Constrasting Styles in Paradise Lost by John Milton
In the excerpts from John Milton's Paradise Lost, the reader can see the various elements of style Milton uses to achieve two different effects. His diction produces a brutal tone in Passage A, while painting an idyllic picture in Passage B. Milton's sentence structure supports his diction. The syntax of Passage A is sharp, while Passage B's is more flowing. Figurative language, especially conceit, is pervasive throughout both passages, and the poetic devices -- mainly hyperbole -- add to the overall effect of the passages. The two passages influence the reader, persuading him to believe that war or hostility is bad and beauty is good, no matter what the situation.
Milton's diction, or word choice, in the two excerpts is essential in producing his desired effect. In Passage A, Milton wants to portray the idea that war and conflict are bad; many of his words show the ferocity of confrontation. For example, in the first line he makes known the "adverse" and "hideous … shock" of war. Later, he describes the "horrible discord" of the event in line 5. Similarly, the diction of Passage B establishes the almost heavenly qualities of the Garden. The "cloud of fragrance" (line 29) in which Eve stands is a reflection of the beauty which envelops her. Milton also describes Eve as the "fair virgin" in line 43, thus extending the idea of heaven on earth through Eve's purity.
While Milton's choice of words helps communicate his ideas, the structure of that language furthers his points in both passages. Passage A utilizes (relatively) short sentences that get right to the point. Sentences such as "dire was the noise / Of conflict" and "All Heaven / Resounded, a...
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...e seem much more perfect and beautiful than they really are. Eve is described in lines 43 and 49 as "nymphlike" and "angelic" while the picture of earth is equally as 'perfect.' Another common technique shared by both passages is the use of antithesis. Simply put, Passage A shows an atrocious incident happening in what is thought to be the most blissful place in the universe. On the other hand, earth is made out to be a perfect place, while, in actuality, it is not. This antithesis serves to show that war is war and beauty is beauty no matter where they occur.
John Milton uses many techniques to convince his readers that war is evil and beauty is good in the given excerpts from Paradise Lost. Among these are diction, syntax, figurative language, and poetic devices. These various techniques, while used similarly, have two very distinct effects on the reader.
The seat of faith resides in the will of the individual and not in the leaning to our own reasoning, for reasoning is the freedom of choosing what one accepts as one’s will. In considering the will was created and one cannot accuse the potter or the clay, Milton writes to this reasoning, as “thir own revolt,” whereas the clay of humankind is sufficient and justly pliable for use as a vessel of obedience or disobedience (3.117). The difficulty of this acceptance of obedience or disobedience is inherent in the natural unwillingness in acknowledging that we are at the disposal of another being, even God. One theme of Paradise Lost is humankind’s disobedience to a Creator, a Creator that claims control over its creation. When a single living thing which God has made escapes beyond the Creator’s control this is in essence an eradicating of the Creator God. A Creator who would create a creature who the Creator would or could not control its creation is not a sovereign God. For who would not hold someone responsible for manufacturing something that could not be controlled and consider it immoral to do so? To think that God created a universe that he has somehow abdicated to its own devices is to accredit immorality to the Creator. Since the nucleus of Milton’s epic poem is to “justifie the wayes of God” to his creation, these ‘arguments’ are set in theological Miltonesque terms in his words (1. 26). Milton’s terms and words in Paradise Lost relate the view of God to man and Milton’s view to the reader. Views viewed in theological terms that have blazed many wandering paths through the centuries to knot up imperfect men to explain perfect God.
Martin, Jessica. "John Milton, Part 3: Does Paradise Lost Really Attempt to Justify God's Ways?" Theguardian.com. Guardian News and Media, 12 Dec. 2011. Web. 24 Feb. 2014.
Disobedience causes disaster, not only for those involved but for all of humanity in Paradise Lost. While Adam and Eve are cast out of The Garden of Eden, their penalty extends to subsequent generations. In book 10, line 274, Milton employs an epic simile to convey this to the reader.
As a result of Milton's failed political aspirations, he believes that individuals do not construct truth, or decide for themselves what the truth is; instead, individuals receive the truth directly or indirectly from God. Conversely, deception comes from Satan. In Paradise Lost, Milton sets up this idea by forcing good to result only from obedience to God's will and evil to result whenever God is disobeyed. Dr. Evans' argument that Milton's ultimate point in all this is to express a moral position that is very extreme, that no quality or action can be innately good or evil, is firmly rooted in this model. What determines the morality of anything we do is in whose service we do it. Since Raphael was sent from God, his warning is true and divine. Since Satan disobeyed God, his ideas are all false lies. Part of Milton's ideology may have come from his own life experiences. After the restorat...
In Milton’s Paradise Lost, before the fall Adam and Eve live in harmony with one another, enjoy the provisions and comforts of nature, and have a direct relationship with God and the angels. Unimpeded with conflict, they live in innocence, working not out of necessity but to make their home beautiful, speaking not to clear up misunderstanding but for the pleasure of it, and anticipating a time when they will rise up to the order of angels and be favoured with a closer communion with God. The fall changes all this. Everything becomes more separated, more differentiated: there grows a distance between Adam and Eve, they can understand each other less and they argue more; nature is no longer harmonious but rather something to be wrestled and toiled with; what was once pleasurable and innocent might now be incontinent and evil; God and the angels no more indulge humankind with friendship and discourse but distance themselves and become almost inaccessible. Adam and Eve, raised on innocence and pleasure alone, have to learn how to live in this new world where nature is mutually incompatible with God.
Many arguments have been made that Dante’s Inferno glimmers through here and there in Milton’s Paradise Lost. While at first glance the two poems seem quite drastically different in their portrayal of Hell, but scholars have made arguments that influence from Dante shines through Milton’s work as well as arguments refuting these claims. All of these arguments have their own merit and while there are instances where a Dantean influence can be seen throughout Paradise Lost, Milton’s progression of evil and Satan are quite different from Dante. Dante’s influence on Milton is noted by many scholars and is very apparent in several instances throughout Paradise Lost, however, Milton shows a progression of evil through his own vision of Satan and creates a Hell that is less meticulously constructed than Dante’s and more open to interpretation.
John Milton's Paradise Lost attempts to justify "God's will" by giving a better understanding of the "ways of God", according to the author. In his work, Milton addresses several issues from biblical text as he expands on the "role of woman" as it is written in the book of Genesis. "Woman's role" is recognized and presented as one that is subordinate to man. Several associations are recognized between Milton's work and books of the Bible which reveal much about the way both of these books intend to define the role of a woman.
...nces for straying from God and it is because of this that his mind further and further spirals downward. On the other hand, Adam and Eve manage to realize the scope of God’s power and thus rewarded by God’s grace.
The last two lines of this speech are very dramatic. Eve has such a great love for Adam that she could endure anything as long as he would be by her side, but she would be nothing without him. However, this creates a paradox. One may ask, if Eve loves Adam as much as she professes to, then why put his life in jeopardy just to make her own suffering more bearable? The answer, of course, goes back to the selfishness that has pervaded her entire speech. These lines stand out because of the spondees at the end of both of them.
The question of whether Satan is the hero or the villain of John Milton’s Paradise Lost has been largely debated by scholars over the centuries. The ones who believe Satan is the villain of the epic, more commonly known as the Anti-Satanists, tend to argue that Satan is too foolish to be considered a hero, as his “hostility to Almighty power” is ultimately a futile endeavour (as God’s power is omnipotent) (Carey, 135). C. W. Lewis, also an anti-Satanist, goes as far as to claim that to “admire Satan, then, is to give one’s vote not only for a world of misery, but also for a world of lies and propaganda, of wishful thinking” (Lewis, 203). The ones who claim Satan is the hero of the epic, the Satanists, perceive him as the rebellious angel who rises up and defies God’s monarchy and “the tyranny of Heav’n” (174).They choose to focus on Satan’s “nobler qualities, his loyalty in leadership, fortitude in adversity, unflinching courage and splendid recklessness” (Satan/Promo, 3). While these two positions are both valid, this paper will be focusing on a third position: the individuals who believe that Satan is neither the hero nor the villain of the epic.
In Book IV, Eve recalls awakening to consciousness but she is uncertain of her identity and of her place in the Garden of Eden. Eve's first thoughts are of “where and what [she] was, whence thither brought, and how” (Paradise Lost, IV.451-52), and it is this curiosity about her identity that leads Eve to disobey God eventually. From the moment of her conception, Eve is already distant from God because she awakens in the shade and not in God’s light. Throughout Paradise Lost, Eve is identified with reflections, shadows, and dreams. Representing the “otherness” of Eden, Eve is an outcast and she seeks to find meaning in her life. At the moment of her awakening, Eve is engrossed by her reflection in the water, which she thinks is another being. This watery, wavering image of Eve extends throughout Milton’s poem, and this further puts Eve in a weak position, for Eve is merely a ref...
Milton returned to England about 1641 when the political and religious affairs were very disturbing to many. He started to apply his work in practice for that one great work like Paradise Lost when penning the Sonnets. Not every sonnet is identical but they can be difficult in interpretation, styles, word use, and so forth. The purpose of this paper is to analyze Milton’s Sonnet 8 (ca 1642), “Captain or Colonel.” This will be done by explaining the type of theme and then separating the sonnet into three sections: lines 1-4, 5-8, and 9-14 for a better understanding of how Milton used the development of ongoing events to present problems with a mystical resolution.
Paradise Lost is one of the finest examples of the epic tradition in all of literature. In composing this extraordinary work, John Milton was, for the most part, following in the manner of epic poets of past centuries: Barbara Lewalski notes that Paradise Lost is an "epic whose closest structural affinities are to Virgil's Aeneid . . . "; she continues, however, to state that we now recognize as well the influence of epic traditions and the presence of epic features other than Virgilian. Among the poem's Homeric elements are its Iliadic subject, the death and woe resulting from an act of disobedience; the portrayal of Satan as an Archillean hero motivated by a sense of injured merit and also as an Odyssean hero of wiles and craft; the description of Satan's perilous Odyssey to find a new homeland; and the battle scenes in heaven. . . . The poem also incorporates a Hesiodic gigantomachy; numerous Ovidian metamorphoses; an Ariostan Paradise of Fools; [and] Spenserian allegorical figures (Sin and Death) . . . . (3)
In conclusion, Paradise Lost can be seen through a historically contextual lens that allows us to see the parallels between Milton’s life and experiences during the reign of Charles I, and the predominant themes in his epic poem. Many of the themes in Paradise Lost, from the broader situational occurrences to the behavior of individual character’s and their attitudes toward the situations in which they find themselves can be seen as directly influenced by Milton’s time as a Parliamentarian in 17th century England.
Throughout Paradise Lost, Milton uses various tools of the epic to convey a traditional and very popular Biblical story. He adds his own touches to make it more of an epic and to set forth new insights into God's ways and the temptations we all face. Through his uses of love, war, heroism, and allusion, Milton crafted an epic; through his references to the Bible and his selection of Christ as the hero, he set forth a beautifully religious Renaissance work. He masterfully combined these two techniques to create a beautiful story capable of withstanding the test of time and touching its readers for centuries.