Miltonic Vision part 2: Satan, Swiss Tony and using Threshold Concepts to organise and teach powerful knowledge

Swiss-Toni-800x450

‘Making a cup of coffee is like making love to a beautiful woman. It’s got to be hot. You’ve got to take your time. You’ve got to stir… gently and firmly. You’ve got to grind your beans until they squeak. And then you put in the milk.’ Swiss Tony

‘.… he stood and call’d

His Legions, Angel Forms, who lay intrans’

thick as Autumnal Leaves that strow the Brooks

In Vallombrosa, where th’ Etrurian shades

High overarch’t imbowr…’                                                          John Milton

What has a recurring sexual innuendo from the Fast Show got in common with a beautiful passage of poetry from Paradise Lost? On the one hand, the answer is clearly nothing – whilst The Fast Show, and in particular the character of Swiss Tony, may have provided some funny moments back in the 1990s, Milton’s epic work of literary genius will remain an epic work of literary genius for many years to come. Yet, despite this absurd juxtaposition of artistic genres, I think there is something that binds these two disparate works, a link I want to make the subject of this post – namely the way in which both texts use simile, albeit for different purposes: one to instigate laughter, the other to provoke wonder and contemplation about the nature of faith and knowing.

In this belated follow up to my previous post, I want to take the literary device of the simile – within the broader notion of figurative language – to exemplify how I see threshold concepts can lead to better organisation of curriculum content and assessment. It seems to me that the conceptualisation of disciplines into thresholds and domains creates a framework that forces teachers to reflect on the nature of their subject and how to teach it effectively. It offers a means for developing teacher subject knowledge by mapping out thresholds of understanding within and across domains that are directly linked to curriculum. Thinking hard about the thresholds and the liminal spaces that lie between deeper, transformational levels of understanding offers perhaps the best route to identifying the sequences required to achieve mastery,

Whilst we are quite happy with the English curriculum and assessment model we have developed, we know that it can be better. Our framework has elements of mastery to it, but it is not a mastery model in the truest form – in the sense that it lays out the content of the subject in sequential steps, which are each mastered in turn to a given level before progression. Designing a true mastery curriculum in English is hard. Whilst it might be relatively straightforward to identify a logical sequence for some of the written components, such as sentence structure and the use of punctuation, developing a mastery model for reading is understandably rather more difficult. What does a route to mastering reading look like, especially when so much depends upon a myriad of factors?

Threshold concepts and the Miltonic simile

Before the steps towards mastery towards can be identified and sequenced it is necessary to first lay bare the essence of the subject, and to identify the different transformational moves (or thresholds) that need to be negotiated. The domain that I want to strip back to understand more fully how it works is figurative language, and the example I want to draw upon to help is Paradise Lost. To me, Milton’s epic poem represents the apotheosis of figurative language, in particular his unique usage of the epic simile, which feature heavily in Book I which detail Satan’s fall from heaven and his subsequent building of pandemonium.

It strikes me that there four distinct phases or thresholds through which a novice learner must pass before they have understood the Miltonic simile. Even then, that understanding is probably still contingent, since new insights are likely to manifest in the future. I have attempted to map out these four thresholds in the table below. The first column is my attempt to define each of the distinct phases a learner needs to negotiate. I don’t think it would be possible to bypass any one of them, since each builds upon the foundations of the previous one. The second column provides some sense of indicative content, whilst the third offers up some literary examples of the kinds of texts that could act as exemplification.

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There are six main similes in Book I of Paradise Lost

  • Leviathan lines 197-209
  • Moon lines 287-291
  • Fallen Leaves lines 301-303
  • Red Sea lines 304-311
  • Locusts lines 338-343
  • Bees/Pygmies/elves lines 769-787

Here is the simile of the Fallen Leaves:

.… he stood and call’d

His Legions, Angel Forms, who lay intrans’

thick as Autumnal Leaves that strow the Brooks

In Vallombrosa, where th’ Etrurian shades

High overarch’t imbowr; or scatterd sedge

Afloat, when with fierce Winds Orion arm’d

Hath vext the Red-Sea Coast, whose waves o’erthrew

Busiris and his Memphian Chivalry,

While with perfidious hatred they pursu’d

The Sojourners of Goshen, who beheld

From the safe shore thir floating Carcasses

And broken Chariot Wheels; so thick bestrewn

Abject and lost lay these, covering the Flood,

Under amazement of thir hideous change.

  1. Threshold – Understanding literal and figurative language

On one level the function of the simile is to describe the number of fallen angels lying prostrate on the burning lake of hell. There are as many angels as ‘Autumnal Leaves that strow the Brooks / In Vallombrosa’. To understand this simile, the first thing a learner needs to appreciate is the way that one thing can be used to describe or define another i.e. the difference between literal and figurative language. It may not be immediately apparent as to why leaves would be a useful way to describe the volume of fallen angels. I have attempted to schematise what this understanding might look like as an equation. So, in this first level of engagement A = B, where A is the amount of fallen angels on the burning lake and B is the multitude of fallen leaves on the floor of Vallombrosa.

  1. Threshold – Understanding literal and figurative language

Of course, Milton’s simile is more complicated than a simple comparison between leaves and angels. A deeper appreciation necessitates some kind of framework to help the learner evaluate whether or not the simile is successful. This could be aided by introducing the idea of tenor, vehicle and field. Taken together these concepts provide a means to evaluate the simile and help the learner truly see why bestrewn leaves offer up such a powerful image of the state of the fallen angels – voluminous, haphazard and inglorious. Such an analytical framework, which I think would be hard to understand for a novice, would also help tease out additional layers of meaning. The structured interrogation of the comparison, by way of the vehicle of the leaves, reveals that along with the image there is also a hidden authorial comment, one that seems to imply that because the angels are strewn they can in no sense be considered heroic.

Shortly after the simile of the fallen leaves comes another– the simile of the Red Sea. As before, the simile begins with overt visual comparison, this time between floating sea sedge (A) and the number of fallen angels on the floor of hell (B). It is another attempt to define the sheer scale of the fallen angels in their state of ruin, which in itself is a kind of additional meaning – one simile is simply not enough to conjure the image: it requires multiple comparisons to convey the torrid sight. The Red Sea simile continues with 4 more additional layers of comparison, each one complicating and confusing the original link between sedge and fallen angels.

The simile suggests the angels on the floor of hell are something like:

  1. scatterd sedge Afloat, and
  2. when with fierce Winds Orion arm’d / Hath vext the Red-Sea Coast, and
  3. whose waves o’erthrew Busiris and his Memphian Chivalry, and
  4. While with perfidious hatred they pursu’d The Sojourners of Goshen, and
  5. who beheld From the safe shore thir floating Carcasses /And broken Chariot Wheels;

A learner who has mastered the notion that one thing can be used to compare another figuratively must at this point confront the idea that multiple things can be used at the same time to make a comparison – in other words they must comprehend the idea of extended metaphor or epic simile. They must also learn how to make sense of these different elements and the way they cumulatively refine the original comparison. I see this understanding as something like A + B + C = D. The number of fallen angels are like scattered sedge (A), when God Orion parted the Red Sea (B), which drowned the Egyptians (C), while they pursued the Israelites (D), who themselves witnessed the events from the safety of the shore (E). But even this formula is not entirely accurate, since each of the additional conditions is so specific and predicated on a number of precise factors.

  1. Threshold – Figures of speech as objects of study within a tradition

This threshold is reliant on the introduction of considerable external knowledge, even more so than the previous ones. Milton’s epic simile contains echoes of Classical and Renaissance poets and their different uses of the image of fallen leaves, usually to describe the numberless dead. It would simply not be possible for a learner to understand or appreciate the simile at the level of aesthetic object unless they had encountered its literary precedents, or indeed understood the idea of tradition itself. Even if a gloss in the margin or a comment in the footnotes provided the necessary detail, it would still likely require additional comment in order to render the meaning of the secondary note. This is a clear example of the way knowledge begets further knowledge, and how students with high levels of schematic background knowledge have a distinct advantage in discerning meaning over those without. In this case knowledge of the literary precursors to the simile of the fallen leaves allows the reader to deepen their understanding of Milton’s use of it: namely to establish himself as the voice of God, and to place himself in some kind of literary hierarchy that predates and thus negates the Classical World.

Only someone with access to the knowledge of Virgil and Homer would be able to deepen their appreciation of the simile’s import. They would bring to their reading of Milton an awareness that Virgil uses the same image to describe the entrance of people to the underworld, whilst Homer uses it when the warrior Glaucus dismisses the importance of genealogy. A novice learner would have no way of arriving at these conclusions, or to appreciate how Milton is positioning himself via the simile amongst the pantheon of literary greats. The equation this time is thus something like this (A + B + C + D + E ) = F, where the totality of what is contained in the bracket is arguably of more value than the sum it generates – it sits outside of it, marking the simile itself as some kind of vehicle of meaning.

  1. Threshold – Conceptualisation of the failings of figurative language

If the last threshold was characterised by an appreciation of the ability to use tradition to build meaning in the present, then this next threshold transforms the learner into a position where the very notion of meaning itself is destabilised. This rejection of the power and certainty of knowledge, or rather knowledge of a certain, imperfect kind, is provided by the insights of criticism and theory. As we have seen, after the initial stages of the simile, which describe the number of fallen angels on the floor of hell, Milton deliberately obscures his comparison.

He likens Satan to Orion, a constellation represented by the figure of an armed man and believed to be attended by stormy weather. In Hebrew scripture the Red Sea is called sedgy sea, so ladened it is with thick weeds. So Milton appears to be suggesting that Orion – and the way he tosses aside the voluminous sedge with his mighty gusts – is like Satan, and the heroic manner in which he is rousing the multitude of the fallen host to fight on from a position of his own despair. Critic Geoffrey Hartman calls this overt kind of forward motion the plot of the simile.

Yet Milton soon blurs this pagan identification. He disrupts the forward motion of the plot, as indicated above, with a simultaneous backwards motion, which Hartman calls the counter plot. Whilst Satan may be like the wind Orion, he is also to be seen in his Christian manifestation, as the God whose intervention destroys the Egyptians, resulting in their carcasses washing up on the shores of the Red Sea. In the story of Exodus the waves part to allow the Israelites (The Sojourners of Goshen) to pass, before closing up again on the chasing Egyptian army (Busiris and his Memphian Chivalry).

Milton uses the Latin name Busiris to mean Pharaoh, and what is interesting to note is that biblical history associates Busiris with Satan. What this means in terms of the simile is that whilst Satan is Orion, blowing aside the waves of the Red Sea to allow the Egyptians to flee to safety, he is also at the same time Busiris, destroying himself just as he attempts to destroy God’s faithful. Using Hartman’s idea of the counter plot, it is thus possible to see how Milton uses the simile to show the true nature of his view of Satan: seemingly glorious and attractive but ultimately deluded by his own impartial understanding and so prone to self-destruction. The final equation might read something like this (A + B + C + D + E) + F = G, where the interpretation of Busiris (F) is added to the individual and cumulative elements of the simile to arrive at the final reading of Satan as G. Either that or it might read (A + B + C + D + E) < F, since the simile fails to reveal a full understanding of Satan.

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Final comment

Obviously, I appreciate that much of the discussion above is the stuff of university undergraduate courses. But what I hope I have shown through the example of the Miltonic simile, is the way that Threshold Concepts can provide a valuable means of helping teachers to understand what they are going to need to teach students and in what sequence in order for students to achieve mastery. I also think that threshold concepts allow teachers to understand their subject or discipline better and work out what gaps they may have in their own understanding. The next move would be to show how it is possible to break down each of these thresholds into specific, practical items for day-to-day learning. I think, however, that requires another post of all its own.

Thank you for reading.

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2 thoughts on “Miltonic Vision part 2: Satan, Swiss Tony and using Threshold Concepts to organise and teach powerful knowledge

  1. Pingback: The Elements of Progression: threshold concepts meet mastery learning | must do better…

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