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Torah and Law in "Paradise Lost," by Jason P. Rosenblatt; Princeton: Princeton University Press, 1994, $39.50.
The epic project that includes the poems Paradise Lost and Paradise Regained marks the last occasion in Europe when the most ambitious literary form sought stability in theology rather than in philosophy. The philosophical poem, a minor form before the Enlightenment, became after Milton the general idea of what a great long poem should be. One thinks of Faust, naturally enough, where the triumph of philosophy over theology is enacted, of Coleridge's youthful plans for a philosophical epic, and of Wordsworth's qualified achievement of it in The Prelude. Hegel said that art, having been supplanted by philosophy as the discourse of truth, must be for us a thing of the past. A less striking but perhaps more accurate statement would be that the art that once sought stability in the knowledge of God now seeks it in the impersonal knowledge of truth. The Milton who, before Paradise Lost, composed for his own use a theological treatise in which every point made is anchored in scripture, belongs to an earlier age. Yet there are in him clear indications of what is to come. No poet before Milton is so preoccupied with metaphysical questions, with the ultimate nature of being and the causative principles governing creation.
It is the theological Milton with which Jason P. Rosenblatt is concerned in this fine study of Paradise Lost, a study that is more controversial than is suggested by its title or by its eirenic scholarly tone. The book is an attack on what its author...