Paradise Lost - Knowledge

1576: 1011: 891: 1185:, Adam tries to atone for his sins by offering to build altars to worship God. In response, the angel Michael explains that Adam does not need to build physical objects to experience the presence of God. Joseph Lyle points to this example, explaining: "When Milton objects to architecture, it is not a quality inherent in buildings themselves he finds offensive, but rather their tendency to act as convenient loci to which idolatry, over time, will inevitably adhere." Even if the idea is pure in nature, Milton thought it would unavoidably lead to idolatry simply because of the nature of humans. That is, instead of directing their thoughts towards God, humans will turn to erected objects and falsely invest their faith there. While Adam attempts to build an altar to God, critics note Eve is similarly guilty of idolatry, but in a different manner. Harding believes Eve's 1561: 1109: 1525: 1136: 1002:

often conversing about his plans and his motives for his actions with the Son of God. The poem shows God creating the world in the way Milton believed it was done, that is, God created Heaven, Earth, Hell, and all the creatures that inhabit these separate planes from part of Himself, not out of nothing. Thus, according to Milton, the ultimate authority of God over all things that happen derives from his being the "author" of all creation. Satan tries to justify his rebellion by denying this aspect of God and claiming self-creation, but he admits to himself the truth otherwise, and that God "deserved no such return / From me, whom He created what I was".

455: 52: 827:"The first qualification for judging any piece of workmanship from a corkscrew to a cathedral is to know what it is—what it was intended to do and how it is meant to be used. After that has been discovered, the temperance reformer may decide that the corkscrew was made for a bad purpose, and the communist may think the same about the cathedral. But such questions come later. The first thing is to understand the object before you: as long as you think the corkscrew was meant for opening tins or the cathedral for entertaining tourists you can say nothing to the purpose about them." 1206:

presented, distinctly conveys Milton's views on the dangers of idolatry. Even if one builds a structure in the name of God, the best of intentions can become immoral in idolatry. The majority of these similarities revolve around a structural likeness, but as Lyle explains, they play a greater role. By linking Saint Peter's Basilica and the Pantheon to Pandemonium—an ideally false structure—the two famous buildings take on a false meaning. This comparison best represents Milton's Protestant views, as it rejects both the purely Catholic perspective and the Pagan perspective.

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England for both better representation and parliamentary power, Satan argues that his shared rebellion with the fallen angels is an effort to "explain the hypocrisy of God", and in doing so, they will be treated with the respect and acknowledgement that they deserve. As Wayne Rebhorn argues, "Satan insists that he and his fellow revolutionaries held their places by right and even leading him to claim that they were self-created and self-sustained" and thus Satan's position in the rebellion is much like that of his own real world creator.

823:, he notes that it is important to remember what society was like when Milton wrote the poem. In particular, during that time period, there were certain "stock responses" to elements that Milton would have expected every reader to have. As examples, Lewis lists "love is sweet, death bitter, virtue lovely, and children or gardens delightful". Milton would have expected readers to not view Satan as a hero at all. Lewis says readers far in the future romanticizing Milton's intentions is not accurate because: 395: 1293:

free will to choose to do good or evil, while a tyrant would do the very opposite and deny free will by controlling his subjects' actions like a puppet-master. She says Danielson and Milton "demonstrate one crucial point: the presence of sin in the world is attributable to human agency and free will. Danielson argues that free will is crucial, because without it humanity would have only been serving necessity, and not participating in a free love act with the divine." She notes that in

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benefit of knowledge through experience. Hermine Van Nuis clarifies, that although there was stringency specified for the roles of male and female, Adam and Eve unreservedly accept their designated roles. Rather than viewing these roles as forced upon them, each uses their assignment as an asset in their relationship with each other. These distinctions can be interpreted as Milton's view on the importance of mutuality between husband and wife.

169: 559: 929: 740: 3427: 3575: 1332: 1575: 970:, but it is consistent with Milton's convictions. The Son is the ultimate hero of the epic and is infinitely powerful—he single-handedly defeats Satan and his followers and drives them into Hell. After their fall, the Son of God tells Adam and Eve about God's judgment. Before their fall the Father foretells their "Treason" (3.207) and that Man 1281:

describes "Empson’s visceral loathing of Christianity." He spent a large amount of his career attacking Christianity, demonizing it as "wickedness" and claiming that Milton's God was " sickeningly bad." For example, Empson portrays Milton's God as akin to a "Stalinist" tyrant "who enslaves His human creations to serve His own narcissism."

391:. Adam, learning that Eve has sinned, knowingly commits the same sin. He declares to Eve that since she was made from his flesh, they are bound to one another – if she dies, he must also die. In this manner, Milton portrays Adam as a heroic figure, but also as a greater sinner than Eve, as he is aware that what he is doing is wrong. 1370:: "The reason Milton wrote in fetters when he wrote of Angels & God, and at liberty when of Devils & Hell, is because he was a true Poet and of the Devil's party without knowing it." This quotation succinctly represents the way in which some 18th- and 19th-century English Romantic poets viewed Milton. 1524: 1378:

Tobias Gregory wrote that Milton was "the most theologically learned among early modern epic poets. He was, moreover, a theologian of great independence of mind, and one who developed his talents within a society where the problem of divine justice was debated with particular intensity." Gregory says

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is the second human created by God. God takes one of Adam's ribs and shapes it into Eve. Whether Eve is actually inferior to Adam is a vexed point. She is often unwilling to be submissive. Eve may be the more intelligent of the two. When she first met Adam she turned away, more interested in herself.

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Meanwhile, Satan returns triumphantly to Hell, amid the praise of his fellow fallen angels. He tells them about how their scheme worked and Mankind has fallen, giving them complete dominion over Paradise. As he finishes his speech, however, the fallen angels around him become hideous snakes, and soon

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Kapelos-Peters adds: "Milton demonstrates that far from being a tyrannical lord, God and the Son function as a collaborative team that desire nothing but the return of man to his pre-fallen state. Furthermore, God is not even able to dominate in this aspect because human agency and free-will are not

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Although Satan's army inevitably loses the war against God, Satan achieves a position of power and begins his reign in Hell with his band of loyal followers, composed of fallen angels, which is described to be a "third of heaven". Similar to Milton's republican sentiments of overthrowing the King of

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Milton first presented Adam and Eve in Book IV with impartiality. The relationship between Adam and Eve is one of "mutual dependence, not a relation of domination or hierarchy". While the author placed Adam above Eve in his intellectual knowledge and, in turn, his relation to God, he granted Eve the

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is the creator of Heaven, Hell, the world, of everyone and everything there is, through the agency of His Son. Milton presents God as all-powerful and all-knowing, as an infinitely great being who cannot be overthrown by even the great army of angels Satan incites against him. Milton portrays God as

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In Book 9, Milton stages a domestic drama between Adam and Eve, which results in Eve convincing Adam to separate for a time to work in different parts of the Garden. This allows Satan to deceive her while she is alone. To tempt her to eat the forbidden fruit, Satan tells a story about how he ate it,

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Alexandra Kapelos-Peters explains that: "as Danielson logically asserts, foreknowledge is not commensurate with culpability. Although God knew that Adam and Eve would eat the forbidden fruit of knowledge, He neither commanded them to do so, nor influenced their decision." Moreover, God gives humans

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and obsession with herself constitutes idolatry. Specifically, Harding claims that "under the serpent's influence, Eve's idolatry and self-deification foreshadow the errors into which her 'Sons' will stray". Much like Adam, Eve falsely places her faith in herself, the Tree of Knowledge, and to some

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In the final book a vision of Salvation through the Son is revealed to Adam by Michael. The name Jesus of Nazareth, and the details of Jesus' story are not depicted in the poem, though they are alluded to. Michael explains that "Joshua, whom the Gentiles Jesus call", prefigures the Son of God, "his

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as heroes for their military strength and guile, which might go hand in hand with wrath, pride, or lust. Milton attributes these traits instead to Satan, and depicts the Son as heroic for his love, mercy, humility, and self-sacrifice. The poem itself therefore presents the value system of classical

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and throughout the poem, there are several references to the rise and eventual fall of Solomon's temple. Critics elucidate that "Solomon's temple provides an explicit demonstration of how an artefact moves from its genesis in devotional practice to an idolatrous end." This example, out of the many

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and importance to God. David Mikics argues, by contrast, these positions "overstate the independence of the characters' stances, and therefore miss the way in which Adam and Eve are entwined with each other". Milton's narrative depicts a relationship where the husband and wife (here, Adam and Eve)

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is recounted from different perspectives. Satan's rebellion follows the epic convention of large-scale warfare. The battles between the faithful angels and Satan's forces take place over three days. At the final battle, the Son of God single-handedly defeats the entire legion of angelic rebels and

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which tempted Eve to eat the forbidden fruit in the Garden of Eden spells out "SATAN" (9.510), while elsewhere in the same book, Milton spells out "FFAALL" and "FALL" (9.333). Respectively, these probably represent the double fall of humanity embodied in Adam and Eve, as well as Satan's fall from

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Milton also ignores the traditional epic format of a plot based on a mortal conflict between opposing armies with deities watching over and occasionally interfering with the action. Instead, both divinity and humanity are involved in a conflict that, while momentarily ending in tragedy, offers a

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shows off Milton's "peculiar power to astonish" and that Milton "seems to have been well acquainted with his own genius, and to know what it was that Nature had bestowed upon him more bountifully than upon others: the power of displaying the vast, illuminating the splendid, enforcing the awful,

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From there, Empson gives fake praise that is really an attack, saying that "Milton deserves credit for making God wicked, since the God of Christianity is 'a wicked God'." John Leonard states that "Empson never denies that Satan's plan is wicked. What he does deny is that God is innocent of its

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is, among other things, a poem about civil war. Satan raises "impious war in Heav'n" (i 43) by leading a third of the angels in revolt against God. The term "impious war" implies that civil war is impious. But Milton applauded the English people for having the courage to depose and execute

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Milton's 17th-century contemporaries by and large criticised his ideas and considered him a radical, mostly because of his republican political views and heterodox theological opinions. One of Milton's most controversial arguments centred on his concept of what is idolatrous, a subject which is

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claimed the poem was morally ambiguous, with Milton's complex characterization of Satan playing a large part in Empson's claim of moral ambiguity. For context, the second volume of Empson's authorized biography was titled: William Empson: Against the Christians. In it his authorized biographer

814:: in this way, Milton has created an ambivalent character, and any "pro-Satan" or "anti-Satan" argument is by its nature discarding half the evidence. Satan's ambivalence, Carey says, is "a precondition of the poem's success – a major factor in the attention it has aroused". 414:

for the first time, which renders their next sexual encounter with one another unpleasant. At first, Adam is convinced that Eve was right in thinking that eating the fruit would be beneficial. However, they soon fall asleep and have terrible nightmares, and after they awake, they experience

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C. S. Lewis also rebutted the approach of people like Empson super-imposing their own interpretations with an agenda onto the poem long after it was written. Lewis wrote: "The first qualification for judging any piece of workmanship from a corkscrew to a cathedral is to know

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abandoned. Not only will the Son sacrifice himself pre-emptively in Book 3 for the not-yet-occurred Fall of Man, but Man himself will have a role in his own salvation. To successfully navigate atonement, humanity will have to admit and repent of their former disobedience."

804:, both of whom were devout Christians, to argue against reading Satan as a sympathetic, heroic figure. Despite Blake thinking that Milton intended for Satan to have a heroic role in the poem, Blake himself described Satan as the "state of error", and as beyond salvation. 1322:

and St. Augustine, and says that "The Fall is simply and solely Disobedience – doing what you have been told not to do: and it results from Pride – from being too big for your boots, forgetting your place, thinking that you are God"

446:"). Adam and Eve are cast out of Eden, and Michael says that Adam may find "a paradise within thee, happier far". Adam and Eve now have a more distant relationship with God, who is omnipresent but invisible (unlike the tangible Father in the Garden of Eden). 500:

The Milton scholar John Leonard also notes that Milton "did not at first plan to write a biblical epic". Since epics were typically written about heroic kings and queens (and with pagan gods), Milton originally envisioned his epic to be based on a legendary

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wickedness: 'Milton steadily drives home that the inmost counsel of God was the Fortunate Fall of man; however wicked Satan's plan may be, it is God's plan too .'" Leonard notes that this interpretation was challenged by Dennis Danielson in his book

1221:"is an exaggerated version of the idolatry Milton had long associated with the Stuart ideology of divine kingship". In the opinion of Milton, any object, human or non-human, that receives special attention befitting of God, is considered idolatrous. 870:

Adam is more gregarious than Eve and yearns for her company. He is completely infatuated with her. Raphael advises him to "take heed lest Passion sway / Thy Judgment" (5.635–636). But Adam's great love for Eve contributes to his disobedience to God.

529:, the poem was divided into ten books. However, in the 1674 edition, the text was reorganized into twelve books. In later printing, "Arguments" (brief summaries) were inserted at the beginning of each book. Milton's previous work had been printed by 493:, and suffering emotionally after the early death of his second wife, Katherine Woodcock, in 1658, and their infant daughter. The image of Milton dictating the poem to his daughters became a popular subject for paintings, especially in the 186: 185: 1032:. Ultimately, the story told by Raphael, in which Satan is portrayed as bold and decisive, does not prepare Adam and Eve to counter Satan's subtle temptations – and may even have caused the Fall in the first place. 1132:

depend on each other and, through each other's differences, thrive. Still, there are several instances where Adam communicates directly with God while Eve must go through Adam to God; thus, some have described Adam as her guide.

1560: 477:(1626–1697), Milton's contemporary and biographer, says that it was written between 1658 and 1663. However, parts of the poem had likely been in development since Milton was young. Having gone blind in 1652, Milton wrote 673:

complexity. Although Milton was not the first to use blank verse, his use of it was very influential and he became known for the style. Blank verse was not much used in the non-dramatic poetry of the 17th century until

592:, one suitable for English, Christian morality rather than polytheistic Greek or Roman antiquity. This intention is indicated from the very beginning of the poem, when Milton uses the classical epic poetic device of an 2543:

Rebhorn, Wayne A. "The Humanist Tradition and Milton's Satan: The Conservative as Revolutionary". SEL: Studies in English Literature 1500–1900, vol. 13, no. 1, The English Renaissance (Winter 1973),

1161:, Biberman entertains the idea that "marriage is a contract made by both the man and the woman". These ideas imply Milton may have favored that both man and woman have equal access to marriage and to divorce. 835:, the first thing we need know is "what Milton meant it to be," a need which he argues is "specially urgent in the present age because the kind of poem Milton meant to write is unfamiliar to many readers." 913:

She had been looking at her reflection in a lake before being led invisibly to Adam. Recounting this to Adam she confesses that she found him less enticing than her reflection (4.477–480).

537:. Milton had not published work with the Simmons printing business for twenty years. Mary was increasingly relying on her son Samuel to help her manage the business and the first book that 387:. They have passions and distinct personalities. Satan, disguised in the form of a serpent, successfully tempts Eve to eat from the Tree by preying on her vanity and tricking her with 1803: 1419:

carry further, too, the movement toward and valorization of romance that Lucan's tradition had begun, to the point where Milton's poems effectively create their own new genre".

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are also present. At the end of the debate, Satan volunteers to corrupt the newly created Earth and God's new and most favoured creation, Mankind. He braves the dangers of the

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who is preeminent in military prowess. He leads in battle and uses a sword which was "giv'n him temperd so, that neither keen / Nor solid might resist that edge" (6.322–323).

761:, is the first major character introduced in the poem. He is a tragic figure who famously declares: "Better to reign in Hell than serve in Heaven" (1.263). Following his vain 3481: – comprehensive site for students and others new to Milton: contexts, plot and character summaries, reading suggestions, critical history, gallery of illustrations of 1028:

is an archangel who is sent by God to Eden in order to strengthen Adam and Eve against Satan. He tells a heroic tale about the War in Heaven that takes up most of Book 6 of

1249:. In his poem, however, he takes the side of "Heav'n's awful Monarch" (iv 960). Critics have long wrestled with the question of why an antimonarchist and defender of 772:

Opinions on the character are often sharply divided. Milton presents Satan as the origin of all evil, but some readers have struggled with accepting this interpretation.

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argue that Milton's criticism of the English monarchy was being directed specifically at the Stuart monarchy and not at the monarchical system of govenment in general.

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Unlike the biblical Adam, before Milton's Adam leaves Paradise he is given a glimpse of the future of mankind by the Archangel Michael, which includes stories from the

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argued that there was no contradiction in Milton's position in the poem since "Milton believed that God was his 'natural superior' and that Charles Stuart was not."

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Eve appeals to Adam for reconciliation of their actions. Her encouragement enables them to approach God, and plead for forgiveness. In a vision shown to him by the

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it is – what it was intended to do and how it is meant to be used." Lewis said the poem was a genuine Christian morality tale. In Lewis's book

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Although Milton does not directly mention divorce, critics posit theories on Milton's view of divorce based upon their inferences from the poem and from his

1903: 2818: 3488: 2142:(Rev. ed. with a new foreword and annotated bibliography ed.). Hanover (N. H.) London: University press of New England for Brown university press. 690:(1671) in blank verse. Miltonic blank verse became the standard for those attempting to write English epics for centuries following the publication of 867:

God approves his request then creates Eve. God appoints Adam and Eve to rule over all the creatures of the world and to reside in the Garden of Eden.

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enough, Satan himself turns into a snake, deprived of limbs and unable to talk. Thus, they share the same punishment, as they shared the same guilt.

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The Poetical Works of John Milton. Containing Paradise Lost. Paradise Regained. Samson Agonistes, and his Poems on several occasions, by Milton, John

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argues that this conflict cannot be solved, because the character of Satan exists in more modes and greater depth than the other characters of

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They trespass, Authors to themselves in all, Both what they judge and what they choose; for so I formd them free, and free they must remain."

438:. Adam is very upset by this vision of the future, so Michael also tells him about Mankind's potential redemption from original sin through 5504: 4638: 3740: 608:. Milton repurposes these epic conventions to create a new biblical epic, promoting a different kind of hero. Classical epic heroes like 1788: 2885: 1379:

that Milton is able to establish divine action and his divine characters in a superior way to other Renaissance epic poets, including

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Van Nuis, H (May 2000), "Animated Eve Confronting Her Animus: A Jungian Approach to the Division of Labor Debate in Paradise Lost",

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name and office bearing" to "quell / The adversarie Serpent, and bring back long wanderd man / Safe to eternal Paradise of rest".

2984: 1411:, he incorporates the "anti-Virgilian, anti-imperial epic tradition of Lucan". Milton goes further than Lucan in this belief and " 5058: 5026: 3952: 1157:

written earlier in his life. Other works by Milton suggest he viewed marriage as an entity separate from the church. Discussing

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were added to the fourth edition of 1688, with one engraving prefacing each book, of which up to eight of the twelve were by

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opening, a journey in the underworld, large-scale battles, and an elevated poetic style. In particular, the poem often uses

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When examining the relationship between Adam and Eve, some critics apply either an Adam-centered or Eve-centered view of

1108: 2164: 2071: 1456:, and perhaps up to four (including Books I and XII, perhaps the most memorable) by another hand. The engraver was 600:, however, Milton addresses the Christian God as his "Heav'nly Muse" (1.1). Other classical epic conventions include an 423:

for the first time. Realising that they have committed a terrible act against God, they engage in mutual recrimination.

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The Father then asks whether there "Dwels in all Heaven charitie so deare?" (3.216) and the Son volunteers himself.

5519: 5122: 4025: 3854: 1607: 5141: 3878: 3822: 3416: 1366: 1135: 230:, and it helped solidify his reputation as one of the greatest English poets of all time. The poem concerns the 5484: 5479: 4954: 3564: 3549: 2812: 1407:'s epic model, the epic from the view of the defeated. Although he does not accept the model completely within 20: 4140: 2210: 1194: 769:

he is cast out from Heaven and condemned to Hell. The rebellion stems from Satan's pride and envy (5.660ff.).

317: 5489: 4875: 4778: 3783: 3539: 1615: 652: 2575: 709:, who complained that he relied too heavily on Milton, adopted and picked up various aspects of his poetry. 5534: 4467: 1460:(given as 'Burgesse' in some sources). By 1730, the same images had been re-engraved on a smaller scale by 352:. After an arduous traversal of the Chaos outside Hell, he enters God's new material World, and later the 4891: 4405: 3945: 3912: 2239: 1502:

Outside of book illustrations, the epic has also inspired other visual works by well-known painters like

1424: 320:, the capital city of Hell, Satan employs his rhetorical skill to organise his followers; he is aided by 212:(1608–1674). The first version, published in 1667, consists of ten books with over ten thousand lines of 2314: 2285: 1181:

focused on the constructing of temples and other buildings to serve as places of worship. In Book XI of

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interrupted Milton's earliest attempts to start his "epic that would encompass all space and time".

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refers to the Son as "My word, my wisdom, and effectual might" (3.170). The poem is not explicitly

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Adam and Eve are presented as having a romantic and sexual relationship while still being without

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while blind (he dictated to helpers) inspired loosely biographical paintings by both Fuseli and

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In addition to rejecting Catholicism, Milton revolted against the idea of a monarch ruling by

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who was favoured by radical writers. However he died in 1654 and the business was then run by

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using the language of Renaissance love poetry. He overcomes her reason; she eats the fruit.

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and power to rule over all creation, he gave them one explicit command: not to eat from the

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Marshall, W. H. (January 1961), "Paradise Lost: Felix Culpa and the Problem of Structure",

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that regarded the Son as secondary to the Father and as God's "great Vice-regent" (5.609).

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Medusa's Mirrors: Spenser, Shakespeare, Milton, and the Metamorphosis of the Female Self

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Mikics, D (2004), "Miltonic Marriage and the Challenge to History in Paradise Lost",

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Milton scholar John Leonard interpreted the "impious war" between Heaven and Hell as

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The Archangel Raphael with Adam and Eve (Illustration to Milton's "Paradise Lost")

216:. A second edition followed in 1674, arranged into twelve books (in the manner of 5235: 5209: 4767: 4571: 4425: 4334: 4307: 4200: 3901: 3454: 2836: 2822: 1492: 1453: 1420: 789: 416: 2903:

Biberman, M (January 1999), "Milton, Marriage, and a Woman's Right to Divorce",

1476: 562: 5106: 4938: 4917: 4883: 4739: 4665: 4657: 4622: 4344: 4292: 4114: 3707: 3697: 3626: 2655:"S6E34 – AH – Jack's Bookshelf: John Milton, After Hours with Graeme Donaldson" 2247: 2176: 2083: 1912: 1628: 1496: 1384: 1353: 1277: 1253:

should have chosen a subject that obliged him to defend monarchical authority.

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Harding, P (January 2007), "Milton's Serpent and the Birth of Pagan Error",

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extent the Serpent, all of which do not compare to the ideal nature of God.

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is the first human created by God. Adam requests a companion from God:

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Lyle, J (January 2000), "Architecture and Idolatry in Paradise Lost",

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Leonard, John. "Introduction". Paradise Lost. New York: Penguin, 2000.

705:'s final, incomplete work was intended to be written in the form, and 4805: 4799: 1507: 1234: 1193:

Milton made his views on idolatry more explicit with the creation of

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So send them forth, though sorrowing, yet in peace. (11.103–117)

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The Age of Milton: Backgrounds to Seventeenth-century Literature

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heroism as one which has been superseded by Christian virtue.

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Leonard, John (2000), "Introduction", in Milton, John (ed.),

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Matthew, H. C. G.; Harrison, B., eds. (23 September 2004).

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He is also charged with establishing a guard for Paradise.

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for poetic inspiration. Rather than invoking the classical

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A Blake dictionary: the ideas and symbols of William Blake

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With reverence I must meet, and thou retire. (11.233–237)

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Later in the book Lewis details the character of Satan in

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Satanic whispers: Milton's Iblis and the "Great Sultan"

2171:(2 ed.), Cambridge University Press, p. 161, 701:

mocked Milton for inspiring bad blank verse imitators.

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The Critical Response to John Milton's "Paradise Lost"

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The Complete Poetry and Essential Prose of John Milton

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Doraemon: Nobita's Diary on the Creation of the World

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Carey, John (22 July 1999), Danielson, Dennis (ed.),

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Carey, John (22 July 1999), Danielson, Dennis (ed.),

1804:"Composing Paradise Lost: blindness and the feminine" 1761: 1361:

darkening the gloomy, and aggravating the dreadful".

1080:

When Adam sees him coming he describes him to Eve as

981:

The rigid satisfaction, death for death. (3.210–212)

368:

banishes them from Heaven. Following this purge, God

1907:(online ed.). Oxford: Oxford University Press. 1318:, he discusses the theological similarities between 2491: 2489: 3491: – includes background, biography, criticism. 3206:by Roy Flannagan, Massachusetts: Wiley-Blackwell, 2748: 2746: 2547: 2434: 1896: 1649:Beacon for Freedom of Expression search for Milton 1423:reacted by banning the poem and placing it on the 3307:The Return of Eden: Five Essays on Milton's Epics 3221:. The Seventeenth Century, 32:1, pp. 31–50. 2424: 2422: 1669: 1444:The first illustrations to accompany the text of 5446: 5345:Daesong Heavy Industries II: Return to Innocence 3489:Selected bibliography at the Milton Reading Room 2486: 1483:. However, the epic's illustrators also include 933:The Judgment of Adam and Eve: "So Judged He Man" 792:, are known for interpreting Satan as a hero of 410:After eating the fruit, Adam and Eve experience 261:The poem follows the epic tradition of starting 2743: 1894: 721:in the poem. In Book 9, a verse describing the 285:), the background story being recounted later. 3232:Black, J., ed. (March 2007), "Paradise Lost", 2629:"» Milton's just, merciful and redemptive God" 2627:Kapelos-Peters, Alexandra (27 November 2007). 2626: 2419: 1326: 489:and friends. He was often ill, suffering from 4167: 3946: 3510: 3234:The Broadview Anthology of British Literature 2734:harvnb error: no target: CITEREFGregory2006 ( 1985:harvnb error: no target: CITEREFBrisman1973 ( 1786:Abrahm, M. H., Stephen Greenblatt, eds. 1716: 1714: 1347: 1056:From hallowd ground th' unholie, and denounce 191:LibriVox recording by Owen. Book One, Part 1. 4639:The Creation of the World and Other Business 3741:Judgement of Martin Bucer Concerning Divorce 3068:SEL: Studies in English Literature 1500–1900 3040:SEL: Studies in English Literature 1500–1900 2954:SEL: Studies in English Literature 1500–1900 2905:SEL: Studies in English Literature 1500–1900 2573: 1965:harvnb error: no target: CITEREFGreene1989 ( 2985:"Paradise Lost and the Concept of Creation" 2797:harvnb error: no target: CITEREFQuint1993 ( 2777:harvnb error: no target: CITEREFQuint1993 ( 2237: 2005:harvnb error: no target: CITEREFKeats1899 ( 1113:Satan Watching the Caresses of Adam and Eve 1091:But solemn and sublime, whom not to offend, 947:is the spirit who will become incarnate as 661:, meaning the lines are metrically regular 588:as a poem is the creation of a new kind of 541:registered for publication in his name was 268: 4174: 4160: 3953: 3939: 3517: 3503: 3217:Al-Akhras, Sharihan; Green, Mandy (2017). 2828: 2137: 1945:harvnb error: no target: CITEREFBate1962 ( 1789:The Norton Anthology of English Literature 1711: 1567:The Shepherd's Dream, from "Paradise Lost" 916:Eve delivers an autobiography in Book 4. 50: 3288:, Princeton: Princeton University Press, 2930: 2841:. Bucknell University Press. p. 58. 2599: 2038: 1836: 1538:caricatured the political battle between 1510:in 1974. Milton's achievement in writing 1467:Some of the most notable illustrators of 1339:, engraving by Michael Burghers based on 1054:Without remorse drive out the sinful Pair 1047:God sends Michael to Eden, charging him: 5540:Moloch in literature and popular culture 3413:from the university at Buffalo Libraries 3344:, Westport: Greenwood Publishing Group, 3313: 3257: 3163: 3124:Texas Studies in Literature and Language 3093: 3034: 2902: 2531: 2452: 2413: 2298: 2138:Damon, S. Foster; Eaves, Morris (1988). 1867:Paradise Lost: A Norton Critical Edition 1848: 1741: 1550:. Pitt is Death and Thurlow Satan, with 1330: 1224: 1217:concludes that the theme of idolatry in 1134: 1107: 1066:To Adam what shall come in future dayes, 1058:To them and to thir Progenie from thence 1009: 927: 889: 738: 557: 453: 393: 312:, or, as it is also called in the poem, 183: 5027:The Garden of Eden with the Fall of Man 3283: 3151: 3038:(January 2003), "Milton and Idolatry", 3014: 2979: 2951: 2729: 2576:"William Empson against the Christians" 2495: 2366: 2354: 2326: 1980: 1904:Oxford Dictionary of National Biography 1864:Teskey, Gordon (2005). "Introduction". 1824: 1774: 1089:As Raphael, that I should much confide, 977:Dye hee or Justice must; unless for him 861:All rational delight, wherein the brute 5447: 5177:Let's Give Adam and Eve Another Chance 4375:Allegorical interpretations of Genesis 4298:Tree of the knowledge of good and evil 3862:Methought I Saw my Late Espoused Saint 3379: 3339: 3309:, Toronto: University of Toronto Press 3149: 3121: 2757:harvnb error: no target: CITEREF2006 ( 2603:William Empson: Against the Christians 2464: 2440: 2428: 2338: 2310: 1960: 1863: 1801: 1675: 1087:That I should fear, nor sociably mild, 1070:My Cov'nant in the womans seed renewd; 1064:Dismiss them not disconsolate; reveale 796:. This has led other critics, such as 378:tree of the knowledge of good and evil 304:. It begins after Satan and the other 56:Title page of the first edition (1667) 4155: 3934: 3848:When I Consider How My Light is Spent 3498: 3231: 2792: 2772: 2652: 2233: 2231: 2208: 2162: 2069: 2020: 2000: 1742:Labriola, Albert (15 November 2004). 1213:. He saw the practice as idolatrous. 831:Lewis goes on to note that regarding 469:It is uncertain when Milton composed 3470: 3301: 3065: 2519: 2507: 2480: 1940: 1737: 1735: 863:Cannot be human consort. (8.389–392) 697:When Miltonic verse became popular, 5505:Cultural depictions of Adam and Eve 4838:Conflict of Adam and Eve with Satan 3774:The Tenure of Kings and Magistrates 3599:On the Morning of Christ's Nativity 2600:Haffenden, John (2 November 2006). 1802:Herman, Peter C. (1 January 2009). 1068:As I shall thee enlighten, intermix 1062:If patiently thy bidding they obey, 979:Som other able, and as willing, pay 975:with his whole posteritie must dye, 308:have been defeated and banished to 13: 5043:Adam and Eve in the Garden of Eden 3736:Doctrine and Discipline of Divorce 3185: 3178:10.1111/j.1094-348X.2000.tb00619.x 3159:(2nd ed.), London: S. Simmons 2228: 1271: 859:Such as I seek, fit to participate 776:critics in particular, among them 359:At several points in the poem, an 344:alone, in a manner reminiscent of 14: 5551: 5184:Man Gave Names to All the Animals 5075:Expulsion from the Garden of Eden 4931:Expulsion from the Garden of Eden 4900:The Rise and Fall of Adam and Eve 4500:The Private Lives of Adam and Eve 3998:William Blake's illustrations of 3400: 3192:John Milton: A Short Introduction 2574:peterwebster (20 November 2007). 2209:Brown, Devin (8 September 2010). 2169:The Cambridge Companion to Milton 2076:The Cambridge Companion to Milton 1732: 1506:who executed a set of ten colour 1437:William Blake's illustrations of 1403:, Milton incorporates aspects of 1373: 993: 923: 901:, 1808 (illustration of Milton's 398:Image extracted from page 362 of 208:by the 17th-century English poet 5123:The Serpent Chooses Adam and Eve 4181: 3855:On the Late Massacre in Piedmont 3573: 3465:Project Gutenberg text version 2 3460:Project Gutenberg text version 1 3425: 3386:, University of Delaware Press, 2752: 1574: 1559: 1523: 1364:William Blake famously wrote in 553: 459:Milton Dictating to His Daughter 167: 3713:The Reason of Church-Government 3524: 3369:(Manchester University, 1980), 2895: 2879: 2867: 2855: 2835:William Bridges Hunter (1978). 2806: 2786: 2766: 2723: 2718:The Marriage of Heaven and Hell 2710: 2697: 2672: 2646: 2620: 2593: 2567: 2537: 2525: 2513: 2501: 2474: 2458: 2446: 2407: 2360: 2348: 2332: 2320: 2304: 2292: 2156: 2131: 2106: 2063: 2014: 1994: 1974: 1954: 1934: 1888: 1857: 1842: 1642: 1592:(1824–1827). Mezzotint, plate, 1367:The Marriage of Heaven and Hell 744:Satan Arousing the Rebel Angels 4955:The Garden of Earthly Delights 3442: 2938:, Cambridge University Press, 1795: 1780: 1681: 1596:. Museum of Fine Arts, Houston 1430: 899:The Temptation and Fall of Eve 642: 520: 513:. Leonard speculates that the 449: 21:Paradise Lost (disambiguation) 1: 4779:Book of the Penitence of Adam 3784:Defensio pro Populo Anglicano 3227:10.1080/0268117X.2016.1252279 1870:. New York: Norton. pp. 1689:"Paradise Lost: Introduction" 1657: 729: 570: 249:and their expulsion from the 5142:Dese Bones G'wine Rise Again 2680:"A Preface to Paradise Lost" 2114:"A Preface to Paradise Lost" 1928:UK public library membership 1662: 1177:Milton's first criticism of 712: 7: 4406:Adam in rabbinic literature 3913:Milton: A Poem in Two Books 3435:public domain audiobook at 3340:Miller, T. C., ed. (1997), 2606:. Oxford University Press. 2238:Loewenstein, David (2017). 2215:Official Site | CSLewis.com 1601: 1425:Index Librorum Prohibitorum 1327:Interpretation and critique 1164: 1103: 256: 10: 5556: 5434:Ransom theory of atonement 5403:Adam and Eve cylinder seal 4987:Eve, the Serpent and Death 4876:Extracts from Adam's Diary 4197:Genesis creation narrative 3422:(archived 6 February 2011) 3417:Major Online Resources on 3318:, New York: Random House, 3314:Kerrigan, W., ed. (2007), 3258:Bradford, R. (July 1992), 2888:. Retrieved on 2013-12-13. 2876:. Retrieved on 2013-12-13. 2864:. Retrieved on 2013-12-13. 2814:Illustrating Paradise Lost 2707:. New York: Octagon, 1967. 2705:Lives of the English Poets 2367:Johnson, Kimberly (2012). 2248:10.12987/9780300183627-004 2177:10.1017/ccol052165226x.011 2084:10.1017/ccol052165226x.011 1616:John Milton's poetic style 1586:Eve's Dream, Satan Aroused 1434: 1395:future salvation. In both 1348:Eighteenth-century critics 1315:A Preface to Paradise Lost 1035: 1005: 820:A Preface to Paradise Lost 653:John Milton's poetic style 646: 442:(whom Michael calls "King 18: 5380: 5361: 5309: 5277: 5249: 5228: 5193: 5133: 4910: 4750: 4692: 4649: 4606: 4459: 4396:Adam and Eve in Mormonism 4383: 4275: 4219: 4189: 4133: 4080: 4045: 4018: 3990: 3974: 3889: 3871: 3839: 3807: 3794:A Treatise of Civil Power 3759: 3726: 3688: 3582: 3571: 3532: 3380:Walker, Julia M. (1998), 2240:"The Milton Encyclopedia" 1898:"Matthew Simmons (et al)" 1792:. New York: Norton, 2000. 1098: 817:However, in Lewis's book 166: 159: 147: 139: 128: 116: 102: 81: 71: 61: 49: 39: 30: 3902:Edward Phillips (nephew) 3703:Of Prelatical Episcopacy 2931:Broadbent, John (1972), 2874:Art Institute of Chicago 1635: 1532:Sin, Death and the Devil 1343:, from the 1688 edition. 1335:Plate prefacing Book 3, 1052:from the Paradise of God 734: 717:Milton used a number of 584:Key to the ambitions of 548: 509:king like the legend of 16:Epic poem by John Milton 5520:Fiction about the Devil 5059:The Koren Picture-Bible 4508:El pecado de Adán y Eva 4451:Our Lady of Endor Coven 3718:Apology for Smectymnuus 2862:Lockport Street Gallery 2821:1 February 2008 at the 2021:Phaal, Miranda (2019). 1853:. Princeton University. 1849:Forsythe, Neil (2002). 1450:Sir John Baptist Medina 845: 657:The poem is written in 525:In the 1667 version of 288:Milton's story has two 5408:Genealogies of Genesis 5398:Cave of the Patriarchs 5331:Simpsons Bible Stories 4441:Tree of Jiva and Atman 3920:Neo-Miltonic syllabics 3907:John Phillips (nephew) 3880:De Doctrina Christiana 3823:The History of Britain 3799:The Ready and Easy Way 2653:David (18 July 2023). 1913:10.1093/ref:odnb/69230 1352:The writer and critic 1344: 1255: 1201:. In the beginning of 1150: 1120: 1096: 1075: 1060:Perpetual banishment. 1022: 984: 940: 906: 885: 865: 829: 751: 694:and his later poetry. 620:were presented in the 581: 466: 407: 300:) and the other about 279:in the midst of things 192: 5485:Poetry by John Milton 5480:Epic poems in English 5324:Probe 7, Over and Out 5218:Snakes for the Divine 5202:The Cainian Chronicle 4793:El amigo de Él y Ella 4303:Serpents in the Bible 3690:Antiprelatical tracts 3606:Upon the Circumcision 3136:10.1353/tsl.2004.0005 3096:Modern Language Notes 3052:10.1353/sel.2003.0008 3021:, New York: Penguin, 3001:10.1353/scr.2004.0021 2966:10.1353/sel.2007.0003 2838:A Milton encyclopedia 1748:Literary Encyclopedia 1569:, Henry Fuseli (1793) 1554:as Sin in the middle. 1489:Edward Francis Burney 1334: 1239: 1225:Criticism of monarchy 1138: 1111: 1082: 1049: 1013: 972: 931: 893: 857:Of fellowship I speak 855: 825: 742: 561: 457: 397: 380:on penalty of death. 190: 5490:Biblical paraphrases 5278:Story within a story 4979:The Haywain Triptych 4971:The Creation of Adam 4924:Tapestry of Creation 4820:Life of Adam and Eve 4446:Tree of life (Quran) 3897:John Milton (father) 3284:Forsyth, N. (2003), 2989:South Central Review 1454:Bernard Lens II 1197:and his allusion to 786:Percy Bysshe Shelley 684:(1671) and parts of 678:. Milton also wrote 238:: the temptation of 19:For other uses, see 5535:Parallel literature 5393:Generations of Adam 5338:In-A-Gadda-Da-Leela 4892:The Book of Genesis 4431:Mashya and Mashyana 4062:Damnation and a Day 2633:www.alexandrakp.com 1499:, and many others. 1341:John Baptist Medina 1264:In a similar vein, 1257:The editors at the 1247:King Charles I 1170:deeply embedded in 94:Christian mythology 5419:Legend of the Rood 5262:Y-chromosomal Adam 5170:In-A-Gadda-Da-Vida 5163:The Garden of Eden 5083:The First Mourning 4831:Testimony of Truth 4758:Apocalypse of Adam 4631:The Tragedy of Man 4580:The Tragedy of Man 4516:La Biblia en pasta 4476:Good Morning, Eve! 4093:Prince of Darkness 4029:in popular culture 3840:Individual sonnets 3150:Milton, J (1674), 2775:, pp. 325–326 2755:, pp. 178–179 2385:10.1111/milt.12010 2040:10.1111/milt.12285 1808:Essays and Studies 1611:in popular culture 1345: 1151: 1121: 1023: 941: 907: 757:, formerly called 752: 582: 576:, illustration to 567:The Heavenly Hosts 467: 408: 193: 5515:Fiction about God 5442: 5441: 5370:Demon: The Fallen 5257:Mitochondrial Eve 4947:The Last Judgment 4853:Adam lay ybounden 4846:Old Saxon Genesis 4826:Testament of Adam 4813:Harrowing of Hell 4786:Cave of Treasures 4532:Second Time Lucky 4391:Adam–God doctrine 4355:Seed of the woman 4325:Figs in the Bible 4149: 4148: 4035:Paradise Regained 3928: 3927: 3664:Paradise Regained 3545:Reception history 3471:Other information 3393:978-0-87413-625-8 3351:978-0-313-28926-2 3325:978-0-679-64253-4 3295:978-0-691-11339-5 3269:978-0-335-09982-5 3243:978-1-55111-868-0 3212:978-0-470-69287-5 3200:978-0-631-22620-8 2848:978-0-8387-1837-7 2703:Johnson, Samuel. 2684:www.somesmart.com 2613:978-1-383-04203-0 2280:Missing or empty 2257:978-0-300-18362-7 2186:978-0-521-65226-1 2149:978-0-87451-436-0 2118:www.somesmart.com 2093:978-0-521-65226-1 1926:(Subscription or 1726:Poetry Foundation 1693:Dartmouth College 1622:Paradise Regained 1417:Paradise Regained 1409:Paradise Regained 1401:Paradise Regained 1287:Milton's Good God 1259:Poetry Foundation 1155:tracts on divorce 681:Paradise Regained 663:iambic pentameter 515:English Civil War 485:with the help of 481:entirely through 432:Archangel Michael 370:creates the World 188: 182: 181: 153:Paradise Regained 123:Iambic pentameter 5547: 5475:Christian poetry 5413:Carnal knowledge 5317:"Adam & Eve" 5051:The Four Seasons 4990:(1510s or 1520s) 4868:Le Dernier Homme 4855:" (15th century) 4682:Children of Eden 4674:Up from Paradise 4524:The Annunciation 4492:The Original Sin 4276:Related theology 4176: 4169: 4162: 4153: 4152: 4070:Rattle That Lock 3955: 3948: 3941: 3932: 3931: 3830:Of True Religion 3789:Defensio Secunda 3761:Political tracts 3671:Samson Agonistes 3577: 3519: 3512: 3505: 3496: 3495: 3478:darkness visible 3429: 3428: 3396: 3365:Patrides, C. 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Archived from 1685: 1679: 1673: 1651: 1646: 1595: 1578: 1563: 1546:as a scene from 1527: 1516:Eugène Delacroix 1462:Paul Fourdrinier 1458:Michael Burghers 1381:Ludovico Ariosto 1215:Barbara Lewalski 1199:Solomon's temple 968:anti-trinitarian 962:Milton's God in 953:subordinationist 802:Charles Williams 687:Samson Agonistes 665:but they do not 575: 572: 404:Michael Burghers 284: 281: 276: 273: 270: 189: 171: 170: 140:Publication date 54: 45: 35: 28: 27: 5555: 5554: 5550: 5549: 5548: 5546: 5545: 5544: 5495:Biblical poetry 5445: 5444: 5443: 5438: 5376: 5357: 5305: 5273: 5245: 5236:Adam-ondi-Ahman 5224: 5210:Visions of Eden 5189: 5156:Forbidden Fruit 5149:Adam-ondi-Ahman 5129: 5035:The Fall of Man 5011:The Fall of Man 4906: 4848:" (9th century) 4768:Book of Abraham 4746: 4688: 4645: 4602: 4455: 4426:Manu (Hinduism) 4379: 4335:Adamic language 4308:Forbidden fruit 4271: 4215: 4201:Book of Genesis 4185: 4180: 4150: 4145: 4129: 4076: 4041: 4014: 3986: 3970: 3959: 3929: 3924: 3885: 3867: 3835: 3803: 3755: 3722: 3684: 3578: 3569: 3528: 3523: 3473: 3455:Standard Ebooks 3445: 3426: 3403: 3394: 3352: 3326: 3296: 3270: 3244: 3188: 3186:Further reading 3183: 3108:10.2307/3040476 3080:10.2307/1556158 3029: 2946: 2917:10.2307/1556309 2898: 2893: 2892: 2884: 2880: 2872: 2868: 2860: 2856: 2849: 2833: 2829: 2823:Wayback Machine 2811: 2807: 2796: 2791: 2787: 2776: 2771: 2767: 2756: 2751: 2744: 2733: 2728: 2724: 2715: 2711: 2702: 2698: 2688: 2686: 2678: 2677: 2673: 2663: 2661: 2659:Pints With Jack 2651: 2647: 2637: 2635: 2625: 2621: 2614: 2598: 2594: 2584: 2582: 2572: 2568: 2563: 2548: 2544:pp. 81–93. 2542: 2538: 2530: 2526: 2518: 2514: 2506: 2502: 2494: 2487: 2479: 2475: 2463: 2459: 2451: 2447: 2439: 2435: 2427: 2420: 2412: 2408: 2365: 2361: 2353: 2349: 2337: 2333: 2325: 2321: 2309: 2305: 2297: 2293: 2281: 2279: 2270: 2269: 2262: 2260: 2258: 2236: 2229: 2219: 2217: 2207: 2200: 2191: 2189: 2187: 2161: 2157: 2150: 2136: 2132: 2122: 2120: 2112: 2111: 2107: 2098: 2096: 2094: 2068: 2064: 2019: 2015: 2004: 1999: 1995: 1984: 1979: 1975: 1964: 1959: 1955: 1944: 1939: 1935: 1925: 1917: 1915: 1893: 1889: 1882: 1862: 1858: 1847: 1843: 1835: 1831: 1827:, p. xiii. 1823: 1819: 1800: 1796: 1785: 1781: 1773: 1762: 1752: 1750: 1744:"Paradise Lost" 1740: 1733: 1720: 1719: 1712: 1702: 1700: 1687: 1686: 1682: 1674: 1670: 1665: 1660: 1655: 1654: 1647: 1643: 1638: 1604: 1597: 1593: 1579: 1570: 1564: 1555: 1552:Queen Charlotte 1528: 1493:Richard Westall 1442: 1433: 1376: 1350: 1337:Creation of Man 1329: 1274: 1272:Moral ambiguity 1227: 1167: 1106: 1101: 1095: 1092: 1090: 1088: 1086: 1074: 1071: 1069: 1067: 1065: 1063: 1061: 1059: 1057: 1055: 1053: 1038: 1008: 996: 983: 980: 978: 976: 926: 888: 862: 860: 858: 848: 790:William Hazlitt 737: 732: 715: 655: 647:Main articles: 645: 606:Homeric similes 573: 556: 551: 531:Matthew Simmons 523: 452: 282: 277: 274: 271: 259: 184: 168: 98: 57: 40: 31: 24: 17: 12: 11: 5: 5553: 5543: 5542: 5537: 5532: 5527: 5522: 5517: 5512: 5507: 5502: 5500:Garden of Eden 5497: 5492: 5487: 5482: 5477: 5472: 5467: 5462: 5457: 5440: 5439: 5437: 5436: 5431: 5430: 5429: 5415: 5410: 5405: 5400: 5395: 5390: 5384: 5382: 5378: 5377: 5375: 5374: 5365: 5363: 5359: 5358: 5356: 5355: 5348: 5341: 5334: 5327: 5320: 5313: 5311: 5307: 5306: 5304: 5303: 5296: 5293:Island of Love 5289: 5281: 5279: 5275: 5274: 5272: 5271: 5264: 5259: 5253: 5251: 5247: 5246: 5244: 5243: 5238: 5232: 5230: 5226: 5225: 5223: 5222: 5214: 5206: 5197: 5195: 5191: 5190: 5188: 5187: 5180: 5173: 5166: 5159: 5152: 5145: 5137: 5135: 5131: 5130: 5128: 5127: 5119: 5111: 5103: 5095: 5087: 5079: 5071: 5070:(19th century) 5063: 5055: 5047: 5039: 5031: 5023: 5015: 5007: 4999: 4991: 4983: 4975: 4967: 4959: 4951: 4943: 4942:(15th century) 4939:Vienna Diptych 4935: 4927: 4926:(11th century) 4921: 4918:Bernward Doors 4914: 4912: 4908: 4907: 4905: 4904: 4896: 4888: 4880: 4872: 4864: 4856: 4849: 4842: 4834: 4828: 4823: 4816: 4809: 4796: 4789: 4782: 4775: 4770: 4765: 4760: 4754: 4752: 4748: 4747: 4745: 4744: 4736: 4728: 4720: 4716:La mort d'Adam 4712: 4711: 4710: 4696: 4694: 4690: 4689: 4687: 4686: 4678: 4670: 4662: 4658:The Apple Tree 4653: 4651: 4647: 4646: 4644: 4643: 4635: 4627: 4623:The Broken Jug 4619: 4618:(12th century) 4610: 4608: 4604: 4603: 4601: 4600: 4592: 4584: 4576: 4568: 4560: 4552: 4544: 4536: 4528: 4520: 4512: 4504: 4496: 4488: 4484:The Broken Jug 4480: 4472: 4463: 4461: 4457: 4456: 4454: 4453: 4448: 4443: 4438: 4433: 4428: 4423: 4418: 4413: 4408: 4403: 4398: 4393: 4387: 4385: 4384:Other cultures 4381: 4380: 4378: 4377: 4372: 4367: 4362: 4357: 4352: 4347: 4345:Protevangelium 4342: 4337: 4332: 4327: 4322: 4321: 4320: 4315: 4305: 4300: 4295: 4293:Garden of Eden 4290: 4285: 4279: 4277: 4273: 4272: 4270: 4269: 4266: 4261: 4256: 4251: 4250: 4249: 4241: 4240: 4239: 4234: 4223: 4221: 4217: 4216: 4214: 4213: 4208: 4203: 4193: 4191: 4187: 4186: 4179: 4178: 4171: 4164: 4156: 4147: 4146: 4144: 4143: 4137: 4135: 4131: 4130: 4128: 4127: 4122: 4117: 4115:God the Father 4112: 4107: 4102: 4097: 4096: 4095: 4084: 4082: 4078: 4077: 4075: 4074: 4066: 4058: 4049: 4047: 4043: 4042: 4040: 4039: 4031: 4022: 4020: 4016: 4015: 4013: 4012: 4004: 3994: 3992: 3988: 3987: 3985: 3984: 3978: 3976: 3972: 3971: 3958: 3957: 3950: 3943: 3935: 3926: 3925: 3923: 3922: 3917: 3909: 3904: 3899: 3893: 3891: 3887: 3886: 3884: 3883: 3875: 3873: 3869: 3868: 3866: 3865: 3858: 3851: 3843: 3841: 3837: 3836: 3834: 3833: 3826: 3819: 3811: 3809: 3808:Other writings 3805: 3804: 3802: 3801: 3796: 3791: 3786: 3781: 3776: 3771: 3765: 3763: 3757: 3756: 3754: 3753: 3748: 3743: 3738: 3732: 3730: 3728:Divorce tracts 3724: 3723: 3721: 3720: 3715: 3710: 3708:Animadversions 3705: 3700: 3698:Of Reformation 3694: 3692: 3686: 3685: 3683: 3682: 3674: 3667: 3660: 3653: 3652: 3651: 3644: 3637: 3630: 3623: 3616: 3609: 3602: 3586: 3584: 3580: 3579: 3572: 3570: 3568: 3567: 3562: 3557: 3552: 3547: 3542: 3536: 3534: 3530: 3529: 3522: 3521: 3514: 3507: 3499: 3493: 3492: 3486: 3472: 3469: 3468: 3467: 3462: 3457: 3444: 3441: 3440: 3439: 3423: 3414: 3402: 3401:External links 3399: 3398: 3397: 3392: 3377: 3363: 3350: 3337: 3324: 3311: 3299: 3294: 3281: 3268: 3255: 3242: 3229: 3215: 3187: 3184: 3182: 3181: 3161: 3147: 3119: 3091: 3074:(1): 139–155, 3063: 3046:(1): 213–232, 3032: 3027: 3012: 2977: 2960:(1): 161–177, 2949: 2944: 2936:: Introduction 2928: 2911:(1): 131–153, 2899: 2897: 2894: 2891: 2890: 2878: 2866: 2854: 2847: 2827: 2805: 2785: 2765: 2742: 2722: 2709: 2696: 2671: 2645: 2619: 2612: 2592: 2566: 2546: 2536: 2534:, p. 223. 2524: 2522:, p. 147. 2512: 2510:, p. 140. 2500: 2498:, p. 163. 2485: 2483:, p. 139. 2473: 2457: 2455:, p. 137. 2445: 2433: 2418: 2406: 2379:(4): 205–218. 2359: 2347: 2331: 2319: 2303: 2291: 2256: 2227: 2198: 2185: 2155: 2148: 2130: 2105: 2092: 2062: 2013: 1993: 1983:, pp. 7–8 1973: 1953: 1933: 1887: 1881:978-0393924282 1880: 1856: 1841: 1837:Broadbent 1972 1829: 1817: 1794: 1779: 1777:, p. xii. 1760: 1731: 1710: 1699:on 24 May 2019 1680: 1667: 1666: 1664: 1661: 1659: 1656: 1653: 1652: 1640: 1639: 1637: 1634: 1633: 1632: 1629:Visio Tnugdali 1625: 1618: 1613: 1603: 1600: 1599: 1598: 1580: 1573: 1571: 1565: 1558: 1556: 1529: 1522: 1497:Francis Hayman 1432: 1429: 1385:Torquato Tasso 1375: 1374:Christian epic 1372: 1354:Samuel Johnson 1349: 1346: 1328: 1325: 1278:William Empson 1273: 1270: 1226: 1223: 1166: 1163: 1140:The Return of 1105: 1102: 1100: 1097: 1083: 1050: 1040:Michael is an 1037: 1034: 1007: 1004: 999:God the Father 995: 994:God the Father 992: 973: 925: 924:The Son of God 922: 887: 884: 880:New Testaments 847: 844: 736: 733: 731: 728: 714: 711: 703:Alexander Pope 699:Samuel Johnson 644: 641: 555: 552: 550: 547: 539:Samuel Simmons 522: 519: 451: 448: 354:Garden of Eden 290:narrative arcs 258: 255: 251:Garden of Eden 180: 179: 164: 163: 157: 156: 149: 145: 144: 141: 137: 136: 135:(1667 edition) 133:Samuel Simmons 130: 126: 125: 120: 114: 113: 104: 100: 99: 97: 96: 91: 85: 83: 79: 78: 73: 69: 68: 63: 59: 58: 55: 47: 46: 37: 36: 15: 9: 6: 4: 3: 2: 5552: 5541: 5538: 5536: 5533: 5531: 5528: 5526: 5523: 5521: 5518: 5516: 5513: 5511: 5508: 5506: 5503: 5501: 5498: 5496: 5493: 5491: 5488: 5486: 5483: 5481: 5478: 5476: 5473: 5471: 5468: 5466: 5463: 5461: 5458: 5456: 5453: 5452: 5450: 5435: 5432: 5428: 5427: 5423: 5422: 5421: 5420: 5416: 5414: 5411: 5409: 5406: 5404: 5401: 5399: 5396: 5394: 5391: 5389: 5386: 5385: 5383: 5379: 5372: 5371: 5367: 5366: 5364: 5360: 5353: 5349: 5346: 5342: 5339: 5335: 5332: 5328: 5325: 5321: 5318: 5315: 5314: 5312: 5308: 5302: 5301: 5297: 5295: 5294: 5290: 5288: 5287: 5283: 5282: 5280: 5276: 5270: 5269: 5265: 5263: 5260: 5258: 5255: 5254: 5252: 5248: 5242: 5239: 5237: 5234: 5233: 5231: 5227: 5220: 5219: 5215: 5212: 5211: 5207: 5204: 5203: 5199: 5198: 5196: 5192: 5185: 5181: 5178: 5174: 5171: 5167: 5164: 5160: 5157: 5153: 5150: 5146: 5143: 5139: 5138: 5136: 5132: 5125: 5124: 5120: 5117: 5116: 5112: 5109: 5108: 5104: 5101: 5100: 5096: 5093: 5092: 5088: 5085: 5084: 5080: 5077: 5076: 5072: 5069: 5068: 5067:Paradise Lost 5064: 5061: 5060: 5056: 5053: 5052: 5048: 5045: 5044: 5040: 5037: 5036: 5032: 5029: 5028: 5024: 5021: 5020: 5016: 5013: 5012: 5008: 5005: 5004: 5000: 4997: 4996: 4992: 4989: 4988: 4984: 4981: 4980: 4976: 4973: 4972: 4968: 4965: 4964: 4960: 4957: 4956: 4952: 4949: 4948: 4944: 4941: 4940: 4936: 4933: 4932: 4928: 4925: 4922: 4919: 4916: 4915: 4913: 4909: 4902: 4901: 4897: 4894: 4893: 4889: 4886: 4885: 4881: 4878: 4877: 4873: 4870: 4869: 4865: 4862: 4861: 4860:Paradise Lost 4857: 4854: 4850: 4847: 4843: 4841:(6th century) 4840: 4839: 4835: 4833:(3rd century) 4832: 4829: 4827: 4824: 4822: 4821: 4817: 4815: 4814: 4810: 4808: 4807: 4802: 4801: 4797: 4794: 4790: 4788: 4787: 4783: 4781: 4780: 4776: 4774: 4773:Books of Adam 4771: 4769: 4766: 4764: 4763:Book of Moses 4761: 4759: 4756: 4755: 4753: 4749: 4742: 4741: 4737: 4734: 4733: 4732:Genesis Suite 4729: 4726: 4725: 4721: 4718: 4717: 4713: 4709: 4706: 4705: 4703: 4702: 4698: 4697: 4695: 4691: 4684: 4683: 4679: 4676: 4675: 4671: 4668: 4667: 4663: 4660: 4659: 4655: 4654: 4652: 4648: 4641: 4640: 4636: 4633: 4632: 4628: 4625: 4624: 4620: 4617: 4616: 4615:Le Jeu d'Adam 4612: 4611: 4609: 4605: 4598: 4597: 4593: 4590: 4589: 4585: 4582: 4581: 4577: 4574: 4573: 4569: 4566: 4565: 4561: 4558: 4557: 4553: 4550: 4549: 4545: 4542: 4541: 4537: 4534: 4533: 4529: 4526: 4525: 4521: 4518: 4517: 4513: 4510: 4509: 4505: 4502: 4501: 4497: 4494: 4493: 4489: 4486: 4485: 4481: 4478: 4477: 4473: 4470: 4469: 4468:Mama's Affair 4465: 4464: 4462: 4458: 4452: 4449: 4447: 4444: 4442: 4439: 4437: 4434: 4432: 4429: 4427: 4424: 4422: 4419: 4417: 4416:Book of Moses 4414: 4412: 4409: 4407: 4404: 4402: 4401:Adam in Islam 4399: 4397: 4394: 4392: 4389: 4388: 4386: 4382: 4376: 4373: 4371: 4368: 4366: 4363: 4361: 4358: 4356: 4353: 4351: 4350:Rosh Hashanah 4348: 4346: 4343: 4341: 4338: 4336: 4333: 4331: 4328: 4326: 4323: 4319: 4316: 4314: 4311: 4310: 4309: 4306: 4304: 4301: 4299: 4296: 4294: 4291: 4289: 4286: 4284: 4281: 4280: 4278: 4274: 4267: 4265: 4262: 4260: 4257: 4255: 4252: 4247: 4246: 4245: 4242: 4238: 4235: 4233: 4230: 4229: 4228: 4227:Cain and Abel 4225: 4224: 4222: 4218: 4212: 4209: 4207: 4204: 4202: 4198: 4195: 4194: 4192: 4188: 4184: 4177: 4172: 4170: 4165: 4163: 4158: 4157: 4154: 4142: 4139: 4138: 4136: 4132: 4126: 4123: 4121: 4118: 4116: 4113: 4111: 4108: 4106: 4103: 4101: 4098: 4094: 4091: 4090: 4089: 4086: 4085: 4083: 4079: 4072: 4071: 4067: 4064: 4063: 4059: 4056: 4055: 4051: 4050: 4048: 4044: 4037: 4036: 4032: 4030: 4028: 4027:Paradise Lost 4024: 4023: 4021: 4017: 4010: 4009: 4008:Paradise Lost 4005: 4002: 4001: 4000:Paradise Lost 3996: 3995: 3993: 3989: 3983: 3980: 3979: 3977: 3973: 3969: 3968: 3967:Paradise Lost 3963: 3956: 3951: 3949: 3944: 3942: 3937: 3936: 3933: 3921: 3918: 3915: 3914: 3910: 3908: 3905: 3903: 3900: 3898: 3895: 3894: 3892: 3888: 3882: 3881: 3877: 3876: 3874: 3870: 3863: 3859: 3856: 3852: 3849: 3845: 3844: 3842: 3838: 3832: 3831: 3827: 3825: 3824: 3820: 3818: 3817: 3813: 3812: 3810: 3806: 3800: 3797: 3795: 3792: 3790: 3787: 3785: 3782: 3780: 3779:Eikonoklastes 3777: 3775: 3772: 3770: 3767: 3766: 3764: 3762: 3758: 3752: 3749: 3747: 3744: 3742: 3739: 3737: 3734: 3733: 3731: 3729: 3725: 3719: 3716: 3714: 3711: 3709: 3706: 3704: 3701: 3699: 3696: 3695: 3693: 3691: 3687: 3681: 3679: 3675: 3673: 3672: 3668: 3666: 3665: 3661: 3659: 3658: 3657:Paradise Lost 3654: 3649: 3645: 3642: 3638: 3635: 3631: 3629: 3628: 3624: 3622: 3621: 3617: 3615: 3614: 3610: 3608: 3607: 3603: 3601: 3600: 3596: 3595: 3594: 3592: 3588: 3587: 3585: 3581: 3576: 3566: 3565:Relationships 3563: 3561: 3558: 3556: 3553: 3551: 3548: 3546: 3543: 3541: 3538: 3537: 3535: 3531: 3527: 3520: 3515: 3513: 3508: 3506: 3501: 3500: 3497: 3490: 3487: 3484: 3483:Paradise Lost 3480: 3479: 3475: 3474: 3466: 3463: 3461: 3458: 3456: 3452: 3451: 3450:Paradise Lost 3447: 3446: 3438: 3434: 3433: 3432:Paradise Lost 3424: 3421: 3420: 3419:Paradise Lost 3415: 3412: 3411:Illustrations 3410: 3409:Paradise Lost 3407:Gustave Doré 3405: 3404: 3395: 3389: 3385: 3384: 3378: 3376: 3375:0-7190-0770-4 3372: 3368: 3364: 3361: 3357: 3353: 3347: 3343: 3338: 3335: 3331: 3327: 3321: 3317: 3312: 3308: 3304: 3300: 3297: 3291: 3287: 3282: 3279: 3275: 3271: 3265: 3261: 3260:Paradise Lost 3256: 3253: 3249: 3245: 3239: 3235: 3230: 3228: 3224: 3220: 3216: 3213: 3209: 3205: 3201: 3197: 3193: 3190: 3189: 3179: 3175: 3171: 3167: 3162: 3157: 3155: 3154:Paradise Lost 3148: 3145: 3141: 3137: 3133: 3129: 3125: 3120: 3117: 3113: 3109: 3105: 3101: 3097: 3092: 3089: 3085: 3081: 3077: 3073: 3069: 3064: 3061: 3057: 3053: 3049: 3045: 3041: 3037: 3033: 3030: 3028:9780140424393 3024: 3020: 3019: 3018:Paradise Lost 3013: 3010: 3006: 3002: 2998: 2994: 2990: 2986: 2982: 2978: 2975: 2971: 2967: 2963: 2959: 2955: 2950: 2947: 2945:9780521096393 2941: 2937: 2934:Paradise Lost 2933: 2929: 2926: 2922: 2918: 2914: 2910: 2906: 2901: 2900: 2887: 2886:WikiPaintings 2882: 2875: 2870: 2863: 2858: 2850: 2844: 2840: 2839: 2831: 2824: 2820: 2816: 2815: 2809: 2800: 2795:, p. 340 2794: 2789: 2780: 2774: 2769: 2760: 2754: 2749: 2747: 2737: 2732:, p. 178 2731: 2726: 2719: 2713: 2706: 2700: 2685: 2681: 2675: 2660: 2656: 2649: 2634: 2630: 2623: 2615: 2609: 2605: 2604: 2596: 2581: 2577: 2570: 2561: 2559: 2557: 2555: 2553: 2551: 2540: 2533: 2532:Lewalski 2003 2528: 2521: 2516: 2509: 2504: 2497: 2492: 2490: 2482: 2477: 2470: 2466: 2461: 2454: 2453:Biberman 1999 2449: 2442: 2437: 2431:, p. 22. 2430: 2425: 2423: 2416:, p. 50. 2415: 2414:Van Nuis 2000 2410: 2402: 2398: 2394: 2390: 2386: 2382: 2378: 2374: 2370: 2363: 2357:, p. 24. 2356: 2351: 2344: 2340: 2335: 2329:, p. 15. 2328: 2323: 2316: 2312: 2307: 2301:, p. 17. 2300: 2299:Marshall 1961 2295: 2287: 2274: 2259: 2253: 2249: 2245: 2241: 2234: 2232: 2216: 2212: 2205: 2203: 2188: 2182: 2178: 2174: 2170: 2166: 2159: 2151: 2145: 2141: 2134: 2119: 2115: 2109: 2095: 2089: 2085: 2081: 2077: 2073: 2066: 2058: 2054: 2050: 2046: 2041: 2036: 2032: 2028: 2024: 2017: 2008: 2003:, p. 408 2002: 1997: 1988: 1982: 1977: 1968: 1962: 1957: 1948: 1942: 1937: 1929: 1914: 1910: 1906: 1905: 1899: 1891: 1883: 1877: 1873: 1869: 1868: 1860: 1852: 1845: 1839:, p. 54. 1838: 1833: 1826: 1821: 1813: 1809: 1805: 1798: 1791: 1790: 1783: 1776: 1771: 1769: 1767: 1765: 1749: 1745: 1738: 1736: 1727: 1723: 1722:"John Milton" 1717: 1715: 1698: 1694: 1690: 1684: 1677: 1672: 1668: 1650: 1645: 1641: 1631: 1630: 1626: 1624: 1623: 1619: 1617: 1614: 1612: 1610: 1609:Paradise Lost 1606: 1605: 1591: 1590:Paradise Lost 1587: 1583: 1577: 1572: 1568: 1562: 1557: 1553: 1549: 1548:Paradise Lost 1545: 1541: 1537: 1536:James Gillray 1533: 1526: 1521: 1520: 1519: 1517: 1513: 1512:Paradise Lost 1509: 1505: 1504:Salvador Dalí 1500: 1498: 1494: 1490: 1486: 1482: 1478: 1474: 1473:William Blake 1470: 1469:Paradise Lost 1465: 1463: 1459: 1455: 1451: 1447: 1446:Paradise Lost 1441: 1440: 1439:Paradise Lost 1428: 1426: 1422: 1418: 1414: 1413:Paradise Lost 1410: 1406: 1402: 1398: 1397:Paradise Lost 1393: 1392:Paradise Lost 1388: 1386: 1382: 1371: 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