John Milton’s “Paradise Lost” is one of the most well known epics written during the Renaissance. Milton expresses great feeling into his epic, because he felt as if it connected directly to himself during his lifetime. The epic was written when he was unofficially exiled from Cambridge, and the exile of Adam and Eve from Paradise is a comparison in the epic. John Milton uses epic conventions in “Paradise Lost” as he attempts to justify the ways of God to men.
Milton believed that everything had been predetermined by God/the Holy Spirit and not through free will. The fall of Satan and his following angels had been planned previously by God, so that man’s first disobedience (the fruit being eaten by Adam) would occur, then the son of God would be sent to die as the savior of man for all who believed and repented their sins to God. Milton’s beliefs of predestination are shown during the time between Eve eating the fruit and Adam eating the fruit. Adam discusses with Eve how God created them, so he could uncreate them. He also explains that God probably would not do that, so their fall had
…show more content…
Homer uses Zeus’s nine daughters, the daughters of wit and charm , as his muse of the “Iliad” and the “Odyssey”; Virgil uses a similar muse to Homer, since his muse is a goddess for the “Aeneid”; Dante Alighieri used his first love Beatrice as his muse for “Divine Comedy” specifically for the cantica “Inferno”. Milton uses the Holy Spirit as his muse for “Paradise Lost”. The Holy Spirit is a larger and more powerful figure than the muse for epics written by Homer, Virgil, and Dante. Milton wrote “Paradise Lost” in modern English during the Renaissance. He surpassed his classical models (Homer, Virgil, and Dante) when he chose to write his epic using the Holy Spirit for inspiration. Milton’s epic is closer to the Bible and other biblical literature than any other piece of modern English
Paradise Lost is John Milton’s epic poem about the battle between Satan and God. The poem is quite controversial due to the fact that this was written during the time period that the Catholic Church was facing major corruption. People were already having concerns about God and what was right from the Catholic Church; because of this and many other textual reasons Paradise Lost has a very controversial relationship with Christianity.
Milton begins at the middle of his epic with an appeal to music, a universal and fulfilling language, “Restore us, and regain the blissful seat, Sing Heavenly Muse” (I.5-6).He immediately places us after the fall and takes us beyond sentience with an invocation to a muse, only this muse is beyond all muses and this epic is above all epics:
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.
The theme of the 'heroic' in John Milton's Paradise Lost is one that has often been the focus of critical debate, namely in the debate surrounding which character is the 'true' hero of the poem. Most critics of the subject have, however, noted that the difficultly in defining the 'hero' of Milton's work is mainly due to our “vague understanding of what constitutes heroism”1 and the fact that “the term itself is equivocal”2. The 'vague' terming of what heroism can be defined as it what draws critics to disagree with one another over the nature of heroism, as Charles Martindale points out that there are 'different models of heroic', many of which Milton employs in his epic poem. To incorporate these different 'models' of the heroic into his poem, Milton relates various elements of these models to his characters, allowing him to 'test' and 'revalidate' certain ideas and images of the heroic. For the most part, the models of the heroic fit broadly into two camps, which leads critics like John Steadman to identify the “conflict between secular and divine criteria of the heroic”3. Furthermore, within these two main models of heroism critics mostly attempt to define the characters of Satan, Adam and the Son of God, depending on their characteristics throughout the poem.
Paradise Lost is an epic poem portraying John Milton’s theological standpoints. The theme is knowledge and the fall of man. Milton uses his poem to state some of his theological beliefs and his personal reflections. Milton wrote Paradise Lost in the 17th century but uses influence from classic poets. Milton’s epic is an extremely important piece of literature. The excerpt used in this commentary takes on the subjects of sin and the punishment with regards to the atonement from God’s point of view. Milton’s states many of his own theological opinions but wants the reader to know that God is justified in everything that he does, and also wants them to know that man has free will.
The serpent even states to Eve that “For God knows that when you eat from it your eyes will be opened, and you will be like God, knowing good and evil” (NIV, Gen 3:5). The next few lines are completely different from what is shown by Milton. It says that when Eve saw that the fruit was good and she began to desire wisdom she took some and ate it. Then she game some to Adam who was with her. This is a very large contrast from Milton’s work because this shows that Adam was present the whole time of the serpent and Eve’s discussion. In the poem “Verses for Madonna of humility with the temptation of Eve” Lynn Powell takes a very graphic and almost nostalgic look at the story of Adam and Eve. Her poem states “Eve 's lying at eye level, propped up on an elbow./And never has abyss been so good to pink,/ the void a perfect foil for her foreground flesh./She fits into the black like a woman/ ready to be skewered in a vaudeville act./ You can tell the painter loves her, the way/ You can tell the painter loves her/ he 's touched her every place he can with paint./ And he 's noticed what she 's thinking:/ holding the pear, as Hamlet did the skull,/ while gazing up at someone who 's got everything to lose./ Eve 's about to make the choice Mary has to live with./
In Milton’s poem we see and feel that the character of Eve is somehow not as important as the character of Adam. This is evident in the way Adam is consulted while Eve is left to herself in times of important conversations. In Book eight, Adam says that Eve is “th’ inferior, in the mind and inward faculties.” (Paradise Lost, book 8, line 317-318) Eve is a submissive character in Paradise Lost. On the other hand, Beatrice, in Dante’s The Divine Comedy, is a strong character and leads Dante. The use of numbers is very important in Dante’s poem as the number three reveals itself several times as well as the number seven. This is not a characteristic found in Paradise Lost.
There have been many different interpretations of John Milton's epic, Paradise Lost. Milton's purpose in writing the epic was to explain the biblical story of Adam and Eve. Although the epic is similar to the Bible story in many ways, Milton's character structure differs from that of the Bible's version. Through-out the epic Milton describes the characters in the way he believes they are. In book II of Paradise Lost, Milton portrays Satan as a rebel who exhibits certain heroic qualities, but who turns out not to be a hero.
In Paradise Lost, Milton uses many conventions of the classic epic, including an invocation of the Muse, love, wa, a solitary voyage, heroism, the supernatural and mythical allusion. Milton writes, "Sing, Heavenly Muse, that on the secret top of Oreb, or of Sinai, didst inspire that shepard who first taught the chosen seed in the beginning how the heavens and earth rose out of Chaos." Here he invokes the traditional muse of the epic, yet in the same sentence he identifies the muse as a Christian being and asks him to sing of Christian tales.
Milton, John. ‘Paradise Lost.’ 1674. Norton Anthology of English Literature. 7th ed. 2 vols. New York: Norton, 2000, 1: 1817-2044.
Milton. New York: Norton, 1957. Elledge, Scott, ed., pp. 113-117. Paradise Lost: An Authoritative Text, Backgrounds and Sources.
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.
...lects a political standpoint, a hierarchy of social status, and the issue of authority and free will. By subtly voicing his political opinion within the characters and situations he develops a modern day understanding of government throughout the epic. In addition he portrays the importance of social status that is still influential in today’s society as well as at that time. The use of God and His role presents a scope of free will and authoritative actions that are consistent in the structure of society as well. Although Milton introduces in an obvious biblical sense at first, he provides indirect representations of social order that can still prove relevant today. Breaking down these interpretations, Milton satisfies a substantial modern idea other than religion. Paradise Lost repeatedly directs us back to the importance and influence of structure in our society.
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.
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)