The Renaissance was an intellectual, moral and cultural movement which marked the end of the Middle Ages and the beginning of the modern world. It freed man’s mind from the slavery of the monastic ideals, asserted the supremacy of reason and inspired him to take an aesthetic delight in the beauties of the world and the pleasures of the senses. It was further characterised by the spirit of adventure, love for beauty, moral earnestness, a love for richness and magnificence, power and pelf, etc. Satan stands as the most dominant and powerful figure of the Renaissance in Book-I of Paradise Lost. He exists most abidingly in our mind after we have finished reading the Book. 

In the presentation of Satan’s character, Milton is animated with the Renaissance love for romance, chivalry and adventure as in the following lines spoken by Satan: 

“To reign is worth ambition though is Hell Better to reign in Hell than serve in Heaven.” 

Satan’s heroic leadership which is characteristic of the Renaissance may be traced in his initiative, rebellions and cunning, possessed by almost all the mighty conquers of the world. These great men, as we know from history must have acted from some great motive. Milton has in a grand manner infused in Satan the element of intense selfishness and pride, the alcohol of egotism. 

Revolt against the spiritual authority or the administration of the church was one of the main causes behind the Renaissance. Similarly Satan is also a rebel against the monarchy of God. This is clearly indicated when he declares before the assembly of the fallen angels, his firm determination to wage a war, open or secret, against the Almighty. 

To use classical models in English poetry was a fashion of the Renaissance. Milton also, after the classical model uses extensively epic similes to draw the physical stature of Satan. To draw the gigantic figure of Satan the poet describes the objects he carries. The shield and the spear he carries have been respectively compared to the moon and the mast of a flagship. Again his comparison to the largest sea-monster Leviathan or to a proud tower and later on to the Sun, dimmed behind the mist on the horizon is simply remarkable. Satan, as we find, has not yet lost all the original brightness of an angel in Heaven, for he may still be compared to the Sun and the Moon. 

On the moral or intellectual level also Satan appears as a great Renaissance political leader, endowed with indomitable courage, obdurate pride, implacable hatred, endurance of suffering, and longing for revenge. His indomitable will and his undying spirit of revenge may be traced in the following lines spoken by him to Beelzebub: 

“Fallen cherub, to be weak is miserable, Doing or suffering” 

His third speech reveals yet another characteristic of his personality — his stoicism and indifference to pleasure and pain: 

“Farewell, happy fields Where joy for ever dwells! Hail, horrors hail,” 

Thus Satan’s skill as a great Renaissance leader and orator is proved time and again in his different speeches delivered by him to _ rouse his comrades from the condition of torpor and despondency. 

Summing up our discussion we can say that Satan’s character in Book I of Paradise Lost is essentially evil but it is undoubtedly a powerful Renaissance character which indirectly reflects Milton’s own heroic energy. Satan is the prototype of the eternal evil, a Machiavellian Renaissance hero who will continue to fight with the good. We cannot but marvel at his indomitable will, stubborn pride. courage and fortitude in adversity, and organising capacity as the leader of the fallen angels.

Satan as a Renaissance hero

Green Land | June 12, 2023 | 0 comments

The Renaissance was an intellectual, moral and cultural movement which marked the end of the Middle Ages and the beginning of the modern world. It freed man’s mind from the slavery of the monastic ideals, asserted the supremacy of reason and inspired him to take an aesthetic delight in the beauties of the world and the pleasures of the senses. It was further characterised by the spirit of adventure, love for beauty, moral earnestness, a love for richness and magnificence, power and pelf, etc. Satan stands as the most dominant and powerful figure of the Renaissance in Book-I of Paradise Lost. He exists most abidingly in our mind after we have finished reading the Book. 

In the presentation of Satan’s character, Milton is animated with the Renaissance love for romance, chivalry and adventure as in the following lines spoken by Satan: 

“To reign is worth ambition though is Hell Better to reign in Hell than serve in Heaven.” 

Satan’s heroic leadership which is characteristic of the Renaissance may be traced in his initiative, rebellions and cunning, possessed by almost all the mighty conquers of the world. These great men, as we know from history must have acted from some great motive. Milton has in a grand manner infused in Satan the element of intense selfishness and pride, the alcohol of egotism. 

Revolt against the spiritual authority or the administration of the church was one of the main causes behind the Renaissance. Similarly Satan is also a rebel against the monarchy of God. This is clearly indicated when he declares before the assembly of the fallen angels, his firm determination to wage a war, open or secret, against the Almighty. 

To use classical models in English poetry was a fashion of the Renaissance. Milton also, after the classical model uses extensively epic similes to draw the physical stature of Satan. To draw the gigantic figure of Satan the poet describes the objects he carries. The shield and the spear he carries have been respectively compared to the moon and the mast of a flagship. Again his comparison to the largest sea-monster Leviathan or to a proud tower and later on to the Sun, dimmed behind the mist on the horizon is simply remarkable. Satan, as we find, has not yet lost all the original brightness of an angel in Heaven, for he may still be compared to the Sun and the Moon. 

On the moral or intellectual level also Satan appears as a great Renaissance political leader, endowed with indomitable courage, obdurate pride, implacable hatred, endurance of suffering, and longing for revenge. His indomitable will and his undying spirit of revenge may be traced in the following lines spoken by him to Beelzebub: 

“Fallen cherub, to be weak is miserable, Doing or suffering” 

His third speech reveals yet another characteristic of his personality — his stoicism and indifference to pleasure and pain: 

“Farewell, happy fields Where joy for ever dwells! Hail, horrors hail,” 

Thus Satan’s skill as a great Renaissance leader and orator is proved time and again in his different speeches delivered by him to _ rouse his comrades from the condition of torpor and despondency. 

Summing up our discussion we can say that Satan’s character in Book I of Paradise Lost is essentially evil but it is undoubtedly a powerful Renaissance character which indirectly reflects Milton’s own heroic energy. Satan is the prototype of the eternal evil, a Machiavellian Renaissance hero who will continue to fight with the good. We cannot but marvel at his indomitable will, stubborn pride. courage and fortitude in adversity, and organising capacity as the leader of the fallen angels.

John Milton , Paradise Lost

An epic is a long narrative poem in a lofty style,  set in a remote time and place,  and dealing with heroic characters and deeds important in the legends and history of a nation or race. 

The characteristics of the epic are:

(a) The hero is a figure of great national or international importance, 

(b) the setting is ample in scale,  sometimes worldwide or even larger

(c) The action involves heroic deeds and it should be an entire action, complete in itself,

(d) there must be the greatness of action in which the destinies of great men and nations are involved,

(e) The style of the epic must be lofty etc.  The epic employs many conventions of which the important ones are

The  epic employs many conventions of which the important ones are

1. A prayer or invocation to the Muses or to a deity 

2. Use of Homeric (epic) similes

3. Council of war and games

4. A perilous and sometimes a fantastic journey

5. Use of gods or supernatural machinery  and

6. Beginning in the middle of the story.

Generally, epics are two types ;

(i) Folk epic or the primary epic or primitive epic and

(ii) The literary epic or the secondary epic or epic of art.

Folk epics (also called the epics of growth)  are of unknown authorship. They were meant for recitation before an audience and passed along as a part of an oral tradition. Literary epics,  on the other hand,  are written by a poet employing epic conventions and are meant to be read.

Paradise Lost is an epic of art,  an immortal creation of Milton's imagination and genius. It has the following characteristics.

(i) The sublimity of both subject matter and style
(ii) Universality of theme
(iii) Unity of action
(iv) Beginning,  middle, and end
(v) Begins in the middle and invocation to God
(vi) Council of war and speeches of elaborate length
(vii) Extensive use of epic similes, metaphors, and classical allusions
(viii) Grand style
(ix) Human interest
(x) A moral tone

Paradise Lost has sublimity both in its subject matter and style. It has a unity of action and design. It says of the disobedience(fall) of Man and its consequences,  followed by his redemption. Thus it has a beginning, a middle, and an end. At the same time like other epics it begins in the middle of the action. Paradise Lost opens with the usual epic invocation ''Sing Heavenly Muse''. This invocation is a kind of Christian prayer to the Holy Spirit read by the Christians into the second verse of Genesis. The poet calls upon the Holy Spirit to raise and support him in his noble venture of writing an epic,  higher than classical epics, and help him ''justify the ways of God to men''.

Milton has introduced supernatural machinery in Paradise Lost in his own way. We find the loyal angels under the command of God and Satan with other fallen angels in Hell. Adam,  who represents the human race,  is a true hero,  although we do not find much of his activities in Book I.  In book, I,  Satan by his leadership qualities stand very prominent. Apart from Adam and Satan,  God himself is a character in Paradise Lost. He is present in the poem from the beginning to the end. The supremacy of God's power is admitted even by Satan.

Again Paradise Lost contains plenty of epic similes,  metaphors, and classical allusions. It also displays catalogs, speeches, and the Council of war. The setting of the epic is very fast,  i.e. cosmic. It includes Heaven,  Earth, and Hell.

Milton deserves appreciation for creating an epic that excels in classical epics in its sublimity of the theme and style,  in universality,  in human interest in its enduring appeal,  in its moral tone, and whatnot. Milton triumphs over all the poets both modern and ancient in the technique of Writing epic.

Discuss Paradise Lost as an epic

Green Land | February 22, 2023 | 0 comments

An epic is a long narrative poem in a lofty style,  set in a remote time and place,  and dealing with heroic characters and deeds important in the legends and history of a nation or race. 

The characteristics of the epic are:

(a) The hero is a figure of great national or international importance, 

(b) the setting is ample in scale,  sometimes worldwide or even larger

(c) The action involves heroic deeds and it should be an entire action, complete in itself,

(d) there must be the greatness of action in which the destinies of great men and nations are involved,

(e) The style of the epic must be lofty etc.  The epic employs many conventions of which the important ones are

The  epic employs many conventions of which the important ones are

1. A prayer or invocation to the Muses or to a deity 

2. Use of Homeric (epic) similes

3. Council of war and games

4. A perilous and sometimes a fantastic journey

5. Use of gods or supernatural machinery  and

6. Beginning in the middle of the story.

Generally, epics are two types ;

(i) Folk epic or the primary epic or primitive epic and

(ii) The literary epic or the secondary epic or epic of art.

Folk epics (also called the epics of growth)  are of unknown authorship. They were meant for recitation before an audience and passed along as a part of an oral tradition. Literary epics,  on the other hand,  are written by a poet employing epic conventions and are meant to be read.

Paradise Lost is an epic of art,  an immortal creation of Milton's imagination and genius. It has the following characteristics.

(i) The sublimity of both subject matter and style
(ii) Universality of theme
(iii) Unity of action
(iv) Beginning,  middle, and end
(v) Begins in the middle and invocation to God
(vi) Council of war and speeches of elaborate length
(vii) Extensive use of epic similes, metaphors, and classical allusions
(viii) Grand style
(ix) Human interest
(x) A moral tone

Paradise Lost has sublimity both in its subject matter and style. It has a unity of action and design. It says of the disobedience(fall) of Man and its consequences,  followed by his redemption. Thus it has a beginning, a middle, and an end. At the same time like other epics it begins in the middle of the action. Paradise Lost opens with the usual epic invocation ''Sing Heavenly Muse''. This invocation is a kind of Christian prayer to the Holy Spirit read by the Christians into the second verse of Genesis. The poet calls upon the Holy Spirit to raise and support him in his noble venture of writing an epic,  higher than classical epics, and help him ''justify the ways of God to men''.

Milton has introduced supernatural machinery in Paradise Lost in his own way. We find the loyal angels under the command of God and Satan with other fallen angels in Hell. Adam,  who represents the human race,  is a true hero,  although we do not find much of his activities in Book I.  In book, I,  Satan by his leadership qualities stand very prominent. Apart from Adam and Satan,  God himself is a character in Paradise Lost. He is present in the poem from the beginning to the end. The supremacy of God's power is admitted even by Satan.

Again Paradise Lost contains plenty of epic similes,  metaphors, and classical allusions. It also displays catalogs, speeches, and the Council of war. The setting of the epic is very fast,  i.e. cosmic. It includes Heaven,  Earth, and Hell.

Milton deserves appreciation for creating an epic that excels in classical epics in its sublimity of the theme and style,  in universality,  in human interest in its enduring appeal,  in its moral tone, and whatnot. Milton triumphs over all the poets both modern and ancient in the technique of Writing epic.

John Milton , Paradise Lost

The cosmology of Paradise lost is based on the Ptolemaic system of the Universe. This means that Milton believed the Earth to be the center round which revolved around the spheres of the Seven Planets - the moon,  Mercury,  Venus,  the Sun,  Mars,  Jupiter, and Saturn. The eighth sphere was the firmament of the fixed stars. The ninth or crystalline sphere was enclosed in the tenth,  the Premium mobile, or the last hollow shell. They all encircled the Earth with a complex combination of their separate motions invented to explain the phenomenon of the heavens.

According to Milton's cosmology, the whole created universe is suspended from Heaven by a golden chain. Various insulating layers are provided between the spheres. Among these are the chaos and the Old Night,  through which Satan has to fly to reach Paradise. It was believed that the four elements which made up all earthly matter (earth, air, fire, and water) were naturally repugnant to each other and that only the imposition of God's will made them bend to natural laws,  such as that whereby the waters of the Earth do not rise up and swamp all land. Chaos is the land where these laws do not apply; so   Satan has to battle with a vision of total anarchy in flying through the chaos. This system of Ptolemy appears ludicrous to us nowadays,  but because this system was invented as a logical response to how man saw his place in the cosmos,  it makes a perfect setting for Paradise Lost. 

Briefly describe the cosmology of Paradise Lost

Green Land | February 19, 2023 | 0 comments

The cosmology of Paradise lost is based on the Ptolemaic system of the Universe. This means that Milton believed the Earth to be the center round which revolved around the spheres of the Seven Planets - the moon,  Mercury,  Venus,  the Sun,  Mars,  Jupiter, and Saturn. The eighth sphere was the firmament of the fixed stars. The ninth or crystalline sphere was enclosed in the tenth,  the Premium mobile, or the last hollow shell. They all encircled the Earth with a complex combination of their separate motions invented to explain the phenomenon of the heavens.

According to Milton's cosmology, the whole created universe is suspended from Heaven by a golden chain. Various insulating layers are provided between the spheres. Among these are the chaos and the Old Night,  through which Satan has to fly to reach Paradise. It was believed that the four elements which made up all earthly matter (earth, air, fire, and water) were naturally repugnant to each other and that only the imposition of God's will made them bend to natural laws,  such as that whereby the waters of the Earth do not rise up and swamp all land. Chaos is the land where these laws do not apply; so   Satan has to battle with a vision of total anarchy in flying through the chaos. This system of Ptolemy appears ludicrous to us nowadays,  but because this system was invented as a logical response to how man saw his place in the cosmos,  it makes a perfect setting for Paradise Lost. 

John Milton , Paradise Lost

Addison in the first installment of his essay on Milton's Paradise Lost clearly states his goal of defending Paradise Lost from the criticism that 'whether Milton's 'Paradise Lost may be called an heroic poem' although some critics prefer to all to call it a 'divine poem'.To defend it as a successful English epic, Addison judges it by the neo-Aristotelian ideas on the dramatic unities set down by La Bossi in Traite du poeme epique, Horace in his Ars poetica and standards of Homer and Virgil, two great epic poets.

Addison first focuses on the 'fable' or plot of an epic poem. According to neo-Aristotelian idea on the dramatic unities, a perfect plot should possess three qualities of its action - Its singleness, completeness and greatness. He refers to Horace,Homer and virgil open their actions in the middle of the story and the preceding events are described by characters by way of episodes. Milton closely imitates these two great poets and opens his paradise lost with an infernal council plotting the fall of man.He describes the preceding events later by way of episode.  Referring to Aristoile Addison also detends the episodes in paradise Lost that arise naturally from the subject and they are filled with exciting incidents that give the pleasure of the greatest variety and simplicity. Like Virgil. Milton deals with such great action like the Fall of Man. The episodes or digressions run parallel with the great action of the poem and enhance the dramatic unity of the plot like the subplots of Dryden's tragicomedy as they have close affinity with the principal subject.Addison enlists the second qualification of the action of an epic  poem  and says that it should be complete. Neo-Aristotelian ideas suggest that a complete action consists of a beginning,middle and an  end. Nothing should go before, after or in between it. The action should be just, regular and interconnected and no single step can be omitted from the beginning to the end. Just as in Homer's iliad and virgil's Aeneid, the parts of Paradise Lost are described in the most distinct manner, and grow out of one another in the almost natural method. Milton is superior to other epic poet in regard to the compactness of his plot. The third quality that Addison enumerates is the greatness of action to maintain the dramatic unity of an epic poem. The greatness suggests not only the seriousness of subject but also the due length of an epic poem. Milton's Paradise Lost deals and determines the fate f the entire human species. The action of a plot should not be too long to befall our memory or too small to meet the need of a great poem. Although Milton had less freedom and had to be very cautious expanding and diversifying the plot with episodes that do not offend the religion of the country, Milton had successfully filled his plot with many surprising incidents that bear close analogy with the holy Writ and maintain the essential unity of the plot. Besides, there is an unquestionable magnificence in every part of Paradise Lost which is much greater than those of The iliad and The Aeneid.Addison, in this way, lists the neo-Aristotelian ideas on dramatic unity to defend Milton's Paradise Lost as a successful epic poem.

Against what criticisms does Addison defend Milton's epic? How does Addison enlist neo-Aristotelian ideas on the dramatic unities in the service of his argument?

Literaturemini | July 31, 2018 | 0 comments

Addison in the first installment of his essay on Milton's Paradise Lost clearly states his goal of defending Paradise Lost from the criticism that 'whether Milton's 'Paradise Lost may be called an heroic poem' although some critics prefer to all to call it a 'divine poem'.To defend it as a successful English epic, Addison judges it by the neo-Aristotelian ideas on the dramatic unities set down by La Bossi in Traite du poeme epique, Horace in his Ars poetica and standards of Homer and Virgil, two great epic poets.

Addison first focuses on the 'fable' or plot of an epic poem. According to neo-Aristotelian idea on the dramatic unities, a perfect plot should possess three qualities of its action - Its singleness, completeness and greatness. He refers to Horace,Homer and virgil open their actions in the middle of the story and the preceding events are described by characters by way of episodes. Milton closely imitates these two great poets and opens his paradise lost with an infernal council plotting the fall of man.He describes the preceding events later by way of episode.  Referring to Aristoile Addison also detends the episodes in paradise Lost that arise naturally from the subject and they are filled with exciting incidents that give the pleasure of the greatest variety and simplicity. Like Virgil. Milton deals with such great action like the Fall of Man. The episodes or digressions run parallel with the great action of the poem and enhance the dramatic unity of the plot like the subplots of Dryden's tragicomedy as they have close affinity with the principal subject.Addison enlists the second qualification of the action of an epic  poem  and says that it should be complete. Neo-Aristotelian ideas suggest that a complete action consists of a beginning,middle and an  end. Nothing should go before, after or in between it. The action should be just, regular and interconnected and no single step can be omitted from the beginning to the end. Just as in Homer's iliad and virgil's Aeneid, the parts of Paradise Lost are described in the most distinct manner, and grow out of one another in the almost natural method. Milton is superior to other epic poet in regard to the compactness of his plot. The third quality that Addison enumerates is the greatness of action to maintain the dramatic unity of an epic poem. The greatness suggests not only the seriousness of subject but also the due length of an epic poem. Milton's Paradise Lost deals and determines the fate f the entire human species. The action of a plot should not be too long to befall our memory or too small to meet the need of a great poem. Although Milton had less freedom and had to be very cautious expanding and diversifying the plot with episodes that do not offend the religion of the country, Milton had successfully filled his plot with many surprising incidents that bear close analogy with the holy Writ and maintain the essential unity of the plot. Besides, there is an unquestionable magnificence in every part of Paradise Lost which is much greater than those of The iliad and The Aeneid.Addison, in this way, lists the neo-Aristotelian ideas on dramatic unity to defend Milton's Paradise Lost as a successful epic poem.

Addison And Steele , Paradise Lost

Addison intended to enlighten the emerging generation by cultivating in them sophisticated taste and culture. To inject a taste for classic literature, he wrote a series of essays on Milton's Paradise lost and appreciated it as a successful epic poem. In the fist installment of this Saturday series, Addison describes the virtues of Paradise Lost and shows how it measures up to the standards of The iliad and The Aeneid in the light of the canons of neo-Aristotelian ideas, In this essay he places it in high esteem above The iliad and the Aeneid as he friends it superior to them in every respect. To categorze paradise Lost by the qualities of The iliad and The Aeneid Addison first focuses on the fable of plot in an epic poem. According to neo-Aristotelian theory and standards of The iliad and The Aeneid, a perfect plot should possess three qualities of its action.It should be single, complete and great. He refers to Horace  and says that in order to maintain the singleness of the action. Homer and Virgil open their actions in the middle of the story and the preceding events are described by characters by way of episodes. Milton closely imitates these two great poets and opens his Paradise Lost with an infernal council plotting the Fall of Man.

Addison places Paradise Lost high above The iliad and the Aeneid criticizing Homer's episodes and digression in The Aeneid. On the other hand, the episodes in Paradise Lost arise naturally from the subject and they are filled with exciting incidents that give the pleasure of the greatest variety and simplicity. The episodes run parallel with the great action of the poem and enhance the unity of the plot. Similarly, Paradise Lost excels both The Iliad and The Aeneid for its complete action as we see that the action is contrived in hell. executed upon earth, and punished by heaven. It accords with the doctrine of Aristotle consisting of a beginning  middle, and sn end. Just as in Homer's Iliad and Virgil's Aeneid, the parts of Paradise Lost are described in the most distinct manner, and grow out of one another in the most natural method. Milton is superior to these epic poets in regard to the compactness of his plot from which nothing can be taken out without harming the plot. In The Thad, the anger of Achilles had a great consequence and settlement of Aeneas gave birth to Roman Empire. But Milton's Paradise Lost deals and determines the fate of the entire human species. It is much greater than those of The iliad and The Aeneid. Addison also compares the magnitude of Paradise Lost with those of the two great epic and extols Milton's skill in expanding and diversifying the plot with episodes that do not offend the religion of the country. Since Paradise Lost is built on the contents of Holy Scripture, Milton had less freedom. Despite all these limitations,  Milton had successfully filled his plot with many surprising incidents that bear close analogy with the Holy Writ. Even in detecting the time span, Paradise Lost stands as singular because it transcends the limitation of earthly sphere of day and night and describes events that take place partly in heaven, partly in hell and on earth.Thus it emerges that Paradise Lost has an unquestionable tes magnificence in every part of it. In this essay Addison demonstrates that it outshines the other two epics in respects of its plot construction, unity of action and its magnitude.

Should Paradise Lost be placed in the same category as the iliad and the Aeneid? Why or why not?

Literaturemini | July 29, 2018 | 0 comments

Addison intended to enlighten the emerging generation by cultivating in them sophisticated taste and culture. To inject a taste for classic literature, he wrote a series of essays on Milton's Paradise lost and appreciated it as a successful epic poem. In the fist installment of this Saturday series, Addison describes the virtues of Paradise Lost and shows how it measures up to the standards of The iliad and The Aeneid in the light of the canons of neo-Aristotelian ideas, In this essay he places it in high esteem above The iliad and the Aeneid as he friends it superior to them in every respect. To categorze paradise Lost by the qualities of The iliad and The Aeneid Addison first focuses on the fable of plot in an epic poem. According to neo-Aristotelian theory and standards of The iliad and The Aeneid, a perfect plot should possess three qualities of its action.It should be single, complete and great. He refers to Horace  and says that in order to maintain the singleness of the action. Homer and Virgil open their actions in the middle of the story and the preceding events are described by characters by way of episodes. Milton closely imitates these two great poets and opens his Paradise Lost with an infernal council plotting the Fall of Man.

Addison places Paradise Lost high above The iliad and the Aeneid criticizing Homer's episodes and digression in The Aeneid. On the other hand, the episodes in Paradise Lost arise naturally from the subject and they are filled with exciting incidents that give the pleasure of the greatest variety and simplicity. The episodes run parallel with the great action of the poem and enhance the unity of the plot. Similarly, Paradise Lost excels both The Iliad and The Aeneid for its complete action as we see that the action is contrived in hell. executed upon earth, and punished by heaven. It accords with the doctrine of Aristotle consisting of a beginning  middle, and sn end. Just as in Homer's Iliad and Virgil's Aeneid, the parts of Paradise Lost are described in the most distinct manner, and grow out of one another in the most natural method. Milton is superior to these epic poets in regard to the compactness of his plot from which nothing can be taken out without harming the plot. In The Thad, the anger of Achilles had a great consequence and settlement of Aeneas gave birth to Roman Empire. But Milton's Paradise Lost deals and determines the fate of the entire human species. It is much greater than those of The iliad and The Aeneid. Addison also compares the magnitude of Paradise Lost with those of the two great epic and extols Milton's skill in expanding and diversifying the plot with episodes that do not offend the religion of the country. Since Paradise Lost is built on the contents of Holy Scripture, Milton had less freedom. Despite all these limitations,  Milton had successfully filled his plot with many surprising incidents that bear close analogy with the Holy Writ. Even in detecting the time span, Paradise Lost stands as singular because it transcends the limitation of earthly sphere of day and night and describes events that take place partly in heaven, partly in hell and on earth.Thus it emerges that Paradise Lost has an unquestionable tes magnificence in every part of it. In this essay Addison demonstrates that it outshines the other two epics in respects of its plot construction, unity of action and its magnitude.

Addison And Steele , Paradise Lost

Addison as a Critic of Milton Essay. Paradise Lost one of them. Addison wrote in an age when the emerging middle class was forming their own culture. They could not comprehend the great emotion of life. They could not appreciate the mystery, the passion, the wildness or the pathos of ancient epic. They were only charmed by the rhetoric and polish of the language. Addison, a reformer of the taste of his age, with the greatest critical effort in the series of Saturday papers, criticizes Paradise Lost by the canons of Aristotle, Longinus and Le Bossu. In the first installment of his essay, he judges Paradise Lost to be equal if not superior to Homer and Virgil. Although Addison's appreciation of Paradise Lost has been criticized as supericial,' tentative rather than scientific, deciding by taste rather than by principles', Dr Johnson rightly recommended the blandishments of gentleness and facility that 'has made Milton a universal favourite. Addison opens his essay making it clear that he will judge Paradise Lost by the rules of epic poetry set down by Aristotle and Horace as discussed in La Bossu's Traite du poeme epique and practiced by Homer and Virgil. Here as a critic Addison limits his focus by the neo-Aristotelian conventions. Although his theories are not personal or original, he successfully explicates the poem for the general readers. Like Aristotle in Poetics he first considers the 'fable' or plot of an epic poem. A perfect plot should possess three qualities of its action. The action is considered perfect or imperfect depending on three features - its singleness, completeness and greatness. He refers to Horace and says that in order to maintain the singleness of the action, Homer and Virgil open their actions in the middle of the story and the preceding events are described by characters by way of episodes. Milton closely imitates these two great poets and openss his Paradise Lost with an infernal council plotting the Fall of Man. He describes the preceding events later by way of episode. Although Addison refers to several events in Greek myth and Roman legend, he consciously ignores that a person needs a sound knowledge in classical learning to unferstand the epics. The episodes in Paradise Lost arise naturally from the subject and they are filled with exciting incidents that give the pleasure of the greatest variety and simplicity. Like Virgil, Milton deals with such great action as the Fall of Man. The episodes or digressions run parallel with the great action of the poem and enhance the unity of the plot. Thus Addison praises the   plot of Paradise Lost highly. He then refers to Aristotle's second theory regarding complete action consisting of a beginning, middle, and an end. Nothing should go before, after or in between it. The action should be just, regular and interconnected and no single step can be omitted from the beginning to the end. Just as in Homer's iliad and Virgil's Aeneid, the parts of Paradise Lost are described in the most distinct manner and grow out of one another in the most natural method. Addison finds Milton superior to other epic poets in regard to the compactness of his plot.  Milton's Paradise Lost, moreover, deals and determines the fate of the entire human species. There is an unquestionable magnificence in every part of Paradise Lost which is much greater than those of Iliad and Aeneid.

Similarly, Addison elaborates on Aristotle's metaphor of an animal in Poetics to explain the magnitude of an epic poem. According to him,  Milton's task was more challenging. Since Paradise Lost is built on the contents of Holy Scripture, Milton had less freedom and to be very cautious in expanding and diversifying the plot with episodes that do not offend the religion of the country. Regarding time span of an epic poem, he says no critic has set down any rules to limit the time span of he action of an epic poem. As a critic he was not original. He lacked the 'pomp of system and severity of science. But many of Addison's praises regarding paradise Lost bear permanent value. His aim was to gather up the best ideas of his time, put them within reach of the ordinary readers and infuse literary curiosity. His attempt succeeded. Inquiry was awakened and comprehension expanded.

Evaluate Addison as a critic of Milton with reference to his essay on Paradise Lost

Literaturemini | July 28, 2018 | 0 comments

Addison as a Critic of Milton Essay. Paradise Lost one of them. Addison wrote in an age when the emerging middle class was forming their own culture. They could not comprehend the great emotion of life. They could not appreciate the mystery, the passion, the wildness or the pathos of ancient epic. They were only charmed by the rhetoric and polish of the language. Addison, a reformer of the taste of his age, with the greatest critical effort in the series of Saturday papers, criticizes Paradise Lost by the canons of Aristotle, Longinus and Le Bossu. In the first installment of his essay, he judges Paradise Lost to be equal if not superior to Homer and Virgil. Although Addison's appreciation of Paradise Lost has been criticized as supericial,' tentative rather than scientific, deciding by taste rather than by principles', Dr Johnson rightly recommended the blandishments of gentleness and facility that 'has made Milton a universal favourite. Addison opens his essay making it clear that he will judge Paradise Lost by the rules of epic poetry set down by Aristotle and Horace as discussed in La Bossu's Traite du poeme epique and practiced by Homer and Virgil. Here as a critic Addison limits his focus by the neo-Aristotelian conventions. Although his theories are not personal or original, he successfully explicates the poem for the general readers. Like Aristotle in Poetics he first considers the 'fable' or plot of an epic poem. A perfect plot should possess three qualities of its action. The action is considered perfect or imperfect depending on three features - its singleness, completeness and greatness. He refers to Horace and says that in order to maintain the singleness of the action, Homer and Virgil open their actions in the middle of the story and the preceding events are described by characters by way of episodes. Milton closely imitates these two great poets and openss his Paradise Lost with an infernal council plotting the Fall of Man. He describes the preceding events later by way of episode. Although Addison refers to several events in Greek myth and Roman legend, he consciously ignores that a person needs a sound knowledge in classical learning to unferstand the epics. The episodes in Paradise Lost arise naturally from the subject and they are filled with exciting incidents that give the pleasure of the greatest variety and simplicity. Like Virgil, Milton deals with such great action as the Fall of Man. The episodes or digressions run parallel with the great action of the poem and enhance the unity of the plot. Thus Addison praises the   plot of Paradise Lost highly. He then refers to Aristotle's second theory regarding complete action consisting of a beginning, middle, and an end. Nothing should go before, after or in between it. The action should be just, regular and interconnected and no single step can be omitted from the beginning to the end. Just as in Homer's iliad and Virgil's Aeneid, the parts of Paradise Lost are described in the most distinct manner and grow out of one another in the most natural method. Addison finds Milton superior to other epic poets in regard to the compactness of his plot.  Milton's Paradise Lost, moreover, deals and determines the fate of the entire human species. There is an unquestionable magnificence in every part of Paradise Lost which is much greater than those of Iliad and Aeneid.

Similarly, Addison elaborates on Aristotle's metaphor of an animal in Poetics to explain the magnitude of an epic poem. According to him,  Milton's task was more challenging. Since Paradise Lost is built on the contents of Holy Scripture, Milton had less freedom and to be very cautious in expanding and diversifying the plot with episodes that do not offend the religion of the country. Regarding time span of an epic poem, he says no critic has set down any rules to limit the time span of he action of an epic poem. As a critic he was not original. He lacked the 'pomp of system and severity of science. But many of Addison's praises regarding paradise Lost bear permanent value. His aim was to gather up the best ideas of his time, put them within reach of the ordinary readers and infuse literary curiosity. His attempt succeeded. Inquiry was awakened and comprehension expanded.

Addison And Steele , Paradise Lost