The words God speaks at the Creation are the ultimate and original speech act; as narrated in Genesis and Paradise Lost, God only has to speak and the words come into effect:
And God said, 'Let there be light'; and there was light... (Genesis, 1:3)
Let there be light, said God, and forthwith light Ethereal, first of things, quintessence pure Sprung from the deep... (VII.243)
Milton inverts the arrangement of the identification of the voice and the spoken words themselves, thus absorbing God's voice entirely into the poetic lines.s
Satan is an inveterate liar who abuses language for his own evil purposes. Satan's language is 'Ambiguous and with double sense deluding' (Paradise Regained, I.435), whereas the Son's language (and by extension God's) enforces a kind of linguistic harmony where 'Thy actions to thy words accord' (Paradise Regained, III.9). In Paradise Lost, Satan's 'ambiguous words' (V.703, VI.568) act as 'persuasive' traps, 'replete with guile' (IX.737, 733). He utters 'high words, that bore | Semblance of worth not substance' (I.528), and it is worth bearing this in mind should you be tempted to succumb to his enticing rhetoric, as Eve or, more recently the poets Shelley and Blake have been known to do! God's words are necessarily congruent with their meaning (God is unable to lie). But while Satan lacks the power of speech acts, he has the sophistical ability to dissemble.
In the beginning of Book I of Paradise Lost, true to epic convention, John Milton invokes the muse, but his muse is no less than the Holy Spirit:
And chiefly Thou O Spirit, that dost prefer
Before all Temples th’ upright heart and pure,
Instruct me, for Thou know’st; Thou from the first
Wast present, and with mighty wings outspread
Dove-l...
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...a child whose only reply from parental authority was an unsatisfying “Because I said so!” But then such children grow up and search for their own answers.
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.
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.
Critics have typically focused on the debate over the extent of Milton’s access to primary sources or whether he used translations and secondary information from Christian Hebraists. Adams, Conklin, Mendelsohn, a...
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.
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.
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.
In John Milton’s epic, Paradise Lost, the author establishes Satan as the most complex and thought-provoking character in the tale through his depiction of Satan’s competing desires. Throughout the first four books of Paradise Lost, Satan repeatedly reveals his yearning both for recognition from God and, simultaneously, independence from God. The paradox that prevents Satan from achieving his desires may be interpreted as a suggestion of Milton’s establishment of a sympathetic reading for this character, as he cannot truly find happiness. In actuality, the construction of Satan’s rivaling aspirations evince Satan’s repulsive depravity to Milton’s audience and encourage readers to condemn his character.
Milton, John. Paradise Lost. In John Milton: Complete Poems and Major Prose. Ed. Merritt Y. Hughes. Indianapolis: 1980.
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: Modern Essays in Criticism. Ed. Arthur E. Barker, b. 1875. New York: Oxford University Press, 1965. 205-217.
Although the epic poem centers around the story of the fall of man, it is interesting that Milton intertwines in this story the fall of Satan from heaven and the consequences it has not only for Satan himself, but for Adam, Eve, and the world as a whole. Milton allows the reader to see the fall from the point of view of Satan, God, as well as Adam and Eve. Because Milton gives insight into these characters feelings regarding the fall, it is no surprise that he uses “eternal providence” in conjunction with the stories of Satan, Adam, and Eve. The providence being described here is the knowledge of good and evil. However, ev...
The great debate whether Satan is the hero of Milton’s Epic Poem, Paradise Lost, has been speculated for hundreds of years. Milton, a writer devoted to theology and the appraisal of God, may not have intended for his portrayal of Satan to be marked as heroic. Yet, this argument is valid and shares just how remarkable the study of literature can be. Milton wrote his tale of the fall of man in the 1674. His masterpiece is an example of how ideas of a society change with time. This is because it wasn’t until the 1800’s during the Romantic era, that people no longer saw the hero of literary works as perfect in every way. It started to become more popular to develop the flawed character similar to the ones written in the classics. A literary criterion that is based on a protagonist, who undergoes conflict on the outside and from within and is prevented by a specific flaw to accomplish their main goal, creates an epic Hero. In Paradise Lost, God does not face conflict because he is perfect and all-knowing, and Adam’s conflict is not presented from the very start, Satan’s is. Because Satan is the main character of the work and possesses qualities that would deem him heroic, such as his determination against tough odds, his ability to lead, and his human-like nature to error, he can be seen has the Hero of the famous poem.
John Milton’s Paradise Lost continues the epic tradition developed by the ancient Greek and Roman poets. Composed in exact imitation of its predecessors, the work depicts all characteristics of a traditional epic poem—including the epic hero, a powerful embodiment of societal values. Milton presents his hero in a most unpredictable form: Satan. Despite the unorthodox oddity, the former archangel exhibits the conventions of an epic hero. Milton’s forced perception of Satan as the hero of the poem reflects his stated purpose for writing the piece. By placing Satan in a traditional heroic role, Milton illustrates his manipulative and cunning nature, which anyone can easily fall prey to, and resultingly fashions Satan into an antihero.
The regularity with which Milton frequently conforms to principles of epic structure make his occasional (but nevertheless fundamental) variations on the epic tradition all the more striking by contrast. The most important departures from epic decorum--the rejection of a martial theme, and the choice of an argument that emphasizes the hero's transgression and defeat instead of celebrating his virtues and triumphs--are paradoxically conditioned by concern for the ethical and religious decorum of the epic genre. On the whole, Milton has retained the formal motifs and devices of the heroic poem but has invested them with Christian matter and meaning. In this sense his epic is . . . something of a "pseudomorph"--retaining the form of classical epic but replacing its values and contents with Judeo-Christian correlatives. (Epic and Tragic Structure . . . 20)