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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. To justify the ways of God is a well-trodden path, but there is more to only one path. For if... ... middle of paper ... ...o tensions. Paul the apostle wrote by the same Spirit that Milton claimed that the Potter has the power over the clay and by the riches of God’s mercy he shall show mercy upon who he wants to show mercy. Theologians of history, Augustine, Wyclif, Luther, Zwingli, Calvin and others all held this doctrine of predestination and taught it with vigor. With vigor predestination stands in Scripture and the challenge for Milton was to demonstrate the Father is reasonable, but at the same time God is the Almighty. So where does Milton’s views stand in relation to a perfect God? As others before "of Providence, Foreknowledge, Will and Fate, Fixt Fate, free will, foreknowledge absolute," in the Apostle Paul’s reply "O man, who art thou that repliest against God? Shall the thing formed say to him that formed it, why hast thou made me thus" (2.559,560- Romans 9:20 K.J.V.)?
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.
Milton's purpose in Paradise Lost is nothing less than to assert eternal providence and justify the ways of God to men - a most daunting task. For Milton to succeed in his endeavour, he has to unravel a number of theologiccal thorns that have troubled christian philosophers for centuries. Since his epic poem is, essentially, a twelve book argument building to a logical conclusion - the 'justification of the ways of God to men' - he will necessarily have to deal with these dogmatic problems, and, in doing so, reveal his own take on the Christian theology.
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...
Milton’s theodicy is shown as a way to explain why if God is all loving, why he lets bad things happen to us. His basic concept is that because Eve partook of the forbidden fruit, many consequences came after. For example children dying of cancer. Many times in our lives things happen that we don’t think are good necessarily, but good things come from bad things. The choices we make have consequences and, but sometimes we are given trial for, what we believe, is no particular reason. This has been the question from the beginning. Milton decided to write this because it is on everyone 's mind, and he wanted to challenge Homer’s The Iliad and The Odyssey. Milton was successful, in that, his book is well known, but The Iliad and The Odyssey are still the basis of human thought. Everyone in their lifetimes wants to accomplish something that will help them to be more successful than they are now. This was Milton’s thought process. Who wouldn’t want to write a book and have it be considered the basis of human thought and maybe even the book people associate with our nation? Most people would, this is why Milton tried and somewhat had a success. The
Initially, John Milton’s Paradise Lost can be critiqued for its contents pertaining to theodicy. To understand the story of Paradise Lost, you need to understand the question Milton intends to answer. In the opening of the poem, he writes “That to the heighth of this great Argument I may assert Eternal Providence, And justify the ways of God to men. (Book I, Lines 24-16)” It is by no means an easy task. Especially when put in the words of Covington, who writes “Traditionally, the most central source of enmity between God and philosophy is the problem of evil. In the vast field of arguments for or against the existence of God, it alone seems to have much strength or possible validity. A simple version of it could be stated thus: 1: God is an omnipotent, omnibenevolent being. 2: An omnipotent being has the power to prevent all evil, and an omnibenevolent being has the will t...
It appears that the problem of evil is a substantial one. While arguments exist that can challenge assumptions of the problem, it sometimes requires some definition contorting and does not answer all the challenges evil presents. The greater good defense presents some key insights into how we must perceive God’s actions but does not completely defend against the presented problems of evil. Therefore, a more plausible defense is needed to eliminate the problems evil creates with the Judeo-Christian concept of God.
The attention Milton gives to each character, and their specific personality, allows us to interpret their actions as consciously chosen deeds within the larger framework of the poem. Great detail is given to the idea of "creation". Beyond that of the creation of the world in Book I, there are many instances where the act of creation itself becomes an act of endowing power on some object or person. The most obvious example would be the creation of Adam and Eve by God. By creating the pair, God, desires them to glorify His ways through their praises and deeds. He gives them enough power over their destiny to choose to worship Him as the Almighty. The fact that they have free will is important to God because they choose to give Him praise despite any outside temptation. There is one obvious drawback to this kind of power. They chose to follow Satan’s beguiling words. The fact that they had the free will to follow Satan’s words meant that their decision was cosmically more important because it was arrived at through conscious thought. We can see this idea of power demonstrated throughout Paradise Lost. The dual relationship between the beneficial act of bestowing power at the time of creation and the negative side of the free will to use that power freely, shows up within every character. Instances of creation appear in every book, and can be associated with every character. Some of the first appearances of the word "author" are connected with the idea of creation. In Book III, the throngs of assembled angels say,"Eternal King, the Author of all being/Fountain of light, thyself invisible/..." (III, 376-7) Here God is portrayed as the great originator of everything in all of creation. To be the "author" of something is to be the creator, much the same way as Milton himself is creating the world of the poem. In virtually every instance the act of "authoring", is associated with images of primacy and legitimacy. The ultimate act of creation, that of shaping the physical world itself, brings about another reference to this idea.
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.
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. Helen Gardner addresses this notion, claiming how “Satan is, of course, a character in an epic, and he is no sense the hero of the epic as a whole. But he is a figure of heroic magnitude and heroic energy, and he is developed by Milton with dramatic emphasis and dramatic intensity” (Baker/Helen, 208). Satan is without a doubt the antichrist, or “villain” in the biblical scriptures, however one must take into consideration his alternative and more ambiguous portrayal in Paradise Lost. In this paper, I will analyze Satan’s actions, physical portrayal and speeches in Book I of Paradise Los...
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.
John Milton lived from 1608 to 1674 and was therefore a major part of the Neoclassical Period. Paradise Lost by John Milton was and still is an extremely controversial piece of literature. I have found that the more controversial and disputed a subject is, the more interesting it is to read about. Christianity is a notoriously touchy subject, so naturally I was pulled towards Paradise Lost. When I began my research on this “lost” treasure, I discovered that the recently blinded Milton focused on the tragedy of Adam and Eve. Milton intended to show men the righteous path that God took by rewriting and explaining the original sin (Luxon, “Milton Reading Room”). John Milton contemplated publishing Paradise Lost for a long time due to the controversial nature of the epic. Milton knew that releasing his work into the public would most likely cause an uproar or two, but in the end decided to do it anyway. Little did Milton know that Paradise Lost would be known as "the greatest epic poem in the English language” (Paradise Lost: A Brief Overview).
In the opening lines of Paradise Lost, Milton wastes no time conveying to his readers what his purpose in writing the epic is. He writes in the beginning that he intends to “assert Eternal Providence, / and justifie the wayes of God to men” (I. 25-26). What exactly does this mean though? In order to be able to clearly judge and evaluate what these lines imply, it is important that one understands what exactly Milton’s thoughts we regarding “Eternal Providence” and the “wayes of God”. Stemming from this idea, it is important to also realize how the idea of free will intertwines with the omniscience of God. For Milton, God’s omniscient did not constrain the free will of Adam and Eve. However, this idea presents the reader with a paradoxical situation that Milton as an author was fully aware of. Paradise Lost presents the reader with eternal providence and free will as being part and parcel of each other, neither constrains the other, and it is these two aspects, along with that of knowledge that lay the groundwork in understanding Paradise Lost.
Reichert, John. Milton's Wisdom: Nature and Scripture in Paradise Lost. Ann Arbor, The University of Michigan Press. 1992
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.
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)