Baroque Art in “Paradise Lost” and Milton as a Baroque Artist

Introduction

John Milton's "Paradise Lost" does not make any specific mention of the Baroque style of art, which is distinguished by its ornate and dramatic forms. However, the epic poem itself, which is regarded as one of the greatest pieces of English literature, exhibits the grandiose and dramatic characteristics of Baroque art. 

The fall of man and the conflict between good and evil, which are themes frequently depicted in Baroque art, are central to the story of "Paradise Lost." The poem is renowned for its vivid descriptions, intense feelings, and intricate characters—all characteristics that define the Baroque style. The powerful imagery and elaborate storytelling in "Paradise Lost" can be seen as a reflection of the Baroque interest in creating grand, sweeping narratives that captivate and awe the critics or reader.

What is Baroque Art?

Throughout the 1600s and, in some places, up until 1750, the baroque style dominated the art and architecture of Europe and some European colonies in the Americas. The art and architecture of the first half of the 18th century, which is generally referred to as rococo and roughly corresponds with King Louis XV of France, retain many of its characteristics. Almost every nation in Europe has examples of baroque art, with other significant centers in the American colonies of the Spanish and Portuguese and other outposts. Baroque is a term that also refers to literary and musical eras.

The late 16th and early 17th centuries saw the emergence of the baroque art movement in Europe. It is distinguished by its ornate, dramatic forms, vibrant color, and striking light and dark contrasts. Baroque artists aimed to produce harrowing, moving works that would astound and impress their audience. In order to convey motion and drama in their paintings, sculptures, and architectural creations, they frequently used dramatic lighting and strong, dynamic compositions.

The Catholic Church had a significant impact on baroque art, and many of its most well-known pieces were produced with religious themes in mind. With a focus on realism and emotional impact, these works frequently depicted religious scenes, including biblical events and the lives of saints. The Catholic Church and affluent private individuals were just two examples of the many patrons for whom Baroque art was produced. It also included portraits, landscapes, and still life.

The Baroque style had a significant impact on European art and architecture, and many artists are still influenced by it today. The most well-known Baroque artists include Rembrandt, Caravaggio, Rubens, and Bernini.

Origin and artists 

In the late 16th century, Italy was the birthplace of the Baroque style, which quickly spread throughout all of Europe. It aimed to produce a more dramatic and emotive form of art as a reaction to the Mannerist style that had come before it. Many of the Baroque style's greatest works were produced for religious purposes, and the Catholic Church, which was going through a Counter-Reformation at the time, had a significant influence on the movement.

There were many influential Baroque artists, including:

Caravaggio: an Italian painter who was among the first to employ dramatic lighting and stark contrasts of light and dark in his works. His religious works, such as "The Calling of St. Matthew" and "The Conversion of St. Paul," are his most well-known.

Gianlorenzo Bernini was a great Italian sculptor and architect during the Baroque period. He created many of the period's most famous sculptures, including "David" and "Apollo and Daphne," and was also responsible for some of Rome's most elaborate Baroque architecture.

Peter Paul Rubens was a Flemish painter who was one of the most important painters of the Baroque period. He is best known for his large, dynamic paintings, such as "The Raising of the Cross" and "The Descent from the Cross," which feature ornate forms and vibrant color.

One of the greatest painters of the Baroque period was the Dutchman Rembrandt. His portraits, landscapes, and biblical scenes are most well-known for their dramatic lighting and powerful emotional impact.

These artists, along with numerous others, contributed to the Baroque style's status as one of the most significant art movements in history.

To the point analysis of "Paradise Lost's" baroque elements 

The biblical story of the Fall of Mankind is told in the epic poem “Paradise Lost”, which spans 12 books and more than 10,500 lines. It was written in blank verse, and it depicts the temptation of Adam and Eve to eat the forbidden fruit from the Tree of Knowledge, which led to their permanent expulsion from the Garden of Eden. Although John Milton's "Paradise Lost" is not a piece of visual art, it does have discernible Baroque elements. 

''OF Mans First Disobedience, and the Fruit

Of that Forbidden Tree, whose mortal tast

Brought Death into the World, and all our woe,

With loss of Eden, till one greater Man

Restore us, and regain the blissful Seat,.''

This is the first sentence from Milton's epic poem “Paradise Lost”, which could possibly be the most popular piece of Baroque Literature. Baroque literature generally refers to works created between the late 16th and early 18th centuries. Usually, it makes extensive use of literary devices like metaphors, symbols, and hyperbole. Religious themes are also prevalent at this time because the Roman Catholic Church is heavily regulating the literature and art that is created. It first appears between the Renaissance and the Age of Enlightenment.

The metaphysical poets were particularly well-liked in England during the Baroque era and they exhibit many traits of Baroque literature. Writings by John Milton, John Donne, and George Herbert are considered to be indirectly Baroque.

Shakespeare wrote his plays during this time (roughly from 1592 until his death in 1616), but he is typically regarded as a Renaissance author. He does, however, share some Baroque traits with other writers from this era, such as the use of similes and metaphors, but not religious themes.

The following list of significant Baroque art elements can be found in the poem "Paradise Lost," which we now turn to.

Dramatic imagery: 

“Thus Satan to his neerest Mate

With Head up-lift above the wave, and Eyes

That sparkling blaz'd, his other Parts besides

Prone on the Flood, extended long and large

Lay floating many a rood, in bulk as huge

As whom the Fables name of monstrous size,

Titanian, or Earth-born, that warr'd on Jove,

Briareos or Typhon, whom the Den

By ancient Tarsus held, or that Sea-beast

Leviathan, which God of all his works

Created hugest that swim th' Ocean stream:

Him haply slumbring on the Norway foam

The Pilot of some small night-founder'd Skiff,

Deeming some Island, oft, as Sea-men tell,

With fixed Anchor in his skaly rind

Moors by his side under the Lee, while Night

Invests the Sea, and wished Morn delayes:”

The vivid descriptions of the events and characters in "Paradise Lost" have made it famous. Milton makes use of diction, imagery, allusion, and metaphors among other literary devices. These literary devices help the audience understand the speaker's intentions behind his or her words. A key component of the Baroque style, drama and emotion are created through the use of strong imagery.

Grand narrative: 

“Sing Heav'nly Muse, that on the secret top

Of Oreb, or of Sinai, didst inspire

That Shepherd, who first taught the chosen Seed,

In the Beginning how the Heav'ns and Earth

Rose out of Chaos: or if Sion Hill

Delight thee more, and Siloa's brook that flow'd

Fast by the Oracle of God;”

The fall of man and the conflict between good and evil are covered in the grand and expansive story of "Paradise Lost." In a real sense, Milton's definition of the English epic's style marked the end of the genre. The English epic comes to an end with Paradise Lost and Milton. In his writing, Milton aimed to use "a grand style." This style was expressed through the use of a large number of references and allusions, a sophisticated vocabulary, challenging grammatical constructions, and elaborate similes and imagery. Grand scale narratives, which were common in Baroque art, are comparable to this grand scale.

Emotional impact: The events of "Paradise Lost" are designed to elicit strong emotions from the reader. In Paradise Lost, Milton examines four types of emotion: angelic emotion, which is only experienced by angels, corrupt passion, which is only experienced by fallen angels, and prelapsarian and postlapsarian emotion, which is represented by Adam and Eve. The poem is an emotionally affecting work in keeping with the emotional intensity of Baroque art because of the complex characters and universal themes. 

Complex characters: In "Paradise Lost," the characters are complex and multifaceted, each with their own goals and challenges. This is comparable to how Baroque artists frequently showed their subjects' many different personalities and sides. The lengthy list of intelligent characters includes God the Father, God the Son, Adam, Eve, Satan, and others. The universe's ruler and creator, the second member of the Trinity, the first man and father of humanity, the first woman, etc., are all of lofty importance.

Use of light and dark: 

“To sit in darkness here 

Hatching vain empires.”

Said by Beelzebub.

Paradise Lost

The use of light and dark in "Paradise Lost" is a potent technique that contributes to the drama and emotional impact of the work. The dramatic lighting in Baroque art is reminiscent of this use of contrast. In "Paradise Lost", there are many opposites, such as Heaven and Hell, God and Satan, good and evil. Milton expresses all of these opposites using imagery of light and darkness. Devils are typically described by their shadowy darkness, whereas angels are typically described in terms of light.

Conclusion 

Even though "Paradise Lost" is not a piece of visual art, it does have many Baroque elements that reflect the opulent and emotionally stirring works that defined the movement. We cannot miss the grandiloquent Pandemonium in “Paradise Lost” , a parallel to architecture of St Peter’s.   We can't miss either  the high similes and metaphors and deep symbols like metaphysical baroque artists. 

Ardhendu De

References

1. Frank, J. (1966). The Unharmonious Vision: Milton as a Baroque Artist. Comparative Literature Studies, 3(2), 95–108. http://www.jstor.org/stable/40467681

2. MICHAEL HOLLINGTON (1993) MILTON, WALTER BENJAMIN, AND BAROQUE ALLEGORY, Journal of the Australasian Universities Language and Literature Association, 79:1, 17-28, DOI: 10.1179/aulla.1993.79.1.002

3. Paradise Lost: The Neoclassic Style | ipl.org. (n.d.). Paradise Lost: The Neoclassic Style | ipl.org. https://www.ipl.org/essay/Neoclassic-Style-And-Neoclassical-Style-PJX3QQJ2PU