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John Milton (1) (1608–1674)

Author of Paradise Lost

For other authors named John Milton, see the disambiguation page.

763+ Works 35,643 Members 247 Reviews 45 Favorited
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About the Author

John Milton, English scholar and classical poet, is one of the major figures of Western literature. He was born in 1608 into a prosperous London family. By the age of 17, he was proficient in Latin, Greek, and Hebrew. Milton attended Cambridge University, earning a B.A. and an M.A. before secluding show more himself for five years to read, write and study on his own. It is believed that Milton read evertything that had been published in Latin, Greek, and English. He was considered one of the most educated men of his time. Milton also had a reputation as a radical. After his own wife left him early in their marriage, Milton published an unpopular treatise supporting divorce in the case of incompatibility. Milton was also a vocal supporter of Oliver Cromwell and worked for him. Milton's first work, Lycidas, an elegy on the death of a classmate, was published in 1632, and he had numerous works published in the ensuing years, including Pastoral and Areopagitica. His Christian epic poem, Paradise Lost, which traced humanity's fall from divine grace, appeared in 1667, assuring his place as one of the finest non-dramatic poet of the Renaissance Age. Milton went blind at the age of 43 from the incredible strain he placed on his eyes. Amazingly, Paradise Lost and his other major works, Paradise Regained and Samson Agonistes, were composed after the lost of his sight. These major works were painstakingly and slowly dictated to secretaries. John Milton died in 1674. (Bowker Author Biography) show less

Series

Works by John Milton

Paradise Lost (1667) 16,697 copies, 129 reviews
John Milton: The Complete Poems (1779) 2,786 copies, 17 reviews
Paradise Lost • Paradise Regained (1667) 2,661 copies, 11 reviews
Paradise Lost [Norton Critical Edition] (1667) 2,427 copies, 14 reviews
Paradise Lost and Other Poems (1961) 1,264 copies, 4 reviews
Complete Poems and Major Prose (1957) 862 copies, 6 reviews
The Major Works (1991) 493 copies, 3 reviews
Britannica Great Books: Milton (1644) 469 copies, 1 review
The Portable Milton (1949) 444 copies, 1 review
Areopagitica (1644) 408 copies, 7 reviews
Paradise Regained (1671) 374 copies, 7 reviews
Selected Poems (1993) 261 copies
The Riverside Milton (1998) 260 copies, 1 review
The Complete Poetry and Essential Prose of John Milton (Modern Library) (2007) — Author; Author — 241 copies, 1 review
Samson Agonistes (1671) 239 copies, 2 reviews
Paradise Lost: Books I–II (1956) 182 copies, 1 review
John Milton: Selected Prose (1974) 171 copies, 1 review
The Mask of Comus (1634) 140 copies
L'Allegro, Il Penseroso, Comus, and Lycidas (1931) 121 copies, 2 reviews
Paradise Lost: A Graphic Novel (2012) — Original author — 89 copies, 1 review
L'Allegro (1970) 74 copies, 1 review
Minor Poems by Milton (1972) 64 copies
The Student's Milton (1947) 62 copies
Milton (1950) 49 copies
Milton: Political Writings (1991) 45 copies
Milton's prose (1925) 38 copies
Milton's Prose Writings (1955) 37 copies, 2 reviews
Paradise Lost: Book I (2008) 30 copies
Paradise Lost: Books IX–X (1969) 29 copies
The prose of John Milton (1970) 28 copies
Prose Selections (1947) 25 copies
Lycidas (1970) 25 copies
Milton's Poems (1924) 24 copies
Milton's Sonnets (1966) 19 copies, 1 review
L'Allegro and Il Penseroso (1954) 13 copies
Comus and Other Poems (1972) 13 copies
Dramatic Poems (1958) 13 copies
Select Minor Poems of John Milton (2012) 13 copies, 1 review
Paradise Lost: Book IX (2008) 12 copies
Milton (1977) 12 copies
Milton 11 copies
Paradise Lost with a Commentary Volume (2014) 10 copies, 1 review
Paradise Lost: Books I–VI (2017) 10 copies
Paradise Lost: Books V-VI (1975) 10 copies
The Essential Milton (1969) 9 copies
AREOPAGITICA & OTHER TRACTS (1900) 8 copies, 1 review
Trattato dell'educazione (1973) 7 copies
Sonetos ; Sanson Agonista (1977) 7 copies
Milton's Minor Poems (1900) 6 copies, 1 review
The Poems of John Milton (1953) 5 copies
L'Allegro (1954) 5 copies
Milton on Education (1970) 5 copies
Yitirilen Cennet (2021) 4 copies
Lycidas, Sonnets, (2010) 4 copies
O poder da tradução (1993) 4 copies
MILTON MINOR POEMS (1901) — Author — 4 copies
The Poems of John Milton. (1968) 4 copies
Uccidere il tiranno (2011) 3 copies
Works of John Milton (2009) 3 copies
Paradise Lost: Book X (1972) 3 copies
Jon Milton [Little Masterpieces] (2015) — Author — 3 copies
Of Education (1644) 3 copies
Paradies verloren (2024) 3 copies
Complete Works 3 copies
On Shakespeare 3 copies
Il Penseroso 2 copies
Paradise lost; a concordance — Contributor — 2 copies
Miltons Poetical Works (1930) 2 copies
Poetical Works (1971) 2 copies
Paradise Lost: Books VII–XII (2015) 2 copies, 1 review
Comus and other works (2018) 2 copies
The Passion 2 copies
Milton's Lycidas (1902) 2 copies
Poems (1970) 2 copies
Samson Agonistes (1889) 2 copies
Paradise Lost [abridged] 2 copies, 1 review
Sonnet XV 2 copies
Sonnet XVI 2 copies
The History of Britain (1991) 2 copies, 1 review
a common-place book (1877) 2 copies
Select Minor Poems (1900) 2 copies
Paradise Lost: Book IV (1974) 2 copies
Milton's shorter poems (2023) 2 copies
De educación 1 copy, 1 review
Paraiso Perdido — Director — 1 copy
Milton’s Poems (1884) 1 copy
Fix Here 1 copy
Paradise Found (2019) 1 copy
Stratený raj (2020) 1 copy
Psalm LXXXII 1 copy
Sonnet V 1 copy
Sonnet IV 1 copy
Sonnet III 1 copy
Sonnet II 1 copy
Sonnet I 1 copy
Canzone 1 copy
Arcades 1 copy
Sonnet VII 1 copy
Psalm CXXXVI 1 copy
Sonnet VI 1 copy
Sonnet VIII 1 copy
Psalm III 1 copy
Psalm LXXXVI 1 copy
Psalm LXXXV 1 copy
Psalm LXXXIV 1 copy
Psalm LXXXI 1 copy
Psalm LXXX 1 copy
Psalm VIII 1 copy
Psalm VII 1 copy
Psalm VI 1 copy
Psalm V 1 copy
Psalm IV 1 copy
Psalm II 1 copy
Sonnet IX 1 copy
Psalm I 1 copy
Sonnet XIX 1 copy
Sonnet XVIII 1 copy
Sonnet XVII 1 copy
Sonnet XIV 1 copy
Sonnet XIII 1 copy
Sonnet XII 1 copy
Sonnet XI 1 copy
Sonnet X 1 copy
Milton's Shorter Poems (1936) 1 copy
AREOPAGJIKA 1 copy
Milton Poetical Works (1966) 1 copy
Milton's 1645 Poems (1645) 1 copy
Asclepiads 1 copy
The poems 1 copy
Milton's 1673 Poems (1673) 1 copy
Elegia II 1 copy
Darganfod Paradwys (2020) 1 copy
Elegia I 1 copy
Elegia III 1 copy
Mansus 1 copy
Ad Salsillum 1 copy
Ad Patrem 1 copy
Elegia IV 1 copy
Psalm CXIV 1 copy
Ad eandem 1 copy
In eandem 1 copy
Elegia VII 1 copy
Elegia VI 1 copy
Elegia V 1 copy
MILTON`S LYCIDAS AND OTHER POEMS — Author — 1 copy
Five Works by Milton (2013) 1 copy
Ljutsifer (2000) 1 copy
Four poems 1 copy
Milton's Prose Works (1883) 1 copy
Works (1931) 1 copy
Various 1 copy
Poems of Milton (1902) 1 copy
Poems of 1645 (1975) 1 copy
A Selection of Poems (1953) 1 copy

Associated Works

William Shakespeare: The Complete Works (1623) — Contributor, some editions — 35,575 copies, 177 reviews
The Essays (1597) — Contributor, some editions — 2,553 copies, 20 reviews
The Norton Anthology of English Literature, Volume 1 (1962) — Contributor — 2,463 copies, 8 reviews
One Hundred and One Famous Poems (1916) — Contributor, some editions — 2,320 copies, 21 reviews
The Making of a Poem: A Norton Anthology of Poetic Forms (2000) — Contributor — 1,471 copies, 9 reviews
The Best Poems of the English Language: From Chaucer Through Robert Frost (2004) — Contributor — 1,249 copies, 3 reviews
The Metaphysical Poets (1957) — Contributor — 1,038 copies
Literature: An Introduction to Fiction, Poetry, and Drama (1995) — Contributor, some editions — 1,013 copies, 7 reviews
The Best Loved Poems of Jacqueline Kennedy-Onassis (2001) — Contributor — 625 copies, 11 reviews
A Treasury of the World's Best Loved Poems (1961) — Contributor — 570 copies, 4 reviews
World Poetry: An Anthology of Verse from Antiquity to Our Time (1998) — Contributor — 499 copies, 2 reviews
The Penguin Book of Renaissance Verse: 1509-1659 (1992) — Contributor — 313 copies, 1 review
Doré's Illustrations for "Paradise Lost" (1866) — Contributor — 238 copies, 5 reviews
Seventeenth-Century Prose and Poetry (1946) — Author, some editions — 227 copies, 2 reviews
Teaching with Fire: Poetry That Sustains the Courage to Teach (2003) — Contributor — 224 copies, 1 review
The Penguin Book of Dragons (2021) — Contributor — 187 copies
The Genius of the Early English Theater (1962) — Contributor — 180 copies, 2 reviews
The Faber Book of Beasts (1997) — Contributor — 169 copies, 1 review
A Literary Christmas: An Anthology (2013) — Contributor — 160 copies, 5 reviews
The Book of Love (1998) — Contributor — 151 copies
The Oxford Book of Villains (1992) — Contributor — 150 copies
The Standard Book of British and American Verse (1932) — Contributor — 129 copies, 1 review
Major British Writers, Volumes I and II (1959) — Contributor — 97 copies, 1 review
Comus (1996) — Original Story — 92 copies, 4 reviews
Wolf's Complete Book of Terror (1979) — Contributor — 89 copies, 2 reviews
The Penguin Book of Demons (2024) — Contributor — 82 copies, 2 reviews
The Everyman Anthology of Poetry for Children (1994) — Contributor — 78 copies
The Broadview Anthology of Seventeenth Century Verse & Prose (2000) — Contributor, some editions — 76 copies
An Introduction to Poetry (1968) — Contributor — 73 copies, 1 review
A Book of Narrative Verse (1930) — Contributor — 70 copies, 1 review
Puritanism and Liberty (1938) — Contributor — 63 copies
Collins Albatross Book of Verse (1960) — Contributor — 62 copies
Modern English Readings (1942) — Contributor — 60 copies
Poetry of Witness: The Tradition in English, 1500-2001 (2014) — Contributor — 53 copies, 1 review
The Faber Book of Christmas (1996) — Contributor — 50 copies, 1 review
Poems of Faith (2002) — Contributor — 49 copies, 1 review
Fairy Poems (Everyman's Library Pocket Poets Series) (2023) — Contributor — 36 copies
Documents in English History (1974) — Contributor — 26 copies
Classic Essays in English (1961) — Contributor — 23 copies
Masters of British Literature, Volume A (2007) — Contributor — 21 copies
Classic Hymns & Carols (2012) — Contributor — 20 copies
Christmas Classics: A Treasury for Latter-Day Saints (1995) — Contributor — 16 copies
Paradise Lost: A Prose Rendition (1983) — Author — 9 copies
Spring World, Awake: Stories, Poems, and Essays (1970) — Contributor — 9 copies
The blinded soldiers and sailors gift book (1915) — Contributor — 7 copies
Popular Poetry, Popular Verse: Volume I (1994) — Contributor — 7 copies, 1 review
The Children's Own Treasure Book (1947) — Contributor — 2 copies

Tagged

17th century (698) British (266) British literature (310) Christianity (342) classic (601) classic literature (143) classics (920) ebook (127) England (115) English (220) English literature (569) English poetry (153) epic (428) epic poetry (267) essays (94) fiction (1,148) John Milton (184) Kindle (134) literature (1,028) Milton (412) mythology (113) non-fiction (122) own (105) philosophy (120) poetry (5,112) read (162) religion (585) Satan (95) to-read (1,421) unread (164)

Common Knowledge

Birthdate
1608-12-09
Date of death
1674-11-08
Gender
male
Education
Christ's College, Cambridge (BA|1629|MA|1632)
St Paul's School, London, England
Occupations
poet
man of letters
civil servant
Organizations
Commonwealth of England
Relationships
Milton, John (father)
Short biography
John Milton was an English poet, polemicist, man of letters, and a civil servant for the Commonwealth of England under Oliver Cromwell. He wrote at a time of religious flux and political upheaval, and is best known for his epic poem Paradise Lost (1667), written in blank verse.

John Milton (9 December 1608 – 8 November 1674) was an English poet and intellectual who served as a civil servant for the Commonwealth of England under its Council of State and later under Oliver Cromwell. He wrote at a time of religious flux and political upheaval, and is best known for his epic poem Paradise Lost (1667), written in blank verse, and widely considered to be one of the greatest works of literature ever written.

Writing in English, Latin, Greek, and Italian, he achieved international renown within his lifetime; his celebrated Areopagitica (1644), written in condemnation of pre-publication censorship, is among history's most influential and impassioned defences of freedom of speech and freedom of the press. His desire for freedom extended into his style: he introduced new words (coined from Latin and Ancient Greek) to the English language, and was the first modern writer to employ unrhymed verse outside of the theatre or translations.

William Hayley's 1796 biography called him the "greatest English author", and he remains generally regarded "as one of the preeminent writers in the English language", though critical reception has oscillated in the centuries since his death (often on account of his republicanism). Samuel Johnson praised Paradise Lost as "a poem which...with respect to design may claim the first place, and with respect to performance, the second, among the productions of the human mind", though he (a Tory and recipient of royal patronage) described Milton's politics as those of an "acrimonious and surly republican". Poets such as William Blake, William Wordsworth and Thomas Hardy revered him.
Cause of death
consumption
Nationality
England
Birthplace
Bread Street, Cheapside, London, Middlesex, England, UK
Places of residence
London, Middlesex, England, UK
Cambridge, Cambridgeshire, England, UK
Place of death
Bunhill, London, Middlesex, England, UK
Burial location
St. Giles' Church without Cripplegate, London, Middlesex, England, UK
Map Location
England, UK

Members

Discussions

How did you manage to read Paradise Lost? in Poetry Fool (August 2021)
John Milton in Philosophy and Theory (May 2016)
Milton? in Book talk (December 2015)
GROUP DISCUSSION: Milton's Paradise Lost in 75 Books Challenge for 2012 (November 2012)
John Milton in Philosophy and Theory (May 2007)

Reviews

301 reviews
TL;DR: Distractingly misogynistic and promoting an authoritarian and paternalistic view of religion which has always driven me away from it.

I've just finished reading Book X of *Paradise Lost*, and I need to start putting down my thoughts about what the book appears to selling as its lesson. First off, I want to note that I was sold on *Paradise Lost* by it being described as the origin of the suave, charismatic bastard version of Satan that is usually adopted in the modern day, in contrast
show more to the pathetic and monstruous Satan seen in *The Divine Comedy*. To clarify: this is not what the book is about, at least not most of it. Only Books I, II and VI touch on the fall of Lucifer and his grand plan to take revenge against Heaven. The rest thus far has centered on the titular paradise, The Garden of Eden where the human forefather and foremother reside, Adam and Eve. And it's within these two characters that I have my most revulsion to the themes of the book. It isn't surprising that a 17th century epic poem based on Christian mythology is misogynistic, and I was willing to wave it off for the most part early on (even if the afore mentioned *Divine Comedy* never fell into the same trap and was written prior to the Renaissance).

However, at this point I can no longer look past the paternalistic themes ingrained in the nature of God creating Man to worship him, then birthing Eve from Adam's rib as a submissive and subservient mate. Eve here is always, always depicted as either: a) wrong and incapable of grasping current situations, or b) actively playing into Satan's tricks and treated as some sort of tool to be used by Sin. Book X is by far the worst offender, in this chapter Satan gloats over his success in perverting Eve and through her wheedling, Adam, we also see God reaffirm Jesus' role in taking blame for humanity's sins, and lastly how Adam and Eve try to amend their failure to ignore Satan's perversions. But the details of this tame description reveal a shocking moral framework which the book appears to hold.

Naturally we're meant to view Adam, and certainly God, as the "good guys" of this story, and yet we're treated to a thoughtless Creator who places a mousetrap in front of a child and is surprised when the get hurt, and to an emotionally abusive husband who asks why God didn't keep all femininity out of mankind like he did in his angels. Maybe that's what people meant when they called *Paradise Lost* the inspiration for the romantic Lucifer, that he's by comparison no worse than God and Man themselves.

I want to single out the view that God holds on Adam and Eve's failure because it's a truly nihilistic take on human existence. In his conversation with his angels and with Jesus, God declares that the punishment of death that he'd emphasized to Adam and Eve was not fit, and instead that their seed be "like lead". This idea is parroted by Lucifer, Sin, and Death in their conversation and with Adam and Eve in theirs. The three takes vary slightly:
- God implies that the mere existence of free will led to an inevitable downfall met with the temptation of Satan.
- Sin and Death rejoice at the idea that the lineage of humanity following Adam and Eve will be weakened to Satan's temptations, which plays up to his ego.
- Eve suggests willful abstinence to defeat the will of Lucifer, and is shot down by Adam because it goes against God's gifts.
Ultimately though all of these come from God's (ironically) lack of faith in his creation. So I have to ask: are we meant to agree with God here? Are we meant to think that the point of *Paradise Lost* is that when faced with temptation humans will always falter, and are therefore beyond hope? He serves the role of a jailor, someone who condemns all humanity to death and continued subjection to sin for one Original Sin. It reminds me of that part of the episode "Mac Day" of *It's Always Sunny In Philadelphia*, where Mac describes God as someone people live in constant fear of, like he's breathing down their back every second, whereas Country Mac describes the beauty of our world and the miracle of our lives. For a book like this, failing its moral framework and the ethical implications that it holds up feels antithetical to its purpose. If the point isn't to investigate and reaffirm the moral victory of God and Jesus over Satan and his rebellion, then what is the point? Is it really just John Milton playing with action figures?
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One of those rare books that feels absolutely complete, that feels like supreme art. Paradise Lost manages to be in harmony with its Biblical roots, its Classical forebears (blank verse epics like those of Homer and Virgil) and also with those of a more modern disposition. His reading of the character of Satan is particularly fascinating; the Adversary is charismatic and (whisper it) speaks a lot of sense regarding faith, reason and deference to power.

This reading is particularly bold when show more you consider when the book was written. People were being imprisoned and killed for heresy and for blasphemy (Milton went over to Florence at one point and met with Galileo), and lines regarding the righteous overthrow of rulers were particularly dangerous at a time when Charles II had ascended to the restored throne of England after a period of civil war. The story behind the book shows the importance of physical and moral courage for a writer who wants to write honestly, who is principled in his art, and you cannot but respect Milton for that.

But for all the subversive energy which Milton's lines contain, particularly in the early Books of Paradise Lost, the book also works just as well – if not better – with a straight reading. Milton's conceptualization of Hell as a place where you end up if you are bitter and resentful and unwilling to accept (and then transcend) your limitations – a conceptualization expanded on through Satan's soliloquizing – is one that shows why the Christian mythos remains one of enduring utility. Milton's Satan is attractive and modern, but Milton also shows you why it is dangerous to follow him down, turning your back on God.

In addition to getting its philosophy harmonious, Paradise Lost also works exceptionally well as story. There are some arresting dramatic scenes, from the imperial fury of the battle for Heaven between Satan's rebels and the loyal angels, to Satan's lonely moment of lust for Eve, and Adam's wide-eyed exploration of Paradise. Adam's decision to knowingly follow Eve down into Sin – a decision made out of love – aches with poignancy, as does the perfect ending in which the angel Michael takes Adam and Eve by their hands and gently leads them out of Eden into their exile. Milton's conceptualization of the cosmos is also fascinating to explore, and extraordinarily prescient. He brings to us concepts such as the void of space, infinity, alien worlds ("Space may produce new worlds" (pg. 19)), and perhaps even – this is my own personal reading – an early conceptualization of dark matter ("Things not revealed, which th' invisible King, Only omniscient, hath suppressed in night, To none communicable in earth or Heaven." (pg. 153)).

Admittedly, the blank verse poetry can be difficult, and you can tire easily when reading the book, but it is also incredibly rich, with lines that have become iconic ("Better to reign in Hell, than serve in Heav'n," for example (pg. 9)), a wealth of allusion (the endnotes to my Penguin Classics edition are almost as long as the book itself) and a cultural imprint shared by precious few books. The use of the word 'space' to describe the cosmos comes from Milton, and much of what we think we know as the Biblical story of Adam and Eve, and of the rebellion of the angels under Satan, comes not from Genesis but from here. You're reading a book of phenomenal influence when you read Paradise Lost, a fundamental exploration of the Western cultural conceptualization of life. Like the new Adam addressing the sun, you marvel that there can be such sublime magnificence brought into the world.
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In Paradise Lost Milton produced poem of epic scale, conjuring up a vast, awe-inspiring cosmos and ranging across huge tracts of space and time. And yet, in putting a charismatic Satan and naked Adam and Eve at the centre of this story, he also created an intensely human tragedy on the Fall of Man. Written when Milton was in his fifties blind, bitterly disappointed by the Restoration and briefly in danger of execution Paradise Lost's apparent ambivalence towards authority has led to intense show more debate about whether it manages to justify the ways of God to men', or exposes the cruelty of Christianity.

The greatest poem in the English language.
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Un sonetto sulla luce, inserito in questo libro di composizioni poetiche di John Milton, stamattina mi ha fatto comprendere come si possa camminare anche al buio, nella luce. Non vi sembri strano quanto dico. Appena uscito dal portone di casa, mi sono inoltrato lungo i portici di via Saffi a Bologna, deciso a fare quattro passi, anche se il freddo del mattino era abbastanza pungente.

Davanti e dietro di me, passanti frettolosi ed infreddoliti, avvolti nei loro pensieri si incrociavano con show more altri provenienti in senso inverso. I loro passi risuonavano sul selciato mentre a sinistra dei portici, in strada, scorreva veloce il traffico di sempre. Faceva davvero freddo. Un tagliente vento di tramontana sferzava i volti facendoli rinchiudere nelle sciarpe e nei colli alti dei cappotti. Tutti sembravano avere una destinazione da raggiungere, una meta da conquistare. All'improvviso, da un portoncino laterale alla mia destra, esce un uomo. La sua figura preceduta da un bastone si allunga davanti a sé. Chiude lentamente il portoncino d'ingresso, svolta verso destra e comincia a camminare. Mi rendo conto che è un cieco e mi accorgo di cominciare a pedinarlo.

Non ho mai fatto una esperienza del genere, seguire il cammino di una persona che si definisce "non vedente". Un essere umano che, nel buio più assoluto, accompagnato soltanto da un bastone bianco, si inoltra di prima mattina, nel traffico della città. Lo seguo a breve distanza e mi rendo conto che è un giovane. Non avrà più di una trentina di anni. Cammina al centro della lunga fila di portici di questa strada che porta diritto al centro della città. Mi sembra che conosca bene il suo percorso, sembra seguire una linea invisibile lungo i portici facendosi guidare dal suo bianco bastone. Schiva abilmente chi gli viene incontro, evitando chi, avendolo di fronte, non si rende conto di stare per scontrarsi con qualcuno che non ha il dono della luce.

Il barbone che di solito staziona all'ingresso del supermercato lo saluta. Lui risponde agitando il suo bastone. Sono sempre più attento a vedere come cammina, mi incuriosisce la sua destinazione. Decido di seguire i suoi passi. Supera una prima fermata dell'autobus, passa anche la seconda. Alla terza si ferma. Non so come abbia fatto. Lo affianco e finalmente riesco a guardarlo in faccia. Un cappuccio gli copre la testa, un naso lungo ed affinato alla Dante Alighieri, un paio di occhiali scuri difendono i suoi occhi. Sta lì impalato alla fermata. Osservo il pugno della sua mano al braccio destro. Le dita si aprono e si chiudono nervosamente. Forse per il freddo, forse come per ricaricarsi di una energia nascosta che gli viene da dentro. Ogni tanto abbozza una sorta di sorriso che a me sembra un ghigno. Come se parlasse con qualcuno dentro. Ma non appare triste.

Passa un primo autobus, non accenna a salire. Ne passa un altro. Un uomo gli si affianca. I due si scambiano alcune frasi che non riesco a comprendere. Arriva un terzo autobus, il numero 38. Si ferma giusto all'altezza dell'uomo. Si apre la porta anteriore. Lui monta guidato dal suo bastone. Dopo d'avere detto qualcosa in direzione del conducente, sale, percorre il corridoio centrale, aggancia una presa. L'autobus si allontana. Ed io resto a terra a riflettere sulla fortuna della luce che mi circonda. Mi guardo intorno. Mi accorgo che nessuno ha fatto caso a lui. Ma so che gli altri non hanno visto quello che non ho veduto nemmeno io. Elogio della luce.

When I consider how my light is spent
Ere half my days in this dark world and wide,
And that one talent which is death to hide
Lodg'd with me useless, though my soul more bent
To serve therewith my Maker, and present
My true account, lest he returning chide,
"Doth God exact day-labour, light denied?"
I fondly ask. But Patience, to prevent
That murmur, soon replies: "God doth not need
Either man's work or his own gifts: who best
Bear his mild yoke, they serve him best. His state
Is kingly; thousands at his bidding speed
And post o'er land and ocean without rest:
They also serve who only stand and wait."

John Milton

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Quando rifletto su come ho usato la mia luce,
finora, in questo mondo buio e ampio,
e che quel talento, che non è bene nascondere,
ha vissuto in me senza uno scopo, benché la mia anima fosse ben disposta
a servire il mio Creatore e a presentare
il mio vero legame, per paura che lui, rispondendomi, mi potesse rimproverare
"L'esatta fatica giornaliera di Dio, ti ha negato la luce?"
Ingenuamente chiedo, ma la pazienza, per prevenire
quelle lamentele, subito replica: "Dio non ha bisogno
né del lavoro dell'uomo né dei suoi doni, chi meglio
sopporta il suo giogo leggero, lo serve al meglio, il suo stato
è regale. Migliaia ai suoi ordini corrono
e si affrettano su terra e oceano senza riposo:
lo servono anche quelli che solo restano fermi e aspettano".

Il grande poeta inglese John Milton in questo famoso sonetto medita sulla sua cecità. La sua condizione non gli permette di servire Dio come vorrebbe. La Pazienza gli risponde che a Dio molti ricorrono, ma Lui non ha poi tanto bisogno dell'impegno umano. Ciò che conta, lei aggiunge, è da parte dell'uomo la sua capacità a sopportare il giogo divino, per restare a lui fedele senza nulla rimproverarsi. Anche chi è impotente e sta solo ad aspettare avrà una speranza. Chi si ritrova prigioniero del buio e senza luce sarà aiutato a far parte del mistero di Dio. Come quel giovane cieco che stamani ho visto in via Saffi.
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Lists

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Awards

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Associated Authors

William Wordsworth Contributor
David Masson Editor, Introduction
Erick Ramalho Translator
Edward Le Comte Introduction
Northrop Frye Editor, Contributor
John Carey Editor
Stefan Salter Typography and cover design
Henry Morley Introduction, Editor
Richard Wilbur general editor
J. M. W. Turner Illustrator
Henry Newbolt Introduction
William Cowper Translator
Albert Perry Walker Introduction
Christopher Ricks Editor, Contributor
Harold Bloom Contributor
Michael Burghers Illustrator
Peter Verstegen Translator
John T. Winterich Introduction
Simon Vance Narrator
John Wain Introduction
Philip Pullman Introduction
Gustave Dore Illustrator
William Blake Illustrator, Contributor
Petrarch Contributor
Peter Paul Rubens Cover artist
Seneca the Younger Contributor
Horace Contributor
Ludovico Ariosto Contributor
Euripides Contributor
Dante Alighieri Contributor
Sophocles Contributor
Frederic B. Tromly Introduction
Giuseppe Cesari Cover artist
Samuel Johnson Contributor
Janet E. Halley Contributor
John Keats Contributor
Matthew Arnold Contributor
Voltaire Contributor
Frank Kermode Contributor
Virginia Woolf Contributor
William Empson Contributor
Christopher Hill Contributor
John Dryden Contributor
Alfred Tennyson Contributor
Robert M. Adams Contributor
Barbara Lewalski Contributor
Milton Glaser Cover designer
William Poole Introduction
Henry Lawes Music, Editor
walkerap Editor
Richard Eberhart Introduction
M. R. H. Farrar Illustrator
Henry Wootton Contributor
Angel Gurria Translator
Hendrik Hutter Translator
John Alvis Foreword
Érico Assis Translator
F. GORSE Editor
Birket Foster Illustrator
Jacques Delille Translator
W P Trent Contributor
Edmund Gosse Introduction

Statistics

Works
763
Also by
61
Members
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Popularity
#528
Rating
4.3
Reviews
247
ISBNs
1,210
Languages
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Favorited
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