“The name of Milton”, says Raleigh, “is turned into the imprint, not of a life story nor of a subject, however of a style – the most recognized in our verse.” In all that he has thought of he has inspired his unyielding identity and irrepressible innovation. John Milton is in every line of Paradise Lost as well as in every line of verse that he has composed.
In his Oxford lecture ‘On Translating Homer: Last Words’, Mathew Arnold utilized this now celebrated expression. ‘Such a style, he kept up, emerges when a respectable nature, poetically skilled, treats with effortlessness or with seriousness a genuine subject’. Arnold alludes to Homer, Pindar, Virgil, Dante, and Milton as types of grand style. It was an elevated or hoisted style suitable for epic, a style Arnold himself endeavored in, for example in ‘Sohrab and Rustum’.
Now we talk about the devices utilized within ‘Paradise Lost’ by Milton which have brought on his style to be described as the Grand Style.
Style : Full of Allusions
The dialect of ‘Paradise Lost’ is that of a scholar composing for scholars. A delightful delineation of the poet’s affection for inferences is given by his depiction of Satan’s strengths, which overshadowed the mightiest armed forces known to history or legend:
- the titan brood specified by Hesiod
- the brave race that battled at Thebes and Troy specified by Homer
- the knights of lord Arthur specified by Geoffrey of Monmouth
- the Crusaders who battled the Saracens said ever, and
- the warriors of Charlemagne said in the Italian stories.
- The entire treasury of poetry and the entire storage facility of learning are at his command.
Suggestive Quality in Style
In Milton’s poetry a greater number of is implied than meets the ear. He implies more than what he says. As the poet’s trouble all through the ballad is to portray what can’t be precisely described– Heaven, Chaos, Hell, God, Angels, Devils– he tosses out a general allusion or two of their expected shapes and appearance and asks the spectator to envision the rest. Hence Satan’s tremendous figure, which no one can have a thought of, is depicted with a couple of suggestive strokes: ‘head elevate over the wave’, ‘eyes that shining blasted’, and different parts in mass as substantial ‘as whom the tales name of huge size’. Damnation is depicted
As one incredible heater flam’d: yet from those blazes
No light, yet rather darkness visible… … ..
Irregular Structure of Sentences
Milton’s normal practice is to place a thing between its two qualifying modifiers, however the English syntax obliges both to be put before the thing: the upright heart and unadulterated’, ‘the bleak circumstance waste and wild’, ‘constantly blazing sulpher unconsumed’. Frequently he utilizes one grammatical form for an alternate, for example, verb as thing in ‘the incredible counsel started’; modifier as thing ‘the unmistakable dark’ and so on. Notwithstanding the infringement of the acknowledged standards of sentence structure, one can’t deny that ‘Heaven Lost’ is a lyric for academic book fans. The infringement of linguistic use is less reprimanded but rather more the magnificence of his style is increased in value.
Utilization of Similes
A striking peculiarity in ‘Heaven Lost’ is Milton’s utilization of comparisons. These are expanded to draw complete pictures. They had nobility of the story, and don’t just outline additionally adorn the epic topic and character… … .
The grand tone is kept up in the discourses of Satan, with respect to occurrence in the discourse to Beelzebub. One can’t help noting the logical persuasiveness with which Satan empowers the fallen heavenly attendants.
So Milton keeps up a steady height and respect of style comparing to the enormity of subject, and Mathew Arnold is totally right when he alludes to Milton as a poet of grand style.