Defense for the Allegory of Sin and Death in Paradise Lost
Milton claims his epic poem Paradise Lost exceeds the work of his accomplished predecessors. He argues that he tackles the most difficult task of recounting the history of not just one hero, but the entire human race. However, he does not appear to follow the conventional rules of an epic when he introduces an allegory into Paradise Lost through his portrayal of Sin and Death in Book II. Some readers denounce his work for this inconsistency, but others justify his action and uncover extremely important symbolism from this "forbidden" literal device.
Merriam-Webster’s Collegiate Dictionary defines an epic "a long narrative poem in elevated style recounting the deeds of a legendary or historical hero" ("epic," def. 1) and allegory as "the expression by means of symbolic fictional figures and actions of truths or generalizations about human existence" ("allegory," def. 1). Based on these definitions, it is unclear whether allegories fit into a true epic. From one perspective, such extended symbolism is not appropriate because it relies on "fictional figures" whereas an epic is based on a "historical hero". For this reason, some readers may dislike Milton’s extended symbolism of Sin and Death since it violates the traditional form of an epic. However From another point of view, an allegory is an acceptable literary component to an epic because it is considered an element of "elevated style". Therefore, other readers may see nothing wrong with Milton’s literary decision.
Milton’s poetic license entitles him to write as he pleases and therefore justifies his adaptation of an allegory into his epic. It is clearly apparent that Milton recognizes this privilege when...
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...ilton relies heavily on the Bible for much of his information.
With Milton’s timeframe and era for writing Paradise Lost in mind, we can justify his choice to incorporate an allegory into his epic. Allegories present meanings on two levels, one literal and the other hidden, which often expresses a moral or idea produced by the author. With this in mind, the allegory is key to understanding many parts of Paradise lots since Milton addresses so many issues in this one scene. Within the allegory alone, we discover extensive symbolism and wonder if there are more details to be uncovered each time we study the epic. Milton effectively elicits his readers’ attention by raising such controversy and holds our fascination with his intriguing hidden ideas, meanings, and symbolic relationships.
Works Cited
Milton, John. Paradise Lost. New York: W.W. Norton, 1993.
Nettie Maria Stevens was born in 1861 in Cavendish,Vermont. She was an American biologist and geneticist, whose research proved that chromosomes determine the sex of an organism. She completed in only two years the four-year course at Westfield Normal School in Massachusetts. Nettie graduated with the highest academic scores in her class. She recieved her B.A. in 1899 and her M.A. in 1900 at Stanford.
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.
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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.
Milton establishes himself as the legitimate teller of the tale – and this tale will take us beyond the mythology of the Greeks’Aonian Mount and inoculate us against Hell’s prodigiousness. He is taking us beyond mythological or explanatory pictures of ourselves, to an area where we may bask in a greater comfort:
In considering Aristotle’s idea of hamartia, someone who is a good person, but fell from grace, and apply it to Satan then it seems reasonable to interpret Satan as having hero like characteristics. Aristotle would say that a courageous person is inspired by confidence, faces dangerous, and acts appropriately to this courage (Nicomachean Ethics). Not only is Satan a courageous figure, but starts off as a good character even though he makes mistakes along the way. In the first two Books Milton does this very thing of portraying Satan as a hero to appeal to the readers so that they are able to identify with his charact...
In telecommunication signaling within a network or between networks, synchronous signals are those that occur at the same clock rate when all clocks are based on a single reference clock. Synchronous communication requires that each end of an exchange of communication respond in turn without initiating a new communication.
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.
The question of whether Satan is the hero or the villain of John Milton’s Paradise Lost has been largely debated by scholars over the centuries. The ones who believe Satan is the villain of the epic, more commonly known as the Anti-Satanists, tend to argue that Satan is too foolish to be considered a hero, as his “hostility to Almighty power” is ultimately a futile endeavour (as God’s power is omnipotent) (Carey, 135). C.W. Lewis, also an anti-Satanist, goes as far as to claim that to “admire Satan, then, is to give one’s vote not only for a world of misery, but also for a world of lies and propaganda, of wishful thinking” (Lewis, 203). The ones who claim Satan is the hero of the epic, the Satanists, perceive him as the rebellious angel who rises up and defies God’s monarchy and “the tyranny of Heav’n” (174).They choose to focus on Satan’s “nobler qualities, his loyalty in leadership, fortitude in adversity, unflinching courage and splendid recklessness” (Satan/Promo, 3). While these two positions are both valid, this paper will be focusing on a third position; the individuals who believe that Satan is neither the hero nor the villain of the epic. Helen Gardner addresses this notion, claiming how “Satan is, of course, a character in an epic, and he is no sense the hero of the epic as a whole. But he is a figure of heroic magnitude and heroic energy, and he is developed by Milton with dramatic emphasis and dramatic intensity” (Baker/Helen, 208). Satan is without a doubt the antichrist, or “villain” in the biblical scriptures, however one must take into consideration his alternative and more ambiguous portrayal in Paradise Lost. In this paper, I will analyze Satan’s actions, physical portrayal and speeches in Book I of Paradise Los...
Criticism. The. New York: Norton, 1975. Fox, Robert C. "The Allegory of Sin and Death in Paradise Lost." Modern Language Quarterly 24 (1963): 354-64. ---.
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.
The basic concept of communication is interaction between two or more people that results in the passing of information. However, for this process to happen effectively one must understand the different methods and standards required to achieve the process because without this knowledge one may miscommunicate information. Therefore, to assure that the receiver receives the information correctly one must understand the effects of interruptions and when backup your information for clarity (Wallace & Roberson, 2009).
Milton, John. ‘Paradise Lost.’ 1674. Norton Anthology of English Literature. 7th ed. 2 vols. New York: Norton, 2000, 1: 1817-2044.
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.