Paradise_lost-an_epic.docx;filename_= Utf-8''paradise%20lost-an%20epic (1).docx

Paradise Lost as an Epic Paradise lost is one of the world’s best epics ever written. Milton has composed it in accordance with the established classical rules and conventions laid by Aristotle and practiced by Homer in Illiad and Virgil in Aeneid. AN EPIC: Epic is grand narrative, a serious poem with elevated and grand style, ordinarily concerning a serious subject containing details of heroic deeds and events significant to a culture or nation, having higher and lofty themes. Hyperbolic, elevated and conceited language is used to heighten the affect of poem. According to Aristotle an epic must have the following element.  Fable  Marvelous theme  Characters  Machinery  Episode  Integrity  Sentiments  Grand style PARADISE LOST AS EPIC: Milton achieved eminent success in making Paradise Lost as classical epic. In spite of certain drawbacks and defects, Milton’s epic is entitled to take its rightful place among half a dozen classical epics in the world. It possesses all essential elements that a traditional epic have. FABLE: Fable or story is the basis of the epic. Bossu is of the opinion that the poet’s first business is to find a moral, which his fable is afterward to illustrate and convey. In Paradise lost, Milton has presented the story of man, of his first disobedience, to justify the ways of God to man, to show the reasonableness of religion and the necessity of obedience to the Divine Law”. Addison writes about the action of story that “The action of story must have three qualities, First, it should be one action, secondly, it should be an entire action, and thirdly, it should be a great action.” In short, the action of an epic should be one, entire and great. All these three qualities of epic action are followed by Milton. The action of Paradise Lost is one and there is a unity of action. The central action is the Fall of Man, and everything in the epic as, the battle of angels, the creation of the world, is subordinated to this central action. There are digressions at the beginning of the third and seventh books, but they do not affect the unity and central action of the poem. The whole action of Paradise Lost is single and compact. In the second place, its action is entire which means that it has a beginning, middle and an end. The action in Paradise Lost is contrived in hell, executed upon earth, and punished by heaven. In the third place the action ought to be great, by greatness of the action, Aristotle means that it should not only be great in its nature but also in its duration. The entire action of Paradise Lost has a stamp of grandeur and greatness about it. Milton’s subject is greater than Homer’s Iliad and Virgil’s Aeneid. It does not determine the fate of one single person or nation; but of the whole human race. THEME: The theme of an epic, according to Aristotle, “must be probable and marvelous”, means it must be grand, elevated and has national importance or significance; that is, the epic must be a true and faithful mirror of the life and of a nation, as Homer’s Iliad represented the national life, thought

and culture of his country. Virgil gave expression to the hopes and aspirations of the Romans in the “Aeneid”. In this respect Paradise lost is superior to other epics. The interest of Paradise Lost transcends from the limits of a nation. Dr Johnsons says: “The subject of Milton is not the destruction of a city, the conduct of colony or the foundation of an empire. His subject is the fate of worlds “ The Fall of Man is the theme of the epic. “Of Man’s first disobedience, and the fruit Of that forbidden tree, whose mortal taste Brought death into the world, and all our woe,” What is the origin of evil and from where the combat of evil and good begins, it contain a matter of deep interest to all mankind. CHARACTERS: The characters in the epic, like other classical epics, are of high status rather, more high and noble than ancient heroes of Homer and Virgil. The characters in Milton’s Paradise Lost are the most sublime that human beings can conceive. They are God, Christ, the good and evil angels, and Adam and Eve, the Parents of whole human race and their status enjoying heavenly life. Addison says, “It is impossible for any of Paradise readers whatever nation, country or people he may belong to, not to be related to the person who is the principal actor in it; but what is still infinitely more to its advantage, the principal actors not only our progenitors, but our representative.” The heroes of ancient epics have the outstanding personalities, heroic mould and stuff, but Adam is bestowed with more heroic qualities than any other hero. Whereas Satan, an Arch fiend, revolts and preaches disaffection against God, yet, Milton portrays him so skillfully that he appears to be more glorious and most evil being. The quality of Satan as leader is hence responsible for most of the critics to consider him to be a hero of this great epic. Even the critics like Robert Burn is forced to say "Give me the spirit of my favorite hero, Milton's Satan" MACHINERY: A great epic poem employs an elaborate supernatural machinery, helping the hero in epic poem. The classical writers set another tradition i.e., the use of supernatural machinery, which develop the plot and solves its complications. John Milton’s skill once again excels other poets in exhibiting the superb usage of supernatural machinery in the poem. There are only two human characters, Adam & Eve, rest of all the characters including God, angles, Satan and rebellion angels all are supernatural beings. Thus the use of supernatural machinery in this epic is very convincing. GRAND STYLE: The language of an epic must be sublime and rose above the language of common parlance. Milton style in “Paradise lost” is grand, characterized by use of mythology, allusions, epic simile and metaphors and his Latinized style of writing. His blank verse remains unsurpassed in point of expression, force greatness and sublime beauty. Allusions: There are hundreds of allusions in “Paradise lost”. Milton presents allusions to Bible, Greek mythology and history. The very first reference he presented, to Muse who is the central force of all fine arts; he asks Muse for help to support him in his attempt to write on a great theme, not undertaken by any writer before. “Heavenly Muse….. I thence invoke thy aid to my adventurous song” A beautiful illustration of the poet’s fondness for allusions is provided by his description of Satan’s forces, which dwarfed the mightiest armies of history like of Thebes and Troy, the knights of King Arthur, warriors of Charlemagne mentioned in Italian epic. Thus the fallen angel exceeded all earthly armies ever distinguished and renowned for bravery. “Distends with pride, and hardening in his strength Glories, forever, since Man created……. Of Phlegra with the heroic race were joined

That fought at Thebes and Ilium” Latinized style: Milton adopt Latinized style, he uses English words but Latin syntax. English is a syntactical language using word order in sentences to produce sense. Latin verbs, for example, often come at the end of the sentence or a direct object may precede the subject. Partly, this type of reversal, at times complex, syntax is necessary for the poetics, to maintain the correct meter, but at other times the odd syntax itself seems to be Milton's stylistic goal. “Of man’s first obedience, and the fruit Of that forbidden tree, whose mortal taste Brought death into the world” Epic simile: Epic simile is an extended simile, in some cases running to fifteen or twenty lines, in which the comparisons made, are elaborated in considerable detail. In an epic poem similes are used for the purpose of illustration, but they serve also to decorate the epic theme or character. Milton has brought in a number of such similes in the Book I of “Paradise Lost”.  In the first simile he compares the huge form of Satan sprawling on the lake of fire to the fabled sea-beast called Leviathan. It was a kind of big whale of such great size that when it came to the surface, it occupied many miles and gave the impression of an island in midocean. In this simile though the dominant impression is size but the other impressions are also produced. The Leviathan is dangerous and tricky so is Satan.  The second epic simile is where he compares the shield of Satan to the appearance of the moon as it was observed by Galileo through his newly invented telescope. it helps us to form some idea of the magnificence of Satan’s shield leading us to the suggestion of Satan’s huge dimensions  Milton in another simile compares the fallen angels with the autumnal leaves thickly strewn on the streams in vallambrosa. The reference of fallen leaves is very appropriate since it suggests and reinforces the fallen nature and diminished glory of the angels in hell. SENTIMENTS: In “Paradise Lost”, sentiments of both fear and repentance have been beautifully and forcefully rendered. The anguish arising from the horror attending the sense of the Divine displeasure is very justly and powerfully described. Dr Johnson says that. “The sentiment, as expressive of manner, or appropriated to characters are, for the greater part, unexceptionally just.” INTEGRITY OF DESIGN: Integrity of design is one of the most important requisite of an epic. By integrity of design Aristotle requires a beginning, middle and an end. In this long narrative poem running into twelve books, there are occasional episodes , digression, long narrative and descriptive passage, but they are all so well interwoven into the main theme that nothing seem disjoined. An objection is brought against it design that it doesn’t begin with the beginning. It rather begins with the middle. The defeat of Satan and his host with which the first book begins occur in the beginning of story. But it is not the defect, rather its conformity with classical conventions to begins somewhere in the middle of the story, but then goes back and fills in the details. For example, Paradise Lost begins with Satan already in Hell, but all the events leading up to it, are narrated in Books 5 and 6. Similarly, the creation of the world, of Adam, and of Eve takes place sometime between Satan's fall and his planning for revenge (Books 1-2), but the creation is described in Books 7 and 8. Other conventions: Besides confirming to the rules of an epic as laid down by Aristotle, Milton makes use of the conventions adopted by other writers of epic. For example, it was a regular

practice with the epic to begin with invoking the Muse. Milton also begins Paradise lost by lifting his voice in prayer to Muse for instruction and support. “And chiefly thou, O Spirit, that dost prefer Before all temples the upright heart and pure, Instruct me, for thou know’st:”

DRYDEN'S OBJECTION AGAINST "PARADISE LOST" AS A CLASSICAL EPIC Dryden, however, doubted its claim to be called an epic, because, (1) It is not heroic enough; its main theme is not a war but the tale of man's loss of his happiness; (2) Unlike other epics it ends unhappily; (3) Again, unlike other epics, it contains only two human characters, the other being "heavenly machines". The objections are either superficial or conventional. It is a needless restriction on epic poetry to say that it must always have a war as its main theme. Similarly, the fact that epics generally end happily does not mean that all epics must end so. Besides, as Johnson points out, Paradise Lost does not end unhappily. He says, "If success be necessary, then Adam's deceiver was at last crushed; Adam was restored to his Maker's favor, and therefore may securely resume his human rank." If Adam loses the eternal Paradise, he gains "a Paradise within him happier far." Dryden's third objection is sufficiently refuted by Addison. He says that though the number of characters in Milton's epic is not many, yet each of the characters is represented in more than one aspect. Thus we have Adam and Eve as they are before their fall and as they are after it. God is revealed as the Creator, the avenger of man's wrongs and as man's redeemer. Satan has three different aspects of his character. He is God's enemy, man's tempter and a great leader to his followers. Besides, abstract characters such as Sin and Death, are introduced. And surely, God and the angels, good and bad, are also characters. They are not merely "heavenly machines." It is also criticized for the introduction of allegorical persons like sin and death, the frequent allusions to heathen mythological fables and useless display of learning and the unnecessary use of technical terms. CONCLUSION: Thus whether we consider Paradise Lost from the point of view of classical rules, or conventions, it is greatest epic in the English literature. In fact, Milton is counted among the greatest epic poets of the world.