Part of Milton's genius lies in his ability to stack motif upon motif, theme upon theme, and image upon image with high density, without losing any of the effectiveness of his words; in fact, this density increases efficiency. Throughout Paradise Lost, the motif of light and darkness recurs, figuratively contrasting God and Satan, Heaven and Hell. The third book begins with an invocation of Light as muse, and from there discussions between God and Christ and Satan's decisions often use light and dark imagery to express contrast. Milton's use of light and dark in the first 55 lines of book three creates a static, blurred delineation between the two states, expressing that few things are completely one or the other; light can exist in darkness and darkness in light. Say no to plagiarism. Get a tailor-made essay on “Why Violent Video Games Should Not Be Banned”? Get an original essayBy calling his muse in this book “Holy Light” (3.1), Milton asks God or rather one of his servants to help him. in a correct representation of God himself. Using a reference to the Bible through John 1:5, which states, "God is light, and in him is no darkness," is a strong way of invoking both divine imagery as well as popular reference of knowledge and thought as light. However, despite Milton's strong religious beliefs, using such a strong statement from the Bible as a reference is actually an argument against that statement. Just as it is proven throughout the epic that even Satan is not a totally evil figure, through the biblical reference above, Milton states that even God does not exist entirely without darkness. From there, Milton goes on to describe God as “the God.” The eternal coeternal ray” (3.2) and “the luminous effluence of an uncreated luminous essence” (3.6), making God not only a reflection of light, but the object of light itself. In doing so, Milton pays homage to the greatness of God and develops him as a more active figure. This action is then reinforced by Milton's description of God's creation. It shows that before the world was as it is known today, there was darkness, and even after God created the form, the darkness remained. Before the sun, before the heavens you were, and at the voice of God, as with a cloak you clothed the world rising with dark and deep waters, won from the void and formless infinity. (3.8-12) Despite God’s creative efforts, the waters he created remain “dark and deep” (3.11). This could be a reference to the imperfect state of man, but as at that time man had not yet been created, the singular presence of God shows that even God is not without a little darkness and a little depth. has been established, Milton shifts his descriptions to those of Satan and the underworld. Words such as "escaped" (3.14), "long detention" (3.14), "dark abode" (3.15), and "total darkness" (3.16), although they do not directly refer to the contrast between light and darkness, are specific allusions to what darkness implies. Through these descriptions, Chaos is created as a lonely, desperate and dangerous place, and the final reference to actual darkness only reinforces this strong imagery. The “Eternal Night” (3.18) again reinforces the despair of Hell; nothing can escape it. The absence of Satan in this description does not go unnoticed, however. Unlike the previous description of Heaven, in which God is the object of light rather than the place, theThe darkness described in this passage is that of Hell and all that it entails, not just its ruler. By this omission, Milton leaves Satan's state of darkness somewhat ambiguous. The narrator's return to Heaven after this journey is not entirely jubilant. A taint of the darkness he encountered in Hell remained. “The Heavenly Muse taught him to venture down/the dark descent, and to rise again” (3.19-20), and the journey was long. However, despite the Instruction he received from the "Heavenly Muse" to sanction the journey, he returns less to God than before, desiring to: Feel your sovereign vital lamp; but you do not return to those eyes that roll in vain to find your piercing ray and do not find the dawn; a drop so thick and serene extinguished their orbs, or a dark veiled suffusion. (3.22-26) Because of his experience in the underworld, he lost the ability to see the full light and rejoice in God's good graces. This foreshadows the fall of man later in the poem; Adam will no longer be able to experience the Paradise he once had because he will have been spoiled or “lost”. The phrase “extinguished orbs” (3.25) shows the despair acquired during the visit to the underworld. Darkness can be overcome by light, but once the orbs are extinguished, they fade away forever, with no hope of regaining the light they once possessed. The Norton Anthology calls "a serene drop" (3.25) what is currently known as cataract and what was then the affliction that caused Milton's blindness later in his life, including the period during which he composed Paradise Lost. Although purely speculative, it is possible that the frustration exhibited in this part of the passage stems from a certain degree of self-hatred on Milton's part, blaming himself for the state in which he found himself. Whether this is true or not, however, does not change the situation. The fact that the darkness of Hell has tainted the light of Heaven. The description of where the “Muses haunt” (3.27) reinforces the assertion that even light is not all good, nor darkness all bad. They reside in “a clear spring, or a shady grove, or a sunny hill” (3.28). The shady grove evokes sensations of damp and cold; the sunny hill evokes a feeling of warmth. The contrast shows that the muses do not exist in a single plain either, but rather in different ways, neither good nor bad. Milton's statement that "I visit by night" (3.32) seems grounded in irony. Because he is blind, all interaction occurs like night, since all interaction is shrouded in darkness. The fact that it is placed in the poem in this part gives a positive spin to the darkness described. He cites those poets like him who were prey to blindness. He then evokes the clarity that darkness can bring through the metaphor of the nightingale. Feeding on thoughts, this voluntary movement, Harmonious numbers; as the waking bird sings darkly, and in the darkest secret it hides its nocturnal note. (3.37-40)The nightingale, revered for its beautiful song, is able to focus and tune its song more clearly without the distractions that light can offer. Through this metaphor, Milton shows that darkness is not only bad, in fact, it can be beneficial. Milton's bitterness resulting from his blindness is quite evident in lines 40 to 50. He grumbles that he will never see another day, nor a rose, nor a "divine human face" (3.44). He is “excluded” (3.50) from the light and condemned to darkness. Pockets of Paradise Lost appears to reveal Milton's general frustration with life, but his strength of conviction and strong belief system.