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visual .net bar code The wide wound and the veil in .NET Generating data matrix barcodes in .NET The wide wound and the veil

The wide wound and the veil use none none generating toreceive none in nonevb.net barcode from image the first man a none none nd as a metonymy for all later men, is happier, but also more unfortunate, than he knows. Milton imagines the first man s fragile condition from a dark and uncertain point in a difficult future a point after which the wide wound that God opened and closed so miraculously in Adam s side will be opened again in a different way, and well before it is filled-up again and healed. methought i saw The echoes of the sonnet themselves are central to the larger implications of this dynamic, so they are worth examining in some detail.

The first, the echo of the sonnet s first line at lines 462 3 ( methought I saw,/ Though sleeping, where I lay ), is very close, although there are some important differences. The first four syllables are, of course, the same, although the syntax of the whole differs, and the rest of the syllables, which are displaced over a line break, only echo their counterparts in terms of rhythm, number, and an array of repeated consonants and vowels. The placement of the linebreak is itself significant, marking the point at which exact repetition gives way to a subtle play of pararhymes.

Also, the last six syllables of the sonnet s first line provide a clear object for the opening main clause ( I thought I saw my saint ), and the object is then modified by the prepositional phrase and comparison offered in line 2 ( I thought I saw her brought to me like Alcestis ). The syntax of Adam s speech is less clear. Depending on how you read the comma before where I lay, the methought I saw of line 462 may or may not have a direct object.

Adam is either saying simply that, lying there, he could see, despite being asleep, or he is saying that, despite being asleep, he could see the place where he was lying.93 The differences are suggestive. In his speech, Adam is telling Raphael about what to him seemed a paradox: the fact that he could see while (or where) he was lying as in a transe.

His eyes were shut, only his internal Cell/ Of Fancie was open, and through it he seemed able either to perceive external events he could not see physically, or to receive dreamlike impressions of them provided by God. In the sonnet, the speaker is not remarking explicitly on a strange experience, but recounting what is for him (and us) the familiar human experience of ordinary dreaming something with which Adam is not yet all that familiar. Even if we are aware of the poet s blindness, and attribute that to the speaker, therefore adding stress to saw in order to register that fact that this speaker could see in his dream,.

ISO/IEC 18004:2000 Hollander brief ly notes the ambiguity (The Work of Poetry, p. 84)..

Milton and Maternal Mortality even though he could not see while awake, we would still have to distinguish his painful experience from Adam s. Blindness would no doubt have made the sonnet speaker s dreaming different from the dreaming of the sighted in an important and especially poignant way, but in others it would still be very much like the dreams most of us have all the time. The primary purpose of the sonnet s first line is therefore to present, simply (if dramatically), the object of this particular instance of dreamed sight (the espoused saint ).

When Adam had his dream, on the other hand, he had had only one before. Both of these first two dreams also immediately come true, and neither have any of the abiding uncertainty that characterizes ordinary human dreaming. The night before the events of Books 5 through 8, Eve had certainly had a more conventional-seeming dream (PL, 4.

799 809, 5.28 94), and she and Adam had puzzled over its nature and implications just that morning neither she nor Adam ever discover that her dream was created by Satan. It is possible that Adam also had a few other dreams since his first day of existence, but no others are mentioned.

The experience is, in any case, still rather new at the end of Book 8, and is still the source, it seems, of not a little wonder. The experience is familiar to us, of course, not only from our own dreams, but from the literary traditions of the representation of dreaming, and a knowledge of both experience and tradition informs the sonnetspeaker s narrative as well as that of the narrator/poet who tells us what the first man said to the angel. Indeed, part of the narrator/poet s purpose here is to suggest that this moment is not only the original of both a certain kind of male desire and a certain kind of dream about desire, but also of what would later become a time-worn literary motif.

In the sonnet, we are invited immediately to identify with the speaker and his experience (it is like ours, even if we have not had a dream quite like this particular one). Our relationship to Adam s narrative, however, is a good deal more complex. In so far as we associate the narrator of Paradise Lost with Milton, we are invited to distinguish between Adam s naive telling, which is infused with wonder both at the event and at the language he is coming up with at that moment to describe it, and the narrator/poet s different and very painful investment in the very same things.

Such a distinction still holds if we read the sonnet, following Spitzer,94 as having no specific biographical reference (the speaker remains a fallen man). Such distinctions allow us also to register the distance between the freshness of all of Adam s experiences (what he saw, what he felt, what he said, and even what it felt like to say it) and those.
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