Definition of Epic

The word epic is derived from the Ancient Greek adjective, epikos, which means a poetic story. In
literature, an epic is a long narrative poem, which is usually related to heroic deeds of a person of
an unusual courage and unparalleled bravery. In order to depict this bravery and courage, the epic
uses grandiose style.

The hero is usually the representative of the values of a certain culture, race, nation or a religious
group on whose victor of failure the destiny of the whole nation or group depends. Therefore,
certain supernatural forces, deus ex machina, help the hero, who comes out victor at the end. An
epic usually starts with an invocation to muse, but then picks up the threads of the story from the
middle and moves on to the end.

Difference Between an Epic and a Ballad

A ballad and an epic both are poems, which narrate stories. However, a ballad is shorter in length
than an epic, while it is composed to be sung on some occasions, and not narrated. They are also
known as folk ballads as well as popular ballads. Most of the ballads have unknown origin and
source and usually pass on orally from generations to generations. On the other hand, an epic
poem tells a story, but about the heroic ideals of a specific society. The actual difference between
the two is the length and the fact that one is usually meant to be sung, while the other is to be
narrated. Both differ in style where a ballad is composed in a simple language, while an epic
demonstrates mastery in style such as Paradise Lost.

Function of Epic

As the epic poem is the earliest form of poetry, it is the earliest form of entertainment as well.
Epics were written to commemorate the struggles and adventures of kings and warriors. The main
function of epic poetry was to elevate the status of the hero among the audiences to inspire them
to be ready to perform heroic actions. Epic obtained most of its themes from the exploits
performed by legendary characters and their illustrious ancestors. That is why these exploits
became examples for others to follow, and still lived in books. It is through epics, models of ideal
heroic behavior were supplied to the common people. Moreover, epics also were collections of
historical events not recorded in common history books the reason that they are read today to
be enjoyed and be informed regarding the past.
Examples of Epic from Literature

1.The Epic of Gilgamesh (~2000 BCE)Perhaps, the Epic of Gilgamesh is the first example of an epic.
It tells the story of the life of an Assyrian king, Gilgamesh. Like all other epics, the narrative of this
epic revolves around the themes related to gods, human beings, mortality, legacy and seduction.
Like other epics, it is also composed in a grand style. Gilgamesh is a young arrogant king due to his
being half-god and half-human. His strength and masculine beauty becomes a constant source of
trouble for others. Therefore, gods grow sick of Gilgameshs arrogant and
troublesome attitude and decide to teach him a lesson. He is made to fight his antagonist, Enkidu,
and then go on a long journey to bring the plant of life a journey on which he learns the lessons
of life. Although the epic is written nearly 4,000 years ago, critics are unanimous that it is a human
work.
2,The Iliad (800 BCE)Iliad is another example of an epic. It was written by the popular Greek poet,
Homer. It relates the story of the Trojan wars, involving themes of courage, boldness, love for ones
country and nostalgia of family. However, it describes many legends related to the siege of Troy,
the events took place before the siege, the gathering of the warriors prior to the siege and the
causes of the war. Later, the epic foretold the looming death of Achilles and the destruction of Troy.
The style of narration is grand, and suits an epic poem the reason that it is still one the most
celebrated work of antiquity.
3.Paradise Lost (1667)Written on the same traditions but on a different subject, Paradise Lost, is an
English epic by yet another blind poet of English origin, John Milton. It also is known colloquially as
the Protestant Epic. In this epic, Milton argues Satans fall from the heaven as well as Adam and
Eves fall from the Garden of Eden. Despite his blindness, Milton did not stop from explaining the
ways of God to men. He has depicted Satan as a highly complex character, who is at war with God.
Despite his different subject, Milton has used several epic devices introduced by Homer such as
invocation to the muse, extended similes and grand style.
The Homeric Poems The Odyssey (~800 BCE)The Odyssey, on the other hand, follows the warrior Odysseus as
he tries to find his way home from Troy across the Peloponnesian sea. Not only must he fend off the
malevolence of gods and theseduction of Calypso, but he must also get home before the suitors coerce his wife
into marriage. As thebasis for countless works that have followed it, many of the narrative and poetic devices
employed in the poem have gone on to influence what we now consider to be Western Literature.
4. The Mahabharata (350 BCE)The great Indian epic is one of the longest pieces of literature of all time, but
its exhausting length has not stopped it from being a pivotal literary text in the formation of Hindu identity.
Narrated by the sage Vyasa, the 220,000 line poem follows a human incarnation of the god Vishnu as two
dynasties fight for supremacy in the mythical Elephant City. Not only does the poem itself contain another
seminal Hindu text, The Bhagavad Gita, but its panoramic view of everything from spirituality to morality have
had an impact on Indian society for thousands of years.
5. Virgil The Aeneid The Aeneid (19 BCE)Written at the height emperor Augustines reign, The Aeneid soon
became the great Roman epic, the creation story of what was at that time the most mighty empire in the world.
Starting off where the Iliad ends, the poem describes Aeneas travel from Troy to Carthage, where he has a brief
relationship with Queen Dido. After he abandons her, he travels to Italy to ward off enemies and found Rome.
Although he is not as passionate as Dido (she commits suicide in heartbroken misery), his stoic attitude
towardshis national duty speaks to the nationalistic pride Augustine attempted to impart upon his people.
6. Ovid - Metamorphoses (8 AD)Ovids epic does not contain as much bloodshed and travel as Homers and
Virgils, but his 15-part poem contains the elevated language of the epic. Written in epic dactylic hexameter (six
long syllablesstaggered by shorter ones), the poem is less of a confirmation of myth as much as a retelling of it.
Whilepreached a certain inexorable push towards Roman supremacy, Ovids reconfiguration of theGreek and
(slightly different) Roman myths emphasize how gods change to men. Some of the selections the story of
Pygmalionthe sculptor who falls in love with his statue, as well as the unforgettable transformation of Daphne
into a tree while escaping a malicious suitor. It sought to deflate the hifalutin air surrounding myth while also
educating the public.
7. Firdawsi The Shahnameh (11th century)One thing that the great Iranian epic has in common with the
ancients is a sense of nostalgia from a lost past. Also known as The Book of Kings, The Shahnameh looks back
at the old Zoroastrian traditions in the country while chronicling the entire history of the Persian Empire from its
Eurasian reign to its demise in the Muslim conquests of the 7th century. While this may seem more historical
than poetic, drives the work forward by including vivid accounts of political intrigue and betrayal.
8. Beowulf (~8th-11th century CE)Some may know Beowulf as Britains national epic, but it is in fact
celebrated as a national text in most Nordic countries. Purportedly the strongest man that ever lived, Beowulf is
hired by Hrothgar to protect his domain from a grotesque swamp creature, Grendel. Not only does he vanquish
him, but he also confronts his mother, various sea creatures a terrifying fire-breathing dragon. The poem was at
first lauded for its fantastical elements, but further criticism revived its more important cultural implications
that the Kingdoms lining the North Sea were no longer joining forces to fend off outsiders, but were rather
turning on each other, often for petty reasons.
9. The Nibelungenlied (13th century)This fragmented collection of several thousand stanzas was only
rediscovered several centuries after it was written, but this poems scale is so grand that it helped revive
Teutonic mythology in Germany. About the slow but inevitable decline of the Burgundian people of the North
Atlantic, the majority of the poem follows Siegfried, an Achilles-like figure who fights dragons, conquers
Nibelungenland and uses his invisibility cloak to defeat enemies. 19th century composer Richard Wagner would
later use material from this poem to produce his masterpiece The Ring-Cycle, though later German National
Socialists would use it to propagate erroneous assertions about a Teutonic race.
10. . Edmund Spenser The Faerie Queen (1590)Drawing from many of the previous sources on this list,
Spenser modeled his epic after the works of Virgil, Ariosto, as well as the philosophy of Aristotle and Cicero.
About a knight seeking the hand of the virginal and veracious Una, Spenser tries to connect Queen Elizabeth to
the most famous of all British ancestors, King Arthur. The poem was well received by the throne at the time, but
the poets uniqueverse form is so enshrouded in ambiguity that fewincluding Spenser himselfhave given clear
answers
to its more cryptic passages.

WRITING EPIC:

Read some epic poetry. After all, you're doing this to be a part of the tradition! An epic poet should
at least have read Homer. Reading epics will give you a good sense of what the epic is all about. It
will also inspire you to write your own epic, read more epics, and become a sea-faring hero.

Begin with a hero. Epic poetry always follows the adventures of a hero. Take, for instance, Homer's
Odysseus, Virgil's Aeneas, Gilgamesh, or Beowulf. You are probably quite familiar with heroic traits,
like bravery, justice, and virtue. In Classical epics, heroes also tend to be futuristic and callous.
Those kinds of flaws make your hero interesting.

Plot out your epic journey. What challenges will your hero face, and why? Your hero might be on a
quest to find something, a quest to save someone, a long voyage home from a distant war, or s/he
might even be in the thick of the war itself. Think of twists and turns and complications that
thicken this journey. You'll find, in the Classics, that jealous and quick-tempered gods play just as
large a part in screwing up the plot as the hero's own flaws.

the muses. Now you're ready to start writing your epic! This part is optional (as it is a feature of
Greek-Roman epic poetry), but if you want your epic to have that Classical form, you should begin
with an invocation to the muse. "Sing to me, o muse, of..." is an archetypical invocation. The muses
were goddesses, in Classical mythology, who inspired writers. There was a patron muse of every
poetic style; the muse who inspired the epics was Calliope. John Milton also made use of this
convention when he wrote his Christian epic, "Paradise Lost." Interestingly, Milton invokes the
"Heavenly Muse," a device by which he substitutes the Judeao-Christian God for the ancient Greek
goddesses of inspiration.

Write! This is the fun part. You can write your poem in any form, with or without metre. Nobody
should tell you what form your writing should take. If you wish to write in the style of Homer, Virgil,
Hesiod, and the other Classical poets, the metre they used was dactylic hexameter, or lines
comprised of six dactyls (another article here should be able to help you with metre). Ancient
Greek and Latin poetry did not rhyme, and yours doesn't have to either.

Name your work. Epics are almost always named after the hero. The Odyssey is named after
Odysseus, the Aeneid after Aeneas, the Epic of Gilgamesh after Gilgamesh. Sometimes, it is named
after a whole crew of people, like the Argonautica (named for the sailors of the Argos), but heroic
epics mostly take their name from the hero. The English language does not have a suffix that you
can add to a name to indicate topicality, so it might make less sense for you to call your work 'the
Captain Jimmy-iad," but you could take a leaf out of Medieval poetry and call it 'the Song of X,' or
'The Tale of X.' Your title has to invoke the grandeur of your poem. Invoke away.

Writing Your Own Epic Poem: A Character Sketch of a Hero DIRECTIONS: Since you are reading
Homers The Odyssey, it is your turn to try your hand at writing your own epic poem. Write a
narrative poem that provides a character sketch and tells a story about a hero of your generation,
borrowing elements from Homers style to recreate the experience for your reader. The poem
should be an imaginative and artistic written creation of a hero who struggles with, meets, or
overcomes a challenge of your generation. You must include the most vivid, engaging, and
meaningful aspects and elements of a hero in the poem. The character sketch needs to reflect
specific challenges that are posed to your generation. Within the heroic challenge context of your
poem, you must also be selective about which heroic traits to emphasize. Most likely you will focus
on developing one, for instance "loyalty." Choose a trait that is either lacking in your generation or
is necessary for your generation to emulate. You must earnestly feel that the trait is valuable for
you and your peers. Follow the steps below to write your poem. It must be typed and a minimum of
500 words.
1.First, identify some elements of an epic poem. See the notes with this handout that describe the elements.
2.Consider all of the following: The challenge that the hero is facing is clearly described and is a true challenge
of your generation. Heroic traits are emphasized in detail. The poem demonstrates those traits clearly. There is
enough description so that the reader can see and feel the experiences of the hero and the situation he or she
faces. There are Epithets, imagery, similes, and metaphors used throughout the poem. The writer uses
aesthetic/artistic vocabulary throughout the poem.3.Do some pre-writing. Use brief notes to outline the hero
and challenges of your generation.4.Write your epic poem in the third-person, as if Homer is narrating your
experience.

SAMPLE: Andrew, sensed danger all around him, lurking in

Andrew, courageous rider of the invisible horse, the gloomy
Pursued his journey head strong into Mist, like a shark ready to attack an unsuspecting
The wicked mist that Fish. He went on, fearless of death, he knew
Zeus laid upon him. nothing
Eric, his valiant companion, assisted me on my long Could kill the greatest warrior in all the land.
Journey to the far off castle of the Athena, grey-eyed goddess, protected him
Where ever he went.
Name that must not be said.
Only the bravest warriors throughout the land barely The trotting of the coconuts
have Was the only sound that filled the air. The crackling
Enough courage say the name of the castle that of the leaves on the side of cobblestone road sent a
must not be said. dark vibe.
Andrew, the bravest of the brace, It was too late to turn back, and the castle was in
And Andrews companion ride out from their glorious sight.
home full The red and green neon sign of 7-11 burst
Epic Poetry Notes
Epic. An extended narrative poem recounting actions, travels, adventures, and heroic
episodes and written in a high style (with ennobled diction, for example). An epic hero is
usually a person of great strength, wit or skill, whose adventures usually contribute to the
development of a particular race or nation. Characteristics of the classical epic include these:

The main character or protagonist is heroically larger than life, often the
source and subject of legend or a national hero

The deeds of the hero are presented without favoritism, revealing his failings
as well as his virtues

The action, often in battle, reveals the more-than-human strength of the

heroes as they engage in acts of heroism and courage

The setting covers several nations, the whole world, or even the universe

The episodes, even though they may be fictional, provide an explanation for
some of the circumstances or events in the history of a nation or people

The gods and lesser divinities play an active role in the outcome of actions

All of the various adventures form an organic whole, where each event
relates in some way to the central theme

Typical in epics is a set of conventions (or epic machinery). Among them are these:
 Poem begins with a statement of the theme ("Arms and the man I sing")
Invocation to the muse or other deity ("Sing, goddess, of the wrath of
Achilles")
Story begins in medias res (in the middle of things)
Catalogs (of participants on each side, ships, sacrifices)
Histories and descriptions of significant items (who made a sword or shield,
how it was decorated, who owned it from generation to generation)
Simile and Metaphor
Epic simile (a long simile where the image becomes an object of art in its own
right as well as serving to clarify the subject).
Frequent use of epithets ("Aeneas the true"; "rosy-fingered Dawn"; "tall-
masted ship")
Use of patronymics (calling son by father's name): "Anchises' son"
Long, formal speeches by important characters
Journey to the underworld
Use of the number three (attempts are made three times, etc.)
Previous episodes in the story are later recounted

Possibilities to Consider in Writing an Epic Poem

Write a brief statement of the poem's purpose before you begin recounting
the story - say, to detail your dog Champ's heroic crusade against backyard
birds - followed by an invocation of the Muse.
Give a short, general outline of the action of the poem in the statement of
the poem's purpose.
Invoke the Muse next by first praising her, then by asking her to aid you in
the writing of your poem. The Muse of epic poetry was Calliope, but you can
also invoke Thalia (Muse of comedy) or Melpomene (Muse of tragedy).
Choose a particularly heroic event in the hero's life at which to start. This will
be the main action of your poem.
Begin the narrative by employing "in medias res" or "framework" narrative.
Literally meaning "into the midst of things," this is a poetic convention in
which the narrative begins in the middle of the main action and earlier
events are retold through flashbacks. The past actions thus form a
framework centering around the main action.
Confront your hero with dangerous monsters and other incredible
adventures. Include vivid and explicit descriptions of warfare (particularly
weapons and combat).
Use the supernatural to get your protagonist out of tough situations. If your
hero or heroine is in a no-win situation, simply send in a god or goddess to
help out at the last moment.

assess your work, ask the following questions:

1. What is the challenge that the hero is facing? Is it a true challenge of your
generation? What suggestions do you have?

2. Who is the hero and what heroic traits are emphasized? Loyalty, bravery,
honesty, etc How could the writer demonstrate those traits more clearly?

3. How is the hero and situation described? Is there enough descriptive

language so that the reader can see and feel the experience? What
suggestions do you have?
 4. Where could the writer use Epithets? This is a short phrase applied
repeatedly to a person or thing in The Odyssey. bright-eyed Athene or
sandy Pylos or wise Odysseus or brave Antinous.

5. Where could the writer use more imagery, similes, or metaphors? Simile
example: then he advanced like a mountain lion. Metaphor example: The
event was clouded over by protests.

6. Where could the writer use more aesthetic/artistic vocabulary?

7. What other elements of epic poetry could the writer incorporate into their
poem?

Consider Paradise Lost as an Epic.

Or,
What qualities of an epic do you find in Paradise Lost?

Answer: Paradise Lost is one of the finest examples of epic tradition in all of literature.
Paradise Lost is an epic poem in blank verse by the 17th-century English poet John Milton. It
was originally published in 1667 (though written nearly ten years earlier) in ten books, with a
total of over ten thousand individual lines of verse. A second edition followed in 1674, re-
divided into twelve books (in the manner of the division of Virgils Aeneid) with minor
revisions throughout and a note on the versification; the majority of the poem was written
while Milton was blind, and was transcribed for him.
Like the classical epic writers, Milton succeeds in lending Paradise Lost with perfect unity
of plot. Everything or even in the poem leads up to or flows from it. The plucking of the fruit
of the tree of knowledge, the war between God & Satan, followed by the fall of Satan, Long
descriptions of hell and heaven and seduction scene all these events are closely woven and
seem a single and a compact action. As a masterly person, Milton plunges into the middle of
the story, instead of beginning, but in the middle he traces the earlier story and forwards the
story to a striking end. During this Milton still is following a rule of epic writing.
In the course of the events Milton convincingly shows the utter powerlessness, helplessness
and depravity of evil beside the almightiness, beauty and benevolence of God. Evil never
succeeds; it never does under any circumstances. Milton shows this in the defeat of Satan:
so stretchd out huge in length the Arch-fiend lay,Chaind on the burning lake; nor ever
thence Had risn, or heavd his head, but that the will And high permission of all-ruling
heaven, Left him at large to his own dark designs.

War like speeches is another feature of epics. Through these speeches, the poet actually
explains the background and the scenery, the characters themselves speak fully explaining
their thoughts, feelings and motives. Milton once again seems at the top, while presenting
the war like speeches of Satan, who emerges as a giant leader with all heroic qualities
inspiring all the readers. In Book-I Satan has been represented in heroic dimension. He
displays unyielding courage, shrewdness as leader. From the very first speech, he appears to
be a great orator with profound leadership qualities.
What though the field be lost, all is not lost, The unconquered will immortal hate
He like a great leader arranges a council and gives them the urge to wage another war
against The Supreme Victor. Thorough analysis of their defeat is done to formulate new
strategy. He like a great leader praises his fellows and gives them boost by calling them
Princes, The Knights and the Warriors he also pinches them by his words.
Wake up or be fallen forever
The whip of words works and all of the fallen shrubs rise and whole dark hell resounds with
their slogans and flashes with blazing swords and shields as Milton describes the scene in
these lines,
Highly they raged Against the highest, and fierce with grasped armsClashed on their
soundings shields, the den of war Hurling defiance towards the vault of heaven.

The use of similes, metaphors and allusions are another ingredient of epic writing and
Paradise Lost is the best blend of this quality. Especially Book-I can aptly be declared as one
of the best example of Miltons skill in using similes and metaphors. Milton being the most
learned uses similes, metaphors and allusions to suit their appropriateness adding to the
grandeur of the poem. He found an inexhaustible store of learning and experience in classical
literature and mythology, from which he drew material for his similes. He tells us that the
palace of hell is far beyond the magnificence of Babylone, or great Alcairo, and the army of
rebel angel far exceeds those,
That fought at Thebes and Ilium, on each side mixed with auxiliary gods; and what resounds
In fable or romance of Uthers son, Begirt with British and Armoric Knights; And all who since,
baptized or infidel; Jousted in Aspramount or Matalban, Damasco, Morocco, or Tribisond,When
charlemain with all his peerage fell By Fontarabia.
The classical writers set another tradition ie, the use of supernatural machinery, which
develops the plot and solves its complications. John Miltons skill once again excels other
poets in exhibiting the superb usage of supernatural machinery in the poem. There are only
two human characters, Adam & Eve, rest of all the characters including God, angles, Satan
and rebellion angels all are supernatural beings. Thus the use of supernatural machinery in
this epic is very convincing.
As paradise Lost primarily deals with supernatural powers and agencies, there is very little
scope for the expression of human sentiments. Adam and Eve are the only two human
characters. Their sentiments both of fears and repentance have, of course, been beautifully
and forcefully rendered. The anguish rising from the horrors attending the sense of the divine
displeasure are very justly and powerfully described. 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. Dr Johnson says that, The sentiments, as expressive of manners, are
appropriated to characters are, for the later part, unexceptionally just.
To conclude it would be very apt to remark that Paradise Lost fulfills all the requirements
and the convictions laid down by the classics and is one of the best epic ever written in
English literature. A sane critic is justified in giving these remarks; There is nothing in
English literature, but Paradise Lost
English literature will remain indebted to Milton for his remarkable and glowing piece of
literature for all the ages. Milton following the classical tradition matches his own purpose i.e.
justifies the ways of God to men and has transformed the classical secular epic into a
theological and universal one. He actually has enriched the epic tradition and it is apt to say
that Paradise Lost is the best example of the tradition and the individual talent. Therefore,
its confirmed that the subject of this epic is more ancient, serious and lofty than any other
epic. It promotes a universal view of mans life.

..............
BOOK I ~ IN PLAIN ENGLISH

1. Of Mans First Disobedience, and . CHAPTER 1

the Fruit
1. Tell me about man's first sin,
2. Of that Forbidden Tree, whose when he tasted the forbidden fruit
mortal tast and caused all our troubles, until
Jesus came and saved us.
3. Brought Death into the World, and
all our woe, 1 Inspire me with this knowledge. You
are the heavenly spirit who inspired
4. With loss of Eden, till one greater Moses in his teachings.
Man

5. Restore us, and regain the blissful 1 I'm asking for your help because I
Seat, want to write a great work different
from any that was ever written
6. Sing Heav'nly Muse, that on the before.
secret top
1 I want you to teach me, Holy Spirit,
7. Of Oreb, or of Sinai, didst inspire because you value goodness more
than fancy churches.
8. That Shepherd, who first taught the
chosen Seed, 1 You know everything. You were there
at the Beginning. You sat like a dove
9. In the Beginning how the Heav'ns with your wings spread over the
and Earth dark emptiness and made it come to
life.
10. Rose out of Chaos: Or if Sion
Hill 1 Enlighten me where I am ignorant
and strengthen my abilities so that I
11. Delight thee more, and Siloa's can correctly explain God's great
Brook that flow'd purpose to men.

12. Fast by the Oracle of God; I 1 You know everything about

thence Heaven and Hell, so tell me, what
was it that made Adam and Eve go
13. Invoke thy aid to my against God's orders? They seemed
adventrous Song, so happy. He had given them the
whole world, except for one little
14. That with no middle flight thing.
intends to soar
1 Who made them do this awful thing?
15. Above th' Aonian Mount, while It was that snake from Hell, wasn't
it pursues it. His envy and thirst for revenge
made him go trick Eve the way he
16. Things unattempted yet in did.
Prose or Rhime.
1 His pride had got him thrown out of
17. And chiefly Thou O Spirit, that Heaven with all his followers. They
dost prefer supported him in his ambition to
glorify himself - even to the point of
18. Before all Temples th' upright waging war against God.
heart and pure,
1 But he was doomed to fail. After a
19. Instruct me, for Thou know'st; terrible war, God threw him into Hell
Thou from the first for daring to fight him.

20. Wast present, and with mighty

wings outspread

21. Dove-like satst brooding on

the vast Abyss

22. And mad'st it pregnant: What

in me is dark

23. Illumin, what is low raise and

support;

24. That to the highth of this great

Argument

25. I may assert Eternal

Providence,

26. And justifie the wayes of God

to men.

27. Say first, for Heav'n hides

nothing from thy view

28. Nor the deep Tract of Hell, say

first what cause

29. Mov'd our Grand Parents in

that happy State,

30. Favour'd of Heav'n so highly,

to fall of

31. From thir Creator, and

transgress his Will

32. For one restraint, Lords of the

World besides?

33. Who first seduc'd them to that

 foul revolt?

34. Th' infernal Serpent; he it was,

whose guile

35. Stird up with Envy and

Revenge, deceiv'd

36. The Mother of Mankind, what

time his Pride

37. Had cast him out from Heav'n,

with all his Host

38. Of Rebel Angels, by whose aid

aspiring

39. To set himself in Glory above

his Peers,

40. He trusted to have equal'd the

most High,

41. If he oppos'd; and with

ambitious aim

42. Against the Throne and

Monarchy of God

43. Rais'd impious War in Heav'n

and Battel proud

44. With vain attempt. Him the

Almighty Power

45. Hurld headlong flaming from

th' Ethereal Skie

46. With hideous ruine and

combustion down

47. To bottomless perdition, there

to dwell

48. In Adamantine Chains and

penal Fire,

49. Who durst defie th'

Omnipotent to Arms.

50. Nine times the Space that 1 For nine days he and his evil followers
measures Day and Night were lying helpless in the fires of
51. To mortal men, he with his Hell.
horrid crew
1 But soon he grew angry, thinking
52. Lay vanquisht, rowling in the about all the lost pleasures and the
fiery Gulfe unending pain.

53. Confounded though immortal: 1 He looked around and saw a lot of

But his doom suffering. But he only felt stubborn
pride and hatefulness.
54. Reserv'd him to more wrath; for
now the thought 1 As far as he could see there were
flames, but they burned dark instead
55. Both of lost happiness and of bright, and they only revealed
lasting pain sorrow and hopelessness.

56. Torments him; round he throws 1 These fires would never go out and
his baleful eyes the torture would never end.

57. That witness'd huge affliction 1 This is the place Justice made for
and dismay those who rebel against God.

58. Mixt with obdurate pride and 1 It was as far from Heaven and
stedfast hate: Heaven's light and as different from
Heaven as it could be.
59. At once as far as Angels kenn
he views 1 This is where he saw all his defeated
followers. And there, wallowing in the
60. The dismal Situation waste and flames right next to him, was his top
wilde, assistant.

61. A Dungeon horrible, on all sides 1 Later we would know him as

round Beelzebub.

62. As one great Furnace flam'd, 1 His leader, who they called Satan,
yet from those flames finally spoke.

63. No light, but rather darkness 1 Is this really you? If you are who
visible I think you are, how you've changed!
Your brightness that outshined
64. Serv'd onely to discover sights everyone is gone.
of woe,
1 If you're the one who joined me in
65. Regions of sorrow, doleful planning and undertaking our grand
shades, where peace mission--it looks like now we are
joined again, but in misery.
66. And rest can never dwell, hope
never comes 1 Look at how far we fell! It turns out
he was much stronger than us after
67. That comes to all; but torture all, but how could we know that?
without end
1 But I don't care what he did to us, or
68. Still urges, and a fiery Deluge, may still do, I'm not sorry. And I'm
fed not going to change.

69. With ever-burning Sulphur

 unconsum'd: 1 My appearance may have changed,
but the indignity I sufered that
70. Such place Eternal Justice had caused me to fight him hasn't
prepar'd changed.

71. For those rebellious, here thir

Prison ordain'd

72. In utter darkness, and thir

portion set

73. As far remov'd from God and

light of Heav'n

74. As from the Center thrice to th'

utmost Pole.

75. O how unlike the place from

whence they fell!

76. There the companions of his

fall, o'rewhelm'd

77. With Floods and Whirlwinds of

tempestuous fire,

78. He soon discerns, and weltring

by his side

79. One next himself in power, and

next in crime,

80. Long after known in Palestine,

and nam'd

81. Beelzebub. To whom th' Arch-

Enemy,

82. And thence in Heav'n call'd

Satan, with bold words

83. Breaking the horrid silence thus

began.

84. If thou beest he; But O how

fall'n! how chang'd

85. From him, who in the happy

Realms of Light

86. Cloth'd with transcendent

brightness didst out-shine

87. Myriads though bright: If he

Whom mutual league,
88. United thoughts and counsels,
equal hope

89. And hazard in the Glorious

Enterprize,

90. Joynd with me once, now

misery hath joynd

91. In equal ruin: into what Pit thou

seest

92. From what highth fall'n, so

much the stronger prov'd

93. He with his Thunder: and till

then who knew

94. The force of those dire Arms?

yet not for those,

95. Nor what the Potent Victor in

his rage

96. Can else inflict, do I repent or

change,

97. Though chang'd in outward

lustre; that fixt mind

98. And high disdain, from sence of

injur'd merit,

99. That with the mightiest rais'd

me to contend,

100. And to the fierce contention 1 And what made the multitudes agree
brought along with me and join me in battling him
and shaking up his kingdom--that
101. Innumerable force of Spirits hasn't changed.
arm'd
1 So what if we lost some ground? He'll
102. That durst dislike his reign, and never be able to take away my free
me preferring, will, my revenge, my hate, or my
courage never to give up.
103. His utmost power with adverse
power oppos'd 1 And if I still have all that, what did he
win?
104. In dubious Battel on the Plains
of Heav'n, 1 Am I supposed to kneel and beg for
mercy from him who I just gave some
105. And shook his throne. What serious worry about the safety of his
though the field be lost?
106. All is not lost; the empire?
unconquerable Will,
1 That would be worse shame than the
107. And study of revenge, immortal defeat we just had.
hate,
1 We can't die, and we can't be
108. And courage never to submit or physically hurt, but we have learned
yield: a lot from this experience.

109. And what is else not to be 1 Whether we do it by outright battle or

overcome? some more devious way, we can fight
our enemy forever--that tyrant in
110. That Glory never shall his wrath Heaven who sits there now, gloating
or might over his victory.

111. Extort from me. To bow and sue 1 Satan said these words forcefully
for grace though he was in pain and despair.

112. With suppliant knee, and deifie 1 Beelzebub responded, Oh Prince,

his power, you bravely led the rebelling angels
against Heaven's king.
113. Who from the terrour of this
Arm so late 1 But he defeated us, whether by his
greater strength or just good luck, I
114. Doubted his Empire, that were don't know.
low indeed,
1 Now, too late, I see only too well the
115. That were an ignominy and sad outcome of our plan--the loss of
shame beneath Heaven, and all our comrades left in
such sad shape.
116. This downfall; since by Fate the
strength of Gods 1 But we are like gods and can't die.
Our minds and spirits are
117. And this Empyreal substance indestructible, and soon our strength
cannot fail, will return, although our glory and joy
are gone forever.
118. Since through experience of
this great event 1 Now I think our Conqueror must
really be almighty. How else could he
119. In Arms not worse, in foresight defeat an army like ours?
much advanc't,
1 But what if he left us alive just to
120. We may with more successful make us sufer?
hope resolve
1 Or maybe he wants to make us his
121. To wage by force or guile slaves to do whatever strange things
eternal Warr he thinks up for us to do in this dark
pit.
122. Irreconcileable, to our grand
Foe,

123. Who now triumphs, and in th'

excess of joy

124. Sole reigning holds the Tyranny

 of Heav'n.

125. So spake th' Apostate Angel,

though in pain,

126. Vaunting aloud, but rackt with

deep despare:

127. And him thus answer'd soon his

bold Compeer.

128. O Prince, O Chief of many

Throned Powers,

129. That led th' imbattelld

Seraphim to Warr

130. Under thy conduct, and in

dreadful deeds

131. Fearless, endanger'd Heav'ns

perpetual King;

132. And put to proof his high

Supremacy,

133. Whether upheld by strength, or

Chance, or Fate,

134. Too well I see and rue the dire

event,

135. That with sad overthrow and

foul defeat

136. Hath lost us Heav'n, and all this

mighty Host

137. In horrible destruction laid thus

low,

138. As far as Gods and Heav'nly

Essences

139. Can perish: for the mind and

spirit remains

140. Invincible, and vigour soon

returns,

141. Though all our Glory extinct,

and happy state

142. Here swallow'd up in endless

misery.
143. But what if he our Conquerour,
(whom I now

144. Of force believe Almighty, since

no less

145. Then such could hav orepow'rd

such force as ours)

146. Have left us this our spirit and

strength intire

147. Strongly to sufer and support

our pains,

148. That we may so suffice his

vengeful ire,

149. Or do him mightier service as

his thralls

150. By right of Warr, what e're his

business be

151. Here in the heart of Hell to

work in Fire,

152. Or do his Errands in the gloomy

Deep;

153. What can it then avail 1 What good is it if we remain alive and
though yet we feel healthy forever if it's only so we can sufer
forever?
154. Strength undiminisht, or
eternal being 1 Satan answered quickly, I know it stinks
to be under his power, but I'll tell you one
155. To undergo eternal thing--we will never do good deeds again.
punishment? We'll get all our pleasure from doing evil,
because it's the opposite of what he wants.
156. Whereto with speedy
words th' Arch-fiend reply'd. 1 And if he tries to turn our evil actions into
something good, we'll find another way to
157. Fall'n Cherube, to be turn them into evil again.
weak is miserable
1 And sometimes we'll succeed, and disrupt
158. Doing or Sufering: but of his plans and cause him a lot of grief.
this be sure,
1 But look around--the enemy forces have
159. To do ought good never gone back to Heaven, and the storm that
will be our task, surrounded us is calm now.

160. But ever to do ill our sole 1 Maybe his anger has been satisfied, or
delight, maybe he's turning his back on us in
161. As being the contrary to contempt--either way, let's take advantage
his high will of the opportunity.

162. Whom we resist. If then 1 See that dark barren plain over there?
his Providence
1 Let's get out of these flames and go rest
163. Out of our evil seek to there--if we can get any rest in this
bring forth good, miserable place.

164. Our labour must be to 1 Let's gather everybody there and decide
pervert that end, how we can recover from this disaster and
make more trouble for the enemy.
165. And out of good still to
find means of evil; 1 As Satan spoke to his companion only his
head and blazing eyes were up above the
166. Which oft times may flames.
succeed, so as perhaps
1 The rest of his body was stretched out on
167. Shall grieve him, if I fail the lake of fire like a big whale--the kind that
not, and disturb sailors, they say, sometimes mistake for an
island and spend the night anchored by its
168. His inmost counsels from side.
thir destind aim.

169. But see the angry Victor

hath recall'd

170. His Ministers of

vengeance and pursuit

171. Back to the Gates of

Heav'n: The Sulphurous Hail

172. Shot after us in storm,

oreblown hath laid

173. The fiery Surge, that

from the Precipice

174. Of Heav'n receiv'd us

falling, and the Thunder,

175. Wing'd with red

Lightning and impetuous rage,

176. Perhaps hath spent his

shafts, and ceases now

177. To bellow through the

vast and boundless Deep.

178. Let us not slip th'

occasion, whether scorn,

179. Or satiate fury yield it

 from our Foe.

180. Seest thou yon dreary

Plain, forlorn and wilde,

181. The seat of desolation,

voyd of light,

182. Save what the

glimmering of these livid
flames

183. Casts pale and dreadful?

Thither let us tend

184. From of the tossing of

these fiery waves,

185. There rest, if any rest

can harbour there,

186. And reassembling our

afflicted Powers,

187. Consult how we may

henceforth most ofend

188. Our Enemy, our own loss

how repair,

189. How overcome this dire

Calamity,

190. What reinforcement we

may gain from Hope,

191. If not what resolution

from despare.

192. Thus Satan talking to

his neerest Mate

193. With Head up-lift above

the wave, and Eyes

194. That sparkling blaz'd, his

other Parts besides

195. Prone on the Flood,

extended long and large

196. Lay floating many a

rood, in bulk as huge

197. As whom the Fables

 name of monstrous size,

198. Titanian, or Earth-born,

that warr'd on Jove,

199. Briareos or Typhon,

whom the Den

200. By ancient Tarsus held,

or that Sea-beast

201. Leviathan, which God of

all his works

202. Created hugest that

swim th' Ocean stream:

203. Him haply slumbring on

the Norway foam

204. The Pilot of some small

night-founder'd Skif,

205. Deeming some Island,

oft, as Sea-men tell,

206. With fixed Anchor in his

skaly rind

207. Moors by his side under

the Lee, while Night

208. Invests the Sea, and

wished Morn delayes:

209. So stretcht out huge in length

the Arch-fiend lay 1 And he might never have got out of
that lake, or even lifted his head, if
210. Chain'd on the burning Lake, God didn't decide to allow it.
nor ever thence
1 God left him free to commit his many
211. Had ris'n or heav'd his head, crimes and pile more damnation on
but that the will himself while he tried to harm
others.
212. And high permission of all-
ruling Heaven 1 But he would find that the result
would be God's goodness, grace, and
213. Left him at large to his own mercy given to man, while he
dark designs, suffered God's punishment over and
over.
214. That with reiterated crimes he
might 1 So Satan got up, and the flames
rolled back leaving a big open space
215. Heap on himself damnation, where he had been lying.
while he sought
1 Then he spread his wings and flew up
216. Evil to others, and enrag'd into the polluted air and landed on
might see dry land--if you could call it land,
since it was as hot as fire.
217. How all his malice serv'd but to
bring forth 1 The smoke and the stink and the
color of the hill was like an erupted
218. Infinite goodness, grace and volcano.
mercy shewn
1 This land was meant for people who
219. On Man by him seduc't, but on were not blessed.
himself
1 Beelzebub followed Satan. They were
220. Treble confusion, wrath and both proud to have gotten out of the
vengeance pour'd. lake by their own power, or so they
believed.
221. Forthwith upright he rears from
of the Pool

222. His mighty Stature; on each

hand the flames

223. Driv'n backward slope thir

pointing spires, and rowld

224. In billows, leave i'th' midst a

horrid Vale.

225. Then with expanded wings he

stears his flight

226. Aloft, incumbent on the dusky

Air

227. That felt unusual weight, till on

dry Land

228. He lights, if it were Land that

ever burn'd

229. With solid, as the Lake with

liquid fire;

230. And such appear'd in hue, as

when the force

231. Of subterranean wind

transports a Hill

232. Torn from Pelorus, or the

shatter'd side

233. Of thundring tna, whose

 combustible

234. And fewel'd entrals thence

conceiving Fire,

235. Sublim'd with Mineral fury, aid

the Winds,

236. And leave a singed bottom all

involv'd

237. With stench and smoak: Such

resting found the sole

238. Of unblest feet. Him followed

his next Mate,

239. Both glorying to have scap't the

Stygian flood

240. As Gods, and by thir own

recover'd strength,

241. Not by the suferance of

supernal Power.

Summary
Analysis
Milton introduces his subject: mans first disobedience against God and its sorrowful
consequences. In the first line Milton refers to the consequences as the fruit of
disobedience, punning on the fruit of the forbidden Tree of Knowledge,
which Adam and Eve will eat against Gods commandment. This single act will bring death
and suffering into the world, until one greater man will come to restore humanity to purity
and paradise.
In this opening, Milton condenses and summarizes the subject of his poem he is trying to
write a great epic for the English language, in the tradition of Homers Iliad or Virgils Aeneid.
Milton is even more ambitious than these classical poets, however, as his subject is not just
heroic men, but the struggle and tragedy of all humanity. Already in this first sentence Milton
points to the scope of Christian history, from Adam to Jesus (one greater man).

Milton then invokes a Muse, but clarifies that this is a different Muse from the inspirational
goddesses the ancient Greek poets called upon he asks for the Muse that inspired Moses to
write Genesis. This Muse is greater than the classical Muse, so Milton hopes that his poem
will achieve things unattempted yet in prose or rhyme. He associates his Muse with the
Holy Spirit, which is part of the Trinity and a force in the creation of the universe. He asks for
this divine inspiration that he might assert Eternal Providence, / And justify the ways of God
to men.
In this invocation Milton sets the pattern for the whole poem. He points to his classical
forebears, respecting them and seeking to enter into their epic canon, but at the same time
he wants to soar beyond them in terms of ambition and truth. Miltons Muse is the Holy Spirit,
and his subject the Fall of Man, so his epic will be more fundamentally true (to the Christian
worldview) and more sweeping in scope than the epics of Homer or Virgil. The Holy Spirit is
the third person of the traditional Christian Trinity, but Milton did not consider the Holy Spirit
as equal to God.
After this prologue, Milton asks the Muse to describe what first led to Adam and Eves
disobedience. He answers himself that they were deceived into foul revolt by the infernal
Serpent, who is Satan. Satan was an angel who aspired to overthrow God, and started a civil
war in Heaven. God defeated Satan and his rebel angels and threw them out of Heaven. They
fell through an abyss for nine days and then landed in Hell, where they lay stunned for nine
more days.
Milton includes not only Adam and Eves disobedience, but also the original disobedience in
Heaven Satans rebellion against God, which is the ultimate revolt of creature against
creator. Much of the poems plot will come from the first books of Genesis in the Bible, but
the parts about the war in Heaven are based on various scattered Bible verses and Miltons
own conjecture.

The poem then focuses on Satan as he lies dazed in a lake of fire that is totally dark. Next to
him is Beelzebub, Satans second-in command, and Satan speaks to him, finally breaking the
horrid silence. Satan laments their current state, and how far they have fallen from their
previous glorious state as angels. He admits that he has been defeated, but he does not
regret his war against God (though he never calls God by name). He claims that his heavenly
essence cannot be killed, and as long as his life and will remains Satan vows to keep fighting
against the tyranny of Heavn.
Like all epics, the tale begins in media res, or in the middle of the action, and the backstory
will be explained later. Milton inverts tradition by beginning with the antagonist, Satan,
instead of a protagonist. One of the great debates about Paradise Lost has been just how
much of an antagonist Satan is, however, as he is the poems most dynamic and
interesting character. Some critics have felt that Milton subconsciously sympathized with
Satan even as he tried to justify God.

Beelzebub answers, saying that God (whom he also avoids naming) seems to be omnipotent
as he had originally claimed, and he may have let the rebellious angels live just so they could
suffer forever. Satan doesnt contradict this, but he remains resolved to ever do ill and try
to pervert Gods works into evil, especially when God out of our evil seek[s] to bring forth
good. Satan then suggests they leave the burning lake and find shelter on a distant shore.
Satans is the first and greatest revolt against the hierarchy of Gods universe. God arranges
all his creation according to rank, and Satan upset this order by trying to do battle with God
himself, the supreme monarch of all. Satan accepts that he has been defeated, but his pride
is still too great to ask God for repentance. He will continue to suffer inner turmoil over this
decision.

Milton describes the terrible size and appearance of Satans body, which is like a whale or a
Greek Titan floating on the waves. Slowly Satan drags himself from the liquid
fire. Beelzebub follows, and they spread their wings and fly over the lake to a place of dry
land. They are pleased that they can do this of their own strength and Not by the sufferance
of supernal power.
Like the greatest of epic poets, Miltons language is rich and grandiose. The critic Samuel
Johnson commented on Miltons power of displaying the vast, illuminating the splendid,
enforcing the awful, darkening the gloomy, and aggravating the dreadful. The devils like to
think they can act of their own agency, but Milton will show that nothing in the universe
happens without Gods consent.

As they fly Satan laments the desolation of Hell as compared to the glory of Heaven, but he
accepts that The mind is its own place, and in itself / Can make a Heavn of Hell, a Hell of
Heavn, so he would no longer be satisfied in Heaven anyway. He resolves to make the best
of the situation, and declares that it is Better to reign in Hell, than serve in
Heavn. Beelzebub then suggests that Satan summon his armies, as they will answer their
leaders voice.
Satan makes this comment rather glibly now, but he will later feel its full implications when
he realizes that he carries the pain of Hell within him even in Paradise. Better to reign in
Hell, than serve in Heavn becomes something like his life motto, as he steadfastly refuses
to accept Gods rulership, and struggles against his creator in whatever way he can.

Satan takes up his terrible armor, and he calls to his legions to join him on land and take up
the fight again. The rebel angels obey and pull themselves from the fiery lake despite their
pain and shame. Milton says that all these angels have had their names erased in Heaven,
but they are later given new names by humans and some will be worshipped as false gods.
Milton describes Satans magnificent size and terrible appearance through many epic similes,
but the overall picture of him is still vague in such grand, imaginative places like Hell and
Heaven, size is relative. The devils can change their size and shape, and Satan will gradually
become smaller and lowlier in his incarnations, showing the corrupting effects of his
disobedience, and Miltons Biblical idea that with goodness comes power.
Among these more prominent devils are Moloch, who later becomes a god requiring the
sacrifice of children, Astoreth (the ancient fertility goddess called Astarte), the sea-
monster Dagon, the animal-headed Egyptian gods, the ancient Greek gods, and lastly Belial, a
lustful and violent god who will corrupt places like Sodom. These fallen angels are given hope
by Satans strong appearance, and they flock to him. They are still dressed in their war gear
and have their banners raised, and they create an awesome spectacle as they form ranks and
lift their spears.
Miltons list of warriors echoes similar lists in the Iliad and the Aeneid, but he also reminds us
that no matter how magnificent the devils appear, they just lost the war in Heaven. Milton
reinforces the truth and ambition of his epic by casting all other gods including the Greek
and Roman gods of earlier epics as merely fallen angels, lesser powers leading ancient
nations away from Gods truth.

Satan is encouraged by the sight of his glorious army, which is far more magnificent than any
of the famous human armies of later wars. Satan feels a moment of remorse for causing the
suffering of so many millions by leading them into rebellion, but then he is strengthened in his
resolve. He addresses his legions and commits himself to continue his fight against God his
only question now is whether to go back to open war or use more deceitful tactics. He
mentions that God had spoken of creating a new world, and that the devils might escape
there and make a new home.
Milton will often compare his characters and spectacles to famous examples from human
history or other epics, but he almost always places his subjects (in this case the devil army)
as more than these more magnificent, more beautiful, huger. Satan acts as a
democratic sort of leader, asking his devils for their opinions, but in reality he has already
decided his plan he assumes that the rebellion against God will continue.

At Satans words the rebel angels all draw their flaming swords and reaffirm their defiance
against Heaven. They then fly to a nearby hill and begin to dig into the earth, unearthing gold
and other raw minerals. They are urged on by Mammon, a vain devil who even in Heaven kept
his eyes always on the ground, admiring the golden pavement. Milton warns the reader about
admiring the rich minerals of Hell, as they are nothing but vanity.
Satans great power is his persuasive words, as he convinces the devils to continue their
revolt even after he led them into a hopeless war against God. Mammon basically means
riches, which Jesus warns against on the Sermon on the Mount, but Mammon itself is often
personified as a prince of devils.

With their supernatural powers the devils construct a massive temple in a short amount of
time. This temple is larger and more magnificent than the pyramids of Egypt or any temple
humans ever built. The architect is a devil called Mulciber, who will become the Greek
god Hephaestus, thrown by Zeus from Olympus. The devils call the temple Pandaemonium
(all demons in Greek). The devils can change in size and shape, so they shrink from giants
into dwarfs and then all the hundreds of thousands enter Pandaemonium. They sit on golden
seats and then begin their debate.
Milton was a radical Protestant opposed to the corrupt hierarchy of the Catholic and Anglican
churches, and many of his critiques are leveled at their vanity and concern with earthly
riches. Pandaemonium then becomes a grotesque parody of the most magnificent churches,
all glitter and no substance. The devils shrink in size to enter the structure, but we had no
clear idea how big they were before, as size is relative in Hell. Milton again associates a
beloved Greek god with a devil.