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As for the theme of this epic, in Milton’s own words, “assert Eternal
Providence and to justify the ways of God to men”, that is, to tell the
reason why God drives Adam and Eve out of the Garden of Eden. However, God
is depicted like a tyranny, while Satan is lively and full of resources and
courage. Milton eulogizes the rebellious spirit of Satan as well as the
sincere love from Adam to Eve. To some extent, Milton unconsciously instills
his firm fighting spirit into Satan and makes Satan server as his own
mouthpiece, such as in the lines:
What though the field be lost?
All is not lost; the unconquerable Will,
And study of revenge, immortal hate,
And courage never to submit or yield:
And what is else not to be overcome?
That Glory never shall his wrath or might
Extort from me. To bow and sue for grace
With suppliant knee, and deifie his power
Who from the terrour of this Arm so late
Doubted his Empire, that were low indeed,
That were an ignominy and shame beneath
This downfall; since by Fate the strength of Gods
And this Empyreal substance cannot fail,
Since through experience of this great event
In Arms not worse, in foresight much advanc't,
We may with more successful hope resolve
To wage by force or guile eternal Warr
Irreconcileable, to our grand Foe,
Who now triumphs, and in th' excess of joy
Sole reigning holds the Tyranny of Heav'n.
Paradise Lost
is always considered as one of the most important works in English
literature. In this epic, Milton not only created a group of distinctive and
lifelike characters, but also constructed it in a sublime and magnificent
manner. There are many long and complex sentences. Usually a sentence is
completed with several lines. Together with the employment of parallels,
similes and allusions etc., the epic becomes more majestic yet more
difficult to understand
Milton is an anti-mimetic poet, like the Romantic poets
whom he served as a model; and thus he is less interested in the "action" of
men than in the "drama" of the mind. One effect of assuming the conventions
of multiple forms, and of then belittling them as Milton does in Paradise
Lost, is to deny the poet (both himself and his successors) the structural
support that generic conventions lend. Paradise Lost is a reassessment of
all the genres it subsumes, and that reassessment involves an alteration, a
perfection, of their ideologies, accompanied by a repudiation of their usual
structures. Biblical prophecy--most notably Revelation prophecy--provides
Milton with an alternative structure (or structures) and simultaneously
enables him to intensify the dramatic element in his epics.
In terms of ideology, Paradise Lost expresses
the poet's radicalism not only in its rejection of epic structure but in its
inversion of the hierarchy of styles: the plain style is assigned to God,
the grand one to Satan. In the process Milton fractures the customary
relationship between poet and audience. Though the epic poet often asserted
artistic superiority over his audience, he seldom asserted moral authority
over it; and this is because he took the values he celebrated from the
audience he was addressing. Milton, however, claims both artistic and moral
superiority, thereby making the poet the generator of the values by which a
whole culture is asked to live.

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