On the Late Massacre in Piedmont by John Milton | Sonnet 18 by John Milton | Explanation | Summary | Historical Context | Key Points | John Milton | Word Meaning | Questions Answers | Critical Appreciation | Themes | Free PDF Download – Easy Literary Lessons
Sonnet 18
On the Late Massacre in Piedmont
(John Milton)
Avenge, O Lord, thy slaughter’d saints, whose bones
Lie scatter’d on the Alpine mountains cold,
Ev’n them who kept thy truth so pure of old,
When all our fathers worshipp’d stocks and stones;
Forget not: in thy book record their groans
Who were thy sheep and in their ancient fold
Slain by the bloody Piemontese that roll’d
Mother with infant down the rocks. Their moans
The vales redoubl’d to the hills, and they
To Heav’n. Their martyr’d blood and ashes sow
O’er all th’ Italian fields where still doth sway
The triple tyrant; that from these may grow
A hundred-fold, who having learnt thy way
Early may fly the Babylonian woe.
On the Late Massacre in Piedmont by John Milton
On the Late Massacre in Piedmont Analysis
Avenge, O Lord, thy slaughter’d saints, whose bones
Lie scatter’d on the Alpine mountains cold,
Ev’n them who kept thy truth so pure of old,
When all our fathers worshipp’d stocks and stones;
Explanation: In the opening lines of the sonnet, John Milton calls upon God to “avenge” the slaughtered saints, referring to the Waldensians, a group of Protestant Christians massacred in Piedmont in 1655. These saints’ bones lie scattered on the “Alpine mountains cold,” creating a vivid image of their bodies strewn across the cold, unforgiving landscape of the Italian Alps, where the massacre took place. Milton emphasizes that these people were faithful Christians who “kept thy truth so pure of old,” suggesting that their adherence to God’s word was ancient, uncorrupted by time or external influences. He contrasts this purity with a reference to the past, when “all our fathers worshipp’d stocks and stones,” a metaphor for idolatry, likely pointing to pagan practices or the Catholic Church, which Milton and many Protestant Puritans associated with the veneration of idols and false worship.
Poetic devices:
Apostrophe: The poem opens with a direct address to God, “Avenge, O Lord,” where Milton speaks to a divine being who is absent from the immediate scene, a device used to invoke the presence of a higher power.
Imagery: The image of “bones scatter’d on the Alpine mountains cold” evokes a stark, chilling picture of the massacre’s aftermath, bringing the desolation and cruelty of the event vividly to the reader’s mind.
Metaphor: “Stocks and stones” is a metaphor for idolatry and false worship, representing a time when people worshipped material objects rather than the true God. It contrasts with the “truth so pure of old” that the Waldensians upheld.
Alliteration: The repetition of the “s” sound in “slaughter’d saints” and “scatter’d” emphasizes the harshness and brutality of the massacre, enhancing the somber tone of the poem.
Forget not: in thy book record their groans
Who were thy sheep and in their ancient fold
Slain by the bloody Piemontese that roll’d
Mother with infant down the rocks. Their moans
Explanation: In these lines, Milton continues his plea for divine justice, asking God not to forget the suffering of the Waldensian martyrs. He requests that their “groans” be recorded in God’s “book,” a reference to the idea that God keeps a record of the righteous and their suffering, and that divine judgment will ultimately account for their pain. The “sheep” metaphor refers to the Waldensians, portraying them as innocent and faithful followers of God, who were part of His “ancient fold,” symbolizing their long-standing and pure adherence to true Christianity.
The imagery becomes even more violent as Milton describes the actions of the “bloody Piemontese,” the soldiers responsible for the massacre. He highlights the brutality of the massacre by noting how these soldiers “roll’d mother with infant down the rocks,” emphasizing not just the death of individuals but the horrific murder of families, including mothers and their children. The sounds of their “moans” echo through the poem, reinforcing the depth of their suffering and the need for divine retribution.
Poetic Device:
Metaphor: “Thy sheep”: Milton uses the metaphor of sheep to represent the Waldensians. In Christian symbolism, the faithful are often depicted as sheep, with God as their shepherd. This emphasizes their innocence and vulnerability, as well as their close relationship with God.
“Ancient fold”: This metaphor refers to the church or community of believers, implying that the Waldensians have been part of God’s flock since ancient times.
Imagery: The phrase “roll’d mother with infant down the rocks” creates a graphic, heart-wrenching visual of the massacre, highlighting the inhumanity and cruelty of the attackers. This image appeals strongly to the reader’s emotions.
The groans and moans of the victims add an auditory element to the suffering, making the horror more palpable.
The vales redoubl’d to the hills, and they
To Heav’n. Their martyr’d blood and ashes sow
O’er all th’ Italian fields where still doth sway
Explanation: In these lines, Milton paints a vivid picture of how the cries of the massacred Waldensians reverberated across the landscape. The “vales redoubl’d to the hills, and they to Heav’n” suggests that the victims’ moans and cries for help echoed from the valleys to the hills and eventually rose up to Heaven, symbolizing the reach and importance of their suffering. This image emphasizes the depth of the tragedy and implies that Heaven is listening and will respond to the cries for justice.
Milton then moves to a more hopeful image, saying that “Their martyr’d blood and ashes sow o’er all th’ Italian fields.” This metaphor suggests that the blood and ashes of the Waldensians, like seeds, will spread across Italy and lead to a new generation of faithful Protestants. Even in their deaths, the martyrs’ sacrifice will produce a spiritual harvest. The phrase “where still doth sway” refers to the continuing dominance of the Catholic Church in Italy, represented as the oppressive force still in power, but Milton expresses hope that the martyrdom will lead to the growth of Protestantism in the face of Catholic authority.
Poetic Device:
Personification: Milton personifies the landscape by saying “The vales redoubl’d to the hills.” The valleys and hills “reply” to the cries of the martyrs, suggesting the entire natural world is echoing their suffering, as if it were participating in the call for justice.
Imagery: The image of martyrdom is made tangible with “blood and ashes sow o’er all th’ Italian fields.” The idea of sowing ashes and blood suggests that the martyrs’ deaths are not in vain but are like seeds that will lead to a spiritual awakening, giving their deaths purpose and meaning.
Metaphor: “Their martyr’d blood and ashes sow” is a powerful metaphor likening the spilled blood and remains of the dead to seeds being planted. This represents the idea that their sacrifice will lead to a flourishing of Protestantism and renewal of faith.
Symbolism: The blood and ashes symbolize the martyrs’ suffering, but also carry a sense of hope, as they are described as being “sown” in the Italian fields, symbolizing a future spiritual growth or transformation despite the Catholic dominance (“where still doth sway”).
Enjambment: The line break between “sow / O’er all th’ Italian fields” creates a flow of thought that mirrors the spreading of the blood and ashes, enhancing the sense of their sacrifice reaching far and wide.
The triple tyrant; that from these may grow
A hundred-fold, who having learnt thy way
Early may fly the Babylonian woe.
Explanation: In these final lines of the sonnet, Milton refers to the Catholic Church as the “triple tyrant,” an allusion to the papal tiara, which consists of three crowns and symbolizes the authority of the Pope. Milton, a staunch Protestant, views the Pope as a tyrant responsible for the persecution of the faithful Waldensians and other Protestant groups. By using the term “triple tyrant,” he reinforces his condemnation of the Catholic Church’s power and control over spiritual and political matters.
Milton expresses hope that, from the blood and ashes of the Waldensian martyrs, “a hundred-fold” of new believers will grow, multiplying the number of true Christians who have “learnt thy way” (God’s way). This is a metaphor for spiritual regeneration: just as seeds multiply after being sown, the martyrs’ sacrifice will lead to the growth of a larger, more faithful community.
The phrase “Early may fly the Babylonian woe” is a reference to the biblical city of Babylon, often associated with corruption, decadence, and false worship in Christian tradition. Babylon symbolizes the corrupt influence of the Catholic Church in Milton’s view. Milton hopes that those who embrace God’s truth will “fly” (escape) this “Babylonian woe,” meaning they will avoid falling into the corrupt practices and false teachings of the Church and stay true to their faith.
Poetic Device:
Allusion: “Triple tyrant” alludes to the Pope, specifically the papal tiara with its three crowns, symbolizing the authority and power of the Catholic Church, which Milton opposes.
“Babylonian woe” is a biblical allusion to the city of Babylon, symbolizing corruption, oppression, and false religion. In Christian tradition, Babylon often represents the sinful world or, as in Milton’s context, the Catholic Church.
Metaphor: “A hundred-fold” is a metaphor for the exponential growth of true believers who will follow God’s way. This phrase recalls biblical references to a harvest yielding many times the seeds that were sown, emphasizing the idea that the martyrs’ deaths will bear abundant spiritual fruit.
Imagery: The image of “a hundred-fold” growth from the martyrs’ blood and ashes emphasizes the regenerative power of their sacrifice, suggesting that their deaths will lead to a flourishing of faith across future generations.
