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of his characters in an attempt to show why these beings act the way they do. By humanizing these persons Milton brings greater understanding to what has traditionally been a well‐known but only moderately understood tale. Milton does an excellent job of illuminating the relationship between humankind and the divine by giving the acting characters understandable and realistic motivations.

ISSUES RELATED TO THIS STUDY OF LITERATURE: Themes:

Pride: Perhaps the most prominent theme in Paradise Lost is the idea of pride preceding the fall (here, literally). It is Satan’s pride that leads him to rebel against heaven and his unwillingness to correct himself and recognize his mistakes that provokes his revenge. He is constantly trying to place himself above God. Eve makes a similar mistake when she insists against Adam’s wishes to wander in Paradise alone, even when the threat of Satan is known, to prove her strength. It is through her overestimation of herself that Satan is able to tempt her and she yields. Both Satan and Eve link to the Greek concept of hubris: extreme haughtiness that precedes a fall. In opposition to pride the character of The Son is shown in Book III acting only in humble subservience to God. The result of his modest recognition of his role, as seen in Book VII, is power to expel evil and to create. Over and over, characters that place value in themselves fall ever shorter of their aims while characters that humbly serve Heaven are granted greater freedom and ability. Perhaps some of the more rambunctious students can learn from this model.

Obedience vs. Rebellion: Though closely linked to pride the theme of obedience and

rebellion serves a slightly different role. Milton’s argument is that Adam and Eve are evicted from Paradise not because of any special quality of the fruit they eat but rather because eating that fruit was against a commandment from God. Their transgression has nothing to do with the tree and everything to do with their choice. They are punished for choosing to disobey their lord. Such was Satan’s initial sin as well, deciding that it is “Better to reign in Hell, than serve in Heav’n” (p 9). He chooses to stir an open rebellion against Heaven and thereafter everything he does is to persuade others to do the same.

Reason vs. Wisdom: Milton represents Satan as a very complex and interesting character.

The fallen angel’s words are persuasive, subtle, and pointed, demonstrating a masterful degree of rhetoric and craft. Much of Satan’s ability to manipulate lies in his ability to make his arguments appear logical and reasonable. Yet, despite all his reason, his words bring only misery and destruction. On the other hand, God is interpreted by some as being largely absent from the text and his arguments are not always clearly presented or understood. Yet

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his actions continue to serve the best interests of his creations. This play on putting faith in God’s authority or attempting like Satan to reason out a better or different path provides an interesting subtext for the novel. There have historically been debates as to the level of irony in Milton’s intent to, “justify the ways of God to men” (p 3).

Transformation: Because the Bible and Milton both relish imagery and symbolism there is a

heavy component of shape‐shifting within the text. Satan begins the text as a pleasant angel and then turns black and bat‐like upon his expulsion from Heaven. Milton makes the lamentation of these changes very clear, saying, “O how fall’n! how changed/From him, who in the happy realms of light/Clothed with transcendent brightness didst outshine /Myriads though bright” (p 5). Satan then takes on many different forms to deceive and manipulate his way out of Chaos and into Paradise where he finally becomes a serpent in order to tempt Eve. As punishment for his role he and his minions in Chaos are transformed into serpents permanently. Satan’s many shapes demonstrate his deception and subtlety. At times he even takes on pleasant and appealing forms that disguise his true motives. Furthermore, there are the unmistakable transformations which occur after Adam and Eve fall. The two beings change from an immortal and paradisiacal state of walking with God to a lesser state, mortal and absent from his presence. Each of the many forms that characters take in the novel displays certain figurative qualities which further describe the given character. Examining the symbolism behind these shapes can be very instructive and meaningful.

Setting: The majority of Paradise Lost takes place in three locations. (1) Heaven: The realm where God, The Son, and numerous angels dwell. (2) Chaos: After being cast down from Heaven, Satan and his followers end up in a space outside of

any previous existence akin in some ways to the concept of Hell and in others to limbo. It is here that the capital, Pandemonium, rises after Satan and his host convene their meeting. However, none of them are able to escape the gates of this place except Satan who alone is powerful enough to both manipulate his way out and cross the great void which spans the space beyond.

(3) Paradise: Also called Eden, this is the original and perfectly created environment of Earth and the site where Adam and Eve were created and dwell. In this perfect space they are able to commune with God and his angels. However, they are commanded not to partake of the fruit of the Tree of Knowledge and they are informed that disobedience to this command will result in their eviction from Paradise to a lesser state of Earth and mortality.

Point of View: The story is told by a 3rd person omniscient narrator which is consistent throughout the tale. The timeline is also chronological but contains moments where characters recite stories—almost flashbacks—of events which occurred before the opening chapter.

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Epic Poetry: One of the more difficult concepts that young and modern readers will encounter with the text is the style in which the story is told. Milton’s intention is to write an epic poem in the likeness of Homer’s Odyssey or Virgil’s Aeneid. Though written in 17th century English, a language similar enough to modern usage to be understood but different enough to raise questions from most readers, Milton’s verse form follows a Greek poetic meter. This poetic form lacks rhyme but contains numbered lines with specific numbers of syllables in each one. A good instructional tool to explain this is Paul Fussell’s book Poetic Meter and Poetic Form, which does a fair job of placing these concepts in a historical context. Voice: It is also worth noting that though the plot is based on the Bible it is Milton’s interpretation of the original text according to his own philosophies, belief system, and understanding of the biblical tale. It would not be correct to assume that his words represent those of any institution in his day or the present. A modern analogy might be made between the Roman Catholic Church’s New Testament and Andrew Lloyd Webber’s songs in Jesus Christ Superstar. Though the latter is based on the former, the two texts are not highly interchangeable. Allusion: Milton was an extremely talented and well‐read writer and his intended audience reflects his high aims. This text was not meant to be a casual read but a classic of literary greatness. As such it is packed with allusions, references to other texts, which can leave gaps in the reader’s understanding if the connections are not made. Milton most commonly references biblical stories and mythologies of the ancient world (Greek, Roman, Syrian, Egyptian, etc.). Efforts should be made to acquire an annotated text or a companion volume with explanations of these many and varied references. The edition cited at the beginning of this work does contain a detailed footnote guide which explains difficult words, passages, and connections (Penguin Classics first edition, 2000). Affective Issues: Being based on the Bible, this novel immediately touches on religious sentiments. In a predominantly Christian American society and particularly in the state of Utah where this analysis originates, it would not be uncommon to observe a knee‐jerk reaction to the subject matter. Readers may be concerned with how Milton’s depictions of religious doctrine align with their own personal and institutional beliefs. However, this need not become an issue. Just as the Bible (or the Koran, the Tao te Ching, or any other religious text) can be read as literature, Milton too can be studied in a classroom setting as an objective piece, examining its literary and poetic devices without promoting or denying any religious standpoint. Thus it does not constitute the establishment of religion in the public school system and need not be entangled in any arguments regarding church vs. state. Another possible concern that may arise is the belief that the text is immoral. If undue emphasis is placed on sexual encounters in the book or too much credit is given to Satan’s point of view at the

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expense of the larger picture, the text could appear quite negative. However, there is no reason it cannot be taught with balance and perspective. In fact, looking at the text from an unbiased perspective demonstrates the value of morality and helps explore and define the difference between right and wrong. A close examination of the character Satan, particularly his soliloquies, reveals one who seems to have pure motives and who makes evil appear good (see Book I). He has been cast out for doing something he thought was right because he didn’t understand. How many students feel like they’ve had an injustice committed against them and may likewise need realignment? How many students feel like rebels? How many could benefit from a conversation about defining right and wrong, good and evil? Others may feel deceived like Eve, or have had to make a sacrifice like Adam. Though separated by several centuries the characters in Paradise Lost are not too different from modern readers to learn valuable life lessons. It may also be wise to note that the imagery of chaos and personification of evil traits may stir some emotional responses, but Milton describes these things very poetically and at the distance of a detached narrator. For example, in Book I Satan’s relegation to “Regions of sorrow, doleful shades, where peace/And rest can never dwell, hope never comes/That comes to all” (ll 65‐67) is certainly a sad image and paints a vivid picture of Satan’s torment, but it does not place the reader in any uncomfortable position of sharing that torment. Nor does the imagery turn overly graphic or grotesque. Vocabulary Issues: This topic will likely present a challenge to the majority of young readers. Milton uses a 17th century vocabulary that is flooded with references to ancient events and locales (i.e. Thebes, Ilium). He also employs biblical terms (Seraphim, Cherubim), alternate spellings (empyreal), and metrical contractions (Heav’n). However, this seeming negative can be a great learning opportunity (suggestions are given under Research and Project Application below). Furthermore, students who come to appreciate Milton’s language will have a chance to drink deeply from a text that is powerful and moving largely because of its masterful use of vocabulary. Keep in mind, preparatory instruction on language, reference companions during reading, and peer consultation and discussion will go a long way to improve reading comprehension. Background Knowledge: Accessing prior knowledge should not be too difficult. Conceptions of angels and demons are common among the general American population. Because Western society has strong Christian roots many students will have a basic understanding of the plot of Paradise Lost. Additionally, any readers who have previously encountered Homer, Virgil, folkloric pieces, fantasy pieces like The Lord of the Rings, or similar epic stories will have some grasp of the concepts at hand. Those who have read Shakespeare or old/middle English texts will also have a foothold on the linguistic qualities of older verse formats. Even movies and video games such as Blizzard Entertainment’s popular Diablo series will prepare the reader for the coming text (Diablo. Blizzard Entertainment. 1997. Video Game). The connections exists everywhere in Western

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society, they just need to be tapped. Some suggestions are listed under “enrichment resources” below. Implications for Students of Diversity: Because the text deals with the prototype of humanity race and culture are not established and do not arise as issues within the text. At times various figures refer to Adam being the first of a new race, asserting that humanity is a unified and singular race without division (pp 3, 15, 128). Teaching the novel to students from a non‐Christian background, on the other hand, may draw attention to students’ varied belief systems. As appropriate, allow students from diverse backgrounds to share their own stories. If the class is exploring the text as a literary drama of Western culture and inviting other cultural stories to be shared as well it can strengthen students’ world views and there should not be any racial or cultural dilemmas. Gender Issues: Paradise Lost does come from a different time period and reflects the accepted biblical view of the day. Book XII refers to Adam as the “higher intellectual” of the pair and makes several references to the perceived roles of both men and women, asserting women as nurturing and men as protecting figures. Some of these depictions might be considered less correct in modern society. However, the class can use this opportunity to discuss how gender issues have evolved over time. Bear in mind that, while there is validity to the debate, it is probably not wise to judge a different time or culture according to mores that did not exist in that society. Research and Project Applications: As was hinted above, many of the challenging qualities about Paradise Lost create valuable learning avenues.

Descriptive Passages: Everyone has a different idea of the origin of mankind. These ideas illustrate the variety of human experience and the creative mind. Allow students to write a fictional creative writing piece describing their conception of a creation story. It may help to review creation myths from different cultures including Native American Indians, Australia Aboriginals, Eastern Asian cultures, and so forth. Capitalize on this opportunity to teach lessons on descriptive passages or even how grammar tools such as participial phrases and appositives can enhance student’s writing.

Create an Angel: Angels are a commonly known and depicted mythological creature. Bring

in several examples of angels from medieval art, gift shop trinkets, living room decorations, etc. Have students draw or sculpt their own conception of an angel and then write a brief, 8‐20 line epic verse about it using vocabulary terms similar to those in Paradise Lost.

Finding Answers: If students are challenged by the text and rely on outside resource

materials to increase comprehension, great! Use this chance to teach study skills looking up difficult words in the dictionary and unknown references in an encyclopedia. Teach them

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how to access information in the preface, footnotes, glossary, and annotated notes. Show them where and how to find companion books that will answer their questions and focus on giving them the skills to find answers to their questions when things don’t make sense.

A great class project could be to have each student research three difficult words, concepts, or allusions and then to compile these student annotations into a reference guide. If school resources allow this to be posted online so students can access it at any point in their studies it can be an invaluable index.

Enrichment Resources: Other texts which lend further understanding to this Paradise Lost include:

The Bible, the books of Genesis or Revelation in particular The Church of Jesus Christ of Latter‐Day Saints’ Pearl of Great Price Dante’s Inferno Virgil’s Aeneid (Virgil was Milton’s idol in the writing process) Homer’s The Iliad and The Odyssey C.S. Lewis’ A Preface to Paradise Lost and The Screwtape Letters The website http://www.paradiselost.org/novel.html contains a version of Paradise Lost written in modern English text Paul Fussell’s book Poetic Meter and Poetic Form Joseph Lanzara’s John Milton's Paradise Lost In Plain English: A Simple, Line By Line

Paraphrase Of The Complicated Masterpiece is a similar resource. Gustave Dore’s Dore's Illustrations for "Paradise Lost" contains illustrated recreations of scenes from the novel. There are a number of films about the novel but none come highly recommended. Most are sitcoms and dramas (or horror films) with the same title. However, an upcoming film project has been announced for 2011 though its production is still in very early phases. “Paradise Lost” is the name of a gothic/heavy metal band from Halifax, England, founded in the late 1980’s and largely inappropriate for classroom instruction and unrelated to Milton’s work. It is also the title of an album released by Symphony X in 2007 which has a number of biblically titled songs. This album, too, is largely inappropriate for youth instruction.