to compare Eve to Pales, the deity of flock and livestock; Pomona, the Roman goddess of fruitful abundance; and Ceres, the Roman goddess of agriculture. Through these comparisons, the poet seeks to convey a pastoral image of Eve, pottering about with her plants and animals in the Garden of Eden. The comparison to Pomona is particularly pertinent because she was tricked into marriage by Vertumnus, a Roman god who could change his form at will. Similarly, the poet alludes to Satan’s impending trickery of Eve to get her to do what he wants.
Finally, Milton also alludes to Eve as Prosperina, a Roman goddess, whose birth led to the infliction of a long, dark winter on humankind. The imagery turns a dark shade here – the poet implies that Eve, through her existence and action, is set to tip the balance against humankind, when mankind is cast into the wilderness to endure its attendant hardships and miseries.
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