Paste your It is impossible to fully understand and appreciate Milton’s work “II Penseroso” without reading its companion work “L’Allegro.” According to the article by Finch and Bowen, the two poems by Milton are “connected in a web of self-consciousness where one cannot think of one without atomically contrasting it to its companion” (Finch & Bowen 5). On one hand, Milton’s “L’Allegro” is a pastoral poem which means the “happy man” in which it is contrasted with the pastoral poem “II Penseroso” which means “melancholy man.” Both poems contrast in regards to the mood, but they are similar in the fact that they depict a similar day spent in contemplation and thought. In my opinion, Milton, prefers his way of life that is depicted in the melancholy poem “II Penseroso” since it adds profound value to his poetic work rather than the happy man in “L’Allegro” which mostly emphasizes on a dominant pleasure-seeking lifestyle.
The poem, “II Penseroso” expresses the joy of the solitary man wo walks during the evening, sitting quietly in the woodlands while studying the night. The poem also addresses the joy of finding pleasure in the heroic literature depicted in the mystic churches. In this poem, Milton completely shies away from the sensuality depicted in his earlier poem, “L’Allegro.” Following a close analysis of “II Penseroso” Milton draws inspiration from science and heavenly bodies like Saturn and Vesta, which all serve as a pre-condition for the advancement of wisdom (Miller 33). The poem thus dwells on the pleasures of solitude and rejection of the world, as opposed to the happiness that is built up in “L’ Allegro.” On the other hand, the poem “L’Allegro” Milton appeals to the goddess Mirth, where he wants to be associated with the goddess in his pastoral life amidst the “busy hum of men” in the lively city (Miller 33).
Milton seems to make his preference for the “melancholy man” in his sixth Elegy he notes that “Bacchus, Ceres and Venue all approve of light Elegy.” He further adds that poets must refrain from the sensual lifestyle for them to reach their highest ambition. Milton notes that extremely happy people are in most cases carefree and such a state is thus problematic. In the ten-line prelude that opens “II Penseroso” Milton denounces the ‘deluding joys” (Milton 1) and even accuses them of making the brain idle (Milton 5). An idle bran is the last thing that Milton would like to use as he depends on a highly active mind for his craft, hence he makes melancholy the main subject of his poem as he seeks no distractions in his meditative mood. In fact, Milton regards melancholy to be a very significant aspect in poetry production that he compares to be a goddess, “one so radiant that human senses cannot detect her true form” (Milton 13-14). For example, as opposed to the conventional form, Milton characterizes the goddess as having dark skin clothed in black. Such style is also evidenced in the Classical predecessors in which Milton strongly imitates. For example, Milton positions melancholy in the divine lineage in which he says she is the daughter of the Roman hearth goddess Vesta while her father is Saturn (Milton 13-14).
Having presented some background information on the goddess, Milton later invokes on Melancholy, asking her to some to him in her usual subdued demeanor dress (Milton 31-44). Milton also requests that melancholy brings with her some other attendants that are important in the poet’s work. These attendants are: Peace, Contemplation, Quiet, Silence, Fasting and the Muses. Milton them later imagines of all the dark and secluded places in which he and his company can discuss of the mysteries of astrology, science, and philosophy (Milton 77-99), all of which serve as key materials for poetry. Alternatively, Milton also draws inspiration from other sources like the personification of Tragedy, the works of dead poet and other mythological and real characters like Orpheus, Chaucer. In the most extensive section of the poem, “II Penseroso” Milton presents an elaborate imagination of his encounter with Melancholy at a sacred grove, which was typical of the scenes envisioned by many other poets in the past (Milton 131-166). Additionally, during the scene he also receives visit from Dream and the Guardian of the Wood, all of whom bestow him elaborate mental images intended to help him in his poetic work (Milton 142). At the end, Milton, gladly accepts the lifestyle associated with Melancholy which is characterized by severe self-disciplines, seclusion and denial of self-pleasure. Milton thus consents to living the life of a loner because of its profound effect on the contemplation of his poetic work.
In conclusion, it is without a doubt that Milton prefers his way of life that is reflected in the melancholic poem “II Penseroso” more than in the happy man poem “L’Allegro.” In the poem “II Penseroso” Milton is more passionate about melancholy that he addresses it as a goddess. In addition, throughout the poem, he seems to be rebuking the sensual pleasurer- seeking life, which is a characteristic of the happy man, as he says that such type of life offers no benefits while serving as a hindrance to his poetic work. Milton references melancholy, as a beautiful and significant aspect of his work, as it enables him to better focus on his poetic life. Throughout the poem, it is evident that Milton respects and admires the past poets and he so much wants to live like them. Hence, he uses melancholy as a means that will enable him to better the lives of the past poets and to tap on his creativity better. Although, in the poem, “L’Allegro” he admires the goodness and even longs to live with her in his busy life, in the poem “II Penseroso” melancholy is more or less his goodness, because of the manner in which it helps Milton to better understand different aspects as a poet. Hence by all means Milton prefers his way of life that is reflected in the melancholic poem “II Penseroso” because of the profound value it adds in his work.
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