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Paradise Lost > Critics > Flashcards

Critics Flashcards

1
Q

Arnold Stein on the war in heaven

A

‘more than a simple, finished event’

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2
Q

Blair Worden on Satan’s rhetoric

A

‘Satan’s rhetoric of republicanism signals Milton’s profound disillusion with his own party’

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3
Q

Lydia Schulman on Moloch and his position regarding war

A

‘Moloch most resembles a stoical military leader of classical times…open war, therefore, is in his self-interest’

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4
Q

Neil Forsyth on the eternal nature of the war

A

Highlights that an eternal war is one that excludes the possibility of victory

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5
Q

David Quint on Satan’s army

A

‘the greatest army ever summoned up by epic poetry’

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6
Q

James A. Freeman on Milton’s feelings on war

A

‘anti-war to the point of pacifism’

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7
Q

Anna Beer on the purpose of the evenly matched nature of the war

A

‘an example of just how close the battle between good and evil can be’

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8
Q

A. J. Waldock on Milton’s narrator undercutting Satan

A

‘There is hardly a great speech of Satan’s that Milton is not at pains to correct’

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9
Q

Arnold Stein on Satan’s magnificence

A

‘Satan is far less magnificent away from his followers’

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10
Q

Christopher Hill on Satan’s motivations and rebel nature

A

‘Satan has always been a rebel for the wrong reasons – self-interest, jealousy, ambition’

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11
Q

C.S. Lewis on Satan’s motivations

A

‘Satan wants to go on being Satan. That is the real meaning of his choice’ - it is a war of the right to free will and freedom

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12
Q

Julia Staykova on Milton’s epic similes

A

‘the Miltonic simile undermines the construction of a visually and temporally solid experience’

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13
Q

Steven Blakemore on evil

A

‘evil can only imitate and parody goodness’

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14
Q

Neil Forsyth on the way Satan’s sees things

A

‘Satan sees everything in physical terms’

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15
Q

John Rumrich on Sin the character (2)

A

‘readers may pity her as a passive victim, more sinned against than sinning’

‘passive voice of duty divinely imposed on her’

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16
Q

Johnson on Milton’s use of allegory

A

‘undoubtedly faulty’
‘such abstractions should not take part in epic poetry’
Allegorical figures do not occur in classical epics

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17
Q

Stanley Fish

A

Surprised by Sin - argues that Milton makes the evil of Paradise Lost alluring so that the reading of Paradise Lost mirrors its doctrinal message i.e. the reader falls and is then forced to contemplate why

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18
Q

Malcom M. Ross on the narrator’s attempts to direct the reader

A

Argues that the narrator’s interjections fail to prevent the reader from falling

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19
Q

David Loewenstein on rhetoric

A

‘he also sensed how the arts of persuasion may be dangerously exploited’

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20
Q

Daniel Shore on rhetoric

A

‘the point of rhetoric is not to describe the world but to change it’

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21
Q

N. K. Sugimura on Milton’s use of the fallen angels

A

‘Milton used his angels to think through the fraught metaphysical relationship between sameness and difference – uniformity and individuality’

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22
Q

C.S. Lewis on Moloch

A

‘the simple-mindedness of a true general’

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23
Q

Anna Baldwin on Belial

A

‘graceful and humane’

24
Q

Anna Baldwin on Mammon

A

‘surprisingly eloquent’

25
Q

Philip Pullman’s analogy

A

In his introduction to Paradise Lost (2008), Pullman uses an analogy to express why Satan can be perceived to be the hero of Paradise Lost, saying that if you were watching a burglary from the viewpoint of the burglar you want them to succeed

26
Q

Barbara Riebling on Satan

A

‘seems to bear a striking resemblance to Machiavelli’s ideal prince’

27
Q

Percy Shelley on Satan vs God

A

‘Milton’s devil as a moral being is far superior to his God’

28
Q

Armando Iannucci on Satan’s relationship with freedom

A

‘Satan speaks for freedom but from an autocratic viewpoint’

29
Q

William Blake on Milton’s attitude towards Satan

A

Milton ‘was a true poet and of the Devil’s party without knowing it’

30
Q

John Carey on Satan’s evil (or lack thereof)

A

‘Milton’s effort to encapsulate evil in Satan was not successful’

31
Q

S.T. Coleridge on Satan’s selfishness

A

‘Milton has carefully marked in his Satan…the alcohol of egoism’

32
Q

C.S. Lewis on the nature of Satan’s revolt

A

‘A creature revolting against a creator is revolting against the source of his own powers – including even his power to revolt’

33
Q

William Empson on the intrigue of Milton’s subversive portrayal of Satan

A

‘Surely a lot of characters in fiction, not only Milton’s Satan, must become pretty dull if the orthodoxy is always right’

34
Q

Mike Edwards on Satan’s impact

A

‘Satan is allowed to make his impact unopposed’ - Mike Edwards explains how we only see true power in Book III - simplicity of real power in comparison to Satan’s lavish and false power

35
Q

Christopher Ricks on Milton’s narrator’s control

A

‘A reassuring sense of how firmly the verse paragraph is within his control’

36
Q

Samuel Johnson on reality in PL

A

‘reality was a scene too narrow for his mind’

37
Q

Neil Forsyth on Milton’s depiction of the setting of Hell

A

‘the paradoxes…show the difficulty of imagining Hell, and invite the readers to experience that difficulty for themselves’

38
Q

Neil Forsyth on the link between Satan and Hell

A

‘Narrator and Satan both equate the inner depth of the Satan self with Hell’

39
Q

Regina Schwartz on Satan’s assertions whilst in Hell

A

By accepting Hell and asserting his mind is unchanged he is attempting ‘to convert defeat into choice’

40
Q

Regina Schwartz on Satan’s attempts to convert defeat into choice

A

‘the size similes that end Book I mock that effort, reducing the capital to a beehive’

41
Q

John Rumrich on Chaos (the place)

A

‘endless material oblivion’

42
Q

John Rumrich on Chaos (the person)

A

‘He has no origin and is not really there, except as an infinite state of material possibility’

43
Q

Geoffrey Ridden on Satan’s persuasion of Chaos

A

‘For Chaos, what Satan offers is entirely false, but this is an accurate foretaste of the methodology which Satan will employ to lure Eve into tasting the forbidden fruit’

44
Q

C.S. Lewis on pride

A

‘Pride is the anti-God state’

45
Q

John Rumrich on the birth of death

A

An ‘ominous nativity scene’

46
Q

Christopher Ricks on Satan the Leviathan

A

‘There is something sinister and mysterious, something of black magic, about Satan the Leviathan’

47
Q

Caroline Moore on Milton’s epic similes

A

‘thrillingly murky’

48
Q

William Empson on Milton and God

A

‘Milton genuinely considered God in need of a defence’ - see this through his declared aim of theodicy in the invocation

49
Q

Chloe Batt on Milton, Christianity and the Classics

A

‘Milton seeks to redefine classical heroism in Christian terms’

50
Q

T.S. Eliot on Milton’s lack of concern for reality

A

‘reality is no part of the intention’ - argues that this is why he makes his speaker’s language obscure

51
Q

William Empson on Milton’s presentation of God

A

‘The reason why the poem is so good is that it makes God so bad’

52
Q

John Leonard on the genre of Paradise Lost

A

An ‘English tragedy, forming five dramatic acts of two books each’

53
Q

Helen Vendler on Milton’s perspective

A

Writing in a post-civil war England, Milton was attempting to repent for his rebellion against the English monarchy through PL - PL as a form of repentance
Thus Milton was aligning himself with Satan, but only as he had realised that his own rebellion was wrong

54
Q

Gabriel Roberts on Milton’s politics

A

PL is a political poem which expresses his political ideas (which remained fixed throughout his life) - opposes Helen Vendler’s argument

55
Q

Dr Davie on enjambment

A

‘not turned to poetically expressive use’

56
Q

Noam Reisner on the poetic form

A

Milton’s rejection of rhyme and use of blank verse links the form ‘to the poem’s central argument about liberty on a deep aesthetic and thematic level’

57
Q

Pullman on sound

A

‘the sound is part of the meaning’

Paradise Lost (2 decks)

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