Paradise Lost critical quotations

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66 Terms

1
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Man’s ability to reason and make decisions is “the animating

idea behind every one of Milton’s works” — Klimt

2
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“aspiration and heroic knowledge are the sources not only of sin and woe

but also of poetic strength, the substance of epic and tragedy” — Orgel and Goldberg

3
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“Milton renders impossible any simple, stable

interpretation of the poem’s politics” — Herman

4
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The poem “does not immediately resolve the

problems it raises” — Belsey

5
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“The nature of marriage was evidently an

abiding concern for Milton” — Foxley

6
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“The complex relationship between Adam and Eve is

at the core of his masterpiece” — Foxley

7
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It is ‘misguided’ to focus on who the epic hero is; ‘it

is the nature of heroic activity that Milton is interested in’ — Edwards

8
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“The allure of free will is where the

attractiveness and power of Satan’s character lies” — Zeng

9
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[About Adam’s decision to fall with Eve] “The moment we applaud

Adam’s actions we are directly implicated in it ourselves.” — Bell

10
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“Her failure was primarily intellectual. His

is moral.” — Evans

11
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Adam has to not “choose good over evil, loyalty over

disloyalty, but to decide between conflicting loyalties” — Orgel and Goldberg

12
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“Adam and Eve are not in possession of enough information or

experience to enable them to make a free choice” — Orgel and Goldberg

13
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“Adam attacks Eve for all the weaknesses of women chronicled in

antifeminist tracts” — Miller

14
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“Adam is superior to Eve but

he does not initially assert his authority” — Sims

15
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“Adam is too trusting of Eve, taking the fruit

she offers to him, and too devoted” — Sims

16
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“For Milton exercising self-restraint was a choice too, but he knew

how deeply it runs counter to our human need to prove ourselves in action” — Moore

17
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Satan “confronts Eve with a barrage of definition,

false syllogisms and rhetorical questions” — Lewalski

18
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Satan “subtly compliment[s] those rational

powers wherein she knows herself inferior to Adam” — Lewalski

19
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“Milton would have said that Eve did not know

why she fell, anymore than we do” — Empson

20
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“Eve fell through

pride” — C.S. Lewis

21
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PL is “a work able to sustain many seemingly

contrary interpretations” — Bell

22
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Milton’s deliberately ambiguous grammar + “liquid

syntax” — Ricks

23
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“The mind cannot accept the fact that perfection

was capable of corruption without denying the absoluteness of perfection” — Bell

24
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“This bridge [across the fall]

is the temptation” — Bell (Idea that Milton readily accepted the Genesis story, so it does not trouble him as it would us)

25
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According to Paul Elmer, the theme of Milton’s

poem is the lost Paradise

26
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“Milton’s cast of mind was towards the present

condition of humankind” — Bell

27
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Milton was “expanding the terse account

in Genesis to epic proportions” — Bell

28
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PL maybe fails as a theodicy, as Bell says that we should analyse PL

“through the effects of temptation rather than with causes”

29
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Milton wanted to understand “the fallen state itself”

because “it was his state, and it is our own” — Bell

30
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Reasons for the fall according to different contemporary critics:

(Contemporary critics take the biblical account of Genesis less literally than Milton did, which is why they are left with far more questions)

Greenlaw: Triumph of unreason over temperance

Hanford: Sensuality over asceticism

Tillyard: Mental levity over self knowledge

31
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“The transition from innocence to sin can be felt

very early in the narrative” (Bell)

32
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Tillyard: The Fall “must be extended back in time;

it has no plain and sensational beginning” —> garden is already overgrown + Eve is vain from the start of Book IX

33
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“By blurring the transition from innocence to experience

as he does, Milton changes the significance of his plot entirely” (Bell)

34
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“Evil is an active, ever-present

element” (Bell)

35
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Milton “deliberately complicates the evidence of his

narrative to include the manifold nature of Eve and Adam’s failures” (Bell)

36
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Like Satan, Eve “proposes that experience

is a necessary ingredient of virtue” (Bell) —> links to Areopagitica, suggests that Eve has some satanic qualities pre Fall

37
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Book IX closes with the “sound of their

pitiably and unmistakably human quarreling” — Bell

38
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“The central moral concern [of B9]

is truth” — Anna Fish

39
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“Before the Fall Adam and Eve could not

imagine the snake was lying, but after it they could imitate his methods” — Baldwin

40
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“Milton gives Satan the language and gestures

of both radical and royalist rebellion” — Loewenstein

41
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“A substratum of doubt about all political certainties explored in Milton’s earlier

work runs underneath PL, and this incertitude erupts in Milton’s epic similes and metaphors” — Herman

42
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“The reason Milton wrote in fetters when he wrote of Angels and God, and at

liberty when of Devils and Hell, is because he was a true poet and of the Devil’s party without knowing it.” — Blake

43
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“Milton’s Devil as a moral being

is far superior to his God” — Percy Bysshe Shelley

44
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Satan “can also be read as a republican hero; God, infallible and

omnibenevolent, a tyrannical monarch” — Klimt

45
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Milton “requires his reader to make constant and careful judgements

about a story we already think we know” — Klimt

46
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“Milton’s deeply loving and

empathetic portrait of Satan” — Nicolson

47
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“Failure is

part of his allure” — McGuinness

48
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“Satan evokes many readers’ sympathy both because of what he says

about himself and of what the narrator, perhaps not quite intentionally reveals about him” — Forsyth

49
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Milton “did not scruple

to give the devil his due” — Hazlitt

50
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“Satan’s intelligence and his emotional intensity make the reader challenge

the meaning of good and evil” — Forsyth

51
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“Satan may not be a hero in the epic sense, but it is hard to deny him of the

status of a tragic hero” — Forsyth

52
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Satan was created by God but fell —> “evil is something chosen, acting

through free will in conscious opposition to God’s will” — Zeng

53
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“The allure of free will is where the attractiveness

and power of Satan’s character lies” — Zeng

54
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“Satan is charismatic, tempting

the reader as he did Eve to think, to question” — Zeng

55
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“The ‘hot hell that always in him burns’ […] represents Satan’s freedom:

this is a hell of Satan’s own choosing and creation” — Zeng

56
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Satan’s mind is “unconquerable and unconditionally

opposed to God” — Zeng

57
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“Milton wants his readers to struggle precisely so

that we can sharpen our critical faculties” — Klimt

58
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According to Milton, without free will Adam would have been an

“Adam in the motions”

59
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Adam and Eve’s “perfection is a ‘vibrato’ because it wavers above and below

the ideal line. In this dynamic, God is the only constant” — Edwards

60
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St Paul: “To the pure, all things are pure”

  • Mirrors Adam and Eve’s unfallen state

  • God’s preemptory prohibition of the fruit is troublingly analogous to the licensor’s preemptory banning of the Areopagitica

61
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“I cannot praise

a fugitive and cloistered virtue” — Milton

62
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“It is Adam’s duty to remind her of her place. The reason he doesn’t is

because his feelings are more like a lover’s than a husband’s”— Evans

63
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“There is an intellectual affinity between

the pamphlet and the poem” — White

64
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St Paul: “Wives, submit

yourselves unto your husbands”

65
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“Nature itself is weakened, put out

of order, wounded” — Ames

66
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“Disobedience is equivalent

to disorder” — Bell