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A critical estimate of Miltons Paradise

Lost as an epic poetry
John Miltons Paradise Lost is an Epic for it fulfills the following criteria:
A long and narrative poem, has a cosmic as well as universal appeal,
narrates the war-like exploits of the hero; has a religious and scripture
theme in a Classical form. Further, Miltons Paradise Lost as an epic are
attested by the presence of the role of the supernatural, as well as the
presence of grandeur and sublimity both at the same time. This article
carries commentaries and examination by eminent literary figures.

Paradise Lost as a Classical Epic

Milton tells us in Paradise Lost Book-1 that his aim was to attempt "things unattempted
yet in prose or rhyme". But this does not mean that he has discarded the epic tradition of
the classical epic, though by his creative genius he has much modified and ennobled that
tradition. Homer and Virgil were his role models, and his epic has all the characteristic
features of the epics of these ancient classical poets. Paradise Lost is a long narrative
poem divided into twelve books. Originally it was divided into ten books but in the
second edition, Books VII and X were further divided into two each and in this way
Milton could conform to the centuries old tradition of an epic having twelve books.

Its appeal: Cosmic and Universal

The subject of an epic is ancient and national taken from the legend and history of the
country concerned. It is ancient and national having its basis in history and legend.
Milton's subject is also ancient, more ancient that that of any other epic-poetry. Homer
and Virgil and others have taken their subjects from the history and legends of their
country. Milton, on the contrary, has taken his subjects from the scriptures. His theme
belongs to the time before the nations were born. He deals not with the history of
mankind itself. He deals with the creation of the universe and the fall of man; a subject of
interest not only for a particular nation but to all mankind. Milton's epic is not merely
national but universal in its appeal.

Heroic Action

The actions in Paradise Lost moves from Heaven to Hell and from Hell to Heaven
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throughout chaos in which lies the Heroic action. The epic-poet narrates the adventures
and war-like exploits of the hero in his epic, and his fate, victory or defeat is of
significance. There are actions, thrills and sensations, and heroic deeds of valour. In
Paradise Lost also there's is enough movement, action and war. For instance, there is the
war in Heaven resulting in the banishment of Satan and his followers. There is always
some action, some movement, something or the other happening. Thus, in Book-1 Satan
flies from the Lake of Fire to stable land and then calls his followers there; myriads of
banners are unfurled and a forest of spears rises up; drums and trumpets are sounded and
shouts of war are raised. The pandemonium is built, a great conference is held, call for
war speeches are made and it was resolved that they would wage a war against the
Almighty.

Religious and Scriptural Theme

The real action of the epic consists of the war between good and evil, with the ultimate
triumph of the good and the defeat of evil. The action constantly shifts from good to evil
and evil to good; from Hell to Heaven and vice versa. Virtue, suffering, patience and
martyrdom are shown to be more heroic than physical valour of the so-called heroic
virtue extolled by the ancient epic masters. As Samuel Taylor Coleridge points out, "The
superiority of Paradise Lost is obvious in this respect that the interest transcends the
limits of a nation in as much as it represents the origin of evil and the combat of evil
and good; it contains matters of deep interest to all mankind, as forming the basis of all
religion, and the true occasion of all philosophy whatsoever.". For Milton the significant
thing is not war but "the questions of right and wrong". Prof. Bowra also pints out that,
"whereas other epics display a struggle for what is in the last analysis, a temporal or
worldly end, like the foundation of Rome, or over the capture of Jerusalem, Milton
displays a struggle between good and evil". In other words Milton's theme is religious and
scriptural, while his form is classical. In this way he was able to transform the classical,
secular epic into a theological one. Here in lies Milton's originality and cosmopolitan
appeal.

Role of the supernatural

In the classical epics, there is supernatural intervention at crucial moments in the action.
Gods and goddesses watch over the fate of the human actors and come to the rescue of
the hero when he is in trouble. Milton's characters are both human and supernatural.
There are Satan and his followers, and the Son of God, the angels and the messengers of
God. As a matter of fact, there are only two human characters, Adam and Eve. This
results in some weakening of the human interest of the epic. Indeed for this paucity of
human characters, Paradise Lost has been criticized by competent critics ever since it was
written.
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Organic Unity and the Epic Manner

The Classical epic-poets introduced a number of episodes and digressions to impart a

variety to their epics and to increase its length. But these episodes are closely related to
the Central Theme so that the epic form an organic whole. None of its parts is
superfluous and all together contribute to the majesty and grandeur of the whole. Milton's
epic has the wholeness and unity of the classical epic. No detail and no episode seems
superfluous. Every bit and pieces is a part of the central theme. One scene or episode is
telescoped into the other and each looks both backwards and forwards. There is a curious
parallelism between the fall of Satan and the fall of man. Attention is focused only on
significant details; the others are rightly excluded. Indeed in this respect Paradise Lost is
superior to Virgil's Aenid, in which there is much looseness and superfluity.

Paradise Lost has the form of the classical epic; it also has its manne. In the tradition of
the ancient epics, Milton plunges straight into the Middle of the story, instead of starting
from the 'beginning'. Milton's opening also is dramatic; he begins at the most critical point
in his story, that is, the moment when Satan awakes from his stupor and holds a
conference in pandemonium. In this way, the opening at once grips our attention and
raises Satan to heroic dimensions. Indeed, such is the fascination of Satan's personality in
Book-1 that many readers are never able to overcome it, even when he is ultimately
degraded.

Grandeur and sublimity

Grandeur and sublimity are the key-notes of an epic and Paradise Lost is more grand and
sublime than any other epic. This grandeur arises from the essentially moral nature of his
theme from the cosmic vastness of his stage; from the remoteness and immunity of his
characters and from the greatness and loftiness of his style. Matthew Arnold said Milton
is the great master of the great style in the English language. Abundant and frequent
allusions to classical myth and literature, to Biblical, mythology to contemporary
literature, frequent Latinisms and inversions and above all the frequent use of Homeric or
epic similes all contribute to the sublimity and loftiness of Milton's style. As Dr. B. Rajan
has pointed out this sublimity of Milton's style achieves "a certain deliberate distancing"
necessary for a subject which is "beyond and prior to nature".

Milton, thus in writing Paradise Lost, he not only followed the epic tradition but also
enriched and transformed it. It is a curious example of the fusion of 'tradition and
individual talent'. In the manner of the epic-poets Milton also begins his epic with and
invocation of the Muse and the statement of his theme. Milton's mastery over the English
language made Paradise Lost an unsurpassed work in the history of English Literature.