Paradise Lost (Dover Thrift Editions)
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In sublime poetry of extraordinary beauty, Milton's poem references tales from Ovid's Metamorphoses, the Iliad and Odyssey, and Virgil's Aeneid. But one need not be a classical scholar to appreciate Paradise Lost. In addition to its imaginative use of language, the poem features a powerful and sympathetic portrait of Lucifer, the rebel angel who frequently outshines his moral superiors. With Milton's deft use of irony, the devil makes evil appear good, just as satanic practices may seem attractive at first glance.
Paradise Lost has exercised enormous influence on generations of artists and their works, ranging from the Romantic poets William Blake and Percy Bysshe Shelley to Joseph Haydn's oratorio The Creation and J. R. R. Tolkien's The Lord of the Rings.
phrase prevents visualization but produces a highly evocative, almost synesthetic, effect that suggests some qualities of that indescribable place, Chaos. Also, this style is estranged from English syntactic norms by a freedom of word order common to inflected languages like Latin, as in the description of Eve discovered by Satan alone amidst her flowers: “them she upstaies / Gently with Mirtle band, mindless the while, / Her self, though fairest unsupported Flour, / From her best prop so farr
Dante’s Hell, “All hope abandon, you who enter here” (Inferno 3.9) and to Euripides, Troades 681, “to me even hope, that remains to all mortals, never comes.” 14 70 75 80 85 90 95 100 Paradise Lost That comes to all; but torture without end Still urges,° and a fiery Deluge, fed With ever-burning Sulphur unconsum’d: Such place Eternal Justice had prepar’d For those rebellious, here thir Prison ordain’d In utter darkness, and thir portion set As far remov’d from God and light of Heav’n
born With his enormous° brood, and birthright seis’d By younger Saturn, he from mightier Jove His own and Rhea’s Son like measure found; So Jove usurping reign’d: these first in Creet And Ida known, thence on the Snowy top Of cold Olympus rul’d the middle Air Thir highest Heav’n; or on the Delphian Cliff, Or in Dodona, and through all the bounds Of Doric Land; or who with Saturn old Fled over Adria to th’ Hesperian Fields, And ore the Celtic roam’d the utmost Isles. All these and more came
Straits of Messina between Italy and Sicily (Odyssey 12.229 – 59). The identification of the two “shapes” comes at lines 760 and 787 below. 650–61. Sin is modeled on “Scylla,” a beautiful nymph whose lower parts were changed into a ring of barking dogs when Circe, out of jealousy, poured poison into the straits between “Calabria,” the southernmost part of Italy, and Sicily (“Trinacrian shore”) where she was bathing (Ovid, Metamorphoses 14.40–74). Another model is Spenser’s Errour (Faerie Queene
love divine, His dearest mediation° thus renewd. Father, thy word is past, man shall find grace; And shall grace not find means, that finds her way, aspiring to set apart / consecrated human, subject to death advocate intercession 200. By at long last withdrawing his offered grace God leaves such obdurate sinners to themselves, to become more and more hardened and blinded. See Christian Doctrine 1.8. 212 rigid satisfaction. Here and in Christian Doctrine 1.16 Milton’s God paraphrases the