CHAPTER I

BNTRODUCTION

The human race is fast evolving. Everything is .undergoing changes. It is

noteworthy that it is the force of assimilation rather than that of dissemination,

which operates. Our times seem to have growing awareness for cross-cultural and

multiliterary activities. Nations with various cultural spectra converge to emerge as

potential resources contributing to development in many fields. International

organizations and nations themselves, are investing much effort to foster this spirit

through cross-cultural forums and similar activities which will definitely enrich

international understanding.

The Epic as a literary form was accepted by almost all civilizations as a

perfect and powerful measure to convey their aspirations, failures, achievements,

and ideals. Unlike other forms, it could instill a powerful sense of belonging, an

identity conforming to the cultural moorings of the respective group and transport

a n inalienable set of values over to posterity. It incorporates all the vital aspects of

history giving it a new significance and interpretation. Scientific and material

discoveries of later generations would find their subtle sense already embedded in

the sublimated narrative techniques of the prophetic visions of the epic poet.

Perhaps the myth making tendencies of generations right from time

immemorial were pointers in a similar direction unveiling in their symbolic

designs the complex inner life of man ridden with conflicts between massed
polarities such a s struggles, triumphs, defeats, light, darkness, goodness, evil,

elevation, falls, agony, ecstasy etc. In the words of Dr Johnson

The subject of a n epic poem is naturally a n event of great

importance. That of Milton is not the destruction of a city, the

conduct of a colony, or the foundation of a n empire. His subject is

the fate of worlds, the revolutions of heaven and of earth; rebellion

against the supreme King, raised by the highest order of created

beings; the overthrow of her host, and the punishment of their

crime; the creation of a new race of reasonable creatures; their

original happiness and innocence, their forfeiture of immorta lib,

and their restoration to hope and peace.'

As Epic poetry is the expression of a nation's literary and cultural maturity,

having a perennial impact undiminished by the flow of time on successive

generations a cross-textual study of two epics offers a wider perspective of such

experience. The awakening of a new literary enthusiasm, consequent to the

resurgence of the nationalistic spirit of a nation finds a high place in the cultural

achievement of the human spirit. This has been the context of the epics that

naturally become masterpieces, functioning as the cornerstones of the respective

cultures. The great epics have fostered the spirit of nationalism and unity in

diversity, giving a common cause for people to share inspite of the geographical

and linguistic diversities.

Hence a study of two seer-poets, representing in word and spirit the

cultural ethos of the world in which they lived in, would reflect the diversities and
similarities, leading to better assimilation of both. [t is with this intention that an

attempt is being made to bring under the same lens two great epic poems, one by

a seventeenth century English poet John Milton and the other by a twentieth

century Indian poet Sri. Aurobindo, who represent the socio-religious and cultural

values and ideals of their respective races.

The two cosmic epic poems sing in a mighty and profound voice the

destiny of m a n i l s K. R. Srinivasa Iyengar points out,

In indicting Paradise Lost, Milton was no doubt telling the story of

Adam and Eve, but he was also trying to assert "eternal Providence

and justify the ways of God to men." Perhaps Sri Aurobindo too,

while telling the story of Sathyavan and Savitri, wished also to

project the destiny of the human spirit and of the splendorous

efflorescence of the Divine in man and the U n i ~ e r s e . ~

And again as A. B. Purani defines, 'The Indian epic represents the

ancient historical or legendary traditional history turned to creative use as a

significant mythus or tale expressive of some spiritual, or religious or ethical, or

" ~ fall of Adam

ideal meaning, and thus formative of the mind of the p e ~ p t e .The

and the fall of Sathyavan are but instances from this cosmic cycle of happenings

enacted by man and nature, preserved as fossils, deposited in our collective

memory as myths. It is this drama enacted within, which the great seer poets

chose as their narrative to expose the theme of their visions.

Even a cursory perusal of the two epics, Pamdise Lost and Savifridiscloses

the fact that the sage poets who composed them were aware of this 'inner
'inner Nature.' But when Milton or Aurobindo used them to clothe their vision of

this eternal drama they unify human experience as a whole, making a cross-

cultural synthesis and an integrated perception of life, a macrocosmic vision

projected through a microcosmic device. This and other such instances reveal the

relevance of the epics even in a highly evolving scientific society as ours which

has experimentally substantiated the revelations and insights, arrived at by

intuitional means by these seer poets.

The Epic, with man and his destiny as its central theme surmounts all

temporal, parochial and linguistic limitations and is reckoned as a major work in

world literature. Truly like all other great epics this is an orally transferred product

of elevated moments of pure poetic inspiration but then as Margarita Stocker

points "In fact, since his disability forced Milton to dictate rather than write, this

And
poem more closely imitates God's authorship of the world by speechmM4

again on the mystic and prophetic tone of the narrative the critic notes that

The poem's temporal image of the coincidence of speech and

truth, divine and human, is the future apocalypse, when Heaven

and earth become one Paradise. Time and place are then

dissolved, and humankind, once more able to see God, will

embark on a different adventure begun by Christ's Second

Advent.'

The epic poem thus prescribes to a total view of the life-vision of a

civilization. The study of Milton in this context naturally enhances the possibilities

of a better understanding of the western thinking process. As Christian subject

clad in classical epic form, Paradise Lost amalgamates both Christian and

classical learning into a harmonious fusion. It has more relevance as a study on

humanism rather than that of religion emphasizing the human predicament, its

failure. It assumes immense significance in the present age, where fragmentary

nature of conclusions and opposing dualities in thought and practice have

smothered faith and conviction in man pushing him to a degenerative phase of

history. C. E. Green rightly summarizes the condition when he says:

Modern thinkers are at last feeling free to divorce the ideas of God

and religion from any direct connection with the fact that things

exist. Some go further. Not only has God nothing in particular to

d o with the origin of existence, but also it has nothing whatever to

do with anything human beings do not understand about- that is it

has nothing to d o with the O u t ~ i d e . ~

Justifying the ways of God to man, though in a different sense is what

Aurobindo the seer poet of Pondicherry does through his epic Savihi, where

orientalism tries to solve the obscurantism of the west. Through some mystic

sympathy of his being he recaptures the thoughts and teachings of the ancient

seers in its nobility and purity and juxtaposes it to the modern context. Aurobindo

defines a poet as:

A seer and not merely a maker of rhymes, not merely a jongleur,

rhapsodist or troubadour, and not merely a thinker in lines and

stanzas. He sees beyond the sight of the surface mind and finds the

revealing word, not merely the adequate and effective but the
 illumined and illuminating, the inspired and inevitable word which

compels us to see also,to arrive at that word is the whole endeavor

of poetic style.

In Aurobindo we find a significant blend of the western tradition and

Indian sensibility. He had mastered Greek, Latin, French and English besides

being well versed in other continental languages like German and Italian. Though

he was born an Indian he had his entire education in England, which restricted

him as a student, from a direct exposure to Indian languages and culture. But

through his own effort he learnt some of the languages of India including Sanskrit

thereby imbibing the spirit of the country, which is reflected, in his works.

The epic genre, a powerful narrative vehicle acts as a custodian, reflecting

the growth, attainments and aspirations of the civilizations that created it. The

cultural centrality of Paradise Lost is at least partly owing to its formal character as

an epic. As traditionally conceived, epic was the fullest literay expression of its

time, place, and culture '. In Paradise Lost and Saviki this is further amplified

by the topic, as the religious subject comprises such archetypal matters as

Innocence and Experience, Heaven and Hell, Good and Evil, and God.

An attempt has been made in this work,to bring the two poets under the

same microscope so as to affect a study of their visions, with reference to the two

epics Paradise Lost and Savitri by Milton and Sri Aurobindo respectively.
cf
It is true that they stand poles apart on most issues, which can never be

identified as similar ones with any amount of intellectual pressure; yet a close

analysis of these differences reveal a thread that binds these polarities into a
 7

unifying whole. It is through this synchronization of values, morals and ideas that

enable us to redefine , things hitherto considered incompatible as mutually

complementing, where East meets the West. This study attempts to show that

inspite of the apparent differences there is a striking similarity in their vision and 4

treatment of their theme, and that this is due to the fact that they were seer poets

whose works were the means towards the actualisation of the higher levels of

consciousness.

Vision is insight. Insight attained through meticulous meditation fraught

with intuition, wisdom and erudition. It is not that stuff commonly arrived at by

poetic inspiration or intellectual perspiration. In the words of Sri Aurobindo

"Vision is the characteristic power of the poet, as is discriminative thought the

essential gift of the philosopher and analytical observation the natural genius of

the scientist."

Both poets had a vast range of epic literature before them by indigenous

as well as foreign sources. It's quite natural that the poets in some instances owed

to them and at other times improved upon them by tracing the shifts of the

conflict from the purely physical to the spiritual. Moreover they were exposed to

the literary masterpieces of different cultures other than theirs, in the course of

their education. Such interaction would have had a definite influence, consciously

or unconsciously molding their thinking process. Hence passing references have

been made to the epics that share or contain similar shades of thinking.

The reference to the epic tradition inherited by Milton has been limited

mainly to The Iliad and The Odyssey by Homer, The Aeneid by Virgil and The
Faerie Queen by Edmund Spencer. With reference to the indigenous influence on
4-

Aurobindo it has been limited to The Ramayana by Valmiki and The

Mahabharata by Veda Vyasa, though occasional references have been made to

other poems like The Chilappadikaramby Ilango Adigal etc.

The second chapter examines their worldviews. As vision is insight, gained

from a balanced perception of one's attitude to the world at large, a close

examination of how they saw, understood and related themselves to the vital and

higher problems of life would in a big way enable us to properly absorb their

vision. The topics discussed here are those having a bearing o n the fundamental

question of existence, which usually form the core issue of serious epics. First

God created man then found that he was lonely and created Eve out of his flesh

and bone for him. Since then man and woman have longed and yearned for the

severed other half identified in their mate.

As any literary work is the delineation of the human saga in one way or

the other, the basic question of the meaning of human existence arises. God the

creator, man the created and nature the platform on which his life is left to

blossom together unfold in a mystic rhythm a symphony, which celebrates this

cosmic drama. The opening lines of Paradise Lost declare Milton's purpose "OF

MAN'S first disobedience and the fruit / Of that forbidden tree, whose mortal
10
taste. . . . By capitalizing the word 'man' at the v e y outset of the poem, Milton

emphasizes his concern which as revealed is the fate of man. It is this

preoccupation that runs throughout the poem. Again in Savib-i, Aurobindo

sings of a lost touch of a fire that had come and touched men's hearts and has

disappeared, which has to be regained.

Aurobindo's Savitri is a song that celebrates the significance of the

individual will in the ultimate metamorphosis of man. It is free will that leads the

heroine to choose a mate doomed to die and then attempt his resurrection. Thus

the question whether determinism or free will is basically the causative factor of

the fall, arises. Both the poets strike a similar note though substantiated by

arguments, which are decisively and qualitatively different. A study in comparison

of such ideas naturally conglomerates to result in a cultural synthesis of seemingly

opposite approaches. The second chapter dwells briefly on a comparative study

of man and God as depicted by the poets in their epics.

i
The third chapter makes a study into the gender perception of the poets. ,

Though Milton sounds this traditional perception in his definition of gender

responsibilities through the oft quoted line "He for God only, she for God in
him"ll he deviates from the male chauvinistic outlook, giving woman her due

significance and legitimate place in creation. Like the Shakespearean heroine, she

outsmarts the hero in all spheres of action reducing him to a passive partner and

CO-suffererof her action. Aurobindo's epic on the other hand bears the name of

its heroine, which obviously reveals the quantum of emphasis laid on the

character. If woman is instrumental for the fall in Paradise Lost, in Savifri she is

the means for redemption.

Thus from creation to fall and then to redemption man and woman, hand

in hand march through the course of a strange destiny armed with their free will.
The gender perception particularly in our age is an important factor with

sociological and cultural ramifications, which lays much stress on gender equality,

and the quality of male-female interaction. Along with a quick view of this aspect,

their vision of conjugal CO-habitationdisplayed in their works is also undertaken.

This is done because a proper understanding of the true significance of man

woman relationship would be possible, only if analysed both from the physical

and spiritual dimensions. The approach here is of a general and objective nature

than a subjective and specific scrutiny.

J
The fourth chaptertakes into account the generic aspect of the two poems

as epics. The message the poet wants to convey is usually clothed in an existing

popular form, which immediately suits to its spirit and content. Hence to get a

complete picture of its relevance, the mode of form deployment should be put to

scrutiny. It is with this in mind that the form of the epic as utilised by the

respective poets is examined. The variations of the texts from conventional

definitions and norms, as well as the points of confluence are dealt with. The

different thematic approaches are compared and contrasted.

Ancient world history, prior to modem academic and scholastic analytical

study was purely a part of the domain of theology. In the west it was perceived

within the framework of three events; the creation and fall of man; the life and

death of Christ; and the end of the world and the day of judgement. Man was

created as a superhuman ideal figure and placed in a world perfect in its settings.

He was reduced to his present state of misfortune and misery, due to the sin

committed, thus exchanging a state of rest, joy and deathlessness for hard toil,
suffering and death. Then came the redemptive mission of Christ, whose violent

death on the cross, along with the supplicant prayers of generations effectively act

as the promoting factors to regain the lost ideal state. And finally, would come

the end of the world, when all human activity and efforts in this direction would

be rewarded through the Heavenly judgment.

The idea of a spontaneous human creation is not unique to Christian

doctrine. In Indian mythology the creation of man and all other matter resulted

from the desire of the supreme to manifest itself into many. As the product of this

divine self-objectification man was created as a perfect being right at the very

outset of creation. He was ordained with extraordinary powers both physical and

mental and could easily interact with the gods. Gradually deterioration set in as

each age took over, reducing him to present rniniscule self and yet he stands the

chance to regain his lost nature through a disciplined process of self-purification.

Thus the creation, fall and redemption of man primarily form the pivotal structure

on which powerful myths, philosophical concepts and socio-literary patterns were

woven. If Man is the product of a cosmic creative process controlled by a

phenomenon beyond his apprehension, the fall or descend and the consequent

redemption or ascend falls within his choice. The fifth chapter deals with these

aspects and the comprehensive vision that the poets' project through the two

epics.

There are instances where the two poets differ. This is mainly because of

the, separation effected by time and cultural polarities of the civilisation that they

represent. Interestingly these are points to ponder because they reveal the
deviational levels of cultural traditions, beliefs and visions of hvo civilizations.

Throughout history such perceptional variations have contributed to the

emergence of fresh interpretations of life, which have given a new directional

force to later generations.

Both Milton and Aurobindo, themselves differ in the treatment of their plot

from their original sources. They have done this primarily to attune the structure

of the plot to adapt itself to project the intended vision. Similarly the opposing

currents of thoughts enable us to evaluate and comprehend them individually by

offering a sharp contrast of their thinking process. It is obvious that differences

coexist with similarities, where the seer poets share similar intellectual and

creative experiences. Here they cease to function as representative thinkers of an

age, but express themselves as highly evolved consciousness exposed to elevated

moments of being.

The obvious difference reflected on the peripheral level gives way to

oneness when analysed. As the mammoth whale and man blend o n ultimate

analysis into the mammal species, apparent differences disappear on a higher

plane of examination. The sixth chapter takes into consideration celiain

important aspects where they agree and others where they disagree. Milton and

Sri Aurobindo had much in common and at the same held diagonally opposite

currents of perception, justified by their social, religious and cultural backgrounds.

As the possibility of an exhaustive perusal is not within the framework of this

paper, the study is limited only to cover certain cardinal points. Both the poets
share their belief in the fullest expression of freewill, in the possibility of the divine

descent as man and the role of sacrifice in any form as a redemptive measure.

Milton in Paradise Lost proclaims his central belief in the free wil,l and

responsibility of man. Once created, man is endowed with a clear mind, a n

intellect and the faculty of reason to shape his destiny. It is in fact a kaleidoscope

that projects the play of free will in different angles whether it is of the Holy Son,

Satan, or Man. The two poets show a similitude in their attitude with regard to

freewill but disagree on the concept of evil. These and other similar aspects where

they agree and disagree are discussed in the sixth chapter.

The study is an analysis of the vision that they projected through their

poems supported by the attitudes and the perceptions of the poets with reference

to the points discussed. As the two poets discussed here are accepted more as

visionaries with a strong philosophic

*
base, than mere literary figures it is natural

that the discussion slips on to the verge of philosophic observations as literature

and philosophy blend into a wholesome union in their works. The objective truth

of their perception can only be reached through a study of their ideas. As

observed by Ben Jonson: "I could never think the study of wisdom confined only

to the philosopher or of piety the divine or of state to the politic but that can

(which is the poet) govern it with counsel . . . morals is all these."12Hence a

literaly study naturally includes the whole perspective, without any such topical

demarcation.

The method applied here is that of a comparative study. Comparative

analyses of literary texts have emerged as a positive approach to studies in inter-
textual topics. This facilitates a better understanding resulting from the contrast.

Such studies help to get a clear picture of the material put to evaluation, through

different angles assessing it and comparing it with similar creative works from

other cultures. It is the awareness of such cultural use of literature that adds to the

meaning and richness of a civilized existence.

The intention of this comparative study is a synchronic and formal

approach to the topic. No influence study or value judgment is attempted at. The

concern of this work being a study on the epic vision as displayed by Milton and

Aurobindo, it examines the thematological aspects in its spiritual and

morphological attributes and makes an inspection of the central ideas shaping the

narrative.

Comparison and contrast will also be made on the vision and purpose of

life as realized by the two poets in their epics. Regarding methodology, I intend to

draw on the primay and secondary sources comparing and contrasting the poets

in their works concerned. The ideas taken up for comparison are objectively

discussed on the basis of explicit textual matter. The textual materials are

compared in resped to the ideas discussed, and the outcome of the analysis is

given along with it as well as at the end of each section. The last chapter records

the general conclusions of the study in its entirety.

From the idea that literature and individual desire are permanently

separated, it is only a short step to the conclusion that the entire project of human

literary humanism- to find and /or create in literature an embodiment of a

perfected human desire, against which we can measure and adjust ourselves and
our institutions. . . .l3 Perhaps the words of Marcus Conliffe ideally suit in defining

the attempts of these two great masters. A study into the epic ideals of two

different cultures wou Id contribute in cultural synthesis and also offer a profound

insight into the ideas, systems, the cultural progress attained, the quality of life

upheld, the literary and aesthetic achievements and the nature of the vision of life

realized by the epic seers, separated by three centuries of history and the wide

gulf of the east-west cultural contexts.

And by an imaginative perusal of Adam's and Aswapathy's experiences

through these epics, our experiences and struggles assume a new meaning and

significance hitherto unknown, elevating and inspiring us. Literature allows us to

move beyond the inevitable boundaries of our own lives and culture because it

introduces us to people different from ourselves places remote from our

neighbourhoods, and times other than our own.14

The Life and experiences of such seers visualised in their real magnitude

assume the immensity of an epic and it is this that flows through their heightened

moments of inspired expression. Further it would lead to the understanding of

literature as a universal factor constantly enlightening mankind in its progressive

march through time.

 NOTES

Samuel Johnson Lves of the English foeis, vol. 1 (London: OUP,

1955)118.
K. R. Srinivasa lyengar, Dawn to Greater Dawn (Simla: Indian Institute
of Advanced Studies, 1975)14.
A. B. Purani, Sri. Aurobindo 3 Savitri An Approach and a Study
(Pondicherry: Ari Aurobindo Ashram, 1986)284.
Margarita Stocker, Paradise Lost (At[antic Highlands, NJ: Humanities
Press, International Inc., 1988) 55.
Ibid. 56.
C. E. Green, The Human Evasion (Great Britain: Oxford Academic P,
1967) 60.
' Aurobindo, The Future Poetry, vol. ix (Pondicherry: Ari Aurobindo
Ashram, 1970) 24.
Margarita Stocker, Critics Debate: Paradise Lost (Atlantic Highlands,
NJ: Humanities Press, International Inc., 1988) 10.
Aurobindo, The Future Poefry, vol. ix (Pondicherry: Ari Aurobindo
Ashram, 1970) 25.
'O John Milton, Paradise Lost, Book 1, lines 1-5, Mifton: Poetical Works,
ed. Douglas Bush (London: OUP, 1974).
" Ibid. Bk.IV, line 299.
l2 John Miltun: Inb-oductions, ed. John Broadbent (London: Cambridge
UP, 1979) 20.
13
Mar cus Conlif f e , Sphere History of Literature: American Litera ture since
1900(London: Penguin Group, 1988) 327.
l4 The Bedford /ntroducfiion to Literature, ed. Michael Meyer (Boston:
Bedford Books of St. Martin Press, 1990) 6.