The Impact of Paradise Lost For generations since his death, and perhaps even during his life, Milton's "bogey" has haunted all the masters of the English language as art. It was difficult to explore verse in a way that he had not already done it, or so it is said. Regardless of whether Milton truly exhausted all that is good in English verse, his figure is one which is essential to the integrity of literature in English-Paradise Lost is part of what is considered the "canon," which is something undeniable and irrevocable. Men like T.S. Eliot have attempted to kill Milton's haunting presence by using an entirely different set of figurative sources, as in The Waste Land; but still, what Milton has done and the immensity of his accomplishment is something not to be diminished by other works. Great works in the English language are now destined to share their limelight with, or stand in some way affected by Milton. The reasons for this are many. And to convince a group of atheists or agnostics to approach the great epic work as a serious piece of literature, the crux of my argument would be simply that story-by its very nature-need not be true in objective reality in order to teach us things and reveal other truths we do not know. From Beowulf to The Tempest, there have been important works in English literature with basis on little more than folk-lore and mysticism-and to cast these aside as unworthy of any significant attention would be inimical to the very essence of the literary arts. In the other great epic of the English language, the "poet's poet" writes: Right well I wote most mighty Soveraine, That all this famous antique history, Of some th'aboundance of an idle braine Will judgéd be, and painted forgery, Rather then matter of just memory (II:1:1-5). Spenser predicts, concerning his The Faerie Queene, that it will be regarded by some as merely a child's story, some illusion painted for useless ends. In light of this prediction, he argues, though, asking later, "Why then should witlesse man so much misweene/ That nothing is, but that which he hath seene?" (II:3:4-5). This is the same sort of prediction which Milton implies when he professes to reveal things "invisible to mortal sight." He knew that-regardless of whether the Bible was true or not-his story was just that: a story. There were lessons to be learned from it which remain in the text, independent of the fact that the story is one no longer considered true in any sense by most. In discussing The Faerie Queene, Catherine Belsey refers to the concept of ocular error-trompe-l'oeil-as the harbor of the individual's desire in relation to a piece of literature, though this term is usually applied in the context of the visual arts. While the line between art and nature is blurred in the story of Spenser's epic, what makes the piece interesting is not as much its presentation of themes in a clear and objective manner, but more so, these "mistakes of the eyes," these delightful interludes when one looks past the particular morals of an episode of the work, and rather enjoys the work itself, as something beautiful to enjoy. This is the attitude with which such a work as Paradise Lost should be approached. Some of the greatest myths and legends have come from pagan religions such as those of the Greeks, giving rise to equally tremendous art reflecting these stories-from great verse and fiction to phenomenal works of sculpture, architecture, painting. And to ignore the utter beauty of the story of Pygmalion, for instance-let alone take it to a modern level like George Bernard Shaw-because it is not believable, is to lose the flavor of artistic appreciation. Of course the story is not true-but it can still be appreciated for its enthralling images of exquisite material beauty and reverent intellectual beauty. The same is the case with Paradise Lost. It is difficult to read even the first five lines of Milton's epic-if one knows a little of the character of its author-and not come in reverence to its altar. Oftentimes, independent of the scriptural premises, the "one greater man" who is predicted to come procures images of Milton himself as the hero, the redeemer of literature as Christ is the savior of the soul. In his long apologia "De Profundis," Oscar Wilde refers to Jesus as the true beginning of the Romantics, a precursor to their ideas. He says that there is something about a young Galilean Shepherd taking the world upon his shoulders that is just simply amazing. In the same sense, there is something about a scholarly near-blind heretic becoming the mouthpiece of God which simply awakens the senses, revitalizes the spirit of loyalty and piety-whether this is in reference to one's deity, country, or self-just as Vergil once did. Clearly, the story of the Aeneid is a fiction-but it has a place in classical literature because of its appealing artistry and its place in history, in the minds and hearts of men. Oscar Wilde himself has said, "all art is quite useless"-speaking in terms of industry and conquest, a poem or a painting will not accomplish a thing. But the true essence of Wilde's statement, which Milton boldly echoes through eternity in his epic, is that of art for art's sake. Even the most ardent disbeliever cannot deny the facts of reality, the effects that religions have had on the art and culture of different ages. Despite the truth that hardly anyone believes in the Greek pantheon and relatively few in current religious trends including Christianity, the immense proliferation of art with religious themes is more than enough evidence to indicate the effects of faiths on many cultural levels. In the same sense, though people may not believe in Paradise Lost-or the Bible-as accounts of true events in the history of the world as we know it, it offers a lens, or perhaps a mirror, by which we can explore the world of Milton, of Christianity, of the English language. Whether or not one believes in a certain philosophy or doctrine or story, it is irrational to deny the effects of those on individuals and societies. Such is the case with Paradise Lost. But there is so much more to Milton's work than mere pandering to his own culture. The themes of the epic can hardly be ignored-and to say that it is merely an apologetic encomium making a case for Christianity would miss the many complex ideas presented. Milton's Satan, for instance, is one of the most intricately wrought, intensely supported characters in the history of English literature. He is a powerful example of the notion that Milton was not close-minded to looking at different aspects of his faith and culture, and was by no means going to chain his hands and the minds of his readers by writing a straightforward simple-minded Christian panegyric. Even the peasants of China love the character of Satan, and find him more emphatic and human than the others of Paradise Lost-this can hardly have been unconscious on the part of such as Milton, so aware, so conscious of his place in literature. And the modern-day atheists, agnostics, pantheists (non-theists of every sort) are-and often declare themselves to be-literary Satanists. And why not? Satan is the ultimate rebel; the adversary of authority; the one who called the Almighty on his flaws and was not afraid of it; the most profound manifestation of Thomas Jefferson's notion that we should "question with boldness even the existence of a God; because, if there be one, he must more approve of the homage of reason, than that of blindfolded fear." The exploration of Satan's character, in addition to his own twists on the original story of Genesis make Paradise Lost an ingenious work of creativity and intellectual fortitude. It would seem folly that one of the greatest pieces of the English literary canon has been referred to as "a monument to dead ideas," a mere reflection of times and themes which no longer exist. However, considering the secularization of the age, the emphasis on heresy and irreligiousness seem to have become the prerequisites of intellectual virtue. While transcending dogma and doctrine in order to embrace all art is something a true aesthete must do, to go so far as to declare Milton's Paradise Lost outmoded and irrelevant can be nothing short of outrageous and irreverent. The method, form, and lyrical intensity of the poem are what entered it into the canon initially, and are what will preserve it there, in its proper place, for all time-after all, it was conceived in and takes place in Eternity-or so Milton claimed. In the modern day, in the company of those who regard the Bible and its contents as no more than legend, religious propaganda, or literature, Paradise Lost sits well and holds its own as a great piece of literature should, for as Milton himself wrote in "Areopagitica," For books are not absolutely dead things, but do contain a potency of life in them to be as active as that soul was whose progeny they are; nay, they do preserve as in a vial the purest efficacy and extraction of that living intellect that bred them. Even if the Bible were to die in the dust and no one ever turned its pages again for religious illumination, Milton's work will still remain-and perhaps inspire some to read more scriptures. But overall, Paradise Lost is arguably one of the greatest achievements in the history of English literature, and those who are unable to appreciate it because of their own philistine nature, have not caused Milton or Christianity or the English language any hurt, but only their own unredeemed souls.
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This website gives a large historical overlook and possible conclusion to the issue of coral reef bleaching. Since the 1980’s episodes of coral reef bleaching and death have occurred almost every year in one or more of the world's tropical or subtropical seas. Bleaching happens in episodes, with the most severe typically accompanying coupled ocean–atmosphere phenomena. Bleaching episodes have resulted in loss of coral
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.
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.
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Huppert, A., and Stone, L. 1998. Chaos in the Pacific’s Coral Reef Bleaching Cycle. The American Naturalist; Vol. 152, No. 3 (Sept. 1998), pp. 447-459.
Another explanation for coral reefs dying is because of increasing in temperature. As the earth gets warmer due to global warming the oceans get warmer. According to research done by the International Union for Conservation of Nature because of global climate change coral bleaching takes effects on the coral reefs all over the world. This causes coral bleaching caused by these elevated sea surface temperatures. Status of Coral Reefs Around the World (pg. 21) says that the major threat to the coral reefs has been coral bleaching over the past decade. According to Green peace if the climate change is not stopped, coral bleaching will increase all over the world until it occurs annually by 2030-2070. This is ...
...t, Stephen, gen. ed. “Paradise Lost.” The Norton Anthology of English Literature. 9th ed. Vol. 1. New York: Norton, 2012. Print. 36-39.
Blake’s point begins to make sense if Paradise Lost is evaluated on its poetic success and its theological failure. Milton “was a true Poet, and of the Devil’s party without knowing it” in that his poetry unwittingly brought Satan to life while trying to destroy him. Satan, warts and all, is probably the most memorable presence in the poem and likely all readers retain of it. Similarly Milton’s theology is so weak and flawed that it opens the door to a devastating philosophical counterattack. In trying to justify God, Milton actually accomplishes the opposite as demonstrated by the failure of Book III. For Blake, Milton the Epic Poet ultimately trumps Milton the Christian Apologist who surely desired otherwise.
The very first words of the poem “Paradise Lost” indicate that the main theme of the poem is disobedience to God’s will. Milton begins his poem with a question directed to the reader, which serves the poet well; as it attracts the reader’s attention and makes him think about the answer to that question. When reading the beginning of the poem the reader gets the image of a commander addressing a crowd. The poet represents the hero of the poem as the devil. This gives an image of a commander of a huge army that has just lost a battle. In the first couple of lines, the devil as the hero of the poem directly addresses the audiences in the present tense, which gives the reader the feeling of the actual presence among a huge crowd of soldiers and leaders waiting for hope from their king, after the defeat in the battle. The battle in the poem is understood to be between hell and heaven, and heaven won the battle. The speaker says:
Paradise Lost by John Milton thrives off the implicit and explicit aspects of Hell offered by the narrator and the physical and psychological descriptions offered by various characters. Their separate perspectives coincide to expose the intentions of Milton and the purpose Hell serves in this epic poem. Each character adds a new element to the physical and psychological development of this alternative world. The narrator and Satan provide the greatest insight into the dynamics of this underworld by attempting to redress the issues of accommodation.
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.
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Satan’s definitions include the advocate of God, a personification of evil, the fallen angel, a spirit created by God, and also the accuser. People see Satan differently, some know of his existence, others think of him as just a myth, and there are those that just ignore him. John Milton's Paradise Lost tells of Satan's banishment from Heaven and his gain of earth. He and his brigade have plotted war against God and are now doomed to billow in the fiery pits of hell. Satan is a complex character with many different qualities. God is a character who we, as Christians, know about but do not completely understand. We also do not completely understand Satan. Some may think they know Satan but when asked “Is Satan divine?” they hesitate. I admit that this is a very tough question to answer but it is just one of the ways that we understand Satan. The tools we have to understand Satan are mainly the just Bible and our questions, but some use John Milton’s Paradise Lost. There are some who think we should not use Paradise Lost as a tool because it is just a fictional book. I personally believe that this book could be a story told to John Milton by the Holy Spirit. Milton's Satan is somewhat different to our thought of Satan largely because he is more complex than the Satan of the Christian tradition. Satan's rebelliousness, his seeking of transcendence and his capacity for action, particularly evil action, change certain people’s viewpoints on him, even if their viewpoint might be considered theologically misleading. The question is: do we actually understand Satan and evil by means of the book Paradise Lost?
Reichert, John. Milton's Wisdom: Nature and Scripture in Paradise Lost. Ann Arbor, The University of Michigan Press. 1992