Light Out Of Darkness Essay

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Patrick Hart 18-9-09 Light out of Darkness McColgan points out that the theory of this distinguishing language as a catalyst for appreciating Milton is hardly an original concept, and sites that one Don Cameron Allen has mentioned that fact exactly: “the visual imagery of Paradise Lost… depends to some extent on the verbs of rising and falling, descent and assent, and on contrasts between light and dark” (P.90 para.1 L3). It is also noted by the author that the selfsame poem was referred to as a “magnificent statement of God’s purpose” by John T. Shawcross (P.89 para.1 L9), who briefly references also that the imagery contribute to the poem’s artistic je ne se qua. In fact as the author points out, just like the above transition, there is vertical imagery at the end of nearly every book in order to establish the cohesion necessary for a poem that oft times sounds like the ranting of a madman. These shifts in space from heaven to hell to the middle world not only serve in the above capacity but keep the reader questioning, though he have at his fingertips the resources available to find out, what might occur on the next page to move the plot. Perhaps McColgan’s strongest point rests within a passage on page 93. “There are clear parallels between the exalted position of Satan at the beginning of book II, who ‘aspires/Beyond thus high,’ and that of the almighty father, ‘High thron’d above all heighth.’ But now the irony fully emerges: What does it mean to sit “high” in hell when the distance between hell and heaven is so great?” It means that height is the function of the divine body; the higher up you are, like on any chain of command, the more powerful, worthy, marvelous, celestial, you are. Again, by giving us this frame of reference we are able

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