Before I move on to my next immersion, I want to tie up one last loose end as concerns Fish. I’ve pretty much established that his main claim to fame is his break from the text centered formalist approach (as well as its tendency to anchor meaning in what happens “at the end of the text” (into a more process based approach that gives the reader equal status. And at one point in the intro I have been focusing on, he offers an example (shows rather than tells), based on Milton’s Paradise Lost, that demonstrates the advantage (as concerns extracting meaning (his approach has over the formalists. And hopefully, in between tapping at the keyboard, drinking beer and sipping Jager, glancing back at the text itself, and summarizing, I’ll manage to pull this off. But first the quote:
Satan now, first inflam’d with rage came down,
The Tempter ere th’ Accuser of man-kind,
To wreck on innocent frail man his loss
Of that first Battle, and his flight to Hell.
Now let’s look at this particular line:
To wreck on innocent frail man his loss
The tendency of most readers would be to assume that the referent of “his” would be “innocent frail man”. And it would naturally follow from this that the loss in question, the one Satan had wrecked upon man, was the garden. But if you actually look at the logic of it, the loss in question is actually Satan’s “Of that first Battle, and his flight to Hell.”
Now if we were to accept the at-the-end approach of the formalists, we would reduce this to a failure on the reader’s part. But if I’m reading Fish right, we also have to look at how Milton utilized the line break in order to trick the reader into the misconception in the first place. And there is a good chance he also understood that the reader would eventually correct themselves. And he did so because he saw meaning in that process so that the reader, as Fish put it, would become “aware of his tendency, inherited from those same parents, to reach for interpretations that are, in the basic theological sense, self serving”. As Fish concluded:
“This passage then would take its place in a general strategy by means of which the reader comes to know that his experience of the poem is a part of its subject; and the conclusion would be that this pattern, essential to the poem’s operation, would go undetected by a formalist analysis.”