Inevitably, however, tension developed when such norms met with common experience, as registered in the records of actual households and especially in the complexities and ambiguities represented in literary treatments of love, courtship, marriage, and family relations, from Shakespeare's King Lear NAEL 8, 1.
Specific characteristics of the writings of Rachel Speght and Esther Sowernamespecially their association of Eve with the female defender herself, become central elements in Milton's portrait of Eve.
It is Adam who becomes absorbed with his physical appearance- not only does he delight in it upon first awakening, but he gladly recounts the story to Raphael, making sure to extol his virtues. The Garden is repeatedly linked to pleasure, while the acquisition of knowledge is cast in desirable terms as well: If thou didst know the pleasure of the place, Where Knowledge growes, and where thou mayst it gaine; Or rather knew the vertue of the plant, Thou would'st not grudge at any cost, or paine, Thou canst bestow, to purchase for thy cure This plant, by which of helpe thou shalt be sure.
However, in the edition, Paradise Lost contained twelve books. This will change dramatically after the Fall. Milton would not have had to pick up copies of Speght's or Sowernam's responses to Swetnam in order to engage aspects of this tradition.
Written by Sandra M. This view of Eve is what is under heavy criticism, for many feel that Eve has been placed in this role, simply because she is a woman; not only is she a victim of patriarchal society, she is the very first woman to be affected by it, quite simply because she was, in fact, the very first woman.
Milton excelled in school, and went on to study privately in his twenties and thirties. In a reimagination of the context of knowledge and the attack by Satan that results in the Fall, Speght has constructed a postlapsarian narrative of acquiring knowledge to which women can return.
Sowerman pursues this identification most aggressively. His argument brought him both greater publicity and angry criticism from the religious establishment in England.
The household of the Sackvilles can be partly known through the picture of Knole, the country house of Richard Sackville, Earl of Dorset, and his wife Anne Clifford, and the great family picture of the Cliffords, showing Anne as a girl of fifteen and as a widow of fifty-six.