I. Epic Genre Bachuber, Hargrove, Odegard, Clark, Neal
As M. H. Abrams notes in his Glossary of Literary Terms (5^th edition), the terms "epic" and "heroic poem" are often used interchangeably. And as he goes on to explain, an epic is "a work that meets at least the following critieria: it is a long narrative poem on a great and serious subject, told in an elevated style, and centered on a heroic or quasi-divine figure on whose actions depends the fate of a tribe, a nation, or the human race. . . . The epic was ranked by the Greek theorist Aristotle as second only to tragedy, and by many Renaissance critics as the highest of all genres." Some of the conventions of the genre include: a hero "of great national or even cosmic importance"; a vast setting, encompassing a wide geographical range or even (as in Paradise Lost, a "cosmic" expanse; action that includes "superhuman deeds in battle" and/or "a long and arduous journey"; some involvement by the gods, who take an interest in the actions of the hero[es]; an elevated and formal style of narration that makes use of many allusions to history, sacred scriptures, history, science, etc.; epic similes-- "formal and sustained similes in which the . . . "vehicle" is developed far beyond its specific points of close parallel to the . . . 'tenor'"; catalogues (as of ships in the Iliad, and of devils in Paradise Lost); action that begins in medias res (that is, in the middle of things, rather than at the earliest point in the overall action); and the invocation of a Muse or inspiring spirit.

A. Subject/Theme -- According to the opening of Book 1, what will be the theme of PL? What purposes will it serve?
B. Invocation-- Who or What is the Muse Milton invokes in the opening lines of Book 1? How does the identity of his Muse help to define the nature of his project?
C. Epic Similes-- They are often more than simply decorative.

1. Carefully analyze the simile at 1:301-313. What effect does Milton achieve through the gradual shifts in imagery as he moves from leaves to sedge to dead Egyptians? How does one image lead into the next? How do the two similes relate to each other?
2. Consider the simile at 1:338-346 in relation to simile at 301-313. Taken together, what do the two passages imply about the devils they describe? How do these two similes compare with the bee simile at 1:768-776?

II. Characterization Ayers, Chatham, Palmer, Tsai, Oost, Petterson

A. Who is Satan?

1. What is his state of mind/attitude as revealed in his speeches? Compare what he thinks/feels (as revealed in soliloquies and narrative) to what he says when he speaks to others.
2. What effects do his words and actions have on others?
3. How does his character reflect Stoic values?

B. What role does Satan play in relation to God? His name means "Adversary." Define as clearly as you can just what has made Satan the Adversary of God. Can one define such a thing when one has not yet been introduced to God as Milton conceives of Him?
C. What role does Satan play in relation to the reader? Do some aspects of his character make him sympathetic or even heroic? Which ones? Be prepared to cite specific lines.
D. As Milton sees it, evil takes many different forms. Define the various aspects of evil represented or voiced by the various speakers at the infernal council in book 2--Moloch, Belial, Mammon (note that Mammon is first described in Book 1), Beelzebub, and finally Satan himself. What do these various types of evil have in common? Are they complementary or radically incompatible with one another? What does Milton accomplish by setting out the various perspectives in the form of a debate?

A. Define as clearly as you can where or what Hell is in Books 1-2.
B. What is the nature of the punishment the fallen angels are experiencing?
C. How is the question of setting related to the question of characterization in Paradise Lost?
 

I. The Allegorical Episode in Book 2-- Dickason, Hasan, Palmer, Tsai, Oost
We will study the technique of allegory in more detail later in the course, but for the moment, consider Abrams' definition: "a narrative in which the agents and action, and sometimes the setting as well, are contrived so as to make coherent sense on the 'literal,' or primary level of signification, and also to signify a second, correlated order of agents, concepts, and events. The "two main types" are "(1) Historical and political allegory, in which the characters and actions that are signified literally in turn signify or 'allegorize,' historical personages and events" and "(2) The allegory of ideas, in which the literal characters represent abstract concepts and the plot incorporates and exemplifies a doctrine or thesis." It is this second type of allegory that Milton uses in Book 2 of Paradise Lost.

A. Analyze the effects Milton achieves through the description of Sin, Death, and their incestuous relationship to Satan.
B. Who or what is Chaos? Whose "side" is he on?

A.  In the Middle Ages and the Renaissance, political thinkers were concerned with the distinction between sacral kingship, de jure rule, and de facto rule.  A sacral or anointed king is chosen by God and set apart as a holy figure; a monarch who reigns de jure bases his or her claim upon law of some sort; de facto rule is that derived from sheer exercise of power, cunning, and charisma.  Many monarchies attempt to combine elements of all three kinds of rule; but the downfall of Charles I occurred when those who executed him rejected his sacral status, insisting that he ruled not by divine right but by the rule of law, and that he had violated that law (and any claim to be God's chosen representative) in becoming a sinful tyrant.  Milton was a high-profile defender of the "regicides," one who hoped to replace the secular monarchy with a Christian commonwealth ruled only by God (a "theocracy").  By the time he wrote Paradise Lost, however, the English people had fallen far short of his hopes; first, the government under Cromwell proved (from Milton's perspective) only slightly less tyrannical and restrictive than the monarchy; and then, to his horror and disillusionment, the Stuart monarchy was restored in the person of Charles II.  Keeping in mind Milton's political history as an anti-monarchic revolutionary, and considering the nature of the theocracy he hoped would emerge in England, compare the rule of God and his Son in Heaven (as portrayed in Book 3) to the rule of Satan in Hell (as portrayed in Books 1 and 2).  What sort of authority does each claim?  How does each exert that authority?  What kind of language and rhetoric does each use to define and enforce rule?  How do the subjects respond to each respective monarch's authority?
B.  The Son of God is his "Word."  How does Milton's text reflect this theological conception?  Is Sin also the "Word" of her Father, or is their relationship defined differently?
C.  In Book 1, Satan's first speech is addressed to one "next himself in power," Beelzebub.  In Book 3, God the Father addresses himself to the Son as a being fitting the same description.  Compare the role Beelzebub plays in Book 1 and at the infernal council in Book 2 with that played by the Son in Book 3.  Pay particular attention not only to what each figure says and does, but also to their appearance, the types of rhetorical techniques they use, and the effects of their speeches.
D.  Both during the infernal council and in small-group discussions after Satan's departure, Milton's devils enjoy a great deal of philosophical discourse; they are particularly interested in Stoic philosophy.  How do their statements and inquiries compare with the divine pronouncements on related issues (such as free will) in Book 3?

 A.  Satan never directly mentions the Son, but in some ways the soliloquy has much to do with him.  Analyze the speech in relation to Book 3's portrayal of the Son.
B.  In lines 15-23, 73-78, 86-92, and 109-111, Milton and Satan comments on and defines the nature of good, evil, hell, and infernal sovereignty or rule.  Compare 1:47-74, 162-168, 245-263 and 2:1-10, 21-37.
C.  How does the soliloquy affect the reader's sense of Satan's heroism?