ARCHIBALD MACLEISH first treated the myth of the lost Paradise it, in the verse play Nobodaddy, which appeared in 1926. Though the fact that it was never reprinted argues that he came to consider this play unsatisfactory either in idea or in technique, it is a revealing expression of his mood in the mid-twenties, serving in particular as a companion piece to The Pot of Earth, written in the same period, in which he uses the pagan myth of the dying and resurrected fertility god to question the meaning of a girl's life absorbed and snuffed out in service to survival of the race. In the Foreword to Nobodaddy MacLeish says that he is using the myth not as metaphor but solely as a dramatic presentation of the plight of human consciousness in an indifferent universe, without anthropological implications.' It is hard, however, to see how this use differs from metaphor, or from the reinterpretation of myth widely practiced from time immemorial. At all events, Nobodaddy, though not to be taken as identical with Yahweh, is here the nature god, aloof and incomprehensible, the Fall is alienation from him through aroused human self-consciousness (as in Songs for Eve twenty-eight years later, Eve is not Eve until she has eaten the apple), and the rebellion of Cain is the assertion of human integrity against the amoral nature worship of Abel. Though these ideas are echoed in various guises throughout his career, MacLeish did not again use the myth of the lost Paradise until the fifties, when it became implicit in This Music Crept by Me upon the Waters (I953) and explicit in Songs for Eve (954). In This Music the Earthly Paradise is an island in the Antilles, where the winds of time and change are stilled and the innocent moon is supernaturally haunting and beautiful. The primitive Indians could live here, with reefs and sharks as angels at the
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