1 – ‘Language has the ability to do sin expression attractive’ Tis Pity was published by John Ford in 1633 and is set in Italy. the bosom of the Renassiance. John Milton published Paradise Lost in 1667. comparatively shortly after John Ford. and was the first heroic poem verse form to be written in clean poetry. Both authors push the boundaries of literature by researching untasted. forbidden topics: incest and The Fall of Man. During this period of clip. shortly after the Renassiance period. many creative persons and authors were disputing society by presenting a scope of different manners and genres. This meant that Ford and Milton both intended to allure contention through their pieces of literature ; yet. the seductive pick of linguistic communication has alternatively caused an attraction to both texts. It is this attractive force to the linguistic communication. and arrant accomplishment behind these writer’s purposes. that has enabled both texts to defy the trial of clip. In Book Nine of Paradise Lost. Milton begins to present Satan as the Serpent ; nevertheless. he manages to pull the audience off from Satan’s purposes by showing his physical beauty.

As the Serpent ‘Addressed his way’ towards Eve. with the desire to do corruptness. he moves ‘not with intended wave’ . Alternatively. he towers ‘fould above fould a billowy Maze’ . with the colorss of ‘Verdant Gold’ . By giving the Serpent distinguishable features. he is dividing him from the other animals in the Garden of Eden. hence pulling Eve’s attending to his singularity. The repeat of ‘fould above fould’ gives the sense of an semblance. something which Eve’s seeing is unable to grok ; which is so reinforced by ‘surging Maze’ . giving this semblance velocity and power. doing a greater confusion on Eve’s behalf. The graphic description of ‘verdant Gold’ gives the Snake a really rich coloring. therefore repeating his importance in the Garden. When Satan eventually decides to face Eve. he becomes ‘erect’ . giving himself a sense of authorization. This is when Milton’s narrative confirms the beauty of his linguistic communication. as he mentions how ‘pleasing was his form / and lovely’ . For an audience. this outside reading about gives a sense of comfort. as they excessively are lost in his physical beauty. Finally. as the Serpent begins to talk. his ability to compliment and score enables him to do his manner ‘into the bosom of Eve’ .

There are clear similarites between Satan in Paradise Lost and Vasques in Tis Commiseration: both have a consummate usage of rhetoric. As Vasque efforts to garner information from Putana. he mentions how her – by turn outing themselves to be devoted to these adult females. they are appealing to their naivity and giving a false sense of trust. Their seductive usage of linguistic communication causes them to go ‘impassioned’ . as they begin to gain their ability to pull these adult females. The absence and backdown of linguistic communication in both texts is every bit every bit attractive to an audience. In Paradise Lost Book Nine. the polar point when Eve eats the Forbidden Fruit is merely expressed in four words. ‘she plucked. she eat’ . The usage of these monosyllabic words reinforces how accent can be achieved through simpleness. Widening on this farther. Milton’s changeless amplification and attention to item is intentionally dismissed here to direct an even greater message to his audience: world can non fault Eve for doing the Fall as she merely ‘ate’ the fruit. By declining to concentrate on Eve’s determination to eat the Fruit. he is daringly ambitious conventional positions that adult females are the lone cause of wickedness. John Ford in Tis Pity has a similar purpose through his portraiture of Hippolyta ; her refusal to be silenced goes against the position of women’s lower status.

This is achieved in Act Two Scene two. as she powerfully enters with ‘Tis I ; ’ . These two words are separate from the remainder of her address in order to keep suspense and give her a greater presence on phase. Ford’s purpose is for the audience to instantly be drawn to her in readying for her unfavorable judgment towards Soranzo. As both Ford and Milton are so skilled in composing ‘attractively’ and intentionally seeking to prosecute an audience. it is even more effectual when they all of a sudden withdraw ; the audience become responsible in utilizing their ain imaginativeness. in effort to understand the message these authors intend to show. In Tis Pity. the most effectual usage of linguistic communication is through converting an audience that Giovanni and Annabella have a natural. loving relationship. In Act One Scene Two. when Giovanni admits his love for Annabella and she responds equally. he ends the scene with ‘After so many cryings as we have wept. let’s learn to tribunal in smilings. to snog and sleep’ .

Finally Giovanni is no longer impassioned. ‘I have excessively long suppressed the concealed flames’ . and is alternatively able to appreciate the natural rawness of their love. Not merely that. but by mentioning to their ability to ‘weep. smiling. buss and sleep’ . he is showing emotions which audiences are able to associate to ; turn outing that their relationship isn’t every bit unnatural as first assumed. During this peculiar minute. the audience become so occupied in the text that they forget about the subject of incest and alternatively back up the pureness of their relationship. John Milton’s word picture of Satan creates a similar sense of wonder into the ability to sympathize with him. This is highlighted when he observes Eve for the first clip and becomes ‘of enmitie disarm’d/ of craft. of hatred. of envie. of revenge’ .

The repeat of ‘guile. hatred. envie. revenge’ proves how Satan is bit by bit striped of his emotions associated with immorality. and is alternatively left vulnerable through his esteem. The power of Eve’s beauty forces him to go ‘abstracted’ from his ain immorality. therefore showing the ability to react humanely. During this minute. Milton is leting the audience the chance to do their ain point of view of Satan ; isolated from the conventional. one-dimensial presentation of him. The beauty of both texts is non caused by converting the audience that wickedness is ‘attractive’ . but alternatively forcing them into sympathizing. look up toing and merely basking pieces of literature beyond outlook.