What qualities of an epic do you find in Paradise Lost?

Paradise Lost is one of the finest examples of epic tradition in all of literature. Paradise Lost is
an epic poem in blank verse by the 17th-century English poet John Milton. It was originally
published in 1667 (though written nearly ten years earlier) in ten books, with a total of over ten
thousand individual lines of verse. A second edition followed in 1674, re-divided into twelve
books (in the manner of the division of Virgils Aeneid) with minor revisions throughout and a
note on the versification; the majority of the poem was written while Milton was blind, and was
transcribed for him.
Like the classical epic writers, Milton succeeds in lending Paradise Lost with perfect unity
of plot. Everything or even in the poem leads up to or flows from it. The plucking of the fruit of
the tree of knowledge, the war between God & Satan, followed by the fall of Satan, Long
descriptions of hell and heaven and seduction scene all these events are closely woven and
seem a single and a compact action. As a masterly person, Milton plunges into the middle of
the story, instead of beginning, but in the middle he traces the earlier story and forwards the
story to a striking end. During this Milton still is following a rule of epic writing.
In the course of the events Milton convincingly shows the utter powerlessness, helplessness
and depravity of evil beside the almightiness, beauty and benevolence of God. Evil never
succeeds; it never does under any circumstances. Milton shows this in the defeat of Satan:
so stretchd out huge in length the Arch-fiend lay,Chaind on the burning lake; nor ever thence
Had risn, or heavd his head, but that the will And high permission of all-ruling heaven, Left
him at large to his own dark designs.
War like speeches is another feature of epics. Through these speeches, the poet actually
explains the background and the scenery, the characters themselves speak fully explaining their
thoughts, feelings and motives. Milton once again seems at the top, while presenting the war
like speeches of Satan, who emerges as a giant leader with all heroic qualities inspiring all the
readers. In Book-I Satan has been represented in heroic dimension. He displays unyielding
courage, shrewdness as leader. From the very first speech, he appears to be a great orator with
profound leadership qualities.
What though the field be lost, all is not lost, The unconquered will immortal hate
He like a great leader arranges a council and gives them the urge to wage another war against
The Supreme Victor. Thorough analysis of their defeat is done to formulate new strategy. He
like a great leader praises his fellows and gives them boost by calling them Princes, The Knights
and the Warriors he also pinches them by his words.
Wake up or be fallen forever
The whip of words works and all of the fallen shrubs rise and whole dark hell resounds with
their slogans and flashes with blazing swords and shields as Milton describes the scene in these
lines,
Highly they raged Against the highest, and fierce with grasped armsClashed on their
soundings shields, the den of war Hurling defiance towards the vault of heaven.
The use of similes, metaphors and allusions are another ingredient of epic writing and Paradise
Lost is the best blend of this quality. Especially Book-I can aptly be declared as one of the best
example of Miltons skill in using similes and metaphors. Milton being the most learned uses
similes, metaphors and allusions to suit their appropriateness adding to the grandeur of the
poem. He found an inexhaustible store of learning and experience in classical literature and
mythology, from which he drew material for his similes. He tells us that the palace of hell is far
beyond the magnificence of Babylone, or great Alcairo, and the army of rebel angel far
exceeds those,
That fought at Thebes and Ilium, on each side mixed with auxiliary gods; and what resounds In
fable or romance of Uthers son, Begirt with British and Armoric Knights; And all who since,
baptized or infidel; Jousted in Aspramount or Matalban, Damasco, Morocco, or Tribisond,When
charlemain with all his peerage fell By Fontarabia.
The classical writers set another tradition ie, the use of supernatural machinery, which develops
the plot and solves its complications. John Miltons 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.
As paradise Lost primarily deals with supernatural powers and agencies, there is very little
scope for the expression of human sentiments. Adam and Eve are the only two human
characters. Their sentiments both of fears and repentance have, of course, been beautifully and
forcefully rendered. The anguish rising from the horrors attending the sense of the divine
displeasure are very justly and powerfully described. But the real greatness of Milton lies in the
fact that he has rendered supernatural powers as human beings and ascribed to them human
sentiments. Dr Johnson says that, The sentiments, as expressive of manners, are appropriated
to characters are, for the later part, unexceptionally just.
To conclude it would be very apt to remark that Paradise Lost fulfills all the requirements and
the convictions laid down by the classics and is one of the best epic ever written in English
literature. A sane critic is justified in giving these remarks; There is nothing in English
literature, but Paradise Lost
English literature will remain indebted to Milton for his remarkable and glowing piece of
literature for all the ages. Milton following the classical tradition matches his own purpose i.e.
justifies the ways of God to men and has transformed the classical secular epic into a
theological and universal one. He actually has enriched the epic tradition and it is apt to say
that Paradise Lost is the best example of the tradition and the individual talent. Therefore, its
confirmed that the subject of this epic is more ancient, serious and lofty than any other epic. It
promotes a universal view of mans life.
.
Characteristics of an Epic
An epic is the highest type of narrative poetry. It is a long narrative poem in which the
characters and the action are of heroic proportions. From the works of Homer and Virgil,
certain characteristics have become established in the West as standard attributes of the epic.
The main attributes are given below.
(i) The hero is a figure of great national or international importance. Moreover, the
characters must belong to the highest class in a society, raised above the common man by
birth, position, manners and appearance. They must be kings and princes descended from
heroes, and even from the gods, compelling in their deportment and arresting in their personal
appearance. InParadise Lost the hero is Adam, who incorporates in himself the entire race of
man.
(ii) The setting is ample in scale, sometimes world-wide, or even larger in the classical epic.
The scope of Paradise Lost is cosmic, for it includes Heaven, Earth and Hell.
(iii) The action involves heroic deeds: Paradise Lost includes the war in Heaven, the journey
of Satan to discover the newly created world, and his audacious attempt to outwit God by
corrupting mankind.
(iv) The action should be an entire action, complete in itself. By this is meant that it should
have a beginning, a middle, and an end.
(v) The next characteristic of the epic poem according to Aristotle is that it must have
greatness, by which is meant that it must produce far-reaching consequences in which the
destinies of great men and nations are involved.
(vi) God are also used in the epic as a tragedy, as deux ex machina; the intervention of
supernatural machinery advances the plot and solves its complications. It not only gives ample
scope for the exercise of the poets imagination, it also provides a proper spiritual support for
the heroic deeds.
(vii) An epic poem is a ceremonial composition and deliberately given a ceremonial style
proportionate to its great subject and architecture. Hence, Miltons Latinised diction and
stylized syntax, his resounding lists of strange and sonorous names, and his epic similes, that is,
sustained similes in which the comparison is developed far beyond the specific points are
appropriate.
(viii) The poet begins by stating his theme, then invokes a Muse in his great undertaking
and addresses the Muse.
MAIN ATTRIBUTES OF MILTONS EPIC:
PARADISE LOST
(i) Universality of the Subject-matter in Paradise Lost
Miltons Paradise Lost is not a national epic like the Iliad or the Aeneid; nor is it an epic
after any of the known types. It is an epic of the whole human species-an epic of our entire
planet or indeed of the entire astronomical universe. The vast compass of the story, its space,
time, characters and purpose make it unique among the world epics and fully entitle its author
to speak of it as involving:
Things unattempted yet in prose or rhyme.
It is a poetical representation of the historical connection between the created World and
the immeasurable and inconceivable Universe of Prehuman Existence. The newly created Earth
with all the starry depths about it has as yet but two human beings upon it, and these are the
persons of the epic. The grand purpose of an epic is to connect, by stupendous imagination
certain events of this pre-supposed Infinite Eternity with the first fortunes of this favoured
planet and its two human inhabitants. Now the person through the narration of whose acts this
connection is established is Satan, a central character of the epic.
Miltons Paradise Lost has a wider scope and larger signifi-cance than either the llliad or
the Aeneid, because it deals with the whole human race and indicates the destiny of all
humanity through the sin of the first man created by God. Thus Milton promotes a universal
view of mans life on this earth and shows how he has a past, a present and a future devised for
him by the might of God and as a result of his own exertions. This is the didactic or
philosophical view of an epic. Milton says that he has undertaken to write of the Fall of Man
and to justify the ways of God to men. Man is born endowed with free will and great powers,
but he is subject to the decrees of the Almighty who is filled with love for his own creations. We
can make or mar our destiny since we are given freedom to work out the will of God or suffer
from the consequences of disobeying Him. This is a cosmic or eternal view which is bound to
inspire all of us with hope for the future. Coleridge commented on the universal appeal
ofParadise Lost saying it represents the origin of evil and the combat of evil and good, it
contains a matter of deep interest to all mankind, as forming the basis of all religion and the
true occasions of all philosophy whatsoever.
(ii) Unity of Action in Paradise Lost
There is a perfect unity of action in Paradise Lost as in the great classical epics of Homer
and Virgil. The theme of Paradise Lost is Fall of man; everything in the poem either leads up to
it or follows from it. The plucking of the fruit of the Tree of Knowledge by Eve is the apex of the
whole architecture of Paradise Lost. The lines,
So saying, her rash hand in evil hour
Forth-reaching to the fruit, she plucked, she eat.
Earth felt the wound, and Nature from her seat
Sighing through her all works, gave signs of woe
That all was lost:
are the central lines round which everything else in the poem turns. The war between God and
Satan, followed by Satans fall, is only a prelude to the main action. Satan defeated and
punished, sought to take revenge on God by bring about the fall of man. Hence the fall of Satan
does not constitute a separate action, as contended by some critics. The whole action
of Paradise Lost is single and compact. There are some episodes, as that of Sin and Death,
which are the necessary appurtenance of the classical epic. Since Miltons characters are mostly
supernatural-God, Angels, Devils with but two human beings who are also more like angels
than men, this makes the action of Paradise Lost also different from other epics. In Paradise
Lost it concerns the whole creation: everything is done under the immediate the visible
direction of Heaven.
(iii) Beginning, Middle and end of Paradise Lost
Paradise Lost begins not at the beginning, but in the middle, then retraces the earlier
history bit by bit and finally takes the story forward to complete the narration in a striking end.
The fall of man is a long story, and its beginnings are to be traced back to Creation itself by the
Almighty. But Milton chooses to deal with the Fall of Satan or Lucifer in the first book. This is a
striking episode which arrests our attention, for we are introduced to Satan lying stunned in the
sulphurous lake of endless fires after having been hurled down from high heaven by God. This is
according to the classical convention that the action of an epic should plunge abruptly into the
middle of the action. Who was Satan, why he fell, are the questions that engage our attention,
and the poet then proceeds to tell us all about these in the later book of the poem.
(iv) Invocation of Paradise Lost
There is an introductory invocation or prayer to God to inspire and bless the poet to
complete his task properly. This is a common feature of all ancient epics. But the ancient epics
appealed to gods and goddesses in whom the moderns no more believe. Instead, Milton prays
to God to give him the necessary inspiration to complete his task. Here he brings out his faith in
the concept of God according to the tenets of the Christian religion.
In the invocation to the Muse, Milton follows a poetic tradition adopted from antiquity-but
in such a way so as to fill it with significance. The Heavenly Muse is in reality the divine
inspiration which revealed the truths of religion of Moses and also the spirit of God which
dwells in the heart of every believer.
(v) Hero and other associates in Paradise Lost
The characters introduced into an epic poem are all endowed with powers and capacities
of heroic proportions. For only then are our imagination and sympathies roused to their fullest
extent, and we are thrilled by their exploits. Not only is the hero of outstanding personality, but
his associates are also of heroic mould and stuff. This we find in the description and sketch of
Satan, Beelzebub and the other fallen angels.
In one respect Paradise Lost differs from the classical epics and that is in the number of
the characters portrayed. The earlier epics were rich in characterization with many mortals and
gods taking part in the action. Their personality and the motivations of all the participants in
the different phases of the story, capture the interest of the readers; and there is also constant
suspense about their fates. The subjects-matter of the fall of Adam and Eve obviously
precluded any such generosity of characterization, especially of human beings.
(vi) Speeches of Elaborate Length in Paradise Lost
Speeches of elaborate length are another feature of epics. A part from the poets
explanations and descriptions of the background and scenery, the characters themselves speak
fully explaining their thoughts, feelings and motives for our understanding. There is often a
good deal of repetition, but this very repetition adds to a sense of the magnitude the fullness of
the action. Besides direct reporting adds to the vividness of the narrative, and we feel as if we
are spectators or participants in the scene or action.
(vii) Similes and metaphors and allusions in
Paradise Lost
Another feature of epics is the frequency with which figures of speech are employed.
Similies and metaphors are most common. Book I abounds in a peculiar type of smiles which is
called the Homeric Similes. They offer scope for the poet to exhibit his varied knowledge of
nature, books and men in all aspects of life. Their appropriateness, picture sequences and
beauty add to our enjoyment of the poem as a whole.
Next to similes, we have allusions, references to different aspects of older tradition,
folklore, mythology, art and related activities of human beings in different parts of the world.
Milton was one of the most learned of the worlds poets. All that was known to the ancient
world and to his own contemporaries in all branches of human endeavour is found referred to
in one context or the other in Paradise Lost. This is another source of pleasure and profit to the
reader.
(viii) Grand Style of Paradise Lost
The next essential characteristic of an epic is its grand style. A great action needs a worthy
style for its adequate presentation, and Miltons poetic style inParadise Lost is the last word of
sublimity in English poetry. Paradise Lostexcels as a poetic work both for the loftiness of its
theme and for the grandeur of its style. Truly, Tennyson called Milton mighty mouthed
inventor of harmonies and God gifted organ-voice of England. The language of Paradise
Lost bristles with Latinisms and to some extent this fact lifts the style above the common place.
Anything common or trivial would have spoilt the effect of the great epic.
(ix) Human Interest in Paradise Lost
Above all, the human interest in the poem centres round the figure of Adam, who is the
central character of Paradise Lost. The Epic, like the Tragedy, is according to Aristotle, a story of
human action. Paradise Lost is essentially a story of human action; though there are only two
human characters in the epic and they make their appearance as late as the fourth book of
the poem yet their act of disobedience is the central theme of the epic; and this act of eating
the fruit of that forbidden tree is of tremendous significance, for on it depends the fate of the
whole human race. The last two lines of the poem describing the departure of Adam and Eve
from the Garden of Eden are pregnant with deep pathos, and appeal to every human heart:
They, hand in hand, with wandering steps and slow
Through Eden took their solitary way.
(x) Sublimity in Paradise Lost
An epic is a serious poem embodying sublime and noble thoughts. There is no room for
pleasantry and fun and light-hearted gaiety in a classical epic. Miltons Paradise Lost is a
sublime and noble poem characterised for the imagination of man to distend itself with greater
ideas than those which Milton has presented in the first, second and sixth books. The seventh
book. The seventh book, which describes the creation of the world, is equally wonderful and
sublime.
(xi) Moral Tone of Paradise Lost
An epic is not without a moral. Besides giving a general representation to passions and
affections, virtues and vices, the epic poet does not leave out a moral which he expects his
readers to imbibe. The moral forms an integral and intrinsic part of Miltons poem. It seeks to
vindicate the ways of God to men, to show the reasonableness of religion and the necessity of
obedience to the Divine Law.
DRYDENS 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 mans 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. If success be necessary, he says, then Adams
deceiver was at last crushed; Adam was restored to his Makers favour, and therefore may
securely resume his human rank. If Adam loses the eternal Paradise, he gains a Paradise
within him happier far. Drydens third objection is sufficiently refuted by Addison. He says that
though the number of characters in Miltons epic are 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 mans wrongs and as
mans redeemer. Satan has three different aspects of his character. He is Gods enemy, mans
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.
To sum up: Paradise Lost is an epic. And it possesses all the essential characteristics that
Aristotle demanded of an epic poem. (1) Its action or plot has unity, entirety and sublimity. The
subject-matter, viz., the fall of man, forms the centre of the poem. Everything else moves round
it, leads towards it or follows from it. Milton secures the unity of action by starting at the
middle of the story and by opening the poem with the infernal council debate in Hell where
mans fall is plotted. The story is also told in its entirety. We are told, all that went before to
cause mans fall and all that followed as its result. The action is also sublime; there cannot be
any more sublime theme than the fall of our first parents and the war in Heaven. (2)
The Characters of Paradise Lostare also true epic characters. They are majestic and they are as
many and as various as the peculiar nature of the poem allowed. (3) Its language is also sublime
and appropriate to the characters. It is a perfect model of epic diction.
There are other incidental characteristics of epic poetry also in it. Like other epics, Paradise
Lost treats a war; it employes long-tailed similes: it obeys the convention of invoking the
Muse.