Paradise Lost Totally Explained

Everything about Paradise Lost totally explained

Paradise Lost is an epic poem in blank verse by the 17th-century English poet John Milton. It was originally published in 1667 in ten books; a second edition followed in 1674, redivided into twelve books (in the manner of the division of Virgil's Aeneid) with minor revisions throughout and a note on the versification. The poem concerns the Judeo-Christian story of the Fall of Man: the temptation of Adam and Eve by Satan and their expulsion from the Garden of Eden. Milton's purpose, stated in Book I, is "justify the ways of God to men" () and elucidate the conflict between God's eternal foresight and free will.
In the early nineteenth century, the Romantics began to regard the protagonist of the epic as the fallen angel, Satan. Milton presents Satan as an ambitious and proud being who defies his creator, omnipotent God, and who wages war on Heaven, only to be defeated and cast down. Indeed, William Blake, a great admirer of Milton and illustrator of the epic poem, said of Milton that "he was a true Poet, and of the Devil's party without knowing it." Some critics regard the character of Lucifer as a precursor of the Byronic hero.
Milton worked for Oliver Cromwell and the Parliament of England and thus wrote first-hand for the Commonwealth of England. Arguably, the failed rebellion and reinstallation of the monarchy left him to explore his losses within Paradise Lost. Some critics say that he sympathized with the Satan in this work, in that both he and Satan had experienced a failed cause.
Milton incorporates Paganism, classical Greek references and Christianity within the story. He greatly admired the classics but intended this work to surpass them. The poem grapples with many difficult theological issues, including fate, predestination, and the Trinity.

Synopsis

The story is divided into twelve books, like the Aeneid of Virgil. The length varies, from the longest being Book IX, with 1189 lines and the shortest, Book VII, having 640. Each book is preceded by a summary titled "The Argument". The poem follows the epic tradition of starting in medias res (Latin for in the midst of things), the background story being told in Books V-VI.
Milton's story contains two arcs: one of Satan (Lucifer) and another of Adam and Eve. Lucifer's story is a homage to the old epics of warfare. It begins in medias res, after Lucifer and the other rebel angels have been defeated and cast down by God into Hell. In Pandæmonium, Lucifer must employ his rhetorical ability to organize his followers; he's aided by his lieutenants Mammon and Beelzebub. Belial and Moloch are also present. At the end of the debate, Satan volunteers himself to poison the newly-created Earth. He braves the dangers of the Abyss alone in a manner reminiscent of Odysseus or Aeneas.
The other story is a fundamentally different, new kind of epic: a domestic one. Adam and Eve are presented for the first time in Christian literature as having a functional relationship while still without sin. They have passions, personalities, and sex. Satan successfully tempts Eve by preying on her vanity and tricking her with rhetoric, and Adam, seeing Eve has sinned, knowingly commits the same sin by also eating of the fruit. In this manner Milton portrays Adam as a heroic figure but also as a deeper sinner than Eve. They again have sex, but with a newfound lust that was previously not present. After realizing their error in consuming the "fruit" from the Tree of Knowledge of Good and Evil, they fight. However, Eve's pleas to Adam reconcile them somewhat. Adam goes on a vision journey with an angel where he witnesses the errors of man and the Great Flood, and he's saddened by the sin that they've released through the consumption of the fruit. However, he's also shown hope – the possibility of redemption – through a vision of Jesus Christ. They are then cast out of Eden and an angel adds that one may find "A paradise within thee, happier farr." They now have a more distant relationship with God, who is omnipresent but invisible (unlike the previous tangible Father in the garden of Eden). The contents of the 12 books are:
Book I: In a long, twisting opening sentence, the poet invokes the "Heavenly Muse" (the Holy Spirit) and states his theme, the Fall of Man, and his aim, to "justify the ways of God to men." (). Satan, Beelzebub, and the other rebel angels are described as lying on a lake of fire, from where Satan rises up to claim hell as his own domain and delivers a rousing speech to his followers ("Better to reign in hell, than serve in heav'n").
Book II: Satan and the rebel angels debate whether or not to conduct another war on Heaven, and Beelzebub tells them of a new world being built, which is to be the home of Man. Satan decides to visit this new world, passes through the gates of Hell, past the sentries Sin and Death, and journeys through the realm of Chaos. Here, Satan is described as giving birth to Sin with a burst of flame from his forehead, as Athena was born from the head of Zeus.
Book III: God observes Satan's journey and foretells how Satan will bring about Man's Fall. God emphasizes, however, that the Fall will come about as a result of Man's own free will and excuses Himself of responsibility. The Son of God offers himself as a ransom for Man's disobedience, an offer which God accepts, ordaining the Son's future incarnation and punishment. Satan arrives at the rim of the universe, disguises himself as an angel, and is directed to Earth by Uriel, Guardian of the Sun.
Book IV: Satan journeys to the Garden of Eden, where he observes Adam and Eve discussing the forbidden Tree of Knowledge. Satan, observing their innocence and beauty hesitates in his task, but concludes that "reason just,/ Honour and empire" () compel him to do this deed which he "should abhor." Satan tries to tempt Eve while she's sleeping, but is discovered by the angels. The angel Gabriel expels Satan from the Garden.
Book V: Eve awakes and relates her dream to Adam. God sends Raphael to warn and encourage Adam: they discuss free will and predestination and Raphael tells Adam the story of how Satan inspired his angels to revolt against God.
Book VI: Raphael goes on to describe further the war in Heaven and explains how the Son of God drove Satan and his minions down to Hell.
Book VII: Raphael explains to Adam that God then decided to create another world (the Earth), and he warns Adam again not to eat the fruit of the Tree of Knowledge, for "in the day thou eat'st, thou diest;/ Death is the penalty imposed, beware,/ And govern well thy appetite, lest Sin/ Surprise thee, and her black attendant Death".
Book VIII: Adam asks Raphael for knowledge concerning the stars and the heavenly orders; Raphael warns that "heaven is for thee too high/ To know what passes there; be lowly wise", and advises modesty and patience.
Book IX: Satan returns to Eden and enters into the body of a sleeping serpent. The serpent tempts Eve to eat the fruit of the Tree of Knowledge. She eats and takes some fruit for Adam. Adam realizes that Eve has been tricked, but eats of the fruit, deciding that he'd rather die with Eve than live without her. At first the two become intoxicated by the fruit, and both become lustful and engage in sexual intercourse; afterwards, in their loss of innocence Adam and Eve cover their nakedness and fall into despair: "They sat them down to weep, nor only tears/ Rained at their eyes, but high winds worse within/ Began to rise, high passions, anger, hate,/ Mistrust, suspicion, discord, and shook greatly/ Their inward state of mind."
Book X: God sends his Son to Eden to deliver judgment on Adam and Eve, and Satan returns in triumph to Hell.
Book XI: The Son of God pleads with God on behalf of Adam and Eve. God declares that the couple must be expelled from the Garden, and the angel Michael descends to deliver God's judgment. Michael begins to unfold the future history of the world to Adam.
Book XII: Michael tells Adam of the eventual coming of the Messiah, before leading Adam and Eve from the Garden. Paradise has been lost. The poem ends: "The World was all before them, where to choose Their place of rest, and Providence Their guide: They hand in hand with wadding steps and slow, Through Eden took Their solitaire way."()

Subject matter

Paradise Lost (Published in 1667) is an epic account of The Fall of Man. Milton begins his poem by invoking the aid of the (Holy) Spirit for his task, and sets forth the purpose of his song: “that ... I may assert the Eternal Providence and justify the ways of God to man”.
   The poem then depicts Satan and his fallen angels, already expelled from heaven and burning in the fire, as they start to talk among themselves. The rest of Books I and II, are then recounted from the perspective of Satan and his minions. Satan goes on to tell how those of Hell deliberated with him as to whether or not they should war with those in heaven yet again and attempt to overthrow it. Once agreed upon, Satan struggles through Chaos from Heaven to Hell. Traditional Christians may argue that this is an unbiblical ability according to the Gospel of Luke chapter 16 in the story of the rich man and Lazarus, “…between us and you there's a great gulf fixed: so that they which would pass from hence to you cannot; neither can they pass to us, that would come from thence” . Perhaps the ability to transfer from one immaterial place to another differs between composites of form and matter or soul and body (humans) and pure spirit. However, this isn't even an issue in this context, even though Hell is a state of mind, “the hell within him; for within him Hell he brings, and round about him, nor from Hell one step, no more than from himself, can fly by change of place” .
   Later on in the poem, Satan goes on to introduce Death and Sin. Sin was birthed from the head of Satan, an allusion to the birth of the Greek god Athena. Sin is half beautiful woman and half serpent, the lower portion of her body destroyed after giving birth to Death. Hell-hounds are attached to the waist of Sin, constantly running in and out of her being re-birthed and devouring Sin's body. In book 4, Adam and Eve are introduced for the first time. Milton’s idea of marriage is very much influenced in this section. Their relationship is one of inequality, but not a relation of domination or hierarchy. There is a mutual friendship between the two and they also model the ideal ruler and subject. For Milton, this marriage is political ideal just as much as it's a personal ideal. Satan also describes their personalities. Eve is described as a '"coy", flirtatious, beautiful, sex object that Adam is overwhelmed by"', or “Too much of Ornament”() Adam is seen as more of an intellectual. Though there's no sin within paradise, Adam and Eve have an argument about the care of the land. Eve thinks the garden is growing too fast and that the two should split up while working to cover more ground, thus accomplishing more. Adam disagrees and says that time isn't an issue for them, therefore they were meant to enjoy their work and not rush it. This disagreement would begin the stirring up their hearts, making them more vulnerable to the temptation that was to come. Adam consents to Eve’s wishes and they split up during their work. Satan, as the serpent in the garden, made ready to fool Eve through the process of reduction.
   In the last three chapters after the Fall, the Son of God intercedes for Adam and Eve and the Father accepts. However, he commands the angel Michael to ban Adam and Eve from the garden. In doing so, Michael gives Adam a vision of the Flood, and life and death of Christ, revealing to him the way of redemption. Adam and Eve’s lives carry on but they're driven out from the Garden of Eden.

Character analysis

Satan: Satan is the first major character introduced in the poem. He is introduced in Hell after a failed rebellion to take control of Heaven from God. Satan’s desire to rebel against his creator stems from his unwillingness to accept the fact that he's a created being and that he isn't self sufficient, which roots in turn from his extreme narcissism. One of the ways he tries to justify his rebellion against God is by claiming that he and the angels are self-created, claiming that the angels are “self-begot, self-raised”(5.60), thereby eliminating God’s authority over them as their creator. (Lehnhoff 23) Satan’s views are grossly distorted, however. Satan is narcissistic to the point of being delusional, as shown by his encounter with Sin and Death. Although they're introduced as if they're separate entities from Satan, Sin and Death can both be read as delusions of Satan’s mind. Sin describes herself as sprouting out of Satan’s mind at the time he conceived of his plot to overthrow God, which perhaps could be taken for the fact that she's only a part of Satan, specifically his sinful scheme to overthrow God, that he's projecting into the world. She is described as originally having the same features as Satan, which shows the perversion of his narcissism, because Satan engages Sin in incestuous intercourse. Satan is narcissistic to the point of being aroused by his own image, and from his incest with his “daughter” Sin, Death is born. Death too, however, may be a delusion of Satan’s mind, having no substance or form, no real power. This reflects Milton’s Christian theology, because Christianity sees death as having no real power also. Satan’s delusion is also shown when he leaves Hell. He goes up to the gates, which fly quickly open before him. Satan sets out to portray God as a tyrant, yet here Milton shows us that the Satan isn't even locked in Hell. Milton portrays Hell also as a state of Satan’s mind in the opening of Book 4, talking of how Satan has “Hell within him; for within him Hell/ He brings…” () Milton shows us that Satan is creating his own internal Hell by his delusions and narcissism . The fact that Satan is such a driving force within the poem has been the subject of a large amount of scholarly debate, with positions ranging anywhere from views such as that of William Blake who stated that Milton “wrote in fetters when wrote of Angels and God, and at liberty when of Devils and Hell, is because he was a true Poet and of the Devil’s party without knowing it” to the critic William H. Marshall’s interpretation that the poem is in fact a Christian moral tale, but that Milton fails to portray his original intent because the reader’s emotional reaction to the story must be “subordinated to [his] intellectual response the explicit assertion in the final books of the Paradox of the Fortunate Fall.” Adam: Adam is the first human in Eden created by God. He is the more intellectual of the two, with Eve being more rooted in experience. Positively, Adam is a model of a good ruler, gently leading Eve during their first encounter away from her reflection, using force but not excessively. Although he and Eve are not equal in the story, Adam isn't an oppressive ruler. He and Eve have a mutually dependent relationship. This illustrates Milton’s views on the relationship between ruler and subject as well as husband and wife. Negatively, he like Satan shares the problem of lack of self-knowledge, but unlike Satan who is totally self-absorbed and narcissistic, Adam’s problem stems from the fact that he seems to be in danger of losing sight of himself. The cause of his loss of self is the beauty of Eve, which he complains about during his discourse with Raphael, saying that she's “Too much of Ornament”(). He talks anxiously of how he feels like he's becoming dependent on Eve, who conversely seems to be self-sufficient and naturally independent. Adam is distraught by this because it would seem to him that she should be the one dependent because he was created first and she was made from a part of him, and yet as it stands he's becoming obsessed with Eve almost to the point of idolizing her . There is also an element of heresy to Adam even before the Fall. He wishes to avoid confrontation with Satan completely, even to the fact of being cowardly about it, denying the idea of the “felix culpa”, that the Fall might not be a bad thing, perhaps part of God’s greater plan. Eve: Eve is the second human created, taken from one of Adam’s ribs and formed into a female form of Adam. Positively, she's the model of a good subject and wife. She consents to Adam leading her away from her reflection when they first meet, trusting Adam’s authority in their relationship. She is very beautiful, so much so that she's almost a danger to herself and Adam. Her beauty not only obsesses Adam, but also herself. After she's first born, she gazes at her own reflection in a pool of water and is transfixed by her own image. Even after Adam calls out to her she returns to her image. It isn't until God tells her to go to Adam that she consents to being led away from the pool. This shows that from the beginning she's in danger of narcissism, much like Satan. She is also the first to come into contact with satanic influence; Satan worms his way into one of her dreams to tempt her. After this incident she seems to develop the independent streak that so perplexes Adam during his conversation with Raphael, wanting to go off by herself to work in the garden. She also develops the Satanic view of wanting to organize the garden, wishing to split up to get more work done, worrying that the garden is “messy” and wishing to impose some kind of order on it, which is Satan’s wish as well. She eventually does give into temptation, being the first to eat of the Tree of Knowledge of Good and Evil, effectively causing the Fall. She isn't portrayed in a totally negative manner in the story, however; during her argument with Adam about whether or not they should split up, Adam says they should stay together in order to avoid temptation and implying that even to be tempted would be dishonourable to them, which is a flawed argument. Eve responds by taking a heroic stance, saying that if they'd give into temptation that easily that their virtue must not have been very strong to begin with . This isn't the only time Eve shows a heroic side either, despite her failings. After the Fall, Adam begins to blame her for everything that has gone wrong, acting as if she alone is the cause despite the fact that he willingly chose to sin also. Eve makes her stand here by humbly taking all the verbal abuse that Adam gives to her, instead of arguing and causing a further rift between them. By taking everything upon herself she's portrayed as Christ-figure, accepting fault that isn't hers and bearing it for the sake of the future of humanity. The Son of God: the Son of God in Paradise Lost is Christ, though he's never named explicitly as so, since He hasn't yet entered human form. After the Father explains to him how Adam and Eve will fall, and how the rest of humanity will be doomed to follow them in their cursed footsteps, the Son heroically proclaims that he'll take the punishment for humanity. The Son gives hope to the poem because although Satan conquers humanity by successfully tempting Adam and Eve, the victory is temporary because the Son will save the human race . Interestingly enough, the Son shows a major break with orthodox religious thought on Milton’s part; the accepted belief at the time was that the Trinity were all part of the one Godhead, and thus all created at the same time, and yet Milton portrays the Son as being created after the Father. God the Father: God the Father is the creator of Eden, Heaven, Hell, and of each of the main characters in the poem. He is an all-powerful being who can't be overthrown by even the one-third of the angels that Satan incites against Him. The poem portrays God’s process of creation in the way that Milton believed it was done, that God created Heaven, Earth, Hell, and all the creatures that inhabit these separate planes from part of himself, not out of nothing.(Lehnhof 15) Thus according to Milton, what gives God his ultimate authority is the fact that he's the “author” of creation. Satan tries to justify his rebellion by denying this aspect of God and claiming self-creation, but he admits to himself that this isn't the case, and that God “deserved no such return From me, whom he created what I was”(;)

Composition

Milton began writing the epic in 1658, during the last years of the English Republic. The infighting among different military and political factions that doomed the Republic may show up in the Council of Hell scenes in Book II. Although he probably finished the work by 1664, Milton didn't publish till 1667 on account of the Great Plague and the Great Fire.
Milton composed the entire work while completely blind, necessitating the use of paid amanuenses. The poet claimed that a divine spirit inspired him during the night, leaving him with verses that he'd recite in the morning.
The 3rd Norton edition of Paradise Lost ignores the punctuation found in the surviving manuscript draft on the grounds that it was inserted by the printer, but this procedure has been challenged. Even into the mid-18th century a variety of publications included a wide array of spellings of even the same word within the same text.

Context

The book is influenced by the Bible, Milton's own Puritan upbringing and religious perspective, Phineas Fletcher, Edmund Spenser, and the ancient poets Virgil and Theocritus.
Milton wrote the entire work with the help of secretaries and friends, notably Andrew Marvell, after losing his sight.
Later in life, Milton wrote the much shorter Paradise Regained, charting the temptation of Christ by Satan, and the return of the possibility of paradise. This sequel has never had a reputation equal to the earlier poem.

Themes

Marriage

On the surface Paradise Lost appears to be a general biblical story depicting creation and the fall of Adam and Eve. Digging deeper into the plot of the poem, however, several critics have noted the relationship between Adam and Eve, and how it specifically reflects Milton’s views on marriage.
   Milton first presents Adam and Eve in Book 4 and the pair is viewed in impartiality. Dr. Jennifer explains that the relationship between Adam and Eve is one of “. . . mutual dependence, not a relation of domination or hierarchy ”. While the author does place Adam above Eve in regards to his intellectual knowledge, and in turn his relation to God, he also grants Eve the benefit of knowledge through experience. Hermine clarifies that although there's a sense of stringency associated with the specified roles of the male and the female, each unreservedly accepts the designated role because it's viewed as an asset. Instead of believing that these roles are forced upon them, each uses the obligatory requirement as a strength in their relationship with each other. These minor discrepancies reveal the author’s view on the importance of mutuality between a husband and a wife.
   When examining the relationship between Adam and Eve, critics have had the tendency to accept an either Adam- or Eve-dominated point of view in relation of hierarchy and importance to God. David argues, however, that these positions “. . . overstate the independence of the characters’ stances, and therefore miss the way in which Adam and Eve are entwined with each other”. Milton’s true vision reflects one where the husband and wife (in this instance, Adam and Eve) depend on each other and only through each other’s differences are able to thrive . While most readers believe that Adam and Eve fail because of their fall from paradise, Milton would argue that the strengthening of their love for one another that results is true victory.
   Although Milton doesn't directly mention divorce in the actual context of Paradise Lost, critics have presented solid theories on Milton’s view of divorce based on inferences found within the poem. Other works by Milton have expressed that the noted English author viewed marriage as an entity separate from the church. More specifically, however, in relation to Paradise Lost, Biberman entertains the idea that “. . . marriage is a contract made by both the man and the woman”. Based on this inference, Milton would believe that both man and woman would have equal access to divorce, as they do to marriage.

Idolatry

Owing to his Protestant views on politics and religion in 17th century England, contemporaries usually criticized Milton’s ideas and considered him as something of a radical. One of Milton’s greatest and most controversial arguments revolves around his concept of what is idolatrous and as critics have noted, the topic is deeply embedded in Paradise Lost.
   Milton’s first criticism of idolatry lies in the theory of constructing temples and other buildings to serve as places of worship. In Book 11 of Paradise Lost, Adam tries to atone for his sins by offering to build altars to worship God and in response, the Angel Michael explains that Adam doesn't need to build physical objects to experience the presence of God (). Joseph Lyle points to this example and further explains that “[w]hen Milton objects to architecture, it isn't a quality inherent in buildings themselves he finds offensive, but rather their tendency to act as convenient loci to which idolatry, over time, will inevitably adhere” . Even if the idea is pure in nature, Milton still believes that it'll unavoidably lead to idolatry simply because of the nature of humans. Instead of placing their thoughts and beliefs into God, as they should, humans tend to turn to erected objects and falsely invest their faith. While Adam attempts to build an altar for God, critics have noted that Eve is also guilty of idolatry, but in a different manner. Pitt believes Eve’s narcissism and obsession with herself also constitutes as idolatry. Specifically, Pitt claims that “. . . under the serpent’s influence, Eve’s idolatry and self-deification foreshadow the errors into which her “Sons” will stray” . Much like Adam, Eve falsely places her faith into herself, the Tree of Knowledge, and to some extent, the Serpent, all of which don't compare to the ideal nature of God.
   Furthermore, Milton makes his views on idolatry more explicit with the creation of Pandemonium and the exemplary allusion to Solomon’s temple. In the beginning of Paradise Lost, as well as throughout the poem, several references are made to the rise and eventual fall of Solomon’s temple. Critics elucidate that “Solomon’s temple provides an explicit demonstration of how an artifact moves from its genesis in devotional practice to an idolatrous end” . This example, out of the many presented, conveys Milton’s views on the dangers of idolatry most clearly. Even if one builds a structure in the name of God, even the best of intentions can become immoral. In addition, critics have noted a parallel between Pandemonium and Saint Peter's Basilica, and the Pantheon as well. The majority of these similarities revolve around a structural likeness, but as Lyle explains, they play a much greater role. By linking Saint Peter’s Basilica and the Pantheon to Pandemonium, an ideally false structure, the two famous buildings take on a false meaning as well . This comparison best represents Milton’s Protestant views in that it rejects both the purely Catholic perspective and the Pagan perspective.
   In addition to rejecting Catholicism, Milton also revolted against the idea of a monarch ruling by divine right and saw the practice as idolatrous. Barbara concludes that the theme of idolatry in Paradise Lost “. . . is an exaggerated version of the idolatry Milton had long associated with the Stuart ideology of divine kingship”. In the opinion of Milton, any object, human or non-human, that receives special attention that's befitting of God, is considered idolatrous.

Response and criticism

This epic has generally been considered one of the greatest works in the English language. In the verses below the portrait in the fourth edition, John Dryden linked Milton with Homer and Virgil, suggesting that Milton encompassed and surpassed both, which would make him the greatest epic poet who ever lived or might ever come to be after him:
“Three Poets, in three distant Ages born, Greece, Italy, and England did adorn. The First in loftiness of thought surpass'd; The Next in Majesty; in both the Last. The force of Nature cou'd no farther goe:
To make a third she joynd the former two.” Since Paradise Lost is based upon scripture, its significance in the Western canon has been thought by some to have lessened due to increasing secularism. However, this isn't the general consensus, and even academics who have been labeled as secular realize the merits of the work. In William Blake's The Marriage of Heaven and Hell, the "voice of the devil" argues: � The reason Milton wrote in fetters when he wrote of Angels & God, and at liberty when of Devils & Hell, is because he was a true Poet and of the Devil's party without knowing it.

This statement summarizes what would become the most common interpretation of the work in the twentieth century. Some critics, including C. S. Lewis and later Stanley Fish, reject this interpretation. Rather, such critics hold that the theology of Paradise Lost conforms to the passages of Scripture on which it's based.
The latter half of the twentieth century saw the critical understanding of Milton's epic shift to a more political and philosophical focus. Rather than the Romantic conception of the Devil as the hero of the piece, it's generally accepted that Satan is presented in terms that begin classically heroic, then diminish him until he's finally reduced to a dust-eating serpent unable even to control his own body. The political angle enters into consideration in the underlying friction between Satan's conservative, hierarchical view of the universe and the contrasting "new way" of God and the Son of God as illustrated in Book III. In other words, in contemporary criticism the main thrust of the work becomes not the perfidy or heroism of Satan, but rather the tension between classical conservative "Old Testament" hierarchs (evidenced in Satan's worldview and even in that of the archangels Raphael and Gabriel), and "New Testament" revolutionaries (embodied in the Son of God, Adam, and Eve) who represent a new system of universal organization. This new order is based not in tradition, precedence, and unthinking habit, but on sincere and conscious acceptance of faith and on station chosen by ability and responsibility. Naturally, this interpretation makes much use of Milton's other works and his biography, grounding itself in his personal history as an English revolutionary and social critic.
Samuel Johnson praised the poem lavishly, but conceded that "None ever wished it longer than it is" .

Iconography

The history of illustrators includes, among others, John Martin, Edward Burney, Richard Westall, Francis Hayman, Bernard Lens, and John Medina. The most notable and popular illustrators include William Blake, Gustave Doré and Henry Fuseli. Salvador Dalí did fanciful illustrations for the Automobile Club. And noted surreal/visionary artist Terrance Lindall's rendition, which was published in hardcover in 1982 and which also appeared in Heavy Metal Magazine around that time, is used in the Department of English at New York University to introduce students to Milton . A Toronto act entitled "Milton's Aim," which was inspired by Paradise Lost came into existence in 2006. Reviews are pending.

Cultural significance

"Paradise Lost" remains a work of enduring significance and influence in both Judeo-Christian and secular modern cultures. Unlike writers such as Shakespeare whose work took some decades if not centuries to achieve universal acclaim and recognition, Paradise Lost was widely feted both at the time of publication and at all times since.
   Although Milton's aim "to justify the ways of God to men" was intended as a staunch defense of medieval Christian morality and the absolutism of Church teaching, it may well have had the opposite effect on the cultures for which he wrote it. For the subsequent rise of humanism in literature and the increasingly common appearance of characters with distinct individual philosophies, motives, mental lives and worldviews finds its first antecedents in Paradise Lost. In contrast to the one-dimensional characterizations typical of medieval morality tales, Milton's was the first significant post-Renaissance poetic work to attribute complex and subtle characterizations to Lucifer, God, Adam, Eve and the Son.
   For centuries after first publication, Paradise Lost was regarded by critics as a work of such greatness that contemporary writers could barely hope to surpass it. It may be that Milton's influence was even resented by later poets, as evidenced by William Wordsworth, in The Prelude, with a dismissive reference to "some old romantic tale by Milton left unsung." (i.l.168-169). Effectively, Wordsworth was announcing that the intention of his unfinished life's work The Recluse was nothing less than to surpass Milton in greatness and influence.
   Popular culture references are also numerous:
In literature, some of William Blake's poetry was based upon the poem, and the poem is the basis for the His Dark Materials trilogy by Philip Pullman, of which an excerpt was included in the first novel of the series,Northern Lights/The Golden Compass. Many characters and situations that appear in Neil Gaiman's The Sandman graphic novels, and his collaboration with Terry Pratchett in Good Omens, bear a strong resemblance to Miltonian antecedents, as do the characters and situations from the Hellraiser DC/Vertigo comic book series.
   In music, references include the musical composition The Creation by Joseph Haydn. Furthermore, classical composer Krzysztof Penderecki and metal bands Cradle of Filth and Symphony X have created musical works based upon the poem. Also Death/Doom Metal band Paradise Lost was named after this piece of literature. In track 5 "Prime Evil" from their Bicycles and Tricycles

release, The Orb has Neville Jason reading various excerpts of Paradise Lost, mainly from book IV ("...close the serpent sly..."; "...Squat like a toad, close at the ear of Eve, Assaying by his devilish art to reach The organs of her fancy, and with them forge Illusions..." ; "...That bring to my remembrance from what state I fell, how glorious once above thy sphere; Till pride...threw me down Warring in Heaven against Heaven's matchless King...").
In film, Se7en includes a number of quotes of the poem.
In computer games, In MegaMan X8- Lumine the final boss, uses an ultimate attack called Paradise Lost. In the Warhammer 40k Universe the Horus Heresy War is an epic retelling of Paradise Lost.

Publication history

Online

Paradise Lost

Print

Paradise Lost Norton Critical Edition (2nd edition edited by Scott Elledge ISBN 0-393-96293-8; 3rd edition edited by Gordon Teskey ISBN 0-393-92428-9) – includes biographical, historical, and literary backgrounds, and criticism

Paradise Lost Penguin Classics ISBN 0-14-042439-3.

Paradise Lost and Paradise Regained Signet Classic Poetry ISBN 0-451-52792-5.

Hughes, Merrit Y. ed. John Milton. The Complete Poems and Major Prose. New York, 1957. ISBN 0-87220-678-5.

Fowler, Alastair, ed. Paradise Lost 2nd Edition, Longman, London, 1998. ISBN 0-582-21518-8.

The Annotated Milton: Complete English Poems, edited by Burton Raffel, Bantam Classic (Random House), 1999. ISBN 0-553-58110-4.

Paradise Lost and Other Poems, Signet Classic (Penguin Group), with introduction by Edward M. Cifelli, Ph.D. and notes by Edward Le Comte. New York, 2000.

Footnotes

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