Q1.

OPENING LINES

Milton opens Paradise Lost by formally declaring his poem’s subject: humankind’s first
act of disobedience toward God, and the consequences that followed from it. The act
is Adam and Eve’s eating of the forbidden fruit of the Tree of Knowledge, as told in
Genesis, the first book of the Bible. In the first line, Milton refers to the outcome of
Adam and Eve’s sin as the “fruit” of the forbidden tree, punning on the actual apple
and the figurative fruits of their actions. Milton asserts that this original sin brought
death to human beings for the first time, causing us to lose our home in paradise
until Jesus comes to restore humankind to its former position of purity.
Milton’s speaker invokes the muse, a mystical source of poetic inspiration, to sing about
these subjects through him, but he makes it clear that he refers to a different muse from the
muses who traditionally inspired classical poets by specifying that his muse inspired Moses
to receive the Ten Commandments and write Genesis. Milton’s muse is the Holy Spirit,
which inspired the Christian Bible, not one of the nine classical muses who reside on Mount
Helicon—the “Aonian mount” of I.15. He says that his poem, like his muse, will fly above
those of the Classical poets and accomplish things never attempted before, because his source
of inspiration is greater than theirs. Then he invokes the Holy Spirit, asking it to fill him with
knowledge of the beginning of the world, because the Holy Spirit was the active force in
creating the universe.

Milton’s speaker announces that he wants to be inspired with this sacred knowledge because
he wants to show his fellow man that the fall of humankind into sin and death was part of
God’s greater plan, and that God’s plan is justified.

Analysis: Lines 1–26: The Prologue and Invocation

The beginning of Paradise Lost is similar in gravity and seriousness to the book from which
Milton takes much of his story: the Book of Genesis, the first book of the Bible. The Bible
begins with the story of the world’s creation, and Milton’s epic begins in a similar vein,
alluding to the creation of the world by the Holy Spirit. The first two sentences, or twenty-six
lines, of Paradise Lost are extremely compressed, containing a great deal of information
about Milton’s reasons for writing his epic, his subject matter, and his attitudes toward his
subject. In these two sentences, Milton invokes his muse, which is actually the Holy Spirit
rather than one of the nine muses.
By invoking a muse, but differentiating it from traditional muses, Milton manages to tell us
quite a lot about how he sees his project. In the first place, an invocation of the muse at the
beginning of an epic is conventional, so Milton is acknowledging his awareness of Homer,
Virgil, and later poets, and signaling that he has mastered their format and wants to be part of
their tradition. But by identifying his muse as the divine spirit that inspired the Bible and
created the world, he shows that his ambitions go far beyond joining the club of Homer and
Virgil. Milton’s epic will surpass theirs, drawing on a more fundamental source of truth and
dealing with matters of more fundamental importance to human beings. At the same time,
however, Milton’s invocation is extremely humble, expressing his utter dependence on God’s
grace in speaking through him. Milton thus begins his poem with a mixture of towering
ambition and humble self-effacement, simultaneously tipping his hat to his poetic forebears
and promising to soar above them for God’s glorification.

.
Milton’s approach to the invocation of the muse, in which he takes a classical literary
convention and reinvents it from a Christian perspective, sets the pattern for all of Paradise
Lost. For example, when he catalogs the prominent devils in Hell and explains the various
names they are known by and which cults worshipped them, he makes devils of many gods
whom the Greeks, Ammonites, and other ancient peoples worshipped. In other words, the
great gods of the classical world have become—according to Milton—fallen angels. His
poem purports to tell of these gods’ original natures, before they infected humankind in the
form of false gods. Through such comparisons with the classical epic poems, Milton is quick
to demonstrate that the scope of his epic poem is much greater than those of the classical
poets, and that his worldview and inspiration is more fundamentally true and all-
encompassing than theirs.
The setting, or world, of Milton’s epic is large enough to include those smaller, classical
worlds. Milton also displays his world’s superiority while reducing those classical epics to
the level of old, nearly forgotten stories. For example, the nine muses of classical epics still
exist on Mount Helicon in the world of Paradise Lost, but Milton’s muse haunts other areas
and has the ability to fly above those other, less-powerful classical Muses. Thus Milton both
makes himself the authority on antiquity and subordinates it to his Christian worldview.

The Iliad and the Aeneid are the great epic poems of Greek and Latin, respectively, and
Milton emulates them because he intends Paradise Lost to be the first English epic. Milton
wants to make glorious art out of the English language the way the other epics had done for
their languages. Not only must a great epic be long and poetically well-constructed, its
subject must be significant and original, its form strict and serious, and its aims noble and
heroic. In Milton’s view, the story he will tell is the most original story known to man, as it is
the first story of the world and of the first human beings. Also, while Homer and Virgil only
chronicled the journey of heroic men, like Achilles or Aeneas, Milton chronicles the tragic
journey of all men—the result of humankind’s disobedience. Milton goes so far as to say that
he hopes to “justify,” or explain, God’s mysterious plan for humankind. Homer and Virgil
describe great wars between men, but Milton tells the story of the most epic battle possible:
the battle between God and Satan, good and evil.

Q…..SUMMARYYYYYY

Immediately after the prologue, Milton raises the question of how Adam and Eve’s
disobedience occurred and explains that their actions were partly due to a serpent’s deception.
This serpent is Satan, and the poem joins him and his followers in Hell, where they have just
been cast after being defeated by God in Heaven.
Satan lies stunned beside his second-in-command, Beelzebub, in a lake of fire that gives off
darkness instead of light. Breaking the awful silence, Satan bemoans their terrible position,
but does not repent of his rebellion against God, suggesting that they might gather their forces
for another attack. Beelzebub is doubtful; he now believes that God cannot be overpowered.
Satan does not fully contradict this assessment, but suggests that they could at least pervert
God’s good works to evil purposes. The two devils then rise up and, spreading their wings,
fly over to the dry land next to the flaming lake. But they can undertake this action only
because God has allowed them to loose their chains. All of the devils were formerly angels
who chose to follow Satan in his rebellion, and God still intends to turn their evil deeds
toward the good.
Once out of the lake, Satan becomes more optimistic about their situation. He calls the rest of
the fallen angels, his legions, to join him on land. They immediately obey and, despite their
wounds and suffering, fly up to gather on the plain. Milton lists some of the more notable of
the angels whose names have been erased from the books of Heaven, noting that later, in the
time of man, many of these devils come to be worshipped as gods.

Among these are Moloch, who is later known as a god requiring human sacrifices, and Belial,
a lewd and lustful god. Still in war gear, these fallen angels have thousands of banners raised
and their shields and spears in hand. Even in defeat, they are an awesome army to behold.

Satan’s unrepentant evil nature is unwavering. Even cast down in defeat, he does not consider
changing his ways: he insists to his fellow devils that their delight will be in doing evil, not
good. In particular, as he explains to Beelzebub, he wishes to pervert God’s will and find a
way to make evil out of good. It is not easy for Satan to maintain this determination; the
battle has just demonstrated God’s overwhelming power, and the devils could not even have
lifted themselves off the lake of fire unless God had allowed it. God allows it precisely
because he intends to turn their evil designs toward a greater good in the end. Satan’s envy
of the Son’s chosen status led him to rebel and consequently to be condemned. His continued
envy and search for freedom leads him to believe that he would rather be a king in Hell than a
servant in Heaven. Satan’s pride has caused him to believe that his own free intellect is as
great as God’s will. Satan remarks that the mind can make its own Hell out of Heaven, or in
his case, its own Heaven out of Hell.

Satan addresses his comrades and acknowledges their shame in falling to the heavenly forces,
but urges them to gather in order to consider whether another war is feasible. Instantly, the
legions of devils dig into the bowels of the ground, unearthing gold and other minerals. With
their inhuman powers they construct a great temple in a short time. It is called Pandemonium
(which means “all the demons” in Greek), and the hundreds of thousands of demonic troops
gather there to hold a summit. Being spirits, they can easily shrink from huge winged
creatures to the smallest size. Compacting themselves, they enter Pandemonium, and the
debate begins.

Analysis: Lines 27–722: Satan and Hell

Throughout the first two or three books of Paradise Lost, Satan seems as if he’s the hero of
the poem. This is partly because the focus of the poem is all on him, but it is also because the
first books establish his struggle—he finds himself defeated and banished from Heaven, and
sets about establishing a new course for himself and those he leads. Typically, the hero or
protagonist of any narrative, epic poem or otherwise, is a person who struggles to accomplish
something. Milton plays against our expectations by spending the first quarter of his epic
telling us about the antagonist rather than the protagonist, so that when we meet Adam and
Eve, we will have a more profound sense of what they are up against. But even when the
focus of the poem shifts to Adam and Eve, Satan remains the most active force in the story.

The devils in Paradise Lost are introduced to the story here in Book I in almost a parody of
how Homer introduces great warriors in the Iliad. The irony of these descriptions lies in the
fact that while these devils seem heroic and noteworthy in certain ways, they just lost the war
in Heaven. As frightening and vividly presented as these creatures are, they did not succeed
in killing a single angel.
In Book I, Milton presents Satan primarily as a military hero, and the council of devils as a
council of war. In doing so, he makes Paradise Lost resonate with earlier epics, which all
center around military heroes and their exploits. At the same time, Milton presents an implicit
critique of a literary culture that glorifies war and warriors. Satan displays all of the virtues of
a great warrior such as Achilles or Odysseus. He is courageous, undaunted, refusing to yield
in the face of impossible odds, and able to stir his followers to follow him in brave and
violent exploits. Milton is clearly aware of what he’s doing in making Satan somewhat
appealing in the early chapters. By drawing us into sympathizing with and admiring Satan,
Milton forces us to question why we admire martial prowess and pride in literary characters.
Ultimately he attempts to show that the Christian virtues of obedience, humility, and
forbearance are more important.

Q2. MILTON’S VIEW OF BIBLICAL V/S CLASSICAL ILLUSIONS

Q3. IINVOCATION OF MUSE
The “Muse” or in other words, inspirational deity, was a popular classical device, which
apparently Milton seems to follow. However, he departs from the classical conventions steadily
in presenting the nature and power of his inspirational deity. His muse, Urania, unlike the other
classical muses, does not reside on Olympus, but far “above”, being not a human but heavenly
entity. Such a deviation is necessary since Milton’s subject is of a higher order than those of
classical epics(dealing with human heroes and their worldly predicaments.).
The invocation of the Muse in Book 1 of "Paradise Lost" serves several significant purposes
in the context of the epic poem:

1. **Traditional Epic Conventions:** Milton follows the conventions of classical epics by

invoking a Muse for inspiration. This tradition dates back to ancient Greek and Roman epic
poetry, where the poet would call upon a Muse, a goddess or divine being associated with the
arts and knowledge, to aid in the telling of the story.

2. **Divine Inspiration:** By invoking a "Heav'nly Muse," Milton emphasizes the divine

nature of his subject matter. "Paradise Lost" deals with profound theological themes such as
the fall of mankind, sin, redemption, and God's providence. The invocation signals that the
poem's content is of utmost importance and requires divine guidance for its portrayal.

3. **Elevated Language and Style:** The invocation sets a tone of grandeur and loftiness for
the entire work. Milton's language becomes more elevated and majestic as he seeks the
Muse's aid, reflecting the epic scale and spiritual gravity of the narrative.

4. **Connection to Classical Literature:** Milton's invocation connects "Paradise Lost" to

the classical literary tradition, particularly to works like Homer's "Iliad" and "Odyssey" or
Virgil's "Aeneid." This connection reinforces the idea that Milton's poem belongs to the
lineage of great epics and contributes to its status as a monumental work of English literature.

5. **Symbol of Artistic Inspiration:** Beyond its literal meaning, the invocation of the Muse
symbolizes the poet's quest for artistic inspiration and creativity. It highlights the role of the
poet as a conduit for divine truths and as a visionary interpreter of human experience.

Overall, the invocation of the Muse in "Paradise Lost" serves as a foundational element that
establishes the poem's epic stature, theological depth, and artistic ambition.
Q4. IS SATAN A PROTAGONIST OR A TRAGIC HERO IN PARADISE LOST BOOK 1
Certainly! Viewing Satan as a tragic hero in "Paradise Lost" involves analyzing his character
traits, motivations, actions, and the consequences that befall him. Here's a detailed discussion
of Satan as a tragic hero:

1. **Noble Qualities:** Like classical tragic heroes, Satan possesses several noble qualities
that make him a compelling character. He is intelligent, charismatic, and possesses leadership
skills that allow him to rally other fallen angels in rebellion against God. His speeches,
particularly in Book 1, showcase his eloquence and ability to inspire others. These qualities
make him a figure of admiration and sympathy despite his rebellious nature.

2. **Fatal Flaw (Hamartia):** Satan's tragic flaw lies in his pride, ambition, and refusal to
accept God's authority. His desire for power and independence leads him to challenge divine
order and wage war against Heaven. This hubris blinds him to the consequences of his
actions and fuels his relentless pursuit of revenge and defiance.

3. **Internal Conflict:** Throughout "Paradise Lost," Satan experiences internal conflict and
turmoil. Despite his outward bravado, he grapples with doubts, regrets, and moments of
introspection. In Book 4, for example, Satan reflects on his fallen state and the loss of
Heaven, showcasing moments of vulnerability and self-awareness that are characteristic of a
tragic hero's inner struggle.

4. **Tragic Downfall:** The consequences of Satan's actions result in his tragic downfall.
His rebellion leads to his defeat in the War in Heaven, followed by his banishment to Hell
along with the other rebel angels. Despite his initial defiance, Satan is ultimately subjected to
eternal suffering and humiliation, including being transformed into a serpent.

5. **Recognition of Error:** A key element of the tragic hero archetype is the recognition of
error or wrongdoing. Satan, despite his pride, occasionally shows moments of remorse and
self-awareness. For instance, in Book 4, he acknowledges that Hell is of his own making and
that his choices have led to his current state. This recognition adds depth to his character and
highlights the complexities of his internal struggle.

6. **Audience's Response:** Milton crafts Satan in such a way that he elicits a range of
responses from the audience. While he is a villain due to his rebellion and malicious intent
toward mankind, his tragic qualities evoke sympathy and reflection. The audience may
empathize with his internal conflicts and the consequences of his choices, even as they
condemn his actions.

In conclusion, Satan in "Paradise Lost" embodies many characteristics of a tragic hero: noble
qualities, a fatal flaw, internal conflict, a tragic downfall, moments of recognition, and a
complex response from the audience. Milton's portrayal of Satan as a tragic figure adds depth
and moral ambiguity to the epic, inviting readers to contemplate themes of free will, divine
justice, and the nature of evil.
Certainly! Here's a paraphrase of the passage:

Some readers see Satan as the protagonist in "Paradise Lost" because he faces internal
struggles and ultimately achieves his goal of corrupting humanity. However, his goal is evil,
and the true moral heroes are Adam and Eve, who start humanity's journey toward
redemption. Although Satan is not meant to be admired or emulated, he is intriguing due to
his complexity. Milton deliberately makes Satan seem heroic early on to show the seductive
nature of evil and the importance of resisting it.

Satan is portrayed as a grand and fearless figure, unafraid of damnation or powerful entities
like Chaos and Death. This allure makes him fascinating to readers. However, his pride is his
downfall. He portrays himself as a victim in Heaven, displaying vanity and overconfidence in
his rebellion against God. Despite moments of sympathy, Satan remains committed to evil,
deceiving his fellow devils and descending into degradation.

Throughout the poem, Satan's character evolves from a formidable leader to a degraded
serpent. His reasoning abilities decline, and he becomes deluded by his own lies, unable to
recognize God's grace or reconcile his past actions with his eternal punishment. This
transformation highlights the consequences of pride and the destructive nature of evil.

Satan is the protagonist and anti-hero of Book I of Paradise Lost. Satan is introduced to the
readers at his lowest. Rather than beginning his narrative with Lucifer, the angel’s
disagreement with God in his grand kingdom, Milton begins his narrative in the epic tradition
after Satan has rebelled and fallen from grace.
Milton presents Satan as a complex character. While wishing to be the antagonist to
God’s plans and missions, he serves the very function designed by God. Thus, he never strays
away from the scheme of things even when he rebels. For instance, Satan follows the
Christian doctrine of ‘do not despair’, not once; even in his fallen state does he ever despair
and give in to his suffering and submitting. In doing so, he never strays from the precepts set
by God, his folly being his inability to recognize the source of his power and resilience. On
one hand Milton delves into Satan as a tragic hero who overcomes his own struggles, on the
other, he is the primary example of corrupted power and the perils of ambition and pride. In
Book I, Satan can be seen as a leader who rallies his troupe and shakes them out of their
feeling of hopelessness and misery by providing them a purpose. He is majestic in his
grandeur, unafraid in the face of adversity. However, this purpose is meaningless as a force of
perpetual destruction as opposed to the forces of Creation by God.
Satan not only stands in opposition to God but also acts as a foil for the heroes – Adam
and Eve who will lead to the redemption and salvation of mankind. His fall is paralleled in
the later books to the Fall of Adam and Eve as well as all of mankind who are then redeemed
by Christ, the “one greater Man”. Milton ascribes Satan certain human qualities in his sense
of hurt and betrayal, as well as his sorrow for the state of his fallen angels. His seductive
appeal most prominent in Book I, at the very beginning of the events that set the stage for the
greatest battle between evil and good. Milton perhaps turns him into a tragic, fallen hero so
that the readers can sympathize with him and in doing so; realize the seductive nature of evil.
His hamartia (tragic flaw of the hero of an Epic) is his excessive pride. Nevertheless, he is
portrayed as heroic in his persistence to achieve the impossible.
Milton portrays Satan as an orator par excellence, the master of rhetoric. In doing so, he
cautions against empty words and promises that only serve to lead the listener astray. Below
is a brief analysis of Satan’s speeches throughout Book I:
• Satan’s first speech to Beelzebub – magnificent leader, sympathizes and identifies
himself as one with his followers and their misery. He shows pity on the reduced
stature of his friend. He justifies his animosity towards God in his sense of “injur’d
merit”. It is a mark of Satan’s eloquence that he makes a ceaseless war with
impossible odds seem like their only option
• Satan’s second speech – Infuse a sense of courage in his commanders after their
defeat, overconfidence in his schemes masks their futile nature because in no way
will they help in gaining back what has been lost. Foiling God’s plan will not get
them heaven back
• Satan’s third speech- Accepting their fate to be eternal adversaries of God, Satan
willingly accepts their dismal situation as a rebellion against the servitude of
Heaven. “Farthest from him is best” marks not only physical alienation but also the
moral distance between himself and God. Milton suffuses Satan’s speech with
irony. Milton draws the readers’ attention to how Satan’s speech is “full of ringing
phrases expressed with a deliberate sonority”, laying bare the rhetoric.

Q. DEVICES USED VERSE FORMS

Q.. NOTE ON STRUCTURE OF PARADISE LOST BOOK 1
The structure of Book 1 in "Paradise Lost" is meticulously crafted by John Milton to
introduce key themes, characters, and conflicts that set the stage for the epic narrative. Here
are notable aspects of its structure:
1. **Invocation and Exposition:** The book opens with an invocation to the Muse for
inspiration, setting a tone of grandeur and invoking divine aid for the epic task ahead. This
invocation serves as a prelude to the narrative and establishes the poem's lofty ambitions.

2. **The Council in Hell:** The central portion of Book 1 is dedicated to the council of
fallen angels in Hell. This council scene serves as an exposition where the reader is
introduced to the major characters among the rebel angels, their motivations, and their
strategies for vengeance against God.

3. **Characterization of Satan:** Through speeches and interactions, Milton carefully

characterizes Satan as a complex and charismatic figure. Satan's defiance, pride, eloquence,
and leadership skills are showcased, making him a compelling antagonist.

4. **Contrasting Views:** The different perspectives among the fallen angels, represented by
characters like Satan, Belial, and Mammon, provide a contrast in ideologies and approaches
to rebellion. This contrast adds depth to the narrative and explores themes of free will,
disobedience, and the consequences of rebellion.

5. **Satan's Journey:** The latter part of Book 1 follows Satan's journey through Chaos and
Night as he makes his way towards Earth. This journey symbolizes his descent from heavenly
grace to infernal realms, mirroring his moral fall from God's favor.

6. **Introducing Eden:** The book concludes with Satan's arrival at Eden, introducing Adam
and Eve in their paradisiacal state. This sets up the impending conflict and foreshadows the
temptation and fall of humanity in subsequent books.

7. **Thematic Threads:** Throughout Book 1, Milton weaves thematic threads such as

pride, ambition, rebellion, divine justice, and the nature of evil. These themes are introduced
and developed, laying the groundwork for their exploration in the broader context of the epic.

Overall, the structure of Book 1 in "Paradise Lost" is strategic in its presentation of

characters, themes, and conflicts. It establishes a rich narrative foundation that sets the tone
and direction for the epic poem's unfolding story.