An analysis of Miltons use of dreaming as a crucial motif and idea throughout Paradise Lost, especially in the four books preceding the fall, is one of the most revealing ways of analysing the reasoning and events leading to the Fall. Dreams, specifically Eves Satanically inspired dream in Books VI and V, have been the subject of fairly extensive critical debate, particularly surrounding the dreams implications with relation to the fall. Where mid- 20th century critics such as Tillyard argue that the first stage [of the fall] is Eves dream (), more recent criticism tends to attribute more agency to Eve, a contrast I shall explore in this essay. The importance and thus the precedence of ideas received in sleep, and in dream form, is reflected in Miltons own views and experiences.Writing in the Times Literary Supplement, John Carey references Miltons invocation of Urania, the heavenly muse of astronomy and navigation, in the first 40 lines of Book VII. My interpretation of this, is an explanation for Miltons use of sleep and dreaming to impart supernatural information in this section of Paradise Lost. If Uranias celestial song (VII.2) is imparted to Milton in his sleep, and enables him to s
ing with mortal voice (VII.24), then we can naturally draw parallels between this. Likewise, in his introductory invocation (I.26), he implores to his Muse: What in me is dark/Illumine, what is low raise and support;/That to the heighth of this great argument/I may assert eternal providence,/And justify the ways of God to men (I.2226). Aside from being one of the most important lines in the poem as it clearly sets out Miltons stated aim the idea that dreams are able to inspire clarity, illuminate Mans internal psyche, and ultimately bolster Miltons argument, is pivotal to my critical reading of Paradise Lost. Furthermore, this concept is again referenced preceding the pivotal events of book 9 Her nightly visitation unimplored,/And dictates to me slumbering (IX.2223). In this particular invocation, it is clear that Milton feels in order to fully articulate the pre/post-lapsarian shift, he must be inspired in sleep. Of Miltons use of dreams, Carey argues that it reveals the existence of both a conscious and subconscious poem. From this, it is not untenable to argue that when dreams and sleep are used as devices in Paradise Lost, they are able to subvert the explicit meanings in the text.