Paradise Lost As An Epic Question Solved.

Paradise Lost As An 'Epic'

Milton desired to write a great work that will serve to glorify England, much like earlier poets had glorified their native lands and cultures. Being a Christian, he aimed to surpass the greatest poets of Athens, Rome, modern Italy, and the ancient Hebrews in honoring their countries. He declared his intention to write in English instead of Latin and contemplated whether to adopt the genres of epic, tragic, or lyric. These three genres of poetry had existed since ancient Greece, each carrying connotations and expectations recognized by most educated people at Milton's time.

Milton's concern about choosing a genre was not just about finding the perfect medium for his story. It was the anxiety of a writer seeking to place himself within a centuries-old poetic tradition. Initially, he considered writing an epic where King Arthur would be the central figure, covering the entire cycle of British and Arthurian legend. However, he later conceived a better theme: the Fall and expulsion of man from Eden, under the title 'Paradise Lost'.

His first plan for 'Paradise Lost' was to write it as a tragedy in five acts, but he put this aside and resolved to write it as an Epic to fulfill the demands of his grand theme. Scott Elledge notes that Milton favored tragedy due to its "affective and in his more formal tragedy, 'Samson Agonistes'." 'Paradise Lost' stands as one of the finest examples within the epic tradition across all of literature. Milton consciously placed himself within the tradition of ancient epic writers while composing this epic.

 

Paradise Lost: Epic Characteristics

Barbara Lewalski remarks that 'Paradise Lost' is an "epic whose closest structural affinities are to Virgil's Aeneid." It incorporates Homeric elements, such as the Iliadic subject focusing on the death and woe resulting from an act of disobedience. Additionally, it portrays Satan as an Archillean hero motivated by a sense of injured merit, along with an Odyssean hero characterized by wiles and craft. The narrative includes a perilous Odyssey undertaken by Satan to find a new homeland, as well as epic battle scenes set in heaven.

Milton also considers the works of Medieval and Renaissance poets such as Dante, Tasso, Ariosto, and Spenser. By doing so, he sets specific expectations for both himself and his readers. Although he draws the account of the creation of the universe and the story of Eve's temptation by the Serpent/Satan from the Bible, and the epic style from classical epic poets, 'Paradise Lost' remains the most original work in English literature.

John Milton-Paradise Lost Book I
thing in the epic,i.e. battle of angels and the creation of the curious
parallelism between the Fall of Satan and the Fall of 'Adenoid', in which there
is much looseness and superfluity.

In Book I of Paradise Lost, Milton articulates that his aim in crafting this epic is to attempt “things unattempted yet in Prose or Rhyme." He takes Homer and Virgil, two ancient classical epic poets, as his models, strictly adhering to the tradition of the classical epic. Not only does he incorporate all the characteristic features of these poets' epics, but he also modifies and ennobles his own epic by infusing it with a Christian view. While the theme of this epic remains religious and scriptural, its form is rooted in the classical tradition.

Traditionally, an epic possesses three major qualifications: 

(a) One action:(Organic whole/unity)
The classical epics have a number of episodes and episodes are closely related to the central theme,so that,the action becausethecentral action is the Fall of Man, and every
 

(b) Entire action: 'Paradise Lost' features an 'entire' action, comprising a beginning, middle, and an end. The narrative unfolds in Hell, is executed upon earth, and met with punishment by Heaven.

(c) Great action: In traditional epics, the subject is ancient and of great national significance, drawn from legend and history. Milton's epic is exceptionally ancient, predating any other, relating to a time before the existence of nations, and holds universal appeal. The action depicted in 'Paradise Lost' surpasses that of Homer's 'Iliad' and Virgil's 'Aeneid'. It doesn't determine the fate of a single entity but rather the destiny of the entire human race.

Apart from these three major qualities, Milton adheres to various other traditional epic qualities:

1. Invocation to the Muse: Milton initiates his epic with an invocation to the Muse, seeking assistance in his monumental task. However, given the Christian foundation of his epic, he seeks aid not from pagan muses of poetry but from the Heavenly Muse, i.e., the Holy Spirit.

2. A long narrative poem in 12 books: Traditionally, an epic is a lengthy narrative poem divided into twelve books. Similarly, 'Paradise Lost' comprises twelve books. Initially issued in ten books divided into pairs, Milton later expanded it to align with the age-old tradition of an epic encompassing twelve books.

   Heroic Action:

   Traditionally, an epic poet narrates the adventures and warlike exploits of the hero. 'Paradise Lost' exemplifies this with its intense action and thrill, such as Satan's flight from the lake of fire to solid land, rallying his followers. Banners unfurl, spears rise, drums and trumpets resound, and war cries challenge the authority of God. Satan exhibits unwavering resolve to perpetuate an unending war against the Almighty.

   The Role of the Supernatural:

   In classical epics, supernatural intervention occurs at crucial moments in the narrative. Gods and goddesses typically oversee human fate and aid the hero in times of trouble. Milton's characters in 'Paradise Lost' embody both human and superhuman attributes. Supernatural powers play a pivotal role in determining the destinies of Satan and his followers, as well as Adam and Eve.

   Sublime Language and Style:

   An epic's language traditionally transcends common speech, aspiring to sublimity. Aristotle identifies three methods to create a sublime style: metaphors, idiomatic expressions from other languages, and elongated phrases. Milton's style is distinguished by its greatness and loftiness. Matthew Arnold lauds Milton as the great master of the grand style in the English language. Frequent references to classical myth, Biblical mythology, contemporary literature, Latin expressions, and Homeric similes contribute to the sublimity and grandeur of Milton's style.

   Undoubtedly, Milton employed numerous epic devices from classical epics. However, the significance lies not only in their use due to the genre but also in how Milton ingeniously employed these devices to enrich and expand his poem in a poetic manner.

    Conclusion:

   'Paradise Lost' by John Milton is an incredible poem that tells the story of the fall of humanity from the Garden of Eden. Milton wanted to write something that honored England, much like other poets had celebrated their own countries. He was a Christian and aimed to surpass the achievements of famous poets from ancient times, deciding to write in English rather than Latin.

   Initially, he thought of making King Arthur the central figure in an epic covering British legends. However, he settled on the theme of humanity's expulsion from paradise, calling it 'Paradise Lost'. He planned it as a tragedy but turned it into an epic to suit his grand theme.

   The poem draws inspiration from many sources like ancient poets and the Bible but remains an original work in English literature. Milton wanted to attempt things never tried before in his writing, following the style of famous poets like Homer and Virgil while bringing a Christian perspective to his work.

   'Paradise Lost' has many characteristics of an epic, telling a grand story in twelve books, describing heroic actions and supernatural events. It begins with an invocation to the Holy Spirit and maintains a powerful and impressive style throughout.

   Despite having elements of other types of poetry, 'Paradise Lost' is a brilliant example of a unique and transformative epic, combining tradition with Milton's individual creativity.