Paradise Lost Flashcards

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1
Q

Quote supporting God’s acceptance of Man’s free-will (1)

A

Eve: “But God left free the will, for what obeys/ Reason, is free, and Reason he made right”

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2
Q

How does Milton emphasise the importance of reason and argument in the opening? (1)

A

Repetition of “argument” in opening proclamation

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3
Q

How does Milton echo the Areopagatica? (1)

A

Eve: “How are we happy, still in fear of harm?”

–> Opposition of censorship/authority oppression

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4
Q

When and what was the Areopagatica? How does this link to Paradise Lost? (2+1)

A

1644
Written by John Milton opposing licensing and censorship; a philosophical justification for freedom of speech and expression
–> Similar to the way in which Milton expresses the need for freedom of Adam & Eve from authority

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5
Q

How does Eve use reason to convince Adam to give her freedom? (1)

A

Eve->Adam: “Nor much expect/ A foe so proud will first the weaker seek”
–> Also appealing to Adam’s masculinity and sense of superiority (Link to Celia->Volpone “any part that sounds yet man”)

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6
Q

How does Satan appeal to Eve’s physical senses (2)

A

S–>E: “Fairest colours mixed, ruddy and gold”

S–>E: “Grateful to appetite, more pleased my sense”

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7
Q

How does Milton display dislike towards Eve’s breach of God’s trust? (1)

A

N: “Disloyal on the part of man, revolt/ And disobedience”

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8
Q

How does Milton link the breach of trust with God to the execution of Charles I? (2)

A

-Repetition of “fraud” - Has both political and legal connotations given the Grand Remonstrance & Trial of Charles I
N: “To sensual appetite, who from beneath/ usurping over sovereign reason”

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9
Q

When was the execution of Charles I? How would this link to Paradise Lost? (3)

A
  • January 1649
  • The rising against the King can be linked to A+E’s rising against God
  • The execution of King Charles I was a highly contentious issue but Milton was a supporter of this: the execution was sometimes seen as a direct opposition to God- By displaying God as the architect of Man’s opposition to him and their fall (Calvinist theology), Milton simultaneously justified the fall of mankind and the regicide as part of God’s plans.
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10
Q

How does Milton display a growth in knowledge from eating the fruit? (1)

A

E: “What fear I then, rather what know to fear/ under this ignorance of good and evil, / of God and death, of law or penalty”

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11
Q

How does Milton display the idyllic setting of Eden? (2)

A

S: “Light above light, for thee above, as seems, / in thee concentrating all their precious beams”

  • ->use of epanalepsis in “light above light” and the use of rhyming “seems” + “beams” adds to the tranquility of the setting
  • -> Also used to display a benevolence to the character of Satan, who is able to recognise this beauty

N: “prime for sweetest scents and airs”
–> Sibilance for softness of setting

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12
Q

How does Milton foreshadow the fall? What impact does this have? (4)

A

Line 11: N: “brought into this World a World of Woe”

Opening: N: “The sun was sunk” (Pathetic Fallacy)

N: “Meanwhile the hour of noon drew on, and waked/ An eager appetite”
–>Motif of hunger and sensual desire

N: “[Satan] wished he might find/ Eve separate, he wished, but not with hope/ of what seldom chance”
–> Dramatic irony as he soon after finds her alone

–> The persistent use of foreshadowing implies the power of God and the fate involved in the action (“Justifying the ways of God to man”)

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13
Q

How does Milton display traditional gender stereotypes in Paradise Lost? (2)

A

N: “For nothing lovelier can be found/ In woman, than to study household good”

S discussing Adam: “Whose higher intellectual more I shun, / And strength, of courage”

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14
Q

How does Milton twist traditional gender stereotypes in Paradise Lost? (2)

A

N: “Domestic Adam in his care/ And matrimonial love”

E: “Keep the odds of knowledge in my power/ without copartner? So to add what wants/ in female sex […] and render me more equal”
–> Recognition of the inequality between male & female but equally plotting of woman to correct this inequality

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15
Q

Quotes on patriarchy and oppression of females? (2)

A

A->E: “Daughter of God and Man”

A->E: “The wife, where danger or dishonour lurks, / Safest and seemliest by her husband stays” (Link to Celia obeying Corvino would lead to dishonour!)

N: “So spake the patriarch of mankind”

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16
Q

Quotations on hierarchy of God? (2)

A

S: “Of sacred influence: as God in Heaven/ Is centre”

S: “With Gods to sit highest, am now constrained/ Into a beast, and mixed with bestial slime”
–> Use of polyptoton in “beast” and “bestial” emphasises the inequality

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17
Q

How does Milton display the negativity of hierarchy? (1)

A

E: “For inferior who is free”

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18
Q

How does Milton display the benevolence of Satan? (3)

A

N: “Rose up a fountain by the Tree of Life”
–> The necessary role of evil and sin as a part of “life”

S: “O Earth, how like to Heaven, if not preferred”
S: “In none of these/ find place or refuge; and the more I see pleasures about me, so much more I feel/ torment within me”
–> Able to appreciate the beauty of the world
–> Cuts an isolated and tragic figure (The tragic hero on the Promethean quest?)

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19
Q

How does Milton display the evil of Satan? (6)

A

N: “In mediated fraud and malice, bent/ on man’s destruction” (“Fraud” link to Volpone + Mosca)
S: “Nor hope to be myself less miserable/ By what I seek, but others to make such/ As I”
–> Satan’s overarching motives are that of evil and are pre-determined

S: “For only in destroying I find ease/ to my relentless thoughts”

N: “hot hell that always burns in him”

S: “To me, glory shall be sole”
–> Link to Ambitious desire of legacy hunters in Volpone

N: “Enemy of mankind”

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20
Q

How does Milton display the trickery of Satan? (5)

A

N: “mere serpent in appearance” (Link to Volpone Beast Fable)

N: “Satan involved in rising mist” + “like a black mist low creeping”

N: “His dark suggestions hide from sharpest light”
–> Contrast between traditional images of Good + Evil / God vs Satan

N: “Blazing with delusive light” (alluding to ignis fatuus/will o the wisp - natural illusion)

Acrostic from line 510-515 spelling “SATAN” emphasises how well disguised and hidden he was

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21
Q

How does Milton display the deceived Eve? (2)

A

N: “O much deceived, much failing, hapless Eve”
-Anaphora exemplifies the level of her deception and haplessness

N: “such ambush hid among sweet flowers and shades”

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22
Q

How does Milton attempt to “justify the ways of God to man”? (2)

A

N: “Happier life, knowledge of good and evil; / of good, how just? Of evil, if what is evil/ be real, why not known, since easier shunned”

N: “enclosed knowledge of good and evil in this tree”

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23
Q

How does Milton display his role as narrator? (3)

A

Describes his writing as “sad task”
“Easy my unpremeditated verse: / since first this subject for heroic song”
–> “Heroic song” in that A+E’s actions were heroic and Paradise Lost as an Epic Poem!

–> Emphasis of his role as narrator implies a moral objectivity to his position (omnipresent as God) and his ability to dictate/fashion events mimics the role of God

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24
Q

How does Milton compare the Pre and Post Lapserian sex? (1+1)

A

Book IV Pre-Lapserian: “This sweet intercourse/ of looks and smiles”

Book IX Post-Lapserian: “let us play” (Link to Volpone’s sport)
“carnal desire inflaming” + “In lust they burn”

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25
Q

How does Milton display the change in Adam between Pre and Post Lapserianism? (1vs1 + 1vs1)

A

“Delight to reason joined” vs “Adam severe” + “strucken mute”
–> Reason vs insults and abuse/lack of reason

“Thus saying, from her husband’s hand her hand/ soft she withdrew” VS “Her hand he seized”
–> Kindness vs harshness (Directly paralleled through aspirate alliteration)

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26
Q

How does Milton display the change in Eve between Pre and Post Lapserianism? (2)

A

A->E: “Defaced, deflowered, and now death devote”

N: “despoiled of innocence, of faith, of bliss”

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27
Q

How does Milton display the loss of innocence in post-lapserianism? (4)

A

“Naked thus, of honour void/ of innocence, of faith, of purity”
“naked left to guilty shame”
“O how unlike/ that first naked glory”
–> Display how they now recognise their nakedness and feel a loss of innocence for it

“A pillared shade/ high overarched”
–> Choose cover/disguise to hide from each other, God and themselves

28
Q

How does Milton display the fall as a positive event? (3)

A

In opening proclamation of Book 9:

  • Repetition of “heroic” and “heroic martyrdom”
  • Classical allusions to “Achilles”, “Turnus”, “Neptune”, “Juno”
  • Semantic field to do with warfare eg. “Wars”, “knights”, “shields”
29
Q

How does Milton oppose passive obedience? (1)

A

Eve claims she cannot eat the forbidden fruit for, “God hath said, Ye shall not eat/ thereof, nor shall ye touch it, lest ye die”
–> Closely mimics genesis implying a lack of understanding of what is actually being said and merely reciting

30
Q

How does Milton display ambiguity over the fall? (3)

A

“Their eyes how opened” vs “their mind how darkened”
–> “how” adds further ambiguity: implicit but in fact questioning the consequences

“Tree of prohibition, root of all our woe”
–> Ambiguous as to whether the eating of the fruit caused the “woe” or the prohibition. Similarly “Tree” and “root” (both tree + word play for confusion)

“Bad fruit of knowledge” - Negative on the surface but childish register implies sarcasm or cynicism to this point of view

31
Q

How does Milton display the Fall is bad? (3)

A

N: “So saying, her rash hand in evil hour/ forth reaching to the fruit”

N: “Earth felt the wound” + “Earth trembled from her entrails”

N->E: “Knew not eating death”

32
Q

How does Milton display ambiguity over the benevolence of Satan? (2)

A

“And BEAUTY not approached by STRONGER HATE, / HATE STRONGER, under show of LOVE well feigned”
–> ABCCBA chiasmus highlights ambiguity

“Stupidly good”

33
Q

How does Milton display the love between Adam & Eve? (4)

A

A->E: “Compare above all living creatures dear” (Compare to Volpone’s description of Celia)

E: “So dear I love him, that with him (A) all deaths (B)/ I could endure; without him (A), live no life (B)”
ABAB chiasmus implies their unity

“Adam the while/ waiting desirous her return”

A->E: “Certain my resolution is to die; How can I live without thee”

34
Q

How does Milton display dislike between Adam & Eve? (2)

A

A–>E: “O Eve, in evil hour”

E->A” “Adam severe”

35
Q

How does Milton display Eve’s deception and trickery of Adam? (4)

A

“And Adam wedded to another Eve […] A death to think. Confirmed then I resolve/ Adam shall share with me in bliss or woe”
–> Acts out of jealousy and distrust (Corvino’s treatment of Celia + Lady Would Be’s treatment of Sir Pol)

E->A: “Adam, freely taste”

E->A: “thought it long, Deprived/ thy presence, agony of love”
–> She never actually mentioned him whilst with Satan (Questioning the verisimilitude of their love)

E->A: “Thou therefore also taste, that equal lot/ may join us, equal joy, as equal love”
–> Tricolon and imperative displays conflation between whether she actually believes in the power of the fruit or is just deceiving Adam

36
Q

How does Milton display Satan’s motives? (4)

A

Revenge: “whom us the more to spite his maker raised/ from dust: spite then with spite is best repaid”

Sexual/violent gratification: “slender stalk” + “erect/ amidst his circling spires”

N: “In mediated fraud and malice, bent/ on man’s destruction” (“Fraud” link to Volpone + Mosca)
S: “Nor hope to be myself less miserable/ By what I seek, but others to make such/ As I”
–> A: “I here/ in solitude lie savage” (Satan succeeds)

37
Q

How does Milton display work? (2)

A

-“Their growing (A) work (B): for much their work (A) outgrew (B)”
ABBA chiasmus
-“But till more hands aid us, the work under our labour grows”

–> The need for post-lapserianism and so more children for the development of their human kind

38
Q

How does Milton display unity? (3)

A

A->E: “Flesh of flesh, / bone of my bone thou art” + “we are one, one flesh”
–> Mimics the Anglican marriage ceremony

A->E: “Mine shall never be parted, bliss or woe”
–> Repeating what Eve said (“bliss or woe”)

39
Q

How does Milton display separation? (2)

A

E->A: “Let us divide our labours”

N: “[Satan] wished he might find/ Eve separate, he wished, but not with hope/ of what seldom chance”
–> It is the separation that leads to the fall: Milton stating that we are all safer together

40
Q

How is Eve portrayed as pure & innocent (Like Celia)? (4)

A

“Virgin majesty of Eve”

“Fairest unsupported flower” (+ Implications of gender inequality)

Epic simile of towns vs rural country to describe Eve standing out from the rest (Link to rural description of Eden):
“Populous city pent”, “houses thick and sewers annoy the air” vs “pleasant villages & farms”, “each rural sight, each rural sound”

“Angelic, but more soft, and feminine/ her graceful innocence”

41
Q

What are the untraditional representations of Eve (Like Lady Would-Be)? (3)

A

E->A: “Adam, freely taste”
Imperative combined with “freely” emphasises deception and order

“Fixed on the fruit she gazed” + “Greedily, she engorged without restraint”
–> Displays a lack of restraint in gratification of her lusts

“Yet rung of his persuasive words, impregned/ with reason”
–> Convinced and duped: In doing so, loses her virgin innocence (Compare to Celia in Volpone’s attempts to convince her into sex)

42
Q

How does Satan’s persuasion of Eve mimic that of Volpone & Celia? (5)

A

N on S+E: “Into the heart of Eve his words made way”
N on S+E: “Into her heart too easy entrance won”
–> Very intrusive and appears a violation (Link to Rape)

“Sovereign Mistress” –> “Queen of this universe”
–> Structurally building up his persuasion
“Thy beauty’s heavenly ray”
–> Appeal to beauty and vanity
(Courtly love resembles that of Volpone to Celia)

N: “Flourished since MUTE, to some great cause ADDRESSED/ stood in himself collected, while each PART/ motion, each ACT won AUDIENCE ere the tongue”
–> Large use of meta-poetry mimics Volpone’s attempts at deception and recognition of himself as an actor

43
Q

Evidence that Eve recognises Satan’s and the fruits falseness (2)

A

E->S: “Thy overpraising leaves in doubt / the virtue of that fruit”

E: “But what if God hath seen, and death ensue?”

44
Q

What reasons does Milton give for Eve eating the fruit? (3)

A

“Impregned/ with reason”
–> Her reason was convinced

“Gave elocution to the mute”
–> Desire for knowledge

“his forbidding/ commends thee more”
–>Desire to overcome oppression & obedience

45
Q

Quotes on obedience to God (2)

A

S: “O sacred, wise and wisdom giving plant” (Mimics devotion to God)
–> E: “O sovereign, virtuous, precious of all trees […] song each morning, and due praise/ shall tend thee”
(Eve has replaced devotion to God with devotion to the tree)

46
Q

Quotes on oppression of God (2)

A

S: “Not just, not God; not feared then, or obeyed”
(Highlights oppression through obedience)

E: “Our great forbidder, safe with all his spies about him”

47
Q

Quotes on harm of freedom (1)

A

E->A: “Why didst not thou the head/ command me absolutely not to go”

48
Q

Quotes on necessity of freedom (2)

A

E->A: “Was I to never have parted from thy side? / As good have grown there still a lifeless rib”

A->E: “Force upon free will hath no place”

49
Q

Critical quote from CS Lewis on the danger of disobeying God (1)

A

“She who thought it beneath her to worship either Adam or God came to worship a vegetable”

50
Q

Quotes on the appeal of the Great Chain of Being (3)

A

S: “Shall that be shut to man which to the beast is open?”

S: “Why then was this forbid? Why but to keep ye low and ignorant”

S: “Ye shall be as Gods […] goddess humane, reach then”
–> Word play (reach for the fruit, and reach for the heights of moving up the chain of being)

51
Q

Quotes on disagreement between Adam & Eve (1)

A

“Mutual accusation spent/ the fruitless hours”

52
Q

Context on the Golden Age

A

-Ovid’s ‘Metamorphoses’ discusses the “Three Ages”: Golden, Silver and Bronze age
 Transition from Golden Age to Bronze Age: “truth, shame and honour vanished; in their place were fraud, deceit, and trickery”

53
Q

Context on link to Bible

A

-Book of Genesis, from which Paradise Lost is derived and re-interpreted: some direct quotations: “God hath said, ‘Ye shall not eat thereof, nor shall ye touch it, lest ye die”

54
Q

Context on Marriage & Divorce (2)

A

-Relationship between A+E mimics the Anglican marriage ceremony: “we are one; one flesh”, “Flesh of flesh, bone of my bone thou art”
 Significance of marital tie and bond (unity and inter-dependence)

  • Following Milton’s separation from his wife, Marie Powell in 1642, Milton began writing a number of ‘Divorce Tracts’ and was an active proponent of divorce 
  • -> Reflected in his display of potential separation between man and wife
55
Q

Context on the Vice

A

-The medieval Vice (Character): Originating from the 15th century morality play, ‘Everyman’, who is tempted and deceived by a ‘Vice’: A character who appears benevolent and charming but is in fact deceitful  Would often build a rapport with the audience before being punished at the end of the play (Satan)

56
Q

Context on over reaching of Satan

A

-Satan imitating the Promethean quest and a ‘Tragic Hero’: Prometheus steals fire from Zeus and against his will to benefit humanity. He is subsequently punished (Link to Satan providing free will and his tragic fall for attempting to limit the despotism of God)

57
Q

Milton’s other works (2)

A
  • Milton wrote the Areopagatica in 1644- a passionate argument in support of freedom of speech and the removal of censorship. His attempted reduction of authoritarianism is emphasised in PL with his opposition to God’s authority through Eve + Satan and the opposition of Adam from Eve
  • Milton wrote ‘Defensio’ in 1651- Renowned across Europe as a defence of the Regicide- displayed in PL as Milton understands the necessity of sometimes overcoming authority for the development of mankind
58
Q

Context on Milton’s religion + impact

A
  • Milton was a puritan & a presbyterian and so believed in pre-destination: would have seen the overwhelming power of God as the author of everything throughout time
  • -> Links to references of pre-destination and awareness of God
59
Q

Context on the Epic

A

-Epic poem mimics that of the Aenead and the Odyssey- the first Epic in the English language: regular allusions to “Turnus” and “Aeneas” emphasise this aim

60
Q

Satanist critical quotes (1)

A

“Satan is superior in character to Milton’s God” (Carey)

61
Q

Milton pro-female critical quotes (4)

A

“Eve wakes in an independent mood […] feels her power, gets her way” (Waldock)

“Milton gave Eve responsible motives for her independent movements”
“Her refusal to let the existence of evil destroy the processes of a free community”
“Traditionally ‘manly virtues’ […] and ‘womanly’ ones are not strictly divided between them”
(McColley)

62
Q

Milton anti-female critical quotes (2)

A

“There appears in his books something like a Turkish contempt of females, as subordinate and inferior beings” (Dr Johnson, 1779)

“The story that Milton most notably tells to women is of course the story of woman’s secondness, her otherness, and how that otherness leads inexorably to her demonic anger, her sin, her fall, and her exclusion from that garden of the gods” (Gilbert)

63
Q

Critical quotes on pre-determination & omnipotence of God (1)

A

“God has already foretold it […] Adam and Eve never cease to look like free and responsible agents of their own affairs” (McColley)

64
Q

Anti-Eve critical quotes (1)

A

“She decides that if she is to die, Adam must die with her… I am not sure that critics always notice the precise sin Eve is now committing, yet there is no mystery about it. Its English name is murder” (C.S. Lewis)

65
Q

Critical quote on divorce (1)

A

“Adam becomes corrupt because he refuses to divorce Eve: because he wants solace at any price” (Fowler)

66
Q

Critical quotes on failure of Adam (2)

A

Adam fails in “becoming her accomplice” (C.S. Lewis)

“When Adam really does abandon heaven and his knowledge of God for Eve, Milton denounces his act. But it was, after all, Milton who imagines his passion so intensely as to make us almost wish that it could be approved” (Williams)

67
Q

Critical quotes on love (1)

A

Displays “two quite different models of the politics of love; one is drawn from the experience of being in love with an equal, and the mutual surrender of due benevolence, the other from the hierarchical arrangement of the universe, and the craving for male supremacy” (Turner)