Paradise Lost (Books I-III)

We are reading a major portion of Paradise Lost, one of the most influential works of British literature and the definitive literary epic in English. For this post, please choose three passages of about 8-20 lines that you regard as significant, one each from Books 1, 2, and either 3 or 4. (Our anthology gives only a small portion of Book 3.) Explain why you chose those passages. Focus on the actual poem, not the prose "Argument" previews. 

Book 1: p. 924, Lines 237-250

            In this passage, Satan finalizes his move to Hell. What caught my attention was the first sentence, after he has landed: “Such resting found the sole of unblessed feet.” Sole is almost a pun with soul, which would be highly ironic. If his unblessed feet had a soul, it would not matter anyway, because they are unblessed. This makes the point that Satan is totally evil, and is accepted by the inherent evil of Hell.

            Next, plot-wise, Satan and his “mate” demonstrate that they are as powerful “as gods, and by their own recovered strength, not… supernal [celestial] power” (Lines 240-241). This foreshadows the strength of the conflict to come. The bad guy is firmly established as a threat to good. The next paragraph describes Satan as “the lost archangel,” emphasizing the good that has turned to evil. This unnaturalness and betrayal makes Satan all the more threatening.

            However, Satan is not exactly overjoyed to be gone from Heaven. He does not find Hell’s “mournful gloom” as appealing as “celestial light” (Lines 244-245).  He bids “farewell [to the] happy fields, where joy forever dwells,” unconsciously admitting that he will not destroy Heaven or joy (Lines 249-250). This complication, that Satan would rather be in Heaven, sets the stage for an eternal struggle.

Book II: p. 938, Lines 496-505

            This passage is important because it contains what I believe is Milton’s direct commentary on the state on mankind. The speaker is an unknown third person omniscient narrator, a credible character. The passage begins with “O shame to men!”  and proceeds to bemoan the state man has put himself in ( Line 496). Milton is saying that man is self-destructive, and susceptible to Satan’s wiles.

Book III: p. 947, Lines 56-69

            Milton demonstrates particularly fine writing in this description of the greatness God can see in Heaven. In contrast to the previous scenes with Satan and Hell, the mood of this passage is one of wonder. Milton uses majestic diction and hyperbolic imagery to quickly fabricate a completely convincing mood. God sits “high throned above all height,” a praise-worthy and unbeatable feat (Line 58). His status could not be any more elevated. The saints around him are as numerous, or “thick as stars,” an impressive image (Line 61). Not only does this simile conjure an image, it also reinforces God’s status. The universal diction reminds us that God is the master of everything, and that what he surrounds himself with is great in itself, like the stars.

John Milton

Do both of the following: 

At this point you have read a variety of Renaissance and 17th-century sonnets and short lyric poems. Take one of Milton's sonnets (908-09) and in a substantial paragraph, compare it in subject and rhetorical strategy with an earlier sonnet or short lyric. For example, compare Milton's sonnet 7 ("How soon hath Time") with Shakespeare's sonnet 12; or Milton's sonnet 16 or 18 with Philips "Upon the Double Murder" or "On the Third of September, 1651."  

Find a significant passage (such as a paragraph) in Areopagitica and explain why you chose that passage.

Milton’s Sonnet 16 “To the Lord General Cromwell” and Philips’ “Upon the Double Murder of King Charles”

Milton is known for being very political. Compared to most other seventeenth century poets, Milton’s works are less lyrical, perhaps because his subject is often a pressing political issue. Katherine Philips also wrote political poetry, but with a different rhetorical strategy. While Milton uses the second person plural, acting as the voice of all of Cromwell’s supporters, Philips writes in the first person. Milton wants to reach a national audience, while Philips is more concerned with defending her own credibility.  However, they both use Christian references and royal imagery to impress the gravity and truth of their claims.

Areopagitica, p 911-912

Areopagitica is a speech in defense of the freedom of book publication that Milton delivered to the English Parliament in 1644. I chose the paragraph that runs from pages 911 to 912 because of its content and its style. This paragraph frames a good point in Milton’s argument by calling into question the faulty logic behind pre-publication censorship. He facetiously argues that “[i]f we think to relegate printing… we must regulate all recreations and pastimes, all that is delightful to man,” including music, dancing, and architecture (911). This logic is faulty because not only is it undesirable and impossible to regulate these art forms, they would not truly be art if they were so strictly regulated.  The specific examples, such as music, dancing, and architecture, give passion and credibility to the argument. Unlike the introductory paragraph, this one has a more artistic style. Rather than one long, pompous sentence, this paragraph has sentences of several lengths. The rhetorical questions and repetitive syntax rhythm make this paragraph closer to flowing poetry than the preceding ones.