Part of Milton's genius lies in his ability to layer motif upon motif, theme upon theme, and image upon image with high density, without losing effectiveness of his words; in fact, that density increases effectiveness. Throughout Paradise Lost the motif of light and darkness recurs, figuratively contrasting God and Satan, Heaven and Hell. The third book begins with an invocation of Light as the muse, and from then on, discussions between God and Christ and Satan's decisions often use images of light and darkness to express contrast. Milton's use of light and dark in the first 55 lines of the third book creates a static, blurry delineation between the two states, expressing that few things are completely one or the other; light can exist in darkness and darkness in light. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an Original Essay Addressing his muse in this book as "Sacred Light" (3.1), Milton asks God or rather one of God's servants to aid him in a correct representation of God himself. Using a reference to the Bible through John 1:5, which states, “God is light, and in him there is no darkness at all,” is a strong way to invoke both divine imagery and the popular reference to knowledge and thought like light. However, despite Milton's strong religious beliefs, using such a strong statement from the Bible as a reference is actually an argument against such a statement. Just as it is demonstrated throughout the epic that even Satan is not an entirely evil figure, through the biblical reference above, Milton is stating that God also does not exist entirely without darkness. From there, Milton goes on to describe God as "the "Eternal coeternal ray" (3.2) and "luminous outpouring of luminous uncreating essence" (3.6), making God not just a reflection of light, but the object itself of light. In doing so, Milton pays homage to the greatness of God and develops him as a more active figure. That action is then reinforced by Milton's description of God's Creation. He shows that before the world was as it is now known. , there was darkness, and even after God created the form, the darkness remained to create, the waters he created remain "dark and deep" (3.11). This may be a reference to man's imperfect state, but since man had not yet been created then, God's singular presence shows that he also God is not without a little darkness and a little depth. Once the darkness of the pools is established, Milton changes his descriptions to those of Satan and the underworld. Words like "escaped" (3.14), "long held" (3.14), "dark sojourn" (3.15) and "utter... darkness" (3.16), while not direct references to the contrast between light and darkness, are allusions precise to what darkness entails. Through these descriptions, Chaos is created as a lonely, hopeless, and treacherous place, and the final reference to actual darkness only serves to reinforce this strong imagery. The "Eternal Night" (3.18) once again reinforces the desperation of Hell; nothing can escape him. The absence of Satan in this description, however, does not go unnoticed. Unlike the previous description of Heaven, in which God is the object of light rather than the location, the darkness described in this passage concerns Hell and all that it entails, not just its ruler. Through this omission, Milton leaves Satan's state of darkness somewhat ambiguous. The narrator's return to Heaven after thisjourney is not entirely jubilant. A trace of the darkness he encountered in Hell remains. He was "taught by the Celestial Muse to venture down / Into the dark descent and to ascend again" (3:19-20), and the journey was long. However, despite theinstruction received from the "Heavenly Muse" to sanction the journey, he returns to God less than before, longing: to feel your sovereign vital lamp; but you do not see these eyes again, which roll in vain to find your penetrating ray, and do not find the dawn; a drop so dense and serene has extinguished their orbits, or a dim veiled suffusion. (3.22-26) Because of his experience in the underworld, he has lost the ability to see the full light and enjoy the good graces of God. This serves as a foreshadowing of the fall of man later in the poem; Adam will no longer be able to experience the Paradise he had before because it will have been ruined or "lost". The phrase "extinct spheres" (3.25) shows the desperation gained through the visit to the underworld. Darkness can be overcome by light, but when the spheres are snuffed out, they become extinct forever, with no hope of regaining the light they once possessed. The Norton Anthology defines "a drop serene" (3.25) as what is now known as a cataract and what was then the affliction that caused Milton's blindness in his later life, including the period during which he composed Paradise Lost. Although it is purely speculative, it is possible that the frustration exhibited in this part of the passage stems from a certain degree of self-hatred on Milton's part, blaming himself for the condition he found himself in. Whether this is true or not, however, does not change the situation. fact that the darkness of Hell has contaminated the light of Paradise. The description of where the "Muses" wander (3.27) reinforces the statement that even the light is not all good, nor is the darkness all bad. They reside in a "clear spring, or shady grove, or sunny hill" (3.28). The shady grove evokes sensations of humidity and cold; the sunny hill evokes sensation of warmth. The contrast shows that the muses also do not exist on one plane but rather in different ways, neither good nor bad. Milton's statement that "Nightly I visited" (3.32) seems based on irony. Because he is blind, every interaction is like night, as every interaction is shrouded in darkness. Its placement in the poem in this part gives a positive spin to the darkness described. He mentions those poets like him who were tormented by blindness. He then discusses the clarity that can come from darkness through the metaphor of a nightingale. Feeding on thoughts, that voluntary movement, Harmonious numbers; as the awake bird sings the darkness, and in the shadiest hiding place sings its nocturnal note. (3.37-40) The nightingale, revered for its beautiful song, is able to focus and intonate its song more clearly without the distractions that light can afford. Through this metaphor, Milton shows that darkness is not entirely bad, in fact, it can be beneficial. Milton's bitterness resulting from his blindness is quite evident in lines 40-50. He rants that he will never see another day either rose or "divine human face" (3.44). He is "excluded" (3.50) from the light and condemned to darkness. Pockets of Paradise Lost seems to reveal Milton's general frustration with life, but his strength of conviction and strong belief system lead him to understand even the most frustrating situations. He realizes that the condemnation of darkness and blindness can only be applied in the natural world. He invoked his muse in the first line, calling her "Sacred Light" (3.1) because he wishes: Thou Celestial Light Shine inward, and the mind through all its powers Radiate, There plant thy eyes, All the fog from there Purge and scatter, that I may see and.