Paradise Lost Book 9 Modern Translation

The fall of man, a narrative etched deep within the human psyche, finds its most profound expression in John Milton's Paradise Lost. Book 9, in particular, marks the pivotal moment where innocence is shattered and mortality dawns. While Milton's original text is a masterpiece of poetic grandeur, its archaic language can present a barrier to modern readers. A contemporary translation of Book 9 aims to bridge this gap, allowing us to experience the raw emotion and theological weight of this crucial turning point in human history.

Understanding the Need for a Modern Translation

Milton's Paradise Lost, written in the 17th century, employs a complex and elevated style of English. Its syntax, vocabulary, and allusions can be challenging for those unfamiliar with the period. A modern translation doesn't seek to replace the original but rather to offer a more accessible pathway to its core themes. It strives to retain the essence of Milton's poetry while rendering it in language that resonates with contemporary sensibilities. This involves:

• Clarifying archaic language: Replacing obsolete words and phrases with their modern equivalents.
• Simplifying complex syntax: Restructuring sentences for easier comprehension without sacrificing meaning.
• Unpacking allusions: Providing context for historical, mythological, and biblical references that may be unfamiliar to modern readers.
• Maintaining poetic integrity: A good translation will still attempt to capture the beauty and power of Milton's verse, even while simplifying the language.

Key Themes in Paradise Lost Book 9

Before delving into the nuances of a modern translation, it's crucial to understand the central themes that Milton explores in Book 9. These themes are not merely literary devices; they are profound reflections on the human condition:

• Free Will: The cornerstone of Milton's theology. Adam and Eve's fall is not predetermined but a consequence of their choice to disobey God.
• Temptation: The insidious nature of temptation, personified by Satan, who preys on Eve's desires and vulnerabilities.
• The Nature of Good and Evil: Milton explores the blurred lines between good and evil, showing how easily one can be mistaken for the other.
• The Loss of Innocence: The tragic consequences of disobedience, leading to the loss of paradise and the introduction of sin and death into the world.
• The Power of Language: Satan's manipulative rhetoric highlights the power of language to deceive and corrupt.
• The Relationship Between Man and Woman: Milton's portrayal of Adam and Eve's relationship, including the power dynamics and the consequences of their individual choices.

A Modern Translation: Bringing Book 9 to Life

Let's examine how a modern translation might render some of the key passages in Book 9, alongside the original text for comparison. This is not a single, definitive translation, but rather an illustrative example of the choices and challenges involved.

Original:

"No more of talk where God or Angel Guest With Man, as with his Friend, familiar us'd To sit indulgent, and with him partake Rural repast, permitting him the while Venial discourse unblam'd: I now must change Those Notes to Tragic; foul distrust, and breach Disloyal on the part of Man, revolt, And disobedience: On the part of Heav'n Now alienated, distance and distaste, Anger thenceforward judg'd and soon were found Patience above, severity below."

Modern Translation:

"No longer will I sing of peaceful talks, Where God or angels, like friendly guests, Would sit with man, sharing simple meals, And allowing him harmless conversation. Now I must shift to tragic themes: the ugly suspicion, The disloyal breach of faith by humankind, Rebellion and disobedience. On Heaven's side, Alienation, distance, and disgust will grow. Anger will judge from now on, and swiftly follow. Patience will reign above, severity below."

Analysis:

• The modern translation replaces archaic words like "us'd" and "venial" with more accessible terms like "would" and "harmless."
• The complex syntax of the original is simplified in lines like "Anger thenceforward judg'd and soon were found" which becomes "Anger will judge from now on, and swiftly follow."
• The overall tone remains respectful of Milton's original intent, preserving the solemnity and gravity of the passage.

Original:

"O much deceiv'd, much failing, hapless Eve, Of thy presumed return! event perverse! Thou never from that hour in Paradise Found'st either sweet repast, or sound repose; Such ambush hid among sweet flow'rs and shades Waited with hellish rancour imminent To intercept thy way, or send thee back Despoil'd of innocence, of faith, of bliss."

Modern Translation:

"Oh, deceived, failing, and unfortunate Eve, How wrong you were to think you could return unscathed! From that moment on, you never found Sweet meals or restful sleep in Paradise. Such a trap lay hidden among the flowers and shadows, Waiting with hellish malice to cut you off, Or send you back stripped bare Of innocence, faith, and joy."

Analysis:

• The translation clarifies the meaning of "event perverse" by explaining it as Eve being "wrong to think you could return unscathed."
• The phrase "hellish rancour imminent" is simplified to "hellish malice," making it more immediately understandable.
• The overall impact of the passage, emphasizing Eve's tragic fate, is retained.

Original:

"The Serpent suttlest Beast of all the Field, Is found thither: not with indented wave, Prone on the Ground, as since; but on his rear, Circular base of rising folds, that tow'r'd Fold above Fold a surging Maze; his Head Crested aloft, and Carbuncle his Eyes; With burnisht Neck of verdant Gold, erect Amidst his circling Spires, that on the grass Floated redundant: pleasing was his shape, And lovely; never since of Serpent kind Lovelier, not those that in Illyria chang'd Hermione and Cadmus, or the God In Epidaurus; nor to which transform'd Ammonian Jove, or Capitoline was seen; He stood, and to himself thus seem'd to boast."

Modern Translation:

"The Serpent, most cunning of all creatures, Arrived there, not slithering on the ground as now, But upright, his tail a coiled and towering base, Fold upon fold, a swirling labyrinth. His head Was crested high, his eyes like glowing jewels, His burnished neck a vibrant green-gold, rising Amidst the circling coils that shimmered on the grass. His form was pleasing, even beautiful; never since Has any serpent been so lovely – not even those That transformed Hermione and Cadmus in Illyria, Or the god in Epidaurus, nor the forms assumed by Ammonian Jove or Capitoline Jove. He stood, and seemed to boast to himself:"

Analysis:

• The translation aims to clarify the visual imagery of the Serpent, replacing phrases like "indented wave" with "slithering on the ground as now" and "Carbuncle his Eyes" with "his eyes like glowing jewels."
• The allusions to Hermione, Cadmus, and the various forms of Jove are retained, but a modern edition might include footnotes or endnotes to provide context for readers unfamiliar with these mythological figures.
• The overall impression of the Serpent as a beautiful and seductive creature is preserved.

Original:

"Her Hand he seis'd; and to a shady Bank, Thick overhead with verdant roof imbow'rd He led her nothing loth; Flow'rs were the Couch, Pansies, and Violets, and Asphodel, And Hyacinth, Earth's freshest softest lap. There in close recess and Secret shade At length he her un'd with words imbue, That done, he leads her to the Tree of Knowledge."

Modern Translation:

"He took her hand and led her to a shady bank, Covered overhead with a verdant, leafy roof. She followed, not unwillingly. Flowers were their couch – Pansies, violets, and asphodel, Hyacinth, the earth's freshest, softest embrace. There, in a secluded, secret shade, He finally swayed her with persuasive words. That done, he led her to the Tree of Knowledge."

Analysis:

• The translation simplifies phrases like "nothing loth" to "not unwillingly," making the meaning clearer.
• The description of the flowers is retained, as it contributes to the idyllic and seductive atmosphere of the scene.
• The phrase "un'd with words imbue" is replaced with "swayed her with persuasive words," which is more direct and understandable.

The Challenges of Modern Translation

Translating Paradise Lost is not simply a matter of swapping out old words for new ones. It involves navigating a complex web of linguistic, cultural, and theological considerations. Some of the key challenges include:

• Maintaining Poetic Form: Milton's poem is written in blank verse, which has its own rhythm and cadence. A good translation should attempt to preserve some of this poetic quality, even while simplifying the language.
• Preserving Ambiguity: Milton often uses language that is deliberately ambiguous, allowing for multiple interpretations. A translator must be careful not to flatten out these nuances.
• Avoiding Anachronisms: The translation should avoid using words or phrases that would be jarringly out of place in the context of the poem.
• Interpreting Milton's Theology: Milton's theological views are complex and sometimes controversial. A translator must be sensitive to these issues and avoid imposing their own interpretations on the text.
• Balancing Accuracy and Accessibility: The ultimate goal of a modern translation is to make Paradise Lost more accessible to a wider audience. However, this should not come at the expense of accuracy or fidelity to Milton's original intent.

Why Read Paradise Lost in Modern Translation?

While some purists may argue that Paradise Lost should only be read in its original form, a modern translation offers several compelling advantages:

• Increased Comprehension: A modern translation removes the barrier of archaic language, allowing readers to focus on the poem's themes and ideas.
• Enhanced Engagement: By making the text more accessible, a modern translation can foster a deeper connection between the reader and the poem.
• Broader Audience: A modern translation can introduce Paradise Lost to readers who might otherwise be intimidated by the original text.
• New Perspectives: A fresh translation can shed new light on familiar passages, revealing nuances and complexities that might have been missed before.
• Stimulating Discussion: A modern translation can spark new debates and interpretations of Paradise Lost, ensuring that the poem remains relevant and engaging for generations to come.

The Enduring Relevance of Paradise Lost

Despite being written over 350 years ago, Paradise Lost continues to resonate with modern readers. Its exploration of fundamental human themes – free will, temptation, sin, redemption – remains as relevant today as it was in Milton's time. The poem's depiction of the fall of Adam and Eve speaks to our own struggles with morality, choice, and the consequences of our actions. Furthermore, Paradise Lost's exploration of power, rebellion, and the nature of good and evil continues to provoke thought and inspire debate.

Whether read in its original form or in a modern translation, Paradise Lost offers a profound and enduring meditation on the human condition. It challenges us to confront our own vulnerabilities, to grapple with difficult questions, and to strive for a deeper understanding of ourselves and the world around us. Book 9, in particular, stands as a powerful and unforgettable depiction of the moment when humanity took its fateful step away from innocence and into the complexities of experience. A modern translation allows us to witness this pivotal moment with fresh eyes, ensuring that Milton's masterpiece continues to inspire and challenge readers for generations to come. It's an invitation to revisit the garden, to confront the serpent, and to contemplate the enduring consequences of our choices.

FAQ about Paradise Lost Book 9 and Modern Translations

• Q: Is reading a modern translation of Paradise Lost "cheating?"

  • A: Not at all! A modern translation is simply a tool to help you understand and appreciate Milton's work. It's not a replacement for the original, but rather a bridge to it.

• Q: Which modern translation of Paradise Lost is the best?

  • A: There is no single "best" translation. Different translations will appeal to different readers. It's a good idea to read excerpts from several different translations before choosing one. Consider what aspects of the poem are most important to you (e.g., accuracy, readability, poetic style) and choose a translation that reflects those priorities.

• Q: Will I miss out on anything by reading a modern translation?

  • A: You will inevitably lose some of the nuances and subtleties of Milton's original language. However, a good translation will strive to minimize these losses and to compensate for them with increased clarity and accessibility.

• Q: Should I read the original Paradise Lost eventually?

  • A: If you are interested in Milton's work, it is certainly worth exploring the original text at some point. However, a modern translation can be a valuable stepping stone, providing you with the necessary context and understanding to tackle the challenges of the original.

• Q: Are there any resources to help me understand Paradise Lost better?

  • A: Yes! There are many excellent resources available, including scholarly articles, critical essays, online guides, and audio recordings. Don't be afraid to consult these resources as you read Paradise Lost.

Conclusion

Paradise Lost Book 9, in any form, is a cornerstone of English literature, a profound exploration of temptation, free will, and the human condition. While the original text offers unparalleled poetic beauty, a modern translation serves as a crucial key, unlocking its timeless wisdom for a wider audience. By clarifying archaic language and simplifying complex syntax, these translations allow us to engage with the core themes of the poem on a deeper level. They invite us to confront the serpent in our own gardens, to examine the choices we make, and to ponder the enduring consequences of our actions. Whether you're a seasoned scholar or a curious newcomer, exploring Paradise Lost through a modern translation can be a rewarding and transformative experience.