Paradise Lost
Paradise lost as an epic
Paradise lost is one of the world’s greatest epic. Milton composed it in accordance with the established classical rules and conventions as laid down by Aristotle and practiced by Homer in the Iliad and Virgil in the Aeneid. However, in conception, design, and execution it far surpasses the classical models before it. According to Aristotle, epic has the following constituent elements or characteristics:
1. Fable
2. Probable and marvelous theme
3. Characters
4. Machinery
5. Episodes
6. Integrity
7. Sentiments
8. Grand style
Let’s judge ‘paradise lost’ on the basis of these characteristics;
1. Fable
Fable is the basis of the epic. Milton chose a theme to establish a preconceived moral, i.e., “to justify the ways of God to men.” Discussing the fable or action of paradise lost, Addison writes: “the first thing to be considered in the epic poem is the fable. Which is perfect or imperfect according to the action is more or less so? The actions should have three qualifications in it,
1. It should be one action.
2. It should be an entire action,
3. It should be a great action
Homer to preserve the unity of his action opens his poem with the discord of his princess, and artfully interweaves in the several succeeding parts, an account of everything material which relates to them and had passed before that fatal dissension. In the same manner, Aeneas makes his first appearance on the Tuscan Seas, within sight of Italy, because the action proposed to be celebrated was that of setting in Latium.
But it was necessary for the reader to know what had happened to him in the taking of Troy and in the preceding parts of his voyage. Milton in imitation of these great poets opens his paradise lost, with an infernal council plotting the fall of man, which is the action he proposed to celebrate; and casts the great actions which preceded it. The war in heaven and the creation, into the fifth, sixth, and Seventh book, by way of episode, in order to preserve the unity of the principal action.”
The second qualification that is, the action should be entire, requires that nothing should be stated as going before it, intermixed with it, or following it not related to it. In this particular paradise lost excels the Iliad and Aeneid. The action is contrived in hell, executed on earth, and punished by heaven.
The 3rd qualification is greatness. The anger of Achilles was of such consequence that it embroiled the heroes of Greece, destroyed those of Asia, and engaged all the gods in the faction. The actions of the Iliad and that of the Aeneid were in themselves very short, but are so beautiful, diversified and extended by the invention of episodes. Milton’s action is enriched by such a variety of circumstances that we take as much pleasure in reading the contents of his books, as in the best-invented story we ever met with.
2. Themes
The theme of an epic, according to Aristotle, “must be probable and marvelous,” In other words, the theme must be grand, elevated, and marvelous but not unconvincing or improbable. Explaining the subject and theme of paradise lost, Hallam says “it is the finest ever chosen for heroic poetry.”
3. Characters
An epic introduces a multitude of characters. The characters must have novelty and variety. The principal characters must have dignity and sublimity enough to be regarded as the representatives of mankind. The characters in paradise lost are the most sublime that human beings can conceive. They are God, Christ, the two good and evil angels, and Adam and Eve. God and Christ, the two supreme characters, are outside the range of human comprehension. The Angels include Raphael and Michael. The virtue of Raphael is mild and placid. Michael is regal and lofty. Abdel and Gabriel appear occasionally. Satan is the rebel Archfiend. He revolts against God. Yet Milton portrays him so skillfully that he appears to be the most exalted and the most depraved being.
4. Machinery
A great epic poet employs an
elaborate supernatural machinery to produce the effect of the
“marvelous”. In paradise lost, everything is wrought through supernatural
machinery. Everything is done under the immediate and visible direction of
Heaven. It contains the history of a miracle, of creation, and redemption, and
displays the power and the mercy of the Supreme Being.
5. Episodes
“Of episodes,” says Dr. Johnson, “there are only two, contained in Raphael’s relation of war, in heaven, and Michael’s prophetic account of the changes to happen in this world. Both are closely connected with the great action.
6. Integrity
The integrity of the design is one of the most important requisites of an epic. In this long narrative poem, there are occasional episodes, digressions, long narrative and descriptive passages, but they are all so interwoven into the main theme that they neither appear disjointed nor do they hinder or retard the main action.
7. Sentiment
As paradise lost primarily deals with the supernatural powers and agencies, there is very little scope for the expression of human sentiments. Adam and Eve are the only two characters who are human. Their sentiments both of fear and repentance have, of course, been beautifully and forcefully rendered. 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.
8. Diction and style
Milton’s style in paradise lost is genuinely grand. Here is a beautiful harmony between the sublimity of thought and sublimity of style. His Blank Verse remains unsurpassed in point of eloquence, force, grandeur, and sublime beauty. His use of the heroic simile remains unsurpassed by any other English poet. Thus wither we consider paradise lost from the point of view of classical rules, or conventions, or of innovations, it is the greatest epic in the English language. In fact, Milton is counted among the greatest epic poets of the world.
