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Page 1 of 15 Email: [email protected]:+9203006150661 N o t e s : P r e p a r e d b y Paradise Lost Book 1 & 9 I f t i k h a r H u s s a i n R i z vi P h : + 9 2 0 3 0 0 6 1 5 0 6 6 1 E m a i l : I f i t k h a r r i z v i @ y a h o o . c o m

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M.A English, Paradise Lost Book 1& 9

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Page 1: Paradise Lost

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Notes: Prepared by

Paradise Lost Book 1 & 9

Iftikha

r Hussain Rizvi

Ph: +92

03006

150

661

Email: Ifit kharrizv i@yahoo. com

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Book 1 & Book IX

By

John Milton

John Milton was born in London in 1608 at the height of the Protestant Reformation in England. His father was a law writer who had achieved some success by the time Milton was born. This prosperity afforded Milton an excellent education, first with private tutoring, then a private school, and finally Cambridge. Milton, a studious boy, excelled in languages and classical studies.

His father had left Roman Catholicism and Milton was raised Protestant, with a heavy tendency toward Puritanism. As a student, he wanted to go into the ministry, but was disillusioned with the scholastic elements of the clergy at Cambridge. Cambridge, however, afforded him time to write poetry. After Cambridge, he continued his studies for seven years in a leisurely life at his father's house. It was here that he wrote some of his first published poems, including "Comus" (1634) and "Lycidas" (1638), both of which he published in 1645.

Milton toured the European continent in 1638-1639 and met many of the great Renaissance minds, including Galileo and Grotius. The beginning of the Puritan Revolution found Milton back in England, fighting for a more humanist and reformed church. For more than twenty years, Milton set aside poetry to write political and religious pamphlets for the cause of Puritanism. For a time, he served as Secretary for Foreign Tongues under Cromwell.

Milton was a mixed product of his time. On the one hand, as a humanist, he fought for religious tolerance and believed that there was something inherently valuable in man. As a Puritan, however, he believed that the Bible was the answer and the guide to all, even if it went against democracy itself. Where the Bible didn't afford an answer, Milton would turn to reason.

Milton himself was married three times, all of which were rather unhappy affairs. He defended divorce in "The Doctrine and Discipline of Divorce" in 1643. With this and other treatises, Milton often came in conflict with the Puritanism he advocated.

At the end of the war, Milton was imprisoned for a short time for his views. In 1660, he emerged blind and disillusioned with the England he saw around him.

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Nevertheless, he was yet to write his greatest work. Paradise Lost was published in 1667, followed by Paradise Regained in 1671. Milton's ability to combine his poetry with his polemics in these and other works was the key to his genius.

The classical influences in his work can be clearly delineated: Homer, Ovid, but especially Virgil. Shakespeare was the leading playwright of his day, and there are some references to his works in Milton's own poetry. The style and structure of the Spencer's "The Faerie Queen," was another influence on Paradise Lost.

Milton died from "gout" in 1674 and was buried in the Church of St. Giles in London.

Key Facts

FULL TITLE · Paradise Lost AUTHOR · John Milton TYPE OF WORK · Poem GENRE · Epic LANGUAGE · English TIME AND PLACE WRITTEN · 1656–1674; England DATE OF FIRST PUBLICATION · First Edition (ten books), 1667; Second Edition (twelve books), 1674 SETTING (TIME) · Before the beginning of time SETTING (PLACE) · Hell, Chaos and Night, Heaven, Earth (Paradise, the Garden of Eden) Major Characters

God: He creates the universe, heaven, hell, angels and man. He is omnipresent and omnipotent, but bestows man with free will to decide his actions. God is father of the Son, upon whom he bestows the power to judge man. Satan rebels against God, doubting his omnipotence and challenging his authority. Satan: God's adversary. Once one of the highest-ranking Archangels in heaven (known as 'Lucifer' there), Satan's pride and rebellion cause him to be thrown down into hell, where he rules and establishes Pandemonium. He eventually destroys Paradise by assuming the shape of a serpent and tricking Eve into eating from the forbidden Tree of Knowledge. He is the father of Sin and Death. Son: God's son and equal, who is given the power to judge man. He offers to become mortal to save man, but after crucifixion, he is resurrected. He is given the glory in quelling Satan's rebellion. He also confronts Adam and Eve after their transgression and, after clothing them, doles out their punishments. Adam: The first human, created by God. The husband and 'ruler' of Eve, who was created from his rib. He is warned by Raphael not to transgress. He decides to join Eve in her mortality and against his better knowledge, follows her and eats the forbidden fruit. His punishment includes hard labor in the field and mortality. Eve: The second human, created from Adam's rib. Adam's wife and often described both seductively and submissively. She is tricked by Satan into eating the forbidden fruit, and receives the punishment of becoming mortal and suffering pain in childbirth. Raphael: The Archangel sent by God to warn Adam and Eve about Satan and remind

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them of their free will. He engages in a lengthy discussion of Satan's rebellion and the universe's creation at Adam's request. Michael: Archangel who, with Gabriel, leads the forces of good against Satan and his followers during their rebellion in heaven. He is important for both jabbing Satan and moving mountains. Later, he comes to escort Adam and Eve from Paradise, and tells them of both good and bad events, which will come to pass. Minor Characters Muse/Urania: Invoked by Milton at certain points in the poem to give him the inspiration to carry on. Beelzebub: A fallen angel, and Satan's biggest supporter. A big advocate of the plan to sabotage Paradise and mortal man. Moloch: A fallen angel. He thinks that open war should be waged against God and heaven. Belial: A fallen angel. He thinks that hell isn't that bad, and if God isn't angered, he might remit the punishment of the fallen angels anyway. Mammon: A fallen angel. He argues that it doesn't make any sense to worship someone you hate, and thinks that the fallen angels should make the best out of hell. Sin: Satan's daughter, who sprung out of his head. Satan impregnated her, and she gave birth to Death. With Death, she guards the gates of hell. She is half woman and half dogs. Death: Son of Sin. He rapes her, begetting the dogs that eat her bowels. With Sin, he guards the gates of hell. Chaos: Ruler of the abyss between hell and earth with his consort Night. He aids Satan in getting to earth. Night: Chaos' consort. Rules the abyss with him, and aids Satan in getting to earth. Uriel: Archangel of the sun. Uriel is fooled by Satan on his way to earth. Helps to later kick Satan out of Paradise. Gabriel: Archangel and guard of the Paradise. He demands an explanation of Satan when he's found in Paradise. Ithuriel: Archangel. With Zephon, he discovers Satan trying to whisper into Eve's ear in Paradise. Zephon: Archangel. With Ithuriel, he discovers Satan trying to whisper into Eve's ear in Paradise. Abdiel: Angel who originally goes to rebel with Satan, but stands up to him and chooses to remain faithful to God. Objects/Places Pandemonium: The palace of Satan, built in hell after he and his followers were thrown into the abyss. Tree of Knowledge: The one tree in Paradise from which Adam and Eve must not eat, or else they will become mortal. Paradise/Eden: The portion of the earth in which Adam and Eve live, where the climate is always perfect and humans and animals get along in perfect harmony.

INTRODUCTION

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Paradise Lost is about Adam and Eve--how they were created and how they came to lose their place in the Garden of Eden, also called Paradise. It's the same story you find in the first pages of Genesis, expanded by Milton into a very long, detailed, narrative poem. It also includes the story of the origin of Satan. Originally, he was called Lucifer, an angel in heaven who led his followers in a war against God, and was ultimately sent with them to hell. Thirst for revenge led him to cause man's downfall by turning into a serpent and tempting Eve to eat the forbidden fruit.

SUMMARY

The story opens in hell, where Satan and his followers are recovering from defeat in a war they carried on against God. They build a palace, called Pandemonium, where they hold council to determine whether or not to return to battle. Instead they decided to explore a new world prophesied to be created, where revenge can easily be planned. Satan undertakes the mission alone. At the gate of hell, he meets his offspring, Sin and Death, who unbar the gates for him. He journeys and he sees the new universe floating near the larger globe which is heaven. God sees Satan flying towards this world and foretells the fall of man. His Son, who sits at his right hand, offers to sacrifice himself for man's salvation. Meanwhile, Satan enters the new universe. He flies to the sun, where he tricks an angel, Uriel, into showing him the way to man's home.

Satan gains entrance into the Garden of Eden, where he finds Adam and Eve and becomes jealous of them. He overhears them speak of God's commandment that they should not eat the forbidden fruit. Uriel warns Gabriel and his angels, who are guarding the gate of Paradise, of Satan's presence. Satan is apprehended by them and ran from Eden. God sends Raphael to warn Adam and Eve about Satan. Raphael tells them how jealousy against the Son of God led a once favored angel to wage war against God in heaven, and how the Son, Messiah, cast him and his followers into hell. He relates how the world was created so mankind could one day replace the fallen angels in heaven.

Satan returns to earth, and enters a serpent. Finding Eve alone he induces her to eat the fruit of the forbidden tree. Adam, resigned to join in her fate, eats also. Their innocence is lost and they become aware of their nakedness. In shame and despair, they become hostile to each other. The Son of God descends to earth to judge the sinners, mercifully delaying their sentence of death. Sin and Death, sensing Satan's success, build a highway to earth, their new home. Upon his return to hell, instead of a celebration of victory, Satan and his crew are turned into serpents as punishment. Adam reconciles with Eve. God sends Michael to expel the pair from Paradise, but first to reveal to Adam future events resulting from his sin. Adam is saddened by these visions, but ultimately revived by revelations of the future coming of the Savior of mankind. In sadness, but filled with hope, Adam and Eve are sent away from the Garden of Paradise.

Q No. 1: Give a critical appreciation of “Paradise Lost”.

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Answer: A Critical Appreciation Introduction: Paradise Lost (1665) is the greatest Epic. Milton was planning to write it for quite some time. During the years of political activities, he was in search of a suitable title. For a little he thought writing about Arthurian legends, but eventually he decided to write on a much greater subject. This subject was the fall of Adam and Eve from God’s grace and through them the fall of human race. Paradise Lost has a great treasure of learning. The bible, the Talmud (ں�� ,(ہہ�دءت � ��ا�the Church Fathers ( ��� �ے ���� دو�'��ں &%� �ے در$#ن !�ے وا ے �در��ے ��� ) - all have contributed to its story. The structure and tragic tone of the poem are taken from Homer and Virgil. But everywhere we find changes according to Milton’s own purpose. The poem creates a world that is timeless and placeless: it is the past, the present, and the future. Theme of “Paradise Lost”: The subject of Paradise Lost is Man’s disobedience and in the result loss of paradise, but its theme in simplest term is love. Mainly Paradise Lost relates to Satan’s revolt against God and his defeat by Adam. Though during all this man has to suffer continuous difficulties. The theme of Paradise Lost is that through eternal providence ( دور � ( $,+�ق �ے #ے (-#.�/ � :man can learn about the ways of God towards man (ا�0�% “That, to height of this great argument, I may assert Eternal Providence, And justify the ways of God to men”. This means man can learn the nature of God only by knowing nature of evil, that he can rise only by first having descended, and that obedience is the natural consequence of love. Structure of Paradise Lost: The story of this poem can be read in three distinct parts: the rebellion of the angels and their struggle with God (Book 1,2,3 and the end of the greater part of Book 5 and 6); the creation of mankind, the intervention of the Saviour, and the state of man’s existence (Book 1,4 and part of 5,7 and 8); and deceit of Satan to man, the disobedience of Adam and Eve and their expulsion from paradise.(Book9 to 11). The universe of ‘Paradise Lost’: “Every great work of art creates its own universe and obeys its own imaginative laws”. The view of Helen Gardner is quite sensible and we should agree with her. She says that the universe of Paradise Lost is intensely dramatic and filled with energies and wills ( �12 ���ے � But besides having a unique concentration, Milton’s epic also has a wider scope in time .((�اہ3and space than other epic poems. It ranges from the heights of Heaven to the depths of Hell. Milton’s style “A wealth of epic similes”: Raleigh says “The name of Milton has become the mark not of a biography, not of a theme, but of a style, the most distinguished in our poetry”. It would not be wrong that the word “sublimity” (4���ہ) best describes Milton’s mature style and portrait of Satan in Book 1 is an ample (5.6$، 8�) proof. The similes here used like a tower, an archangel (ے�4 9�8��' %:+), sun rising through mists, or in an eclipse, the ruin of monarchs, and the revolutions of kingdom, affect us greatly. His remoteness from common speech is not a defect. As Tillyard says: “The heightened

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style of Paradise Lost was something that demanded from him as an epic poet. In fact Milton’s vast learning became a part and parcel of his poetic sensibility. Satan’s size and power is compared to “that sea-beast Leviathan (89:;< =ر?@AB)”. He compares the vast number of the fallen angles to “thick as autumnal leaves that strew the brooks in Vallombrose”. The truth is that Paradise Lost if full of such epic similes. Characterization in “Paradise Lost”: The character of Satan looks us the most impressive figure in Paradise Lost. The portrayal of Satan in the first two Books is such that a controversy has arisen about the hero of this epic. Perhaps, this misinterpretation is due to the fact that such a view is based on the reading of the first two books only. In fact, the hero is Adam- a tragic figure in many ways. Though Adam’s character is not as Satan’s is yet it is beautifully conceived. Adam’s role is not that of a warrior but that of a God-fearing man. He faced temptation and defeated in the conflict between himself and Satan. But the defeat is not final. Through the help of Christ, he regains the paradise. Some critics feel that either God or Christ is the hero of this epic. But this is not true. As neither God nor Christ take part in the central action of Paradise Lost. It is true that Adam has a somewhat passive ( � $#ں �>'�ا� ) role as well but the fact remains that whole epic revolves around his first disobedience and then his struggle to regain it. Conclusion: In the end it can be said that Milton’s Paradise Lost is a great work of art which offers idea and conclusion for man in all ages. Q No. 2: Discuss the main theme of “Paradise Lost”.

Or What is the great argument of Paradise Lost? Describe how Milton invests his

theme with epic grandeur. Or

Discuss the theme and moral purpose of Paradise Lost as are reflected in Book 1. Or

Discuss Milton’s treatment of his theme in Paradise Lost in the light of the following observation. “The fallen angles incorporate (5 ہ#ں$9) many of Milton’s obvious aversions The surface meanings of Paradise Lost appear to suffer from the ..…… (9%�% �=�'#ں)unnecessary grandeur of Satan”.

Or Show how far Milton has succeeded in achieving his professed aim in Paradise

Lost to justify the ways of God to man. Or

“Though the direct justification of God’s ways to man is conceiving, there is an indirect justification”. Illustrate from Paradise Lost Book 1. Answer:

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Just like the tradition of an epic, Milton introduces the theme of Paradise Lost in the opening lines of Book 1— “Of man’s first disobedience and the fruit Of that forbidden tree, whose mortal taste Brought Death into the world, and all our woe, With loss of Eden, till one greater Man Restore us, and regain the blissful seat,

The contents of poem are basically related to fall and redemption (ت>�) of man. The cause of great fall is Adam’s violation of Divine Commandments. The arch fiend (ن?#9) stealthy enters the Garden of Eden in the shape of a Serpent. He approaches the Mother of mankind, Eve, flatters her with his oily tongue and tempts her to taste the forbidden fruit. Eve is too naïve (دہ �ح�) to understand Satan’s intentions. She fails to face the bewitch temptation and succumb to evil by tasting the fatal fruit. Later on, she offers fruit to Adam who also accepts it and confirms his fall. This heroic act brought their death and result in woe and troubles. However, they are not condemned forever, because both of them instantly feel sorry for their sins, shed tears and repent like obedient followers. Eventually, they are regenerated by Christ’s act of sacrifice on the cross. Milton has shown this drama of Paradise Lost with a definite aim of justifying the God’s ways to man. Milton justifies God’s decision in a variety of ways. He holds that Adam and Eve become aware of their heinous evil, feel sorry for their disobedience and repent for their violation. Through the act of redemption they learn positive values like sympathy and humility. When they leave paradise they are more attractive human beings than they were during their stay in the Garden of Eden. The purpose of Milton’s effort is to show that the ways of God are the ways of purification of the heart of man rather than his intellect. Therefore, there is a stress on Christen concept of redemption in Paradise Lost. Milton intends to show that his purpose is not simply to tell the Biblical story but to produce a mystical mood (اجC$ ہ�#8�&) in the reader. He meant to show the reasonableness of religion and the importance of submission before Divine Will. Milton also shows the reasonableness of God’s ways in a religious manner. God Almighty has the power to extract good out of the evil action of man and for this purpose he created the world. The newly created race of man was placed in Heaven in the position vacated by the fallen angles. God also blessed Adam with the gift of repentance, which later on became the most outstanding means of his forgiveness. On the contrary, Satan remained obstinate ( ہٹ،�%F Afterwards .((%ا� ر/.-) proud and rebellious. Later on he was deprived of Divine Grace ,(ده�مGod permitted Christ to take up the role of man and protect the whole humanity of Devilish designs. Christ proved his gallantry (� and did not yield to evil. He sacrificed himself on the (ہدرcross and in his way redeemed Adam from original sin. Milton has also justified God’s ways. Death on the one hand becomes a source of relief from old age and diseases but on the other hand is the only source of approaching and regaining God’s companionship. Lastly, Milton has given much importance to poetic manner to justify the God’s ways in the case of Adam and Eve. The reader finds a marked development in the personalities of both Adam and Eve. They appear charming and innocent in the beginning, but they remain no more innocent after committing the sin of basic disobedience. Therefore, disobedience of man,

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justification of God’s ways to man and man’s redemption are the major themes presented beautifully and with poetic eloquence (8CDEFہنارعاش) in the Paradise Lost. Q No 3: In what ways is Paradise Lost similar to and different from the classical epics?

Or Examine Paradise Lost as classical epic with particular reference to Book 1.

Or Consider Paradise Lost as a classical epic.

Or Discuss the transitional prescription of the epic forms which are illustrated in

Book 1 of Paradise Lost. Or

Show how Milton in Paradise Lost, followed the lines of the classical epic and modified or developed it for his special purpose.

Or Analyse clearly the epic features of Paradise Lost.

Or What qualities of epic poetry are revealed in the first book of Paradise Lost?

Or What is a literary epic? Does Paradise Lost impress the modern reader as a great

epic? Or

What features do you find in Paradise Lost? Or

With illustrations from Book 1 of Paradise Lost describe what you regard as the chief characteristics of an epic. Answer: An epic is the highest type of narrative poetry. It is long narrative poem in which characters and the action are of heroic proportions. Works of Homer and Virgil have provided some standards of an epic in the West and Paradise Lost by Milton fulfill all these standards. Milton’s Paradise Lost occupies a prominent place in epic poetry. It was the result of Milton’s great religious as well as secular learning. He has not only taken account the Grecian and Roman epics like Homer’s “Iliad” and Virgil’s “Aeneid” but also the rules and regulations lay down by Aristotle in his “Poetics”, governing epic poetry. The theme is the first significant point which distinguish Milton form his predecessor. The action of Paradise Lost is grand and grave. In Aristotle’s opinion the action of an epic should be entire and great. Milton’s success as an epic poet lies in giving unity of action to Paradise Lost. The whole action of poem revolves around the subject of man. The action in Paradise Lost also forms a complete whole. It has a beginning, middle and an end. The action is contrived (��� � on earth and punished in Heaven. The ($5.6 ہ��) �I:$) in Hell, executedہ :%term “great” implies greatness of action not only in its subject matter but also in its time scheme. The action in Paradise Lost takes into account the time before the creation of the world to the Day of Judgment. Resultantly, Milton’s subject matter is greater than Homer, Virgil

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or any other epic writer in its nature, time scale, space, comprehensiveness and moral elevation. The characters in a classical epic are generally portrayed as men of heroic stature and God like mould (2ہ��). Not only the hero but also the villain and other characters are portrayed on a grand scale. The solemnity (گد=جنس=) of action of Paradise Lost required dignified characters. The dramatic characters in Paradise Lost are God, Adam, Eve, Christ, Satan and fallen angels. These characters are more dignified than Ulysses and Achilles of Homer and Aeneas and Dido of Virgil. Adam and Eve are more attractive because they are the representatives of universal human nature. Keeping the tradition of epic poetry Milton dramatized several heroic adventures and deeds of bravery. The undoubtedly acts of Satan are so impressive that some critics are misled and regard him the hero of Paradise Lost. They are wrong in their assessment because Satan’s heroism is false and hollow and because Milton is less interested in making arch-fiend as the hero. He exposes the demerits and pagan ( �KL) heroism only to suggest the Christian heroismٹwhich is based upon moral values. The invocation (Mد is also a class in itself. Since Milton was writing a ((%ا �ے $%د �Christian epic, therefore, nothing less than Holy Spirit was required. In this way Milton makes his poem more elevated than the classical epics. Last but not the least is Milton’s epic style. It is entitled as grand and majestic. It was the pressing need that the style should be majestic, because the theme, action, characters and moral of the poem were dignified. A cluster of stylistic devices and poetic beauties like Homeric similes, metaphors, allusions (تL ا ہ�/), Latinized syntax (ے:QR S@TUV), alliteration (combination of two contrasting words to highlight the meanings) give Paradise Lost due grandeur. The style is epic in range and variety. Indeed, a great work by a great man. Q No. 4: Compare and contrast the characters of Paradise Lost. Answer:

Paradise Lost is a poem about the nature of man and the Biblical story of his fall and its subsequent (Nے وا�! %O �8را) results. Adam and Eve are used to expose human nature. Both are like and unlike human characters. A thing which is important to note is the presence of germs of evil in Eve’s mind, which is another proof of her being a real human character. On the one hand, she indirectly calls God unjust by complaining of excessive work, while on the other hand finds faults with Devine plane which binds them to work together. Her dissatisfaction with the order of things is a pointer towards her tragic fall. After getting Adam’s permission to work independently, Eve seems very happy in the first scene of the drama of fall. Adam’s disagreement to Eve’s pleadings provides thinking of a typical God fearing human being. His arguments are fairly logical and thoroughly coloured with religious sentiments. Like a gentle husband, he advices Eve not to find fault with extra work. He also expresses his apprehension that “crafty Imposter” (Nے وا�K�ں د#�NQ) would prefer to seduce ( R�') one of them instead both of them. It is worth noting that Adam is too gentle to#� د�:attract reader’s attraction. Unlike Eve he is inclined to lead a life of total obedience and submission. Though Adam has a noble behaviour, yet he is neither authoritative nor assertive. The reader gets some glimpses of his lake of assertion (ت $:�ا� .((�د �

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Eve expresses typical female psychology by insisting upon her own thinking. She wrongly interprets Adam’s feelings of good-will with her. She argues with Adam that if they confine themselves within a small area and remain all the time in a state of fear, their life would not be called a happy. Like a kind hearted husband, Adam reassures her that he does not doubt her virtuosity. In Adam’s opinion, union is strength. Together they would manage to stand any trail (560$). She reveals typical obstinacy in her behaviour and once again gives clear indication of the germs of evil in her mind. She has views that that God has not made them so imperfectly that they should not be able to meet dangers and temptations independently. Eve’s argument is that if she fails to resist singly, it would mean that God has made her imperfect. By showing her inclination towards evil, she becomes a representative figure of universal human nature. There is blend of both good and evil in Eve. Eve becomes more attractive human being than Adam as she thinks, talks and behaves like an average human being. On his turn Adam advices her to remain within the limits of Divine roles and regulations. His fears are that of a true Christian. He also becomes a spokesman of human nature. Nevertheless, it is true that through the encounter of Satan with Eve Milton has exposed some of the facts of human nature, internal and external conflict between opposing forces—curiosity, vanity, love of flattery, self-projection, self-interest and the distinction between the appearance and reality etc. Since most of these shades of human nature are found in Eve’s personality, she appears more attractive than Adam. She is close to normal, average and common human being. Satan is clever, cunning and deceiver of highest order. He adopts the right channel for seducing Eve. He flatters her in the most convincing manner, that Eve is trapped by Satan does not seem unnatural. His attack is well-planned and well-executed. Eve’s failure to see beyond false appearance remained the predicament (م) of mankind in general. Satan allures (ا�<�KS ) Eve in such a way that it very difficult for her to resist. Her response is not surprising, though it is shaking and painful. It is an open secret that in the case of their lives the human beings get astray and ran after false allusions. Paradise Lost is fundamentally a poem about human nature. Q No. 5: Write majestic glorification and degeneration of Satan with special reference to Book 1 and Book 9.

Or Write character sketch of Satan.

Answer: The character of Satan has been the center of critical interest, analysis and debate in all times and all ages. People will go on discussing Satan’s character till time to come. In the words of Tillyard, “the main reason is the element of extraordinary suggestiveness (��� TFوا) both in the character and the portrayal of Satan.” The reason why Satan has always been center of attraction is his complex character-who retains his stature even after his fall. But it is equally true that he goes through the process of gradual degeneration. His baseness (4� KV) and magnificence have been marvelouslyٹ#presented by Milton. He has given the true heroic status to this great character. In the words of Sir Walter Raleigh, “Satan’s very situation as the fearless antagonist (�� of omnipotence (�����،د ".makes him either fool or a hero and Milton is far indeed from presenting to think him a fool (��ا)Another critic Hamilton points out that “Satan is nobler and more admirable than the Devil

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conceived by his intellect”. In the words of another important critic, "Given certain ethical systems, Satan is ultimately heroic.” Let us try to trace his gradual glorification in the opening books and his total degeneration in Book 9. In the opening lines of Book 1 Milton refers to Satan as “the infernal serpent”. This is for the first and last time that Milton addresses him by this title. Milton then proceeds to present his present situation in the single word “predicament”. He is no longer free and imprisoned with chains and is dangerous. His hateful eyes reveal his mind. Milton has provided two key phrases “Obdurate Pride and Steadfast Hate”. These two phrases guide us to make real assessment about his current situation. The fall has brought physical change in his outward luster, but this minor change has not affected his heart and mind. Though in pain and in utter despair, yet he encourages his friends not to feel weak and miserable. He decided to take revenge from God, the celestial beings (ق�+,$ �.�!), Adam and Eve. His determination is strong and unflinching (لX X�$ �#R). His attitude is aggressive and straight-forward. After giving him this aggressive stance, Milton moves to give him different title—“That lost arch angel ruined”. Milton takes a leap from now forward and present Satan as “Superior fiend". Here Milton amplifies tremendously in an exacted and great manner. He gives an extraordinary touch to his mind and overall personal figure. Satan now believes that he is at power (DWXہ :Cا:C ںT[ 8\DU) with the God and can compete with all his enemies. His inspiring words, in his eloquent speeches, enhance his overall superiority as a worthy competitor. From his glorification, we move to the degeneration of Satan in Book 9. The Satan of Book 9 is not the proud, unyielding, gigantic, exalted, majestic and a heroic figure. He has come to a very lower status and is introduces here as a “False worm”. Milton rightly discards his glory and brings him to his present status acting in “Fraud and Malice”. We next see him entering Paradise stealthily (ےB =رX^). The great Satan who at one time stood like a tower is now behaving like a thief. The once heroic adventurer now takes refuge in “rising mist”. His greatest problem is to allure (DWD_`a) Eve or Adam to make them the target of “Divine Wrath” (������ ���). He uses all the mean tricks and fulfills his evil desire. We next see him in the temptation scene where he is at his best. The only difference is that he decides to use foul means to seduce (DW:b اہ:Ad) her. He uses exaggerated language to trap her. At this time he has reached the lowest position. In the light of above analysis, we can easily reach this conclusion that Satan has been presented with the mind of an artist. He has been glorified and then degenerated with the delight of poetic brilliance. We see him gaining the highest stature and then losing it in a spectacular way. Q No 6: Discuss the autobiographical elements in Paradise Lost. Answer: This is a historically proved fact that Paradise Lost is full of autobiographical elements in a very strict sense. Unlike the epic tradition, Milton’s own personality can be seen everywhere in the poem. Epic writing is basically a very objective ( R) sort of practice and in the past#�ذا'there was no room for subjectivity (-#'ذا). The ancient models in this field are proof of this reality. Neither in Latin nor in the Greek poetry was found anyone indulging in self-display as did Milton. But, in truth, the writer of Paradise Lost is only human being who exists in his own books. Many critics agree in this regard that total comprehension of Paradise Lost is impossible

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without taking the autobiographical elements into account. We find him in one way or the other, in the character of Satan, Adam and Eve to some extent. As every serious critic of Milton knows this fact beyond any doubt that he was a flag bearer of liberty and a renowned champion of human freedom. His personality stands prominent almost at every corner of this great epic. The character of Satan in particular has been projected to highlight Milton’s own pride, invincible (-Z69 5��) temper (اجe[) and extraordinary heroic energy. The strong and unyielding reaction of Satan and his fall is proof of spectacular mind of writer, who went to many political and social crises throughout his eventful life. His magnificent ability to make sound judgment and a great power of resistance show the strength of Milton as a worthy challenger. The spirit to fight and great self confidence that we see in Satan is actually the strength of poet himself who created this masterpiece. Critics also refer to Milton’s presence in the character of Adam too. The readers familiar to Milton’s early work and his aesthetic sense can easily watch him in the character of Adam. Like Adam we find Milton intensively passionate as regard his love for the worldly affairs in connection with women. His deep involvement in different levels of strong friendship with beautiful ladies is a proof of this. But we find Adam like Milton very pious, highly serene ��6ن)��) and God fearing at a later stage. Milton himself adopted a very cautious attitude in his mature age about the feminine affairs. It is understandable, as some critics suggest that his attitude towards women took a great change from sensuality (3اہ�) Z:L) to serenity. Another factor that strongly makes this point is his grand style, having undeniable beauty and grandeur. His love for the language of ancients and fondness of classical history and mythology (ےf\ ےb وںDjX9د =X9د) reveal his presence in Paradise Lost. His vast learning, strong grasp of Greek and Roman models and deep study of Bible have been beautifully adjusted in different sections of this book. As almost all critics agree that the reader must have great insight into the classical knowledge to fully appreciate the meanings and themes of Paradise Lost. This book is certainly not a book for mediocre kےجرد طسوا mےn. The political personality of Milton also find place in Paradise Lost. The political parties of his time can be compared with the infernal crew (وہ�V of fallen angels. The debate that takes place in Hell bears (دوز(parliamentary touch. The fact is that Milton saw God is the King of England. As the politicians struggled hard against the tyranny of the King, Satan and his followers launched a strong revolt against God and used all means to fulfill their agenda. Under a very thin veil, Milton is always present in the form of one character or the other. As Coleridge has pointed out “Milton is in every line of Paradise Lost”. The above discussion establishes this fact that it is very difficult to comprehend Paradise Lost without having a close look at the autobiographical elements. Milton has done a great service to humanity by creating this masterpiece. Q No 7: Write a note on Milton’s style of writing. Answer: The charge that Milton corrupted the English language is not new. People have been talking about, for and against (ںT[ 8;aDo[ ں اورT[ pq), the Milton’s style for quite some time. This debate was initiated by Dr. Samuel Johnson but late on was taken up by such seasoned critics of Milton as F.R. Levis, T.S. Elliot and others. T.S. Elliot along with some other critics attacked the style of Milton in the hardest possible way. On the other hand, people like Richardson, Addison,

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C.S. Levis and some recent critics like Risks had defended Milton’s style with great deal of force and energy. The defenders are of the view that the loftiness (دنلب�) of the subject matter demanded that the language used should be unusual and extraordinary. The entire picture of drama of fall of the man is so impressive and filled with holiness that an ordinary literary style would have destroyed the whole effect. Therefore, the grand style was not a luxury but a necessity. The substance and complete plan of Paradise Lost and as such the required style of became a topic of heated discussion everywhere. Richardson, for example, regards the study of Paradise Lost not as a delight but as a duty. The reader goes through very strong sense of agony to comprehend the real meanings and related information. Like Milton the reader must be equally mature and learned to acquire the full magic of great poem. Every sound, syllables �L ]= ), pause and silence matters with Milton. To grasp and to absorb the ا�\ ہ !واز $#ں ادا ہ�)Greek, Latin and Hebrew (-ہ�د��) elements, the reader must read great sources to pick even the slightest idea of the beauties of this great work. This is not because the idea or the substance is lofty, but the language and the style are beyond the reach of an ordinary mind. The used imagery, remote religious references, the imaginative details of Paradise and Hell, the gigantic size of the angles and the significance of Satan’s speeches required exactly the same sort of style that Milton adopted. The thematic depth and grandeur of the style are intermingled and inseparable. Little wonder that majority of admirers of Paradise Lost fully appreciate it, despite its difficulties and uncommonness. This element of difficulty of style has been over-exaggerated by the critics. They simple fail to understand this simple fact that style is the ultimate morality of mind. Based on Milton’s deep study, his strong mind would have certainly emerged in the same way as it finely did. One important point that many critics miss is that Milton’s style is strictly confined within the parameters of religious epics that he was trying to create. In the words of Richardson, “Milton’s language is English but it is Milton’s English”. It is Latin, it is Greek-English, not only the words, the idioms but also all language related references are foreign in nature. In the light of above discussion and analysis of his typical style, we can safely say that Milton is a towering figure of English poetry and his grand style is unique in every way. To take a perfect delight in Paradise Lost is to appreciate, rather admire, the grace and beauty of his style that gives a new shape to the overall grandeur to this masterpiece. Indeed, a great effort. Q No 8: What is meant by blank verse? Discuss Milton’s handling of it in Paradise Lost Book 1.

Or What are the characteristics of Milton’s blank verse? Contrast it with other type

of blank verse. Or

What are the qualities that give Milton preeminence as a writer of blank verse? Or

Write a note on blank Verse in Paradise Lost. Answer:

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Blank Verse is poetry written in iambic pentameter (A line (usually poetry) that has ten syllables in each line, but the alternate syllable is stressed) with no rhyme scheme.

In the opinion of almost all quality critics, the blank verse of Paradise Lost surpasses all existing specimens in world literature. John Milton introduced such a great level of blank verse that has attracted not only the critics and regular students of English literature but general readers as well. Blank verse is the beauty of this great work that gives it uniqueness and a very grand comprehensive pattern to Paradise Lost. The matchless musical quality runs through almost all his poetic work, especially in Paradise Lost. His verse paragraphs have infinite grandeur and sublimity and that could have only been expressed though blank verse. Milton’s blank verse is in a purified form and does not have the unnecessary details. Milton not only removed the damage done to blank verse but also rectified the damaging process. Some important literary personalities who had used blank verse had actually not served the cause of this literary form. For example, Surrey had translated Aeneid into English in blank verse, but had taken too many liberties with its pure form. This was not the only damage done. With the exception of Shakespeare, some dramatist had joined the damaging party. But Milton’s blank verse, as is evident from every line of Paradise Lost, is free from any sort of deviation and unnecessary disturbing material. His blank verse was actually the standard form in its true spirit. We see Milton’s blank verses are filled with warmth of life and are very strong indeed. It is a blend of variety and sense of variations to remove any monotony. Milton introduced a very perfect model of blank verse that conveyed a very forceful poetic impression upon the reader. Sometimes, it is over-burdened with far-fetched similes and metaphors but it never brought any negative impact on the strong influence of his verse. This happens again and again in Paradise Lost, making overall effect extremely charming and according to the literary requirements of the poem. There is an excellent combination of sound and sense in Paradise Lost. In the words of Helen Derbyshire “Never has a poet known better than Milton that sound expresses sense”. This blend of sound and sense has been beautifully presented through medium of blank verse. The fact is that this particular poetic form not only enhances the beauty of the sounds but also gives a very special flavour to the sense of the poem. These two characteristics actually are the direct result of the quality stuff that we see in the judicious ( :S$ ف �ہIا�) use of blank verse. It goes without saying that Milton’s blank verse is highly dignified and of a very sober quality. T.S. Elliot confirms this view in one of his articles. Though he was a strong opponent of Milton’s grand style, yet he expresses his great appreciation for the grace and standard of Milton’s blank verse. Another important literary figure Hazlitt remarks “It is the verse indeed”. Many other recent critics of Milton have the same views about the greatness and high quality of Milton’s blank verse. Other than Shakespeare we do not find any great writer of the blank verse in any form of poetry. Milton has no rival in the field of blank verse and stands higher than anybody else. The ever popular Paradise Lost will remain a great poetic work, not only because of its lofty theme but also of its blank verse. Therefore, to appreciate Paradise Lost is actually to appreciate the blank verse.