Stephen M. Fallon. Milton’s Peculiar Grace:
Self-Representation and Authority. Ithaca and London: Cornell UP, 2007.
xiii+274pp. ISBN 0 8014 4516 7.
- Stephen Fallon’s Milton’s
Peculiar Grace is an exceptionally valuable study that makes two main
assertions: that Milton’s various writings, regardless of their genre, are
inevitably self-referential; and that Milton, although he is certainly a
theological writer, is not a religious one because these self-referential
writings are curiously bereft of the Augustinian emphasis on conviction of
personal sin, spiritual regeneration, and growth in sanctification so common
among the Protestant religious writers of Milton’s era. Fallon succeeds in
demonstrating both points, and, as a Miltonist myself, I can assert confidently
that I have a significantly deeper understanding of both the general sweep of
Milton’s works and specific aspects of particular works as a result of this
far-ranging study.
- In his opening chapter, Fallon sets a theoretical groundwork defending the legitimacy of biographical criticism and the reading of intentionality in an author’s works. In the process, Fallon explicitly rejects Roland Barthes’s assertion that intentionality is an illusion, offering the following memorable retort to Barthes’s skepticism: "In the absence of a principle for banishing intention more convincing than Barthes’s intransitivity, we are free to continue reading literary texts as intentional constructions" (9). But Fallon also emphasizes "the tension between [Milton’s] intended and unacknowledged self-representations," arguing that within that tension readers "can follow a fascinating drama of chosen-ness and exclusion, perfectionism and error, confidence and despair" (13).
- In a short interlude discussing
Milton’s 1633 "Letter to a Friend" and in chapter two, "The Least of
Sinners," Fallon lays out just how different Milton’s autobiographical
writings are from those of other Protestant seventeenth-century authors.
He notes, for example, that Calvinist authors followed a "rigidly
determined" script that moved "from sin through grace, conviction,
conversion, regeneration, and sanctification" (23). Milton, by contrast,
avoids such a narrative, and his own autobiographical statements
demonstrate "an apparently serene confidence in his own righteousness"
(29). The "Letter to a Friend" is remarkable, among other things, for
Milton’s adroit use of John 9:4, the parable of the talents (Mt.
25:14-30), and the parable of the workers in the vineyard (Mt. 20.1-16) to
both relate himself to Christ and to justify his post-graduate inaction.
Milton does not demonstrate repentance or even acknowledgement of sin but
rather the desire, not only to justify his seeming inaction (it is
actually preparation for a future calling), but also to assert the virtue
of his choices.
- In chapter three, "‘Himself
before Himself’: The Early Works," Fallon contends that Milton’s
self-representations in his youthful writings serve to outline and indeed
produce the life Milton goes on to live, a life that "imitates the
proleptic self-representations in the early works" (46). He notes
Milton’s prophetic personae not only as the inspired singers of the
"Nativity Ode" and "Lycidas" but also as the Attendant Spirit in A Mask
(Comus). Milton also inhabits the chaste ideal of both the Mask’s
Lady and Sabrina, and both Milton’s prophetic and chaste ideals are
demonstrated in his self-representation in "Epitaphium Damonis." Through
it all, however, no conversion narrative is to be seen. Milton may admit
to youthful error, but not sin.
- Chapter four analyzes Milton’s
various autobiographical digressions—both explicit and implicit—in his
anti-prelatical prose works. These digressions continue Milton’s earlier
presentation of himself as one who is superlatively virtuous, and Fallon
observes that such a self-presentation is at odds with Milton’s expressed
belief in humanity’s fall. The 1641 Of Reformation and Animadversions
do not contain overt first-person digressions, but Fallon argues that in
both works Milton "presents himself, in the third person, as a specially
chosen and specifically gifted spokesman of God" (85), portraying himself
as a prophet who is "singular, heroic, and godly" (88). In his 1642 Reason
of Church-Government, Milton’s self-representation becomes explicit
and painfully self-conscious, highlighting the danger of his calling and
linking his prophetic office with the necessity of chastity. In this
work and in the strikingly intimate autobiographical digressions of An
Apology for Smectymnuus (1642), Milton’s practice of anxious
self-justification brings about a "tangled prose" style (101). Fallon’s
assertion that Milton’s 1641 tracts contain self-presentations veiled by
the third-person voice becomes increasingly credible as he demonstrates
the consistent parallels between such veiled presentations and the overt
ones of the 1642 tracts.
- Chapter five, "‘The Spur of
Self-Concernment,’" focuses primarily on Milton’s divorce tracts. Here,
Fallon plainly states that "the divorce tracts are not merely inspired by
personal experience, they are about Milton" (111). Moreover,
Fallon moves beyond Arthur Barker’s belief that Milton’s marital discord
with Mary Powell forced Milton to confront his own weakness (Barker 66);
Fallon argues that although Milton does implicitly acknowledge his own
fallen nature, he goes on to offer "a torturous set of logical moves" that
ultimately reaffirms his earlier heroic self-presentation (112). Fallon
highlights differences between the first and second editions of The
Doctrine and Discipline of Divorce and between them and Tetrachordon,
contending that these works display "the progression and variations of
Milton’s self-representations" (112). Indeed, the first edition of Doctrine
(1643) begins the divided self-representation "that marks the rest of
Milton’s career," for in it Milton represents himself as both "a prophetic
restorer of divine mercy" and one who recognizes his possible "alienation
from God" (113). But Milton’s insecurities increasingly fade to the
background in the divorce tracts; responding to criticism of the tract’s
first edition, the second edition of Doctrine (1644) offers
Milton’s "more pronounced" representation of himself as a "godly hero"
(113). And Tetrachordon (1645) goes so far as to claim "special
perfection for the divorcer" (130), for Milton, basing his definition of
true marriage upon God creating, in Genesis 2, a wife fit for Adam,
suggests that divorce offers the hope to return to a prelapsarian Eden,
"an undoing of the fatal error" of the fall (132).
- Fallon’s discussion
of Tetrachordon is particularly strong, and he certainly demonstrates in this
chapter the startling degree of self-regard that Milton articulates
while championing the scandalous idea of divorce. But in the interlude on
Milton’s Interregnum poetry that follows the chapter, Fallon misses an obvious opportunity to further
develop his important point about Milton’s divided self-representation. Fallon’s
short section on the Interregnum poetry is remarkable for its brief coverage of
Sonnet 19 ("When I consider how my light is spent"). This is a poem veritably
bursting with divided Miltonic self-representation, and yet Fallon inexplicably
devotes less than half a page to its discussion. Indeed, it seems that a more
thorough analysis of this important sonnet should be expected in any book
devoted to Fallon’s larger overall topic.
- Chapter six, "‘It Was I and No
Other,’" covers Milton’s Interregnum prose.
Fallon observes that
Milton’s self-representation in his writings of 1649-1655 is"more restrained and more
impersonal," a phenomenon largely explained by the fact that in these works
Milton "speaks explicitly for Cromwell’s party, the party of power" (150).
Nonetheless, Milton’s three Defences (Defence of the English People
[1651], Second Defence of the English People [1654], and Defence of
Himself [1655]) become increasingly self-referential, a phenomenon evident
enough in the title of the third Defence. As Fallon writes, by the time
of that work Milton’s "defense of his party is completely displaced by a
response to attacks on his character" (160). And as the republican experiment
ends in failure, Milton once again resumes his earlier stance as "the lone
prophetic voice crying out in a faithless world" (176). This phenomenon is
especially evident in The Readie and Easie Way (1660), in which
Milton assumes the persona of a new Jeremiah, and Fallon offers a particularly
valuable connection between this persona and that of the autobiographical
figure of Abdiel, the brave angel in Paradise Lost who, alone among his
legion, remains loyal to God and rebukes Satan as he leads his traitorous
rebellion against the true King.
- Chapter seven, "‘Elect above the
Rest,’" examines self-representation in Milton’s posthumous theological
treatise De Doctrina Christiana. To focus his investigation,
Fallon uses God the Father’s famous words in Paradise Lost, "Some I
have chosen of peculiar grace / Elect above the rest" (3.183-84). Fallon
argues that Milton’s theological self-representations in the treatise
demonstrate his desire "to be elect by both birthright and merit" (188).
Although Milton’s basic Arminian views are evident throughout the
treatise, he still holds to the belief in "God’s arbitrariness in dealing
with ‘his own possessions’" (197). Even though Milton asserts "universal,
sufficient grace," he nonetheless "leaves an opening for a spiritual
aristocracy" (197). The juxtaposition of these seemingly incompatible
views is in fact consistent with "Milton’s self-construction as a heroic
and select servant of God; that is, to Milton’s own need to be outstanding
in as many ways as possible, or rather in more ways than are possible at
once" (202).
- Chapter eight, "‘If All Be Mine: Confidence
and Anxiety in Paradise Lost,"focuses primarily on the
epic’s four highly self-referential proems, and Fallon asserts that in these
proems Milton claims to have "the inspiration and authority essential for the
composition of Christian epic," even as the proems demonstrate "the anxiety
that inevitably accompanies such a claim" (211), including Milton’s anxiety
over revealing the divine secrets which have been revealed to him. This
mixture of confidence and anxiety in the proems is another manifestation of the
divided self-representation Milton offered earlier in his prose writings.
- Fallon’s interest in Milton’s
divided self-representations reaches its apex in his
final chapter, "I as All
Others," in which Fallon investigates Milton’s prominent self-representation as
the Son in Paradise Regained and as Samson in Samson Agonistes.
The respective protagonists of these two works, published together in 1671,
represent the two sides of Milton’s divided self, with the Son embodying the
still-evident perfectionistic claims of Milton’s early self-representations
while Samson embodies angst-filled self-representations that first manifested
themselves in the divorce tracts. Fallon’s discussion of Samson is
particularly intriguing when he persuasively argues that there are "two
Samsons" in Milton’s final poem—"the failed hero who must suffer and the chosen
hero who will live on" (262)—and that these two Samsons ultimately serve to
reconcile the current debate between Milton critics who argue for a more
traditional interpretation of a heroic, regenerated Samson who largely embodies
his author and those revisionist Miltonists who argue that Milton’s Samson is a
failed, prideful anti-hero whom Milton repudiates. For Fallon, the flawed
Samson of the revisionists "is finally no less a stand-in for his author than
the Samson of the regenerationist account" (262). In Samson, "Milton explores
the darker sides of his own self-conception, coming closer to the Augustinian
autobiographical narrative of conviction and regeneration than he does anywhere
else in his writing. This reconstruction is a deeply mature act, and it
measures the distance Milton has come from the fantastic and naïve self-construction
of the young man" (263). Ultimately, the "divided character" of Samson—who is both
elect and heroic and "fallen and flawed" -- demonstrates "Milton’s
profoundly divided representations of himself as they emerge in and shape the
course of his career" (270).
- This important book is a major
contribution to Milton studies: it covers the breadth of Milton’s works,
including a large number of his less accessible prose works, and
successfully demonstrates the sustained trajectory of Milton’s consistent
yet evolving self-representations throughout his career. Indeed, I think
that I will never look at Milton’s works, either as a whole or in their
individual parts, quite the same after reading this book, and my
perception of him as a man and a writer has been similarly sharpened by
Fallon’s efforts.
- Fallon’s book is, of course, not
without its faults. At times its great strength of covering a broad range
of Milton’s works in a manageable number of pages becomes a weakness in
that certain important poetic works and certain important
self-representational characters (Milton’s Satan in Paradise Lost
comes to mind here) are covered comparatively sparsely in favor of more
lengthy discussions of Milton’s explicit or implicit self-representations
in, frankly, less interesting prose works, and the book’s readability
suffers as a result, even though Fallon’s decision to emphasize such
less-covered writings may ultimately serve as a net gain for Milton
studies as a whole. And, although Fallon certainly succeeds in
demonstrating Milton’s consistently self-referential presence throughout
his works, he at times, particularly in the late-middle chapters, seems to
lose sight somewhat of his other early-stated emphasis that Milton is a
theological but not a religious writer, although in fairness to
Fallon he demonstrates that point earlier in his work and does reiterate
it in the book’s epilogue. Finally, readers of C. S. Lewis’s A Preface
to "Paradise Lost" (including readers of its excerpts in the 2005
Norton Critical Edition of Paradise Lost) may recognize that
Fallon’s argument that Milton is not a religious writer recalls Lewis’s
assertion that Paradise Lost "is not a religious poem" in the sense
that it is not "a poem of religious expression" (127, 128). Lewis’s analysis
here anticipates Fallon’s project, but Fallon neglects to acknowledge Lewis on this point..
- These caveats notwithstanding, I
highly recommend Fallon’s book to anyone hoping to better understand
Milton’s writings and their relationship to the man who wrote them.
Works Cited
- Barker, Arthur. Milton and the Puritan Dilemma,
1641-1660. Toronto: U of Toronto P, 1942.
- Lewis, C. S. A Preface to "Paradise Lost."
London: Oxford UP, 1942.
- Milton, John. Paradise Lost. A Norton
Critical Edition. Ed. Gordon Teskey. NewYork: Norton, 2005.
Responses to this piece intended for the
Readers' Forum may be sent to the Editor at M.Steggle@shu.ac.uk.
© 2010-, Matthew Steggle (Editor, EMLS).