Analysis: I chose to base my Reading Week Creative Project on the two types of narcissism in Paradise Lost: Satan's futile one and God's fruitful advancement, specifically through Eve's journey of escaping selfish and prideful narcissism (tempted by Satan) and her reflection through Adam. I began the photograph by staring into the mirror as Eve, representing Eve's first vain encounter with her own reflection: "There I had fixed mine eyes till now and pined with vain desire" (4.465-466). This was also the first time God reminded her of her role in choosing the right kind of narcissism: “What Thou seest , What Thoust seest, fair creature, is thyself / with thee it came and goes..But follow me..To him shall bear multitudes like thyself and / thence be called the Mother of human race." (4.467-469, .474). God introduces Adam as her other half, as he's her superior and her temperance, where together, they will carry out God's productive narcissism. This contrasts against Satan's narcissism, as his stubborness against God's authority creates a cyclical trap that just results in increasing misery: “how dearly I abide that boast so vain / Under what torments inwardly I groan / while they adore me on the throne of Hell” (4.087-89). However, he never repents and instead continues to ignore his guilt until he's in too deep to go back: “For never can true reconcilement grow where wounds of deadly hate have already pierced so deep / Farewell remorse!” (4.098-99, 109). Similarly, Eve falls into this trap of Satan's selfish pride where she allows herself to be tempted and falls by eating the apple, represented by the layered mirrors growing darker and duller. The infinity mirror effect (which I created through layering and editing the same picture on PicsArt) represents her fall into Satan's destructive narcissism, where she splits from Adam (as her partner in God's glory) and eats the apple in an attempt to increase her own vain knowledge to be more on par with Adam's: "in female sex, the more to draw his love / and render me more equal / for inferior who is free?" (9.822-23, .825). As represented by the darkening reflections of only Eve's image (on the left), her fall heavily revolved around her own selfish vanity, which is unfruitful (as why the infinity mirror's reflections are a static repetition only of her) like Satan's narcissism (darkening, static, never ending cyclical trap). However, Eve, unlike Satan, is able to escape this trap before it becomes too late because Adam, as her reflection, is able to help remind her of their free will in returning back to God's image of them through repentance :“self destruction therefore sought refutes / That excellence thought in thee” (10.1016-1017). Ultimately, it's their reflection as God's image of each other that allows them escape Satan's narcissistic "infinite mirror". This is why Adam's reflection staring back at Eve in the photograph stops the infinite mirror from darkening and continuing any longer. The bright colors of Adam also starkly contrast against the dull mirror frames, as God's will and grace always overpowers any of Satan's tactics, guiding Eve back on track. Eve no longer only sees herself, but God's fruitful and productive narcissism through Adam. The bright lens flare that emits a rainbow tint around Eve is also supposed to represent God's guidance and will throughout, as even through mankind's fall, God is able to bring greater grace and advancement. After all, this event is what allowed Him to bestow the greatest gift of all: Jesus Christ, represented by the rainbows coming out of the infinity mirror. The dullest and darkest colors within Satan's trap in the infinity mirror are also meant to represent the contrast of Satan's narcissism even further, as following him blinds you to the color around you until you're able to finally notice it when you break free. Though this adaptation doesn't represent Eve's narcissistic journey with Adam fully (as Adam also chose to fall into narcissism), the overall extent of Eve's role in Paradise Lost is now better able to be understood through this photograph.
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I decided to create an optical illusion that represents Eve’s view of herself in the latter half of John Milton’s Paradise Lost based on the argument that Adam and Eve are meant to be equals. After eating from the Tree of Knowledge, Eve wonders if the fruit will “render [her] more equal … for inferior who is free?” (9.823, 9.825). Eve’s comments imply that she views herself as unequal and inferior to Adam. Part of her reasoning behind this perspective is Adam’s reinforcement of these ideas by saying that Eve is “[s]afest and seemliest” when she is with him (9.268). Adam paints himself in a stronger light, so Eve develops the attitude that she must “prove” her worth to make up for her inferiority. However, Eve is not inferior to Adam; the two of them are a team where Adam is the “head” (logical and cautious), and Eve is the “heart” (instinctual and ambitious) (8.562, 4.484). They both have their strengths and weaknesses, but those traits do not put one over the other. I chose to use an illusion because it intentionally warps the audience’s perception of the world, which is how I see this epic; on the surface, it may seem that Adam and Eve are on different hierarchal levels, but a closer examination reveals that they are equal. This illusion uses forced perspective to make it seem as if two objects of the same size are actually different sizes. In this case, Eve can only see herself as smaller/inferior while Adam is bigger/superior. Since Eve does not believe herself to be equal to Adam without eating from the Tree of Knowledge, she is “trapped” in the illusion, reflecting her question, “[F]or inferior who is free?” (9.825). However, the audience can see the illusion the way it is presented to them, or they can step back to see the reality that both figures are the same size. They can choose the interpretation that they think Milton is presenting, unlike Eve. While making this sculpture, I wanted to reference the idea that man, though created perfect within, feels that he is fundamentally lacking. Specifically, I was referencing the conversation Adam has with God in Book 8, when he describes his need for a companion whom he can call his equal, unlike the creatures around him whom he asserts dominance over. By himself--that is, by his god-created and supposedly perfect self--Adam feels "solitude" (8.369), a solitude that cannot be erased by the animals over which he rules (as God jokingly asked), but only by someone who is equal to him ("Among unequals what society / Can sort, what harmony, or true delight? / Which must be mutual" [8.383-385]). To depict this, I wanted to show each part of the sand sculpture as not being whole or complete, and as instead having holes, chips, missing parts, etc.--to resemble the notion of incompleteness or fundamental lacking. But equally as important is the fact that the sculpture can only stand as a result of the two pieces being linked together. If it weren't for this link, neither piece could stand on its own (it's slightly hard to see in the angle, but the I curved off the ends and made the weight of each piece very imbalanced, so neither piece can stand by itself). This represents the idea that Adam and Eve can make up for each other's flaws only in union with each other, not while separate. To this end, I started to think whether post-fallen Adam or Eve could ever be considered "complete," even with each supporting one another and "making up for" each of their supposed flaws. I hoped to show this idea by creating two holes in one piece, and having the other piece only fill one of those holes.
In one sense, I wanted to depict the contrast between how God intended Adam and Eve's relationship to be, and how Adam and Eve's relationship actually turned out to be, immediately before the Fall and after. While both are intended to have a harmonious relationship with one another and are made to sync with one another perfectly, we know it's not perfect. There are holes, gaps, mistrust, deception, etc. For example, as I made this sculpture, I had in mind the chaos that slowly started to build after Adam and Eve ate the fruit--when both began vigorously accusing each other ("Thus they in mutual accusation spent / The fruitless hours" [9.1187-1188]). I tried to visually show Adam and Eve's individual imperfections by representing them as two, separate parts of the sculptures (though, it's up to the viewer to decide which is Adam and Eve). In the left part of the sculpture, the most obvious imperfections are the holes, and in the right, it is the odd, "incomplete" shape. Still, despite these imperfections, the sculpture is able to stand, because both lean on one another, signifying the idea at the poem's end that only in union can Adam and Eve overcome their imperfections ("They, hand in hand, with wandering steps and slow, / Through Eden took their solitary way" [12.648-649]). Through the positioning of the sculptures, I wanted to also raise the question of whether or not Adam and Eve are truly equal. From certain angles, both pieces seem at the same height; however, this view can easily be distorted if the viewer were to stand to one side of the sculpture. In that case, we would only one how one piece lies on top of the other; we couldn't see how, on the other side, it's actually the other way around. While adding these aspects to the sculpture, I had in mind the following lines: "Though both / Not equal, as their sex not equal seemed; / For contemplation he and velour formed; / For softness she and sweet attractive grace; / He for God only, she for God in him" (4.293-297). Although Adam and Eve are supposed to be equal (as Adam's loneliness couldn't be alleviated otherwise), it is clear that they are not equal in many ways, from the extent to which they reflect God's image to the supposed amount of reason both innately have. This, generally, is an ambiguous and contentious theme throughout the play, and accordingly, I wanted to make this aspect of my sculpture ambiguous as well--that is, dependent on the viewer's perspective. Finally, by making my sculpture relatively abstract and avoiding any explicit human depictions, there is one key feature about Adam and Eve's relationship that is lost in my depiction: all of the gender politics. It's impossible to say with 100% confidence which one is Adam or Eve. As a result, the association between gender and one's position in the natural hierarchy of things--an association that can readily be made when reading the text--cannot be made using my sculpture. In other words, both characters lose the contribution their gender potentially makes to their position on the hierarchy of life. Thus, this sort of inhuman adaptation allows us to see past gender, and view Adam and Eve for their true qualities irrespective of gender--which also raises the implicit question of whether it is possible, in Paradise Lost, to separate gender from status and power. K.C.
Short Story: Blinding shafts of light poured into the room as I woke up from a fretful night’s sleep. God. I was a mess. A week without showers had clearly made its mark on my body as my mouth was caked with some dry, pungent mustard – courtesies of last night’s microwaved hot-dog. My hair looked like… Was that the damn homeless dude that kept robbing my trash cans? Rushing out of the house, half-naked and holding a past-due bottle of Martinelli’s, I yelled at the fading figure of an old man on a bicycle. “Not again,” I groaned as I headed back into my house. I couldn’t believe myself. I had forgotten to do it. You see, every morning of every day of every year of every decade… you get the gist, I had this routine that I never missed. I woke up at 9:09 am sharp, put on my 7-11 work uniform, made my bacon and egg sandwich, and was out of the house by 9:15. Eh, who cares, after today it won’t matter anymore. Just then the phone rang. Uh-oh. Was this the call? I forced myself to close my eyes and swipe up. “Hello?” “Mike, sorry to bother you in the morning. I wanted to let you know that the ownership decided to close the store for repairs – it’ll be at least a month until we have it back running. Take care of yourself man.” “Hey, wait! You telling me I don’t have a job for god-knows how long? How am I supposed to put food on the table bro? I’m struggling already. Hello? Hello?!” I slammed the phone onto the ground and gave a guttural cry of frustration, but I realized I wasn’t going to be alive in a month. I wish you were here Raina, you would have known what to do. I could almost see her face again. Those innocent, hazel eyes… ~~~ Today was it. I had spent countless evenings in my bed dreaming of all the hypothetical ways I could escape my fate. Yet, as the list grew longer and longer, I realized that there was no way out. Honestly, I didn’t fear death (for the most part); a small, lingering voice tantalized me with the prospect of life continued but that voice had been nearly snuffed when Raina had passed away. Taking a seat in my favorite chair (more like the only chair in the house), I began the arduous task of waiting, and waiting, and waiting. As my watch hit noon sharp, the phone rang, but this time there was not a sliver of doubt in my mind. This was the call. “Hello.” It was not a question on my part but more of a resignation to fate. “Good evening Mr. Haswell,” the caller stated, all business, “Are you aware of the reason for this call?” I sighed, “Can we please cut the formalities and get straight to the point.” “It is required that we go through this process to ensure the most comfortable and hospitable experience.” “If you consider death hospitable.” The voice calmly replied, “This is merely what is owed to you, what you have earned Mr. Haswell. You of all people should know this.” After a moment of silence it continued, “Are your matters taken care of?” “Yes.” “Do you have any family you wish to contact before…?” “No.” “Any siblings, wife, children…” “No is a very simple word my friend,” I interrupted. “Understood, my apologies. Well, everything seems to be set – one moment Mr. Haswell. There seems to be a problem.” The voice becomes muffled as the line is put on hold. My eyes wander around the room, tracing the maze of lines on the soddy wall, curling like wisps of smoke. Gradually, my heartbeat grows louder until my world slows down to my body’s drum, living as one – mind and flesh. So this is what it’s like to die. I’m coming home Raina. “Mr. Haswell, are you there?” For a second, I am in total loss of the situation then I remember this call – the call. “Uh, yes. Sorry,” I mumble as I clench my hands, awaiting my death sentence. “It seems as if your sentence has been canceled. Another man has volunteered to take your place.” I just sit there, mute. Did I hear that correctly? “Mr. Haswell, you are no longer a dead man.” “Wait, what did I do for this person? Who in their right mind would take my place?” The voice chuckled, “Nothing. You did nothing to earn this. All I know is that you are free to go. Goodbye.” Analysis: In this short story, I sought to focus on this concept of the Son’s sacrifice, life for life, in Book 3. The Son offers up all of himself to pay the debt mankind owed. He says he will “death I yield and am his due,” but is “glad to be offered” (Milton 3.245, 3.270). When I read this passage, I found myself discounting this act of grace and love; only as I read it repeatedly, I began to appreciate the character of the Son and his “heroicness.” Nevertheless, this story focuses more on the character of the reader/humans than the Son. My mission was to explore the thoughts and emotions of the audience and humans in general when they discovered this story of sacrificial love. The story takes away a good chunk of the supernatural powers and events of the redemption, however I wanted to set it in a modern context so that the reader could feasibly connect with the characters. Mike harbors the pain and anguish any normal person will undertake through life. Mike had to die, it was what he was due just like Adam and Eve in the PL (thus humanity), but he was rescued by a total random stranger. The ending was intentional since the reader is left to resolve what happened by themselves. What is Mike going to do now? So, in turn the reader is asked, “What are you going to do now?” It places the reader in the drivers seat to formulate an epilogue that is fitting to their desire. Representing Mike as the reader of PL, I think this accomplishes one of the goals that Milton wanted to achieve – to challenge his audience. The PL ending is starkly like the story’s ending in that the reader is left to divine what will happen after Adam and Eve leaves the Garden. It is no longer Adam and Eve’s story but the readers. In the end, the short story lost the original setting and characters but allowed for a deeper emotional connection and the reader to own the PL story as their own. too long, I have rested
my fate in my God’s good grace, and i think it is better to spend seventy years loving even if it means an eternity of debt i must repay. darling, maybe you can be my salvation. there is nothing i wouldn’t give for your earthly affection. no gift of god, no promise of heaven. memory and melody intertwine, much like space and stories, and i know that if leave you now i will be plagued by your absence. though the oxygen will eventually eat us both alive at least there will be some of it left when we’re gone. and i dare say someone will remember us, even in another time. because woman, in the metaphysical, time and space are irrelevant, indifferent - i am yours. Analysis: For this assignment, I decided to write a poem from Adam’s perspective when he makes the decision to fall with Eve. Though much of John Milton’s Paradise Lost is not kind to Eve – often casting her and her actions in a misogynistic and infantilizing light – there is space to romanticize Adam’s sacrifice in falling with Eve. Offered the chance to remain in Eden with another woman, Adam refuses, thinking that he won’t find love again that resembles what he has with Eve. This act is not the noblest that he could have committed, as he could have asked God to die in place of Eve and burden himself with her sins. But there is a certain drama in his request to fall with her, even though he knows his fate will be terrible, to be inseparable in both life and death. I decided to incorporate a version of Sappho’s famous quote “Let me tell you this: someone in some future time will think of us,” to separate this display of love Adam is showing toward Eve away from the Christian tradition. When many of us hear of Adam and Eve, we may be prone to think of their relationship strictly in terms of traditional biblical gender relationships, and in many ways, this is not an unfair assessment of their place in cultural discourse. However, Milton’s adaptation of biblical events lends it to a broader interpretation of their love as not strictly out of Godly duty – but one formed out of stubborn, genuine affection. There was not much hope to be had, entering the unexplored, terrifying wilderness of Earth. I think the desire for legacy is at the root of the human existence, and so I assigned Adam the hope that, if nothing else would come out of their tribulations, at least there was hope that one day they would be remembered. Passage I adapted from: “fairest of creation, last and best Of all God’s works, creature in whom excelled Whatever can to sight or thought be formed, Holy, divine, good, amiable, or sweet How art thou lost, how on a sudden lost, Defaced, deflow’red, and now to death devote? …for with thee Certain my resolution is to die.” Dear Diary,
I simply cannot bear to be without her. I really shouldn’t have let her leave my sight when she wanted to go alone to tend the Garden, but she so forcefully insisted that we divide the work between us. What could I say? Though now, I face the consequences. To be alone like this, away from my beautiful Eve, is some kind of a death sentence. I cannot stand to be without her. God must have made us to be together. That must be true, for without me by her side, she could not resist the temptation to eat the apple, and without her,…well, I am a terrible mess. Tell me, is this love? I had this strong desire to keep her safe-- to protect her from the dangers of letting her wander through Eden alone-- even though she thought I was over-protective. I know she believes she can do everything by herself and that I don’t need to stand by her 24/7, but the truth is, neither of us can stand without the other. I had a feeling she wouldn’t be able to resist, though a small part of me wanted to give her some space. I regret it now. I don’t know what to do, but I know that she is the only Eve I want to be with. God could create a different Eve from my rib. He could mold her with my flesh and construct her with my bones, but our hearts, our souls, would never match. My heart will forever be with Eve, and hers with mine. These feelings must be love, for I cannot find another term to explain it. We support each other, and right now, I need to be with her. I must leave this world of paradise to be with her. I must. -Adam Analysis: In writing Adam’s diary entry, I wanted to encapsulate both the obvious and less obvious aspects of his character. I used the lead-up to Adam’s Fall as my starting point for his diary entry, specifically, the lines where Adam states, “How can I live without thee, how forgoe / Thy sweet Converse and Love so dearly joyn’d, / To live again in these wilde Woods forlorn? / Should God create another Eve, and I / Another Rib afford, yet loss of thee / Would never from my heart; no no, I feel / The Link of Nature draw me: Flesh of Flesh, / Bone of my Bone thou art, and from they State / Mine never shall be parted, bliss or woe" (9.908-9.916). I found these lines particularly interesting for how they represent Adam’s feelings for Eve. I tried to translate this to Adam’s diary entry, focusing on his deep attachment to Eve on both an anatomical and soulful level. I also drew inspiration from earlier lines in Book 9 (lines 205 through 269), where Eve shows her love for work and desire to be independent while Adam argues that they should stay together to tend the Garden, revealing his value for love (and potentially his feeling of superiority over Eve). My piece takes fragments of what I gained from the interaction/argument between Adam and Eve and Adam’s deliberation over whether he should eat the apple, utilizing love as the glue which binds these together. Through this, I realized that Adam does seem to value love, specifically, romantic love, for if he didn’t, he probably would have been fine living in paradise and letting God create another Eve for him. I portrayed Adam as being less condescending towards Eve than what he may have seemed when he said, “The Wife, where danger or dishonour lurks, / Safest and seemliest by her Husband stairs, / Who guards her, or with her the worst endures" (267-269). Compared to Adam’s diary entry, where he claims to truly care about Eve’s safety and believes that neither of them can stand without the other, the lines I drew partial inspiration could be read as Adam stating that Eve isn’t sufficient to stand and that she needs Adam to be strong enough. Still, I attempted to portray the side of Adam which feels that Eve was more susceptible to Falling. I want to give readers room to interpret Adam’s comments in his diary entry as they see fit, but I feel that in my piece, the subtleties of Adam’s character are more apparent. For instance, while he does exhibit controlling qualities and instances of condescending statements in his interactions with Eve, he is also a character that loves Eve deeply (at a soulful level). He would do just about anything to stay with her. He also appears quite vulnerable in this diary entry, an aspect of his character that may not have been as clear in Paradise Lost but is more easily seen in his diary entry, where his thoughts would supposedly remain private. ENTER CALIBAN
Caliban: All the infections that the sun sucks up From bogs, fens, flats, on Prosper fall and make him By inch-meal a disease! His spirits hear me And yet I needs must curse. But they'll nor pinch, Fright me with urchin--shows, pitch me i' the mire, Nor lead me, like a firebrand, in the dark Out of my way, unless he bid 'em; but For every trifle are they set upon me; Sometime like apes that mow and chatter at me And after bite me, then like hedgehogs which Lie tumbling in my barefoot way and mount Their pricks at my footfall; sometime am I All wound with adders who with cloven tongues Do hiss me into madness. ENTER SATAN AS SERPENT Lo, now, lo! Here comes a spirit of his, and to torment me For bringing wood in slowly. I'll fall flat; Perchance he will not mind me. Satan: Wonder not, sovereign Caliban, if perhaps Thou canst, who art sole Wonder, much less arm Thy looks, the Heav'n of mildness, with disdain, Displeas'd that I approach thee thus, and gaze Insatiate, I thus single, nor have feard Thy awful brow, more awful thus retir'd. Thee all things living gaze on, all things thine By gift, and thy Celestial Power adore With ravishment beheld, there best beheld Where universally admir'd; but here In this enclosure wild, these Beasts among, Beholders rude, and shallow to discerne Half what in thee is fair. Who sees thee? who shouldst be ador'd and serv'd By Angels numberless, thy daily Train. Caliban: Do not torment me: Oh! Satan: Perchance you wonder, how I came so to speak and reason? Easie to me it is to tell thee I was at first as other Beasts that graze The trodden Herb, of abject thoughts and low, As was my food, nor aught but food discern'd Or Sex, and apprehended nothing high: Till on a day roaving the field, I chanc'd A goodly Tree farr distant to behold Loaden with fruit of fairest colours mixt, Ruddie and Gold: I nearer drew to gaze; When from the boughes a savorie odour blow'n, Grateful to appetite, more pleas'd my sense, Then smell of sweetest Fenel or the Teats Of Ewe or Goat dropping with Milk at Eevn, Unsuckt of Lamb or Kid, that tend thir play. To satisfie the sharp desire I had Of tasting those fair Apples, I resolv'd Not to deferr; hunger and thirst at once, Powerful perswaders, quick'nd at the scent Of that alluring fruit, urg'd me so keene. About the mossie Trunk I wound me soon, For high from ground the branches would require Thy utmost reach: Round the Tree All other Beasts that saw, with like desire Longing and envying stood, but could not reach. Amid the Tree now got, where plenty hung Tempting so nigh, to pluck and eat my fill I spar'd not, for such pleasure till that hour At Feed or Fountain never had I found. Sated at length, ere long I might perceave Strange alteration in me, to degree Of Reason in my inward Powers, and Speech Wanted not long, though to this shape retain'd. Thenceforth to Speculations high or deep I turnd my thoughts, and with capacious mind Considerd all things visible in Heav'n, Or Earth, or Middle, all things fair and good; But all that fair and good in thy Divine Semblance, and in thy Powers heav'nly Ray United I beheld; no Fair to thine Equivalent or second, which compel'd Mee thus, though importune perhaps, to come And gaze, and worship thee of right declar'd Sovereign of Creatures. O Sacred, Wise, and Wisdom-giving Plant, Mother of Science, Now I feel thy Power Within me cleere, not onely to discerne Things in thir Causes, but to trace the wayes Of highest Agents, deemd however wise. King of this Universe, the Fruit gives you Life Look on mee, Mee who have touch'd and tasted, And life more perfet have attaind then Fate Meant mee, by ventring higher then my Lot. Shall that be shut to thee, which to the Beast Is open? Prevent not from achieving what might leade To happier life. In the day Ye Eate thereof, your Eyes that seem so cleere, Yet are but dim, shall perfetly be then Op'nd and cleerd, and ye shall be as Gods. That ye should be as Gods, since I as Man, Internal Man is but proportion meet, I of brute human, yee of Sycorax God. So ye shall die perhaps, by putting off Human, to put on God, death to be wisht, which no worse then this can bring. And what are Gods that Man may not become As they, participating God-like food? The Gods are first, and that advantage use On our belief, that all from them proceeds; I question it, for this fair Earth I see, Warm'd by the Sun, producing every kind, Them nothing: If they all things, who enclos'd Power and Knowledge of Good and Evil in this Tree, That whoso eats thereof, forthwith attains Wisdom without their leave? These, these and many more Causes import your need of this fair Fruit. God humane, go to this tree and freely taste. ENTER STEPHANO Stephano: What's the matter? Have we devils here? Caliban: The spirit torments me; Oh! Stephano: Come on your ways; open your mouth; here is that which will give language to you, cat! Caliban: Here is a fine thing, an if he be not a sprit. That's a brave god and bears celestial liquor. I will kneel to him. Satan: Oh for badness’ sake. Analysis: This scene is almost completely composed of the dialogue of the characters involved, so to answer the question “what lines inspired me to write it?” I’d say “all of them!” I thought it was interesting, though, to consider the two religious temptations that occur in both of these texts and to compare how they operate. In Paradise Lost, Eve is at least conscious of the parameters of her temptation, and as such operates on the intellectual level of the fall itself. She understands God’s command not to eat the fruit, and she is trying to weigh whether or not to disobey God. Satan uses all of his arguments to try to persuade her to abandon her pact with God and to succumb to him. Indeed, for all the differences between Satan and Eve, they both share an intellect prone to high-minded philosophy and abstract thinking. Shakespeare’s Caliban, by contrast, doesn’t seem to possess the same awareness of what spirits exist in his world, and therefore operates on a more material level. He is not convinced by promises and claims, but by being presented with alcohol, a thing so lovely he cannot imagine it was created by anything other than a divine spirit. Trinculo and Stephano share this “salt of the Earth” persona, caring more about the material world around them than the Italian nobles do. By putting the two conversions in dialogue with each other, I have tried to highlight in a humorous manner how Satan and Eve operate on one level, while Caliban, Stephano, and Trinculo operate on another. Of course, if Satan truly bent all of his willpower towards trying to find a way to deceive Caliban, I’m sure he would change his strategy and simply hand him a drink. However, this comparison still highlights the differences between Eve and Caliban and how that impacts the process through which they alter their religious beliefs. The only true abandonment of character in this piece occurs at the very end. I decided to highlight the deceptive nature of Satan and the contrast between what he says and what he thinks by having what I imagine would be passing through his head “show through” in his moment of greatest frustration. For this assignment, I portray the last five lines of John Milton’s Paradise Lost through Victorian floriography, enhanced by Tchaikovsky’s Hymn of the Cherubim, which expresses their fate of being unable to reenter Eden. “And He cast out Adam; and placed before the paradise of pleasure Cherubims…” (Genesis 3:24). I wish to convey their pain and despair in losing the Garden but also their consolation in God’s steady presence, “The world was all before them, where to choose their place of rest, and Providence their guide.” God does not forsake Adam and Eve. As a universal emblem of beauty, flowers possess a delicate and diverse language. The dark crimson rose represents loss, death, and mourning; the blue hyacinth represents constancy; and, the pink carnation represents vigilance and loyalty, embodied by the expression, “I’ll never forget you” — God will not forget Adam and Eve. The order in which the flowers appear expresses the transition in their emotional state from grief to hope. I selected objects from around my house to represent harmony, innocence, regality, tranquility, and the fruit of the tree of life in Eden that Adam and Eve lost. The Goebel Hummel figurines suggesting innocence portray Adam distracting Eve from her labors and Eve desiring knowledge.
Milton’s conclusion of Paradise Lost is profoundly moving. In the first half of my adaption, I depict the characters performing rituals of closure. As Adam and Eve begin their journey as mortals, “with wand’ring steps and slow,” Eve, the gardener of Eden, drops dark flower petals from the fruit of her labor behind her, leaving a trail of sorrow. She stops to sprinkle them over each treasure of Paradise she passes. She lays intact roses on each “burial mound.” Adam walks alongside her, never letting go of her hand. I feel that this physical connection highlights their unity and love, despite their fall and banishment from Paradise. In the second half of my adaption, God gives a sign of hope to Adam and Eve. Pink carnations remind them of his gift of Providence. And the blue hyacinths sprinkled over the carnations symbolize God’s constancy. The lines I chose to adapt in my artwork are those in which Adam labels Eve a “fair defect” (Milton 10.891), questioning God’s choice not to “fill the World at once / With Men” (10.892). My artwork also, and more importantly, refers to the loving and passionate conversation shared between Adam and Eve in Book 9— specifically, the lines uttered by Eve, "This happy trial of thy love which else / So eminently never had been known…So faithful love unequaled. But I feel / Far otherwise th’ event: not death but life / Augmented, opened eyes, new hopes, new joys, / Taste so divine that what of sweet before / Hath touched my sense flat seems to this and harsh" (9.975-987). The left side of the illustration represents Eve: it features an outline of her figure and a more strongly outlined female eye in front of it. The right half of the illustration bears the likeness of Adam, and similarly, a clearly defined male eye drawn over it.
The differences in the statures of Adam and Eve are indicative of Adam’s strident insult, words that bring light and thought to the obvious physical differences between their bodies. The silhouettes of Adam and Eve are a testament to the line in Paradise Lost in which Adam refers to Eve as a “fair defect.” However, the importance of this line in the artwork is undermined by the more prominent eyes superimposed over the figures of the picture. The eyes are representative of reconnection, adapted from Eve’s “augmented, opened eyes, new hopes, new joys” from her compassionate conversation with Adam. Eve’s words symbolize a domestic partnership in which harsh words or difficulty is addressed through mutual love and respect. My adaptation provides new insight into the original characters of Adam and Eve because it forces the audience to reconsider the characters' differences- the drawing removes the space between Adam and Eve and resuscitates their relationship with a newfound focus on their similarities. The eyes in my artwork signify a hope of renewal and beauty in the form of Eve’s eventual apology; the allusion to the “defect” quote is implicit in the obvious differences between the man and woman’s body, but the eyes are at the forefront, suggesting that they are more significant than said differences with their promise of reconciliation. |
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