Bridges' Analysis of Milton's Later Work
- Bridges' Analysis of Milton's Later Work
In his book "Milton's Prosody", Robert Bridges continues his detailed analysis of the prosody of John Milton's "Paradise Lost", by looking at the changes in Milton's practice with his later poems "Paradise Regained" and "Samson Agonistes."
Relaxation of the Rules of Elision
Bridges notes that Milton allows himself a wider range of elisions in the later poems. In particular he finds one instance apiece of elisions through "SH" and "ST" which he states are 'abhorrent' to the prosody of "Paradise Lost."
The Prosody and Rhythm of "Samson Agonistes"
Inversions of the first two feet
Bridges notes Milton's increasing freedom with inversions. He cites a number of lines where both the first and second foot are inverted. Line 81 is particularly noteworthy, as it contains inversions of the first, second and fourth feet::Irrecoverbly dark, total Eclipse
Twelve Syllable Lines
The twelve syllable, six stress line— also known as the alexandrine—only appears in the lyrical sections of the poem. Milton breaks with the traditional entirely regular caesura between syllables six and seven (that is, the 6 + 6 line). Bridges lists Milton's breaks:
*12 (no break) ... there are 7 of these
*6+6 ... there are 6
*7+5 ... there are 4
*8+4 ... there are 3
*4+5+3 ... only one
*5+7 ... only one
*5+3+4 ... only oneBridges goes on to remark that some of these lines could be regarded as iambic pentameter with two extra-metrical syllables at the end, such as::The Image of thy strength, and mighty minister (line 706, 6+6)
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