PARADISE LOST ~ A BRIEF OVERVIEW© 1999. New Arts Library. All rights reserved
In the mid-seventeenth century, John Milton was a successful poet and political activist. He wrote scathing pamphlets against corruption in the Anglican
Church and its ties to King Charles. In Milton’s day Puritanism meant having politically radical views. And at one point Milton was actually jailed for
recording them on paper. Paradise Lost, as much as anything, is a series of arguments put forth by the characters, which in turn
ultimately expresses Milton’s personal truth. It is, in that sense, a Puritanical work.
Milton had contemplated the composition of an epic poem for many years. For his subject matter he chose the fundamentals of Christian theology. By the
time he began writing Paradise Lost in the late 1650’s, Milton had become blind. He dictated the entire work to secretaries.
Paradise Lost has many of the elements that define epic form. It is a long, narrative poem; it follows the exploits of a hero (or anti-hero); it involves warfare
and the supernatural; it begins in the midst of the action, with earlier crises in the story brought in later by flashback; and it expresses the ideals and traditions
of a people. It has these elements in common with the Aeneid, the Iliad, and the Odyssey. The poem is in blank verse, that is,
non-rhyming verse. In a note he added to the second printing, Milton expresses contempt for rhyming poetry. Paradise Lost is composed in the verse form of
iambic pentameter—the same used by Shakespeare. In this style, a line is composed of five long, unaccented syllables, each followed by a short, accented one.
The first edition of Paradise Lost was published in 1667, in ten chapters or books. In 1674 Milton reorganized the poem into twelve books, by dividing two
of the longer books into four. He also added an introductory prose “argument” summarizing the plot of each book, to prepare readers for the complex poetry
that was to follow. Part of that complexity is due to the many analogies and digressions into ancient history and mythology throughout the poem.
The central story line is built around a few paragraphs in the beginning of Genesis—the story of Adam and Eve. The epic also uses elements from many
other parts of the Bible, particularly involving Satan’s role. Focusing his poem on the events surrounding the fall of Adam and Eve, Milton intended, in
his words, to “justify the ways of God to men,” by tracing the cause and result for all involved. In the last two books of the epic, Milton includes almost a
complete summary of Genesis. This lengthy section may seem anti-climactic, but Milton's mission was to show not only what caused man's fall, but also the
consequences upon the world, both bad and good. A concept central to this tale is that of the “felix culpa” or fortunate fall. This is the philosophy that the
good which ultimately evolves as a result of the fall—God's mercy, the coming of Christ, redemption and salvation—
leaves us in a better place, with opportunity for greater good than would have been possible without the fall. For centuries critics have both praised and
derided Paradise Lost. A common observation is that, in his portrayal of the thoughts and motivations of Satan, Milton seems to unwittingly cast him as the
hero. Nevertheless, the general consensus holds that Paradise Lost remains the greatest epic poem in the English language.
In 1671, Milton published Paradise Regained. The title suggests some sort of sequel, but, although a great work in its own right, Paradise Regained is a
very different kind of poem, shorter and more contemplative than action oriented, and therefore less popular than the earlier work. It centers around the
confrontation between Jesus and Satan in the wilderness.
Book 1
Lines 1-26/Lines 27-83/Lines 84-127/Lines 128-191/Lines 192-282 / Other parts not included in our book: Lines 283-621/Lines 622-669/Lines 670-798
Invocation and introduction of theme (1-26): It is characteristic of a classical epic that the poet invokes the aid of his patron muse. Milton marries his
Christian theme and neo-classical method by invoking, as his muse, the Holy Spirit, third Person of the Trinity. This section is a prayer, in which Milton
states his subject, and asks for divine assistance in giving voice to it. Milton states that his purpose is to:
“Assert eternal providence
And justify the ways of God to men.”
Note that this section contains only two sentences. The main verb, in the first, is the thirty-ninth word in the sentence. The various indirect objects of the
verb “sing” reflect the magnitude of the poem's subject and its author's task: “disobedience...Death…woe...loss of Eden...one greater Man.”
Satan's revolt (27-83): Note how easily Milton moves from prayer into an account of Satan's fall, by asking who or what caused man to fall. According
to Milton, Satan's motive was to be above his peers. The expulsion of Satan from Heaven is depicted more fully in Book 6 (his revolt, partly, in Book 5)
of Paradise Lost. Satan is cast out of Heaven, together with his “horrid crew”. Nine days they lie on a lake of fire, then regain consciousness to find
themselves in Hell.
Satan's speech to Beelzebub (84-127): Satan acknowledges how utterly his confederate, Beelzebub, has been changed, for the worse, by the devils' defeat,
but stresses fact that they are still united in their fall. He recognises God's superior strength, but points out that he now knows the extent of God's power,
previously unknown because untried. Despite the change they have outwardly undergone, Satan stresses the unchanged nature of his attitude to God's Son,
“the potent Victor”. “All is not lost” because Satan will never submit freely to God's authority. Satan suggests that God's rule was endangered by his revolt,
that he will never sink to the indignity of asking forgiveness, and outlines his intention of conducting further warfare against God. Satan's speech smacks of
wishful thinking; he speaks boastfully, but at the same time tortured by pain and profound despair.
Beelzebub's reply and Satan's second speech (128-191): Beelzebub acknowledges Satan's trial of God's might, bewails loss of Heaven, and the punishment
the fallen angels are suffering, though this will not be alleviated by death. He suggests that God has deliberately left devils their strength, to be His slaves,
carrying out “his errands in the gloomy deep” of Hell. Satan replies that the devils' task must be never to do anything good, but always to strive to pervert
to evil ends whatever God does, turning to evil His good actions. Satan suggests leaving the lake of fire in which they lie, and reassembling their forces.
Note Satan's resolution and his taking the initiative. As the poem continues we also note Beelzebub's support of Satan, his ready agreement with all he says
Beelzebub is very shrewd; he makes sure he defers to his superior. Milton gives some account here of the topography of Hell.
Satan's and Beelzebub's quitting the lake of fire (192-282): Satan and Beelzebub leave the lake of fire and fly to land. Milton compares Satan with the
sea-monster, Leviathan, and stresses the fact that it is only with God's permission that the devils quit the lake. Satan acknowledges the horrible nature of Hell,
but argues that, for him, to be in Heaven would be Hell (being subservient to God) and it is better to reign where he is than serve in Heaven. Beelzebub repeats
Satan's suggestion, advising him to call to other angels, who will be revived by sound of their leader's voice.