This essay-like commentary is aimed at discussing how John Milton’s Paradise Lost (1667) conforms to the genre of Epic or Heroic Poetry. In order to achieve that first they will be enlightened the similarities of this work, in both form and content, with the general characteristics of the genre. Afterwards, a closer look will be provided to the way Milton’s work incorporates and adapts the elements that the classical period and Old English added to Epic. Finally, a conclusion will be determined.
Genre of Epic Poetry
Epic poems are characterised for being narrative, meaning they primarily tell a story. They were usually associated to societies who fought, so it denoted some sort of prestige. That is the case of Paradise Lost, as for Milton the Biblical story of the temptation of Adam and Eve by Satan, the fall from Heaven, and Christ’s redemption was true, and so he put it in the epic form.
Since Paradise Lost is an epic, the reader is instinctively drawn to the search of deeds typical of a heroic figure that could be either legendary or based on real historic personages. However, Milton displays several characters that could perform that role, as all of them prove their heroic courage by accomplishing deeds of great valour. Satan is portrayed as a rebellious lord displaying energy and drive. That contrasts with the fact that he is the enemy of God and mankind, as his name in Hebrew indicates; ‘adversary’ (Loewenstein, 1993, p.58). In turn, God’s Son is the expected hero, responding to the admirable quality of classical heroes (Bradford, 2001, p.98), who redeems the world God had created from sin and sacrifices himself for mankind. Similarly, Adam and Eve heroically face the struggle of living in a fallen world infested by sin.
Epi...
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... content, plus it encapsulates and recalls the traditions of the epic in ancient times while introducing at the same time his own view and the one of his period, the Renaissance. Actually, it is considered one of the greatest epics because of astronomical magnitude of the story, scope, settings, characters and impact.
Works Cited
Neo English Word Press (2014) "Paradise Lost": A Classical Epic. Available at: http://neoenglish.wordpress.com/2010/11/09/paradise-lost-a-classical-epic/ (Accessed 29 March 2014)
Loewenstein, D. (1993). Milton "Paradise Lost". Cambridge: Cambridge University Press
Fowler, A. (ed.) (1971) Paradise lost. Harlow: Longman
Burkhardt, M. S (1997) John Milton's Paradise Lost. New York: Macmillan
Weston, P. (1990) John Milton, Paradise lost. Harmondsworth: Penguin
Bradford, R. (2001) The complete critical guide to John Milton. London: Routledge
Merriam- Webster online dictionary defines an epic hero as, “ A grand and noble character in an epic poem, admired for great achievements or effected by grand events.” The same dictionary also defines an epic poem as, “a story told about a hero or exciting events.” The Epic of Gilgamesh is often considered the oldest story on earth; which would make Gilgamesh, the story’s controversial main character, and the world’s oldest epic hero. This epic set a precedent for all epics to follow; it displayed most of the traits that society commonly perceives an epic hero and epic poem should have. The Epic of Gilgamesh exhibits tendencies of an epic poem through its inclusion of an epic hero, multiple gods and goddesses, and it’s vast array of settings across the world. Additionally, Gilgamesh presents attributes of an epic hero through his quest for immortality, his noble birth and his battles with superhuman foes.
17. An epic is a long narrative poem, composed in an elevated style, dealing with the trials and achievements of a great hero or heroes. The epic celebrates virtues of national, military, religious, cultural, political, or historical significance. Epics typically emphasize heroic action as well as the struggle between the hero's own ethos and his human failings or mortality.
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.
Book II of Paradise Lost and Song of Myself upon first read, come across strikingly different. It’s easier to point out more differences than similarities, but these authors use different structures to get across to the reader in the same way. Milton uses blank verse while Whitman uses free verse, which separates their work in itself. Allusion, anaphora, rhetorical questions, language, and personification are the linking devices between the poems. Though they exhibit their own structures, Milton and Whitman fuse these formal qualities together to create intertwining themes.
Milton, John. Paradise Lost. The Norton Anthology of English Literature. 8th ed. Vol. A. gen
In conclusion, The Epic of Gilgamesh clearly fits into the literary genre of an epic because it fits the definition, contains an epic hero, the hero searches for immortality, gods are involved, and it delivers a timeless message. Because it is an epic, the story of Gilgamesh was written and told in poetic form, not prose. It is evident that the title of this work does fit because it is in fact an epic.
“There are more things in heaven and earth, Horatio, / Than are dreamt of in your philosophy” (Shakespeare II.i.166-67). So Hamlet tells Horatio when he marvels at the spectre of the ghost. Hamlet is telling his friend that science and natural philosophy can only account for so much. A point comes when humans cannot rationalize or prove certain events. In Paradise Lost , Raphael tells Adam similar sentiments when Adam questions him on the nature of the universe in Book VIII. However, Raphael goes on to warn Adam not to ponder deeply things that he can never know fully. This type of curiosity and desire for learning only leads to sin.
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...
Milton. New York: Norton, 1957. Elledge, Scott, ed., pp. 113-117. Paradise Lost: An Authoritative Text, Backgrounds and Sources.
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.
Milton, John. ‘Paradise Lost.’ 1674. Norton Anthology of English Literature. 7th ed. 2 vols. New York: Norton, 2000, 1: 1817-2044.
The identity of the true protagonist in Paradise Lost is a mystery. One would gather that Milton, a Puritan, would have no problem casting God as the hero, and Satan as the antagonist. However, looking back in history, Milton saw that most epic heroes had conflicts that prevented them from accomplishing their goals. God and his Son have no conflict, and Adam’s story does not really begin until the Fall of Man. Therefore, Milton was forced to select Satan as the hero of Paradise Lost because he adheres to the guidelines of epic poetry set by Homer, Virgil and others. There are many examples of how Milton uses and edits the tradition of these previous epics in the formation of the Devil as a hero. One of the most basic examples of heroism in epic poetry is the exhortation of the leader to his followers. In The Odyssey, Homer lets Odysseus give a speech that would convince anyone they could survive the journey to the Strait of Messina, "Then we die with our eyes open, if we are going to die, or know what death we baffle if we can. (Ln.1243-1245)" After passing the Sirens, the ship approaches the Strait, and the crew sees the twin terrors of Scylla and Charybdis, they are mortified. Odysseus again lifts their spirits with this speech, "Friends, have we ever been in danger before this? More fearsome, is it now, than when the Cyclops penned us in his cave? What power he had! Did I not keep my nerve, and use my wits to find a way out for us?
In conclusion, Paradise Lost can be seen through a historically contextual lens that allows us to see the parallels between Milton’s life and experiences during the reign of Charles I, and the predominant themes in his epic poem. Many of the themes in Paradise Lost, from the broader situational occurrences to the behavior of individual character’s and their attitudes toward the situations in which they find themselves can be seen as directly influenced by Milton’s time as a Parliamentarian in 17th century England.
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.