Paradise Lost
Paradise Lost
Paradise Lost
PARADISE LOST
Praise for this edition
“Barbara Lewalski is the doyenne of the community of Milton scholars, but she also
remains committed to the enterprise of teaching. In this exemplary edition of
Paradise Lost both qualities are in evidence: the text is scrupulous and the scholar-
ship rigorous, but both the introduction and the notes are accommodated to the needs
of students who will be coming to the poem for the first time. This is an edition
that will please students and professors alike, and its sheer quality is a tribute to Barbara
Lewalski’s passion to provide readers with all the help they need to understand the
greatest of all English poems.”
Gordon Campbell, University of Leicester
“For the student or general reader, looking for an old-spelling edition that is faithful
to the original punctuation, this edition has much to recommend it. Its annotation
is crisp, purposeful and well judged.”
Thomas N. Corns, University of Wales, Bangor
“A superb teaching text. Lewalski’s edition respects Milton’s original poem and
offers supremely clear introductions, bibliography and special material to guide the
student reader and educated lay person alike to new discoveries in a work that, quite
simply, has it all: good, evil, God, Satan, humans, angels, love, despair, war, politics,
sex, duty, and sublime poetry – set in a cosmic landscape that inspires wonder and
seduces new readers in every generation.”
Sharon Achinstein, Oxford University
JOHN MILTON
PARADISE LOST
EDITED BY
BARBARA K. LEWALSKI
Editorial material and organization © 2007 by Blackwell Publishing Ltd
BLACKWELL PUBLISHING
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Acknowledgments
Librarians at the Houghton Library at Harvard, the Beinecke Library at Yale, the
John Carter Brown Library at Brown, the Henry E. Huntington Library, and the British
Library have graciously made copies of the 1667 and 1674 editions of Paradise Lost
available to me for comparison, and the director of the J. Pierpont Morgan Library
in New York City made available the manuscript of Book 1. I am especially grateful
to the curator of rare books at the Houghton Library for permission to use Harvard
14486.3B (1674) as copy text, and for permission to reproduce William Faithorne’s
engraving of Milton at age 62 (the frontispiece to Milton’s History of Britain, 1670) as
well as the title pages of the 1667 and 1674 editions and the illustrations to Books 2,
5, 8, 9, and 11 from the 1688 Folio edition of Paradise Lost. All the photographs are
courtesy of Houghton Library, Harvard College Library. This project profited
greatly from the wise early guidance of Andrew McNeillie, then literature editor at
Blackwell, the helpful oversight of his successor, Emma Bennett, and the meticulous
care of the copy-editor and project manager, Janet Moth. David Loewenstein and
Stella Revard, editors of the companion volumes to this one, offered useful critiques
and wise counsel; Ken Hiltner served as research assistance during crucial early stages,
and graduate and undergraduate students of Milton over many years have helped
me determine what does and does not need commentary.
Contents
PARADISE LOST 1
The Verse 10
Book 1 11
Book 2 37
Book 3 67
Book 4 91
Book 5 122
Book 6 149
Book 7 175
Book 8 196
Book 9 216
Book 10 251
Book 11 285
Book 12 312
In the Proem to Book 9 of Paradise Lost, Milton states that he had thought long and
hard about the right epic subject, “Since first this Subject for Heroic Song / Pleas’d
me long choosing, and beginning late” (9.25–6). As early as 1628, as an undergradu-
ate student at Cambridge, he had declared his desire to write epic and romance in
English, in the vein of Homer and Spenser, about “Kings and Queens and Hero’s old
/ Such as the wise Demodocus once told / In solemn Songs at King Alcinous feast”
(“At a Vacation Exercise,” ll. 47–9). He first supposed he would write an Arthuriad.
In late 1638, while on his European tour, he outlined to Giovanni Battista Manso,
the patron of Tasso, his hope to follow Tasso in writing a national epic, specifying
as subject King Arthur and the Round Table and the early British kings battling the
Saxons (“Mansus,” ll. 78–84). He reiterated that hope a year or so later, in his funeral
elegy for his dear friend Charles Diodati (“Epitaphium Dæmonis,” ll. 162–8). But
by 1642 he had determined that the Arthur stories lacked the basis in history that
he, like Tasso, thought an epic should have, and he now proposed, in the long per-
sonal preface to the second book of his antiprelatical treatise, The Reason of Church-
government, Urg’d against Prelaty, to find a likely British subject and Christian hero in
some “K[ing] or Knight before the [Norman] conquest.” Alluding to the Horatian
formula widely accepted in the Renaissance, that poetry should teach and delight,
he framed that formula in national terms: to adorn “my native tongue” and to “advance
Gods glory by the honour and instruction of my country.” To achieve that goal,
he considered whether epic or drama might be “more doctrinal and exemplary to
a Nation.”
He had been thinking seriously about drama. Between 1639 and 1641 he listed
(in what is now known as the Trinity Manuscript) nearly one hundred possible
literary projects. That list includes only one epic subject, clearly historical, “founded
somewhere in Alfreds reigne”; the rest are subjects for tragedies drawn from the Bible
and British history, among them four brief sketches for a tragedy on the Fall (see
appendix). The two longer versions call for five acts, the Fall occurring offstage,
xvi Introduction
a mix of biblical and allegorical characters, and a “mask of all the evills of this life
& world.” Milton’s nephew Edward Phillips, who was also his pupil and sometime
amanuensis, saw several verses for the beginning of such a tragedy, including ten
lines Milton later used in Satan’s speech on Mount Niphates (PL 4.32 – 41). Milton’s
early reflections on the Fall as tragedy may have influenced several very dramatic
scenes in the epic: Satan’s speeches to his followers, the dialogue between God and
the Son in Heaven, the Satan–Abdiel debate, Adam and Eve’s marital dispute, the
temptations, recriminations, and reconciliation of Adam and Eve. But at some point
Milton decided that the Fall and its consequences, “all our woe,” was the great epic
subject for his own times: not the celebratory founding of a great empire or nation
as in the Aeneid, but the tragic loss of an earthly paradise and with it any possibility
of founding an enduring version of the City of God on earth.
He may have begun Paradise Lost a year or two before the restoration of the monar-
chy in 1660 and continued it in the years immediately following that event. At this
point he could draw upon almost half a century of study, reflection, and experience.
When the English Civil War broke out in 1642 Milton decided to put his large lit-
erary projects on hold so as to place his pen in the service of reforming the English
church and state. In a series of treatises written over two decades he addressed
himself to the fundamental reforms he thought would advance the liberties of
Englishmen. Many of those reforms were far more radical than most of his com-
patriots could accept: removal of bishops from state and church office, church dis-
establishment, wide religious toleration, separation of church and state, unlicensed
publications and the free circulation of ideas, reformed education along humanist
lines, divorce on grounds of incompatibility, the abolition of monarchy, regicide when
warranted, and republican government. A few weeks after the execution of Charles
I in 1649 Milton was appointed Secretary for Foreign Tongues to the new republic
and held that post under the Protectorate until 1659. His duties involved translating
his government’s formal correspondence with other states, translating in conferences
with foreign diplomats, and writing treatises in English and Latin defending the
regicide and the new English commonwealth. He began these activities with high
hopes that the English people would rally to the “Good Old Cause” of religious and
political liberty, but over time he became increasingly distressed by what he saw as
their “servility” in supporting a national, repressive church and seeking the restora-
tion of the monarchy.
His private life was also replete with challenges, joys, and sorrows: anxiety about
the choice of vocation, the pleasures of friendship, the deep delight of creating splen-
did poetry, marriage with an incompatible spouse who left him for nearly three years,
the deaths of his dearest friend, two wives, and an infant son and daughter, years of
worry about failing eyesight, total blindness in 1652 with his great poetry yet
unwritten and his public duties still urgent. The personal crises of his marriage to
Mary Powell and his blindness would have profound implications for his great epic,
a poem written by a blind bard in which the tensions of marriage, as well as its
Introduction xvii
pleasures, are central. Milton poured into his epic all that he had learned and
thought and experienced, about life, love, artistic creativity, religious faith, work,
history, politics, man and woman, God and nature, liberty and tyranny, monarchy
and republicanism, learning and wisdom.
In the Proem to Book 7 Milton refers to the circumstances in which he wrote
much of Paradise Lost: “On evil dayes though fall’n, and evil tongues; / In darkness,
and with dangers compast round” (ll. 26–8). In the Restoration milieu Puritan dis-
senters were severely repressed, and several of Milton’s regicide friends and associ-
ates were executed by the horrific method of hanging, drawing off the blood,
disemboweling, and quartering. Just after Charles II returned in May 1660 Milton
had reason to fear a similar fate for himself: he hid out in a friend’s house for more
than three months and was then arrested and spent some weeks in prison. When
that immediate danger passed he had to come to terms with his profound disap-
pointment over the utter defeat of his political and religious ideals, with his much-
reduced financial circumstances, with his daughters’ resentment over their restricted
lives and limited prospects, and with the enormous problem of writing his great poem
as a blind man forced to rely on ad hoc arrangements with students and friends to
take down dictation. In 1665, before the poem was ready for the printer, Milton left
London with his family to escape a particularly lethal visitation of the plague, set-
tling in the country village of Chalfont St. Giles. When he returned the next year,
he experienced the terror of the Great Fire of London which devastated two-thirds
of the City and came within a quarter-mile of his house.
Before publication Paradise Lost had to be licensed in accordance with the Press
Act of 1662. There was brief trouble with the censor, Thomas Tomkyns, who
objected to lines 594–9 of Book 1, with their reference to a solar eclipse portending
“change” that “perplexes Monarchs.” But in the autumn of 1667 the epic was pub-
lished by Samuel Simmons, one of the few printing houses left standing after the
fire. At the end of April 1667 Milton signed the first recorded formal contract assur-
ing intellectual property rights and payments to an author: five pounds when copy
was delivered, five pounds when 1,300 copies were sold from an edition of 1,500 copies,
then the same sum again upon sale of 1,300 (of 1,500) copies from the second and
from the third editions. These amounts compare with payments to some other early
modern authors; many were paid only with a few copies of their work. In 1674, four
months before Milton’s death, the second edition of Paradise Lost was published, revised
from ten books to twelve.
Milton’s epic is pre-eminently a poem about knowing and choosing – for the
Miltonic Bard, for his characters, and for the reader. It foregrounds education, a life-
long concern of Milton’s and of special importance to him after the Restoration as
xviii Introduction
a means to help produce discerning, virtuous, liberty-loving human beings and citi-
zens. Unlike any other literary or theological treatment of the Fall story, almost half
the poem is given over to the formal education of Adam and Eve, by Raphael before
and by Michael after the Fall. God himself takes on the role of educator as he engages
in dialogue with his Son about humankind’s fall and redemption (3.80–265) and with
Adam over his request for a mate (8.357–451). Adam and Eve’s dialogues with
each other involve them in an ongoing process of self-education about themselves
and their world. Milton educates his readers by exercising them in imaginative
apprehension, rigorous judgment, and choice. By setting his poem in relation to other
great epics and works in other genres he involves readers in a critique of the values
associated with those other heroes and genres, as well as with issues of politics
and theology.
Milton’s allusions in the Proems and throughout the poem continually acknow-
ledge structural and verbal debts to the great classical models for epic or epic-like
poems – Homer, Virgil, Hesiod, Ovid, Lucan, Lucretius – and to such moderns as
Ariosto, Tasso, Du Bartas, Camoëns, and Spenser. The reader familiar with these
texts will notice many more such allusions than can be indicated in the annotations
to this edition. Milton incorporates many epic topics and conventions from the Homeric
and Virgilian epic tradition: an epic statement of theme, invocations both to the Muse
Urania and to the great creating Spirit of God, an epic question, a beginning in medias
res, a classical epic hero in Satan, a Homeric catalogue of Satan’s generals, councils
in Hell and in Heaven, epic pageants and games, and supernatural powers – God,
the Son, and good and evil angels. Also, a fierce battle in Heaven pitting loyal angels
against the rebel forces, replete with chariot clashes, taunts and vaunts, hill-hurlings,
and the single combats of heroes; narratives of past actions in Raphael’s accounts of
the War in Heaven and the Creation; and Michael’s prophetic narrative of biblical
history to come.
Yet the Bard claims in the opening Proem that he intends to surpass all those earl-
ier epics, that his “adventrous Song” will soar “Above th’Aonian Mount” (1.13, 15).
He clarifies what this means in the Proem to Book 9, as he takes pride in having
eschewed “Warrs, hitherto the onely Argument / Heroic deem’d” and in having defined
a new heroic standard, “the better fortitude / Of Patience and Heroic Martyrdom”
(9.28–32). He has indeed given over the traditional epic subject, wars and empire,
and the traditional epic hero as the epitome of courage and battle prowess. His
protagonists are a domestic pair, the scene of their action is a pastoral garden, and
their primary challenge is, “under long obedience tried,” to make themselves, their
marital relationship, and their garden – the nucleus of the human world – ever more
perfect. In this they fail, but at length they learn to understand and identify with the
new heroic standard embodied in a series of heroes of faith and especially in the “greater
man,” Christ, who will redeem humankind. For this radically new epic subject, as
the Proems to Books 1, 3, 7, and 9 state, Milton hopes to obtain from the divine
source of both truth and creativity the illumination and collaboration necessary to
Introduction xix
conceive a subject at once truer and more heroic than any other. He makes bold
claims to originality as an author, but an author who is also a prophetic bard.
In addition to the new epic subject, Milton’s poem holds other surprises for its
readers, then and now. First, and most striking, perhaps, is his splendid Satan, taken
by many critics from the Romantic period to the early decades of the twentieth cen-
tury as the intended or unintended hero of the poem. Milton presents him, especially
in Books 1 and 2, as a figure of power, awesome size, proud and courageous bear-
ing, regal authority, and, above all, magnificent rhetoric: this is no paltry medieval
devil with grotesque physical features and a tail. He is described in terms of con-
stant allusions to the greatest heroes – Achilles, Odysseus, Aeneas, Prometheus, and
others – in regard to the usual epic traits: physical prowess, battle courage, anger,
fortitude, determination, endurance, leadership, and aristeia or battle glory. Through
that presentation Milton engages readers in a poem-long exploration and redefinition
of heroes and heroism, often by inviting them to discover how Satan in some ways
exemplifies but in essence perverts those classical models. Moreover, Satan’s moving
language of defiance against tyranny and laments for loss are powerfully attractive,
posing readers the difficult challenge of discerning the discrepancies between Satan’s
noble words and his motives and actions. At length Milton invites readers to measure
all other versions of the heroic against the self-sacrificing love of the Son of God, the
moral courage of Abdiel, and the “better fortitude” of several biblical heroes of faith.
Milton’s representations of Hell, Heaven, and Eden also challenge readers’ stereo-
types in his own age and ours. All these regions are in process: the physical condi-
tions of the places are fitted to the beings that inhabit them, but the inhabitants interact
with and shape their environments, creating societies in their own image. Hell is
first presented in traditional terms, with the fallen angels chained on a lake of fire.
But unlike Dante’s Inferno, where the damned are confined within distinct circles
to endure an eternally repeated punishment suited to their particular sins, Milton
presents a damned society in the making. His fallen angels rise up and begin to mine
gold and gems, build a government center, Pandæmonium, hold a parliament, send
Satan on a mission of exploration and conquest, investigate their spacious and
varied though sterile landscape, engage in martial games and parades, perform music,
compose epic poems about their own deeds, and argue hard philosophical questions
about fate and free will. Their parliament in Book 2 presents an archetype of
debased and manipulated political assemblies and of characteristic political rhetoric
through the ages. The powerful angelic peers debate issues of war and peace in the
council chamber while the common angels are reduced to pygmy size outside. Moloch,
the quintessential hawk, urges perpetual war at any cost; Belial counsels peace through
ignominious inaction; Mammon would build up a rival empire in Hell founded on
riches and magnificence but, ironically, describes that course of action in the language
of republican virtue, as a choice of “Hard liberty before the easie yoke / Of servile
Pomp” (2.256–7). Then Satan sways the council to his will through the agency of
his chief minister, Beelzebub. The scene closes with Satan accorded divine honors
xx Introduction
in an exaggerated version of the idolatry Milton had long associated with the Stuart
ideology of divine kingship.
Milton’s Heaven is even more surprising: instead of the expected stasis in perfec-
tion, it is also in process, requiring the continued and active choice of good, as Raphael
explains to Adam: “My self and all th’ Angelic Host that stand / In sight of God
enthron’d, our happie state / Hold, as you yours, while our obedience holds”
(5.535–7). As a celestial city that combines courtly magnificence with the pleasures
of nature, it offers an ideal of wholeness through a mix of heroic, georgic, and
pastoral modes. Angelic activities include elegant hymns suited to various occasions,
martial parades, defensive warfare to put down rebellion, pageantry, masque dan-
cing, feasting, political debate, guarding Eden, and, most surprisingly, angelic sex. This
representation of Heaven seems to imply an affirmative answer to Raphael’s suggestive
question, “what if Earth / Be but the shaddow of Heav’n, and things therein / Each
to other like, more then on earth is thought?” (5.574–6).
Underlying this conception is the philosophical monism Milton also set forth in
his Latin theological treatise, De Doctrina Christiana (The Christian Doctrine), a long-
term project still under preparation while Milton was composing his epic. Both
treatise and poem repudiate the Neoplatonic dualism common to most seventeenth-
century Christians, and to Milton himself in his early poems, which understands God
and the angels to be pure spirit while humans are a mixture of spirit (the immortal
soul) and gross matter (the body). Challenged, perhaps, by the powerful impact
of Hobbes’ materialism which issued in determinism, and by other speculative
thinkers of the period, Milton developed in treatise and poem a monist ontology
according to which spirit and matter, angels and humans, differ only in degree of
refinement of one corporeal substance emanating from God. Creation is ex Deo (out
of God) rather than ex nihilo (out of nothing) as in most orthodox formulations. Milton’s
theory held that God withdrew from the matter issuing from him so it could become
mutable and subject to the free will of other beings. This concept grounds Milton’s
striking description of Chaos as a region of inchoate matter comprised of constantly
warring elements through which Satan flies with great difficulty and out of which
the Son of God creates the universe. It also underpins Raphael’s discourse to Adam
and Eve (5.469–500), which describes “one first matter” as the substance of all
beings, who can move toward greater (“more spiritous and pure”) refinement or toward
grosser corporeality. Raphael also invokes that principle to explain how he can eat
human food, how humans may expect at length to be transformed “all to spirit” after
long trial of their obedience, and how angels and humans share, proportionally, in
intuitive and discursive reasoning, which differ “but in degree, of kind the same” (5.490).
Milton’s monism results in an unusually fluid conception of hierarchy.
Milton’s portrayal of the Edenic garden and Adam and Eve’s prelapsarian life
also challenges the assumptions of his contemporaries and of most Christian com-
mentators on the Genesis story, as well as many readers’ assumptions about a state
of innocence. Traditionally, Eden was portrayed as a garden replete with all the
Introduction xxi
beauties of nature held in perfection; God commanded Adam and Eve to tend that
garden so as to keep them from idleness, but not from any necessity. They were
not childlike but had a capacious intelligence and understanding of the natural
world; their serene life was said to be free from passion or anxiety; and most
Christian exegetes assumed that they did not remain in Eden long enough to have
sex. Milton, uniquely, undertook to imagine what an extended life in innocence might
be like, and to represent it in the four central books of his epic. His Eden is also a
lush and lovely garden with a superabundance of natural delights and a myriad of
frolicking animals, but it will revert to wilderness unless Adam and Eve continually
prop and prune the burgeoning vegetation. Their labor is pleasant but it is also abso-
lutely necessary; in Milton’s epic humans bear responsibility from the beginning to
care for and maintain the natural world. In Milton’s Eden Adam and Eve are
expected to cultivate and control their prolific garden and their own sometimes way-
ward impulses and passions, to work out their relationship to God and to each other,
and to deal with ever new challenges. These include the education provided by the
angel Raphael and the intellectual curiosity it both stimulates and assuages, the emo-
tions attending the complexities of love and sex, the problems arising from gender
hierarchy within a hierarchical universe, and the subtle temptations posed by Satan,
in dream and in serpent disguise. Such challenges are presented by Milton as com-
ponents of an ideal human life in innocence, and as preparation for a more exalted
state. He does not conceive of ideality as static perfection but associates it rather
with challenge, choice, and growth.
At the center of his epic Milton sets a richly imagined representation of prelap-
sarian love, sex, marriage, and domestic society, in which Adam and Eve experience
the fundamental challenge of any love relationship, the inevitable but potentially
creative tension between autonomy and interdependence. Milton’s most brilliant
analysis of this challenge in psychological as well as moral terms occurs in the mar-
ital dispute (9.205–386), which is without precedent in other literary versions of the
Genesis story. Here for the first time in Eden dialogue does not succeed in clarify-
ing and resolving problems. As Adam and Eve enmesh themselves in ever greater
misunderstandings the reader feels on his or her pulses the truth of this archetypal
version of those all-too-familiar scenes in which lovers or friends, by no one’s design,
exacerbate slight disagreements into great divides, leading to unwise decisions and
dire results. Neither Adam nor Eve has sinned in this exchange because there has
been no deliberate choice of evil: they sin only when they make a deliberate deci-
sion to eat the fruit. Eve’s dream and its aftermath in Book 5 underscore the poem’s
fundamental assumption that impulses, passions, and desires are not in themselves
sinful unless the will consents to the evil they may promote. But in the marital dis-
pute in Book 9 Eve’s feelings of hurt that her virtue is not thought strong enough
fuel her desire to prove herself independently, while Adam fears to offend Eve. These
emotions sabotage their dialogic exchange and result in physical separation, producing
the mounting sense of inevitability proper to tragedy.
xxii Introduction
In Paradise Lost contemporary assumptions about gender hierarchy are often voiced,
but they strain against the ideal of companionate marriage that Milton developed in
part in his divorce tracts and elaborates here. That companionate ideal is embodied
in the portrayal of Adam and Eve’s shared activities: conversation, lovemaking, the
work and responsibility of the garden, the education offered by the angel. Also, in
the dialogue Milton imagines between Adam and God, Adam expresses his profound
sense of incompletion without an “equal” mate. Milton’s literary strategies also
trouble the ideology of gender hierarchy. Eve is shown to be as much a lyric poet
as Adam, perhaps more so. Their hymns and prayers are joint expressions, but Eve
creates the first love lyric in Eden: the delicate, rhetorically artful, sonnet-like pas-
toral that begins “Sweet is the breath of Morn” (4.449–91). In the Fall sequence and
its aftermath, it is hardly an exaggeration to say that Milton’s epic turns into an Eviad,
casting Eve rather than Adam in the role of central protagonist. The biblical story
requires that she be the object of the serpent’s temptation, but Milton’s poem goes
much further: she initiates the marital colloquy about gardening separately, she engages
in a lengthy and highly dramatic dialogue with Satan embodied in the serpent, she
analyzes her motives and emotions in probing soliloquies before eating the fruit and
before offering it to Adam. After the Fall she responds first to “prevenient grace”
and so first breaks out of what would otherwise be an endless cycle of accusations
and recriminations. Her moving lament, “Forsake me not thus, Adam” (10.914 –36),
becomes the human means to lead Adam back from the paralysis of despair to love,
repentance, and reconciliation, first with his wife and then with God. Her offer to
take the whole of God’s anger on herself echoes the Son’s offer in the Council in
Heaven to take on himself God’s wrath for human sin, and while Eve cannot play
the Son’s redemptive role she does become the first human to reach toward the new
standard of human heroism. Hers is the last speech of the poem, and in it she casts
herself as protagonist in both the Fall and the Redemption: “though all by mee is
lost, / Such favour I unworthie am voutsaft, / By mee the Promis’d Seed shall all
restore” (12.621–3). It is a remarkable claim to agency and centrality.
Milton’s epic also dramatizes political issues long important to him – monarchy,
tyranny, idolatry, rebellion, liberty, republicanism, separation of church and state. The
poem represents both God and Satan as monarchs and portrays Satan not only as
an Oriental sultan but also as a self-styled grand rebel marshaling Milton’s own repub-
lican rhetoric from The Tenure of Kings and Magistrates against what he calls the “tyranny
of heaven.” Those representations offer a poem-long exercise in how to deal with
political rhetoric and how to make right discriminations. The Abdiel–Satan debates
of Books 5 and 6 underscore the Miltonic principle that there can be no possible
parallel between the monarchy proper to God as creator and any other king. These
passages challenge readers to refuse contemporary royalist analogies between God
and King Charles, or Satan and the Puritan rebels, and instead to understand that
the appropriation by any monarch other than God of the imagery and accouterments
of absolute kingship is idolatry. The Nimrod passage in Michael’s prophecy
Introduction xxiii
The issue of experience is also central when Satan tempts Eve to interpret the pro-
hibition on the tree as an injurious withholding of knowledge from humans, and to
infer from the serpent’s supposed experience of gaining reason and speech by eat-
ing the forbidden fruit that she can expect a proportional rise in the scale of being.
This invitation to reason about the prohibition is a brilliant rhetorical move, original
with Milton. Eve could meet it successfully by holding firm to the understanding
she articulated when she arrived at the tree: that this prohibition is a positive com-
mand of God outside the domain of reason (“Sole Daughter of his voice,” 9.653).
She might also recall, as Abdiel did, her previous experience of God’s goodness. Not
blind obedience to the letter, or entire reliance on reason and experience, but
thoughtful discrimination is called for in understanding God’s decrees.
Milton’s theological principles also enable him to portray God as an epic charac-
ter, though Tasso and most other Christian epic poets and theorists thought that would
be impossible and probably sacrilegious. In his Christian Doctrine Milton argued that
all ideas or images of the incomprehensible God are necessarily metaphoric, but that
they should correspond to the way God has presented himself in the Scriptures.
Accordingly, he can present the God of Paradise Lost displaying a range of emotions
(fear, wrath, scorn, dismay, love) as Jehovah does in the Hebrew Bible and its vari-
ous theophanies; he also calls upon some representations of Zeus in Homer and Hesiod
and Jove in Ovid. But he does not attempt to portray God as a unified, fully realized
character, or, by human standards, always an attractive one. The views of God that
Milton offers – debating with the Son in Book 3, presenting the Son to the angels
in Book 5, sending the Son to defeat the rebel angels in Book 6, prompting the gen-
erative activities of earth in Book 7 with the Son as his agent, debating with Adam
in Book 8, sending the Son to judge Adam and Eve in Book 10 – are all partial reflections
seen from particular perspectives.
Milton’s antitrinitarianism and Arminianism also serve his literary project. Like
adherents of the so-called Arian heresy, Milton argued in his Christian Doctrine
that the Son is a subordinate deity, not omniscient or omnipotent or eternal or
immutable but rather produced by an act of God’s will as the firstborn of creation,
and that he enjoys whatever divine attributes he has only as God devolves them upon
him. This allows Milton to portray the Son in Paradise Lost as a genuinely dramatic
and heroic character, whose choices are made and whose actions are taken freely, in
a state of imperfect knowledge – his condition when, in dialogue with God, he takes
on his sacrificial role to save humankind (3.81–342). That dialogue also both affirms
and dramatizes the belief in free will (Arminianism) which is at the heart of this poem
and of much else that Milton wrote. The Father explains and defends his “high Decree”
that from all eternity mandates contingency and freedom for both angels and
humans, and thereby secures to both orders genuine freedom of choice, whose results
he foresees but does not predetermine. Humans were made “just and right, /
Sufficient to have stood, though free to fall” and the same is true of “all th’ Ethereal
Powers / And Spirits, both them who stood and them who faild.” If it were not so,
Introduction xxv
God declares, the noblest acts of faith, love, and true allegiance by angels and humans
would be meaningless, and “Will and Reason (Reason also is choice)” would be “Useless
and vain” (3.98–109). The dialogue itself enacts the distinction between foreknow-
ledge and predestination: the Son freely volunteers to die to save humankind, a choice
the Father foreknew but did not determine.
The final segment of the poem presents Michael’s prophecy of biblical history to
come as a series of examples, repeated again and again, of one or a few righteous
humans standing out against, but at length overcome by, the many wicked. Michael
sums up this tragic history, “so shall the World goe on, / To good malignant, to bad
men benigne, / Under her own waight groaning” until the Millennium (12.537–9).
But he promises Adam “A paradise within thee, happier farr” (12.587) if Adam learns
how to live in faith and charity. This has seemed to some a recipe for quietism and
retreat from the political arena. But the thrust of Michael’s history is against any
kind of passivity, spiritual, moral, or political, as it emphasizes the responsibility of
the few just men in every age to oppose, if God calls them to do so, Nimrods, or
Pharoahs, or tyrannous kings, even though – like the loyal angels in the Battle in
Heaven before the Son appears – they will win no final victories until the Son’s
Second Coming.
Milton offers Paradise Lost as in some sense a theodicy, an effort “To justifie the
wayes of God to men” (1.26). God’s insistence on his creatures’ free will is central
to showing the justice of his ways. So is the fact that, despite learning about the
ravages of Sin and Death throughout history, Adam is able to proclaim the good-
ness of God’s ways as the meaning of the messianic promises becomes clear to him.
But, as a poet, Milton’s theodicy is less a matter of theological argument or doctrine
than of the imaginative vision the entire poem presents of human life, human love,
and the human condition as good, despite the tragedy of the Fall and all our woe.
That may seem a quixotic affirmation from a poet who endured the agony of total
blindness throughout his most creative years and who experienced the utter defeat
of the political cause to which he gave twenty years of his life. But it arises from the
ideas of human freedom, moral responsibility, and capacity for growth and change
that the entire poem dramatizes.
Milton’s poignant, quiet, wonderfully evocative final lines are elegiac in substance
and tone, conjoining loss and consolation. Prophecy and providence provide part of
that consolation, but the emphasis falls upon the comforts and challenges of Adam
and Eve’s loving union as they go forth “hand in hand” to live out all that has been
foreseen:
“Answerable Style”
Seeking an “answerable style” for his “great Argument,” Milton produced rushing,
enjambed, blank-verse lines that propel us along with few pauses for line endings or
full stops, marked by elevated diction and complex syntax and by sonorities and sound
patternings that make a magnificent music. He was clearly at pains to create an epic
language suited to his exalted subject, a sublime high style of remarkable range whose
energy and power will engulf us from the beginning. This style is created in part by
dense allusiveness to classical myths, to biblical, historical, and literary names and
stories, and to geographical places, ancient and contemporary, which import into
the poem our associations with all those literary and physical worlds. Consider these
three, among manifold examples: “in Ausonian land / Men call’d him Mulciber; and
how he fell / From Heav’n, they fabl’d, thrown by angry Jove / Sheer o’re the Chrystal
Battlements: from Morn / To Noon he fell, from Noon to dewy Eve, / A Summers
day” (1.739–44); “And all who since, Baptiz’d or Infidel / Jousted in Aspramont or
Montalban, / Damasco, or Marocco, or Trebisond” (1.582–4); “Blind Thamyris and blind
Mæonides, / And Tiresias and Phineus Prophets old” (3.35–6). Parallelism often organ-
izes such allusions into a series, sometimes couched in negatives, so as at once to
invite comparisons and deny them. An example is the familiar passage describing
Eden: “Not that faire field / Of Enna, where Proserpin gathering flours / Her self a
fairer Floure by gloomie Dis / Was gatherd, which cost Ceres all that pain / To seek
her through the world; nor that sweet Grove / Of Daphne by Orontes, and th’ inspir’d
/ Castalian Spring, might with this Paradise / Of Eden strive” (4.268–75). Moreover,
the often euphonious names in such passages echo in pervasive sound patterns of
assonance, consonance, and repetition, helping to create a distinctive music while
avoiding full rhyme, save in about 200 lines.
Milton devised for his poem a flexible blank-verse line with (almost always) ten
syllables and a masculine or strong stress at the ends of lines. But the basic iambic
rhythm (five weak and five strong stresses), is constantly varied by interspersing other
rhythmic feet, so that some lines contain as few as three and others as many as eight
strong stresses. The lines are organized into verse paragraphs of varying length,
so that the reader encounters large units of verse at once, aided in this by Milton’s
characteristic light punctuation. Milton also employs great freedom in the placement
of caesuras (the pauses falling within the line) and he uses enjambment constantly,
so that the sense is carried over from line to line. Sometimes the natural slight pause
at the end of a line offers one meaning, which is then extended or qualified by the
next, rove-over line. For example, as Satan looks from Chaos toward the Empyreal
heaven he sees attached to it by a golden chain “This pendant world, in bigness as
a Starr / Of smallest Magnitude close by the Moon” (2.1052–3). We first take an impres-
sion of the massive size of the world as we pause briefly at the end of the first line;
then that impression is revised as the line roves over, and the world seems instead
small and very vulnerable.
Introduction xxvii
that Sea-beast
Leviathan, which God of all his works
Created hugest that swim th’ Ocean stream:
Him haply slumbring on the Norway foam
The Pilot of some small night-founder’d Skiff,
Deeming some Island oft, as Sea-men tell,
With fixed Anchor in his skaly rind
Moors by his side under the Lee, while Night
Invests the Sea, and wished Morn delayes:
So stretcht out huge in length the Arch-fiend lay
(1.200 – 9)
The explicit comparison is in terms of great size, but the familiar mariner’s tale of
the whale mistaken for a sheltering island foreshadows the deceptions of Satan, who
attracts but then destroys the unwary.
Milton’s epic style is elevated by unusual grammatical constructions – for example,
“palpable obscure” (2.406) – in which an adjective is used as a noun; the phrase
prevents visualization but produces a highly evocative, almost synesthetic, effect that
suggests some qualities of that indescribable place, Chaos. Also, this style is
estranged from English syntactic norms by a freedom of word order common to
inflected languages like Latin, as in the description of Eve discovered by Satan alone
amidst her flowers: “them she upstaies / Gently with Mirtle band, mindless the while,
/ Her self, though fairest unsupported Flour, / From her best prop so farr and storm
so nigh” (9.430–3). Or again, in this observation about the volcanic soil of Hell as
Satan first lands upon it: “Such resting found the sole / Of unblest feet” (1.237–8).
Milton embeds dense layers of meaning in particular words by exploiting their
Latin or Greek etymological senses. In the description of the rebel angels hurled from
heaven “With hideous ruin,” “ruin” keeps its Latin etymological meaning, “falling,”
along with its contemporary sense, “devastation.” Or in several descriptions of “hor-
rid Arms” “horrid” means “terrible” but also keeps its Latin sense of “bristling” with
spikes of flame. At times only the Latin sense is evoked, as when the rivers of Eden
are said to run “With mazie error” (4.239): “error” here means “wandering,” not
“mistake” or “fault.” Milton often plays with serious wit on the multiple meanings
of a word, as in Adam’s honorific address to Eve, “Sole partner and sole part of all
these joyes” (4.411), where “sole” first means “only” and then “unique,” probably
with overtones of the homonym, “soul.” Later, in the throes of desperation after his
xxviii Introduction
fall, Adam invents a false etymology, deriving “evil” from Eve’s name: “O Eve, in evil
hour thou didst give eare / To that false Worm” (9.1067–8).
Another distinctive characteristic of Milton’s style is his use of a series of words
with the same prefix – especially “un,” as in Belial’s speech projecting the punish-
ments the rebel angels may yet incur, “Unrespited, unpitied, unrepreevd” (2.185). Or
the description of the steadfast loyal angels in the Battle in Heaven, “Unwearied, unob-
noxious to be pain’d” (6.404) by wounds. He often coins words by using negative
prefixes: “disespouse,” “inabstinence,” “disenthrone” (the OED attributes coinages of
many kinds to Milton). While Milton’s diction is often polysyllabic and ornamental,
he also uses simple Anglo-Saxon words to powerful effect, as in this list of Hell’s
geographical features: “Rocks, Caves, Lakes, Fens, Bogs, Dens, and shades of death”
(2.621). Similar lists evoke Satan’s tortuous passage through the formless terrain of
Chaos: “Ore bog or steep, through strait, rough, dense, or rare, / With head, hands,
wings, or feet pursues his way, / And swims or sinks, or wades, or creeps, or flyes”
(2.948–50). Milton can also employ simple diction and syntax to poignant emotional
effect, as in his moving account of the beauties of nature he has lost by blindness:
“Thus with the Year / Seasons return, but not to me returns / Day, or the sweet
approach of Ev’n or Morn, / Or sight of vernal bloom, or Summers Rose, / Or flocks,
or heards, or human face divine” (3.40–4).
Into this elevated but very flexible epic style, Milton incorporated a wide range
of other genres with their appropriate styles. There are several incorporated lyrics,
the loveliest of which is Eve’s sonnet-like love song to Adam, a 16-line epanalepsis
that begins “Sweet is the breath of morn” and ends with the same word, “without
thee is sweet” (4.641–56). There are many interspersed hymns: the angels’ celebra-
tions of God and the Son in Book 3 and of each day of Creation in Book 7, as well
as the extended morning hymn of Adam and Eve beginning “These are thy glorious
works, Parent of good” (5.153–208). Moloch, Belial, Mammon, and Beelzebub
deliver speeches of formal deliberative oratory in the parliament in Hell, and Belial
is explicitly identified as a Sophist rhetorician who “could make the worse appear /
The better reason” (2.113–14). As well, God employs forensic oratory in Book 3
as he sets forth the case against fallen humankind, Satan and Abdiel engage in a
formal debate in Book 5, and Satan tempts Eve with an impassioned speech in the
manner of “som Orator renound / In Athens or free Rome” (9.670–732). God’s com-
ments on the gathering forces of the rebels are ironic, even sardonic (5.719–32) and
the Battle in Heaven (Book 6) contains several mock-heroic passages filled with
scatological imagery and double entendre as the rebel angels present their cannon.
The scene of Satan’s encounter at Hell’s Gate with his daughter-wife Sin and the
product of their incestuous union, Death, sets forth their horrendous shapes and story
as allegory, but it also has elements of black comedy as Satan fails to recognize his
own offspring. Satan delivers a very dramatic, emotion-filled soliloquy as he confronts
his guilt on Mount Niphates (4.32–133), and Adam and Eve’s marital dispute in Book
9 provides an example of dialogic, colloquial exchange. Adam utters an extended,
Introduction xxix
This text is based on the second edition of Paradise Lost (1674) in twelve books, Milton’s
final version of the work, incorporating his last intentions for its presentation. I have
used the 1674 edition both for the language and for the accidentals (spelling, punc-
tuation, capitalization, italics). On a few occasions, where warranted by obvious mis-
takes or probable printers’ oversights in setting revised text, I have supplied superior
readings from the other sources that have some textual authority: a manuscript of
Book 1 held in the J. Pierpont Morgan Library, New York City, and the first edition
(1667) in ten books, with its reissues and the errata page added in 1668.
The manuscript is not in Milton’s hand (his blindness became total in 1652). It
was prepared by a professional scribe and bears corrections in several hands as well
as printers’ marks indicating that it was used to set Book 1 of the 1667 edition. The
rest of the manuscript no longer survives. One of the hands is that of Milton’s nephew
and former pupil Edward Phillips, who claims in his Life of Milton that he made cor-
rections “as to the Orthography and Pointing” when he came from time to time to
visit his uncle. Yet spelling and punctuation in the manuscript are quite inconsistent:
Edward visited only occasionally, and Milton could not oversee his copyist’s script.
So there is no reason to privilege the manuscript in making editorial decisions or
to seek Milton’s preferred usages from it, though I defer to it in a few places in
Book 1.
The 1667 edition presents Paradise Lost in a ten-book format, rather than the twelve
books that Virgilian epic precedent would dictate. Milton was resisting the Virgilian
mode adopted by Dryden and many others in the early years of the Restoration to
celebrate Charles II as a new Augustus. The ten-book structure alludes to Lucan’s
ten-book Pharsalia or The Civil Wars, widely seen as a republican epic treating the
tragic defeat of the Roman republic and its heroes by Caesar. The 1667 Paradise Lost
is an attractive quarto with a decorated capital letter beginning each book and an
ornamental border across the top of the first page of each book. Line numbers mark
off each ten lines of the poem, enclosed within a double border on the outside edge
Textual Introduction xxxi
name or initials would evoke. Seven different title pages exist for this first edition,
two of them with very minor variations. These were not new editions but new issues,
that is, the same printed sheets, with some press corrections in the various states,
are bound with the new title pages. The first title page lists three different book-
sellers and the reissues in 1667, 1668, and 1669 list three more. Such distribution would
make the book more widely available and promote sales of a book that sold slowly.
In 1668 Simmons added to the fourth issue his own name and fourteen pages of
preliminary matter to help readers better understand the content and form of the
poem. His address to the “Courteous Reader” indicates that he solicited from Milton
an Argument “for the satisfaction of many that have desired it,” as well as “a reason
of that which stumbled many others, why the Poem Rimes not.” Milton provided a
fairly detailed argument for each of the ten books, all printed together at the front,
as well as a vigorous defense of his use of blank verse, and an errata sheet; these
were reprinted in the subsequent issues. As Simmons’ comment indicates, readers
in the Restoration cultural milieu had come to expect rhyme, and especially heroic
couplets, in the high genres – epic, tragedy, and the heroic drama then popular on
the stage. By a remarkable coincidence Dryden’s essay Of Dramatick Poesie greeted
the reading public shortly after August 1667, at about the same time Milton’s blank
verse epic first appeared. In it, Dryden praises rhyme as the norm for modern poetry
of all kinds, especially epic and tragedy, and identifies it as the verse form favored
by the court. Milton’s note on “The Verse,” added in 1668, defiantly challenges not
only that new poetic norm but also, by implication, the debased court culture and
royalist politics associated with it. He concludes by proclaiming his blank verse “an
example set, the first in English, of ancient liberty restored to Heroic Poem from the
troublesome and modern bondage of Riming.” The resonances of this language make
Milton’s choice of blank verse a liberating act and an aesthetic complement to repub-
lican politics and culture.
The second edition (1674) is an octavo; its title page offers a poem in twelve books,
“revised and augmented” by Milton, and identifies Simmons alone as printer and
bookseller (Figure 3). Little new text is added, though many words and phrases are
altered and there are more than 900 changes to typography, spelling, and punctu-
ation. The twelve-book structure is produced by dividing the original Book 7 into
Books 7 and 8, renumbering the following books, and dividing the original Book 10
into Books 11 and 12. Three new lines of poetry are added at the beginning of the
new Book 8 and a fourth line is slightly modified; three new lines are added within
Book 11 and five new lines to the beginning of Book 12. The Arguments are now
printed before each book, divided and slightly revised where necessary to accommodate
the twelve-book format. With this structure Milton placed his poem securely in the
central Virgilian epic tradition, having decided, it seems, to reclaim that tradition
and contest its appropriation by Dryden and the courtly heroic.
The book is well printed, though not so handsome as the first edition; the
decorated letters are replaced simply by large capitals, and there are no ornamental
Textual Introduction xxxiii
borders or page numbers. But the prefatory material now contains, in addition to
Milton’s note on the verse, an engraving made by William Dolle from the engrav-
ing William Faithorne supplied for Milton’s History of Britain (1670; see Figure 1) as
well as two highly laudatory commendatory poems. The first, in Latin, titled “In
Paradisum Amissam Summi Poetae” and signed S.B. M.D., is by Milton’s physician
friend Samuel Barrow. The second, signed A.M., is by Milton’s good friend Andrew
Marvell, who comments wryly on Dryden’s effort to turn the poem into a play in
couplet verse, The State of Innocence.
This edition of Paradise Lost reproduces not only the original language of the 1674
edition but also the spelling, punctuation, capitalization, and italics – features that
often reflect the practices of early modern printing houses rather than authorial deci-
sions. But precisely because we cannot always determine when such features reg-
ister Milton’s preferences, an editor must either make guesses that result in an
idiosyncratic text, or modernize thoroughly, or leave matters much as they are in
the 1674 edition. There are several good modernized editions of Milton’s epic and
that choice is defensible on the grounds that the accidentals cannot be ascribed directly
to Milton and that modern spelling and punctuation make the poem more imme-
diately accessible to the contemporary reader. Yet much is lost by modernizing.
For one thing, the characteristic light punctuation of the 1674 edition builds up and
maintains an energetic, pulsating tempo that pushes the reader through the verse
paragraphs. In Milton’s and many other early modern texts, the uses of colon,
semicolon, and comma serve more to differentiate the heaviness of the pause than,
as now, to clarify the syntax. Supplying modern punctuation often breaks rhythmic
patterns readers are intended to hear and can learn pretty quickly how to read. Also,
such modernizing may force a single reading where the lighter punctuation accom-
modates others.
An example may be taken from the following long sentence in Book 7, variously
modernized by editors:
Two recent editors supply a colon at line 85, and so divide this long sentence
into four distinct parts; in one case, question marks following “Earth” (l. 90) and
“Absolv’d” (l. 94) make two separate sentences of the segments preceding, with
capital letters supplied to the words following (“What,” “If ”). In the other case,
question marks follow “Earth” (l. 90) and “know” (l. 97) making two separate
sentences of those preceding segments. But the lightly punctuated original does
not require either reading. The verb “relate” (l. 84) may instead introduce three
topics for comment: How did the world begin. What moved the Creator to begin
it. How long did the Creation take. One editor supplies parentheses around “which
. . . seemd” (ll. 82–3), placing that line and a half in a strong subordination not
necessarily intended. In this long sentence, modernizing punctuation disrupts the
flowing rhythm and dictates single readings where the original leaves open other
interpretative possibilities.
Many editors keep most of the original light punctuation in order to retain those
long, flowing Miltonic sentences, but modernize orthography freely. Yet this passage
illustrates how some characteristic spellings and contractions impact pronunciation
and thereby the rhythm and sound qualities of the lines. “Voutsaf ’t” is pronounced
differently than its modern equivalent, “vouchsafed,” and the contractions
“Heav’n,” “interfus’d,” “Mov’d,” and “Absolv’d” (as with many such contractions in
this poem) suggest giving a shorter time value to the final syllable than does the
modernized “ed” form. Other entirely characteristic spellings and contractions
that manifestly affect pronunciation and rhythm are: “sovran,” “shew,” “thir,” “bin,”
“highth,” “counterfet,” “adventrous,” “falln,” “wandring,” “know’st,” “seduc’t,”
“scatter’d,” “giv’n,” “ras’d,” “equal’d,” “awak’ning,” “hard’nd,” “tour’d” (towered),
and “Lantskip” (landscape). Also, some elisions clearly affect rhythm: “th’ Ethereal”
is sometimes modernized as “the ethereal” (1.45), “th’ Omnipotent” as “the
omnipotent” (5.616), and “th’ Arch-Enemy” as “the arch-enemy” (1.81). Admittedly,
such characteristic usages are not always consistent in the 1674 edition, and too much
can be made of some distinctions (the difference between “me” and “mee,” “we”
and “wee” does not serve as once thought to mark unstressed and stressed syllables).
Also, some modernized spellings do not make much difference, for example
“unfould/unfold”; “magnifie/magnify.” Nevertheless, many usages are unusual
enough and frequent enough to be identified as Milton’s rhythmic and verbal pref-
erences, and these can only become part of the reading experience of the poem by
respecting the accidentals of the 1674 edition.
Textual Introduction xxxv
The copy text for this edition is Harvard copy 14486.3B, which includes the sec-
ond state of signatures B, C, D, and R; the second state seems to represent Milton’s
or the compositor’s preferences and corrections, and most copies contain these pages.
The copy text has been compared with Harvard 14486.3A, Harvard Aldrich
155.10.7, Huntington 105639 (Wing #M2144), Harris Francis Fletcher’s collations
(in his photographic facsimile edition of Milton’s poems Fletcher identified and
examined 59 copies of the 1674 edition), and, for the first state, John Carter Brown
Library T70. The copy text has also been compared with the 1667 edition (Harvard
14486.2.5) and the errata page added in 1668, as well as with the manuscript of Book
1 in the J. Pierpont Morgan Library.
Punctuation and orthography in the copy text have been followed in most cases.
When a reading is used from the manuscript or from the 1667 edition, or when I
have supplied an emendation, these are noted in the textual apparatus. Differences
in the two editions and the manuscript are indicated when they affect meaning, but
not simple variants in spelling, capitalization, punctuation, or printers’ characters.
Printing irregularities and obvious typesetting errors are silently corrected; for nota-
tion of these readers should consult Fletcher. In the 1674 edition most proper names
are both capitalized and italicized and many other important words are capitalized;
I retain these features, however much or little Milton may have had to do with them,
as they may signal intended emphasis and, as in many early modern texts, they some-
times do suggest allegorical or quasi-allegorical meaning. On a few occasions where
the compositor failed to italicize names customarily italicized, I have supplied italics
and noted that fact in the textual apparatus. Line numbers are given in 1667 but not
in 1674; they are added here.
My goal is to provide useful annotations without swamping the poetic text with
a burdensome apparatus, and without dictating the interpretation of particular
passages. Accordingly, unfamiliar words or words that have changed meaning are glossed
in the margin to indicate their most obvious sense; readers with a knowledge of Latin,
Greek, and other languages will often be aware of etymological meanings it has
not been possible to register. Also, while I have annotated names, places, and many
allusions, I have not attempted to find and cite every biblical or literary echo; to do
so would produce an apparatus longer than Milton’s poem. Nor, except in a few cases
of unusual difficulty, have I supplied readings of passages where Milton’s syntactical
complexities may cause some difficulties. Such syntactical practices are components
of the poem’s style that I do not want to blunt by paraphrase; nor do I want to
dictate one reading where others are also possible.
Illustrations
each book. Most of the drawings for the engravings are by John Baptista Medina
(Books 3, 5–11); the engraver (except for the Book 4 illustration) is Michal Burghers
(or Burgesse). The illustrations included here are reproduced from the 1688 Folio in
the Houghton Library. The title pages for the 1667 and 1674 editions are also repro-
duced from copies in Houghton, as is the William Faithorne engraving of Milton’s
portrait prefacing The History of Britain.
PARADISE LOST
JOHN MILTON
Figure 3 Title page to Paradise Lost, 1674
In Paradisum Amissam
Summi Poetæ
JOHANNIS MILTONI
Qui legis Amissam Paradisum, grandia magni
Carmina Miltoni, quid nisi cuncta legis?
Res cunctas, & cunctarum primordia rerum,
Et fata, & fines continet iste liber.
5 Intima panduntur magni penetralia mundi,
Scribitur & toto quicquid in Orbe latet.
Terræque, tractusque maris, cœlumque profundum
Sulphureumque Erebi, flammivomumque specus.
Quæque colunt terras, Portumque & Tartara cæca,
10 Quæque colunt summi lucida regna Poli.
Et quodcunque ullis conclusum est finibus usquam,
Et sine fine Chaos, & sine fine Deus:
Et sine fine magis, si quid magis est sine fine,
In Christo erga homines conciliatus amor.
15 Hæc qui speraret quis crederet esse futurum?
Et tamen hæc hodie terra Britanna legit.
O quantos in bella Duces! quæ protulit arma!
Quæ canit, & quanta prælia dira tuba.
Cœlestes acies! atque in certamine Cœlum!
20 Et quæ Cœlestes pugna deceret agros!
Quantus in ætheriis tollit se Lucifer armis!
Atque ipso graditur vix Michaele minor!
Quantis, & quam funestis concurritur iris
Dum ferus hic stellas protegit, ille rapit!
25 Dum vulsos Montes ceu Tela reciproca torquent,
Et non mortali desuper igne pluunt:
Stat dubius cui se parti concedat Olympus,
Et metuit pugnæ non superesse suæ.
At simul in cœlis Messiæ insignia fulgent,
30 Et currus animes, armaque digna Deo,
Horrendumque rotæ strident, & sæva rotarum
Erumpunt torvis fulgura luminibus,
Et flammæ vibrant, & vera tonitrua rauco
Admistis flammis insonuere Polo:
35 Excidit attonitis mens omnis, & impetus omnis
Et cassis dextris irrita Tela cadunt.
6 In Paradisum Amissam Summi Poetæ
42. Homer (Maeonides) was wrongly thought to have written the Batrachomyomachia (“Battle of the Frogs
and Mice”); Virgil wrote a comic poem, Culex (“Gnat”).
S.B. is Samuel Barrow, an eminent London physician and friend of Milton. He had been chief physician to
Monk’s army in Scotland and one of his confidential advisers; he then became physician in ordinary to
Charles II. The poem appeared first in the 1674 edition.
In Paradisum Amissam Summi Poetæ 7
useless weapons fall from their feeble hands. They flee to their punishments and, as
if Orcus were a refuge, they struggle to hide themselves in infernal darkness. Yield,
writers of Rome, yield, writers of Greece and all those whom ancient or modern
fame has celebrated. Whoever will read this poem will think Homer sang only of
frogs, Virgil only of gnats.
On Paradise Lost
When I beheld the Poet blind, yet bold,
In slender Book his vast Design unfold,
Messiah Crown’d, Gods Reconcil’d Decree,
Rebelling Angels, the Forbidden Tree,
5 Heav’n, Hell, Earth, Chaos, All; the Argument
Held me a while misdoubting his Intent,
That he would ruine (for I saw him strong)
The sacred Truths to Fable and old Song
(So Sampson groap’d the Temples Posts in spight)
10 The World o’rewhelming to revenge his sight.
Yet as I read, soon growing less severe,
I lik’d his Project, the success did fear;
Through that wide Field how he his way should find
O’re which lame Faith leads Understanding blind;
15 Lest he perplex’d the things he would explain,
And what was easie he should render vain.
Or if a Work so infinite he spann’d
Jealous I was that some less skilful hand
(Such as disquiet always what is well,
20 And by ill imitating would excell)
Might hence presume the whole Creations day
To change in Scenes, and show it in a Play.
Pardon me, Mighty Poet, nor despise
My causeless, yet not impious, surmise.
25 But I am now convinc’d, and none will dare
Within thy Labours to pretend a share.
Thou hast not miss’d one thought that could be fit,
And all that was improper dost omit:
So that no room is here for Writers left,
30 But to detect their Ignorance or Theft.
That Majesty which through thy Work doth Reign
Draws the Devout, deterring the Profane.
And things divine thou treatst of in such state
As them preserves, and thee, inviolate.
35 At once delight and horrour on us seise,
Thou singst with so much gravity and ease;
18–22. The reference is to Dryden, who sought and received Milton’s permission to turn Paradise Lost into
an opera/play, in rhymed couplets. It was published in 1677 as The State of Innocence, but never performed.
On Paradise Lost 9
39–40. Birds of Paradise were popularly believed to have no feet, and therefore to be always in flight.
43 Tiresias. Blind Theban seer prominent in the mythical history of Greece.
47–50. Marvell satirizes the fashion for rhyme which Dryden advanced through his own poems and plays
and vigorously defended in his essay Of Dramatick Poesie (1667).
47. In Buckingham’s play The Rehearsal, Dryden was satirized as “Bayes,” referring to his ambition to wear
the laurel crown (from the bay/laurel tree) of the designated Poet Laureate.
49 Bushy-points. The tassels on hose fastenings “tagged” with bits of metal at the ends. Marvell compares
the constraints of rhyme to that foppish fashion, as Milton himself did when he gave Dryden permission
to “Tagg my Points.”
A.M. is Milton’s friend, the poet Andrew Marvell, who served with him for a time in the Office of the Secretary
for Foreign Tongues under Oliver Cromwell, and who was reportedly instrumental after the Restoration
in helping Milton gain pardon for supporting the regicide and republic. This poem appeared first in the
1674 edition and again in the posthumous collected edition of Marvell’s poems, Miscellaneous Poems, 1681.
THE VERSE
The Measure is English Heroic Verse without Rime, as that of Homer in Greek, and
Virgil in Latin; Rime being no necessary Adjunct or true Ornament of Poem or good
Verse, in longer Works especially, but the Invention of a barbarous Age, to set off
wretched matter and lame Meeter; grac’t indeed since by the use of some famous
5 modern Poets, carried away by Custom, but much to thir own vexation, hindrance,
and constraint to express many things otherwise, and for the most part worse then
else they would have exprest them. Not without cause therefore some both Italian,
and Spanish Poets of prime note have rejected Rime both in longer and shorter Works,
as have also long since our best English Tragedies, as a thing of itself, to all judicious
10 ears, triveal and of no true musical delight; which consists onely in apt Numbers, fit
quantity of Syllables, and the sense variously drawn out from one Verse into another,
not in the jingling sound of like endings, a fault avoyded by the learned Ancients
both in Poetry and all good Oratory. This neglect then of Rime so little is to be taken
for a defect, though it may seem so perhaps to vulgar Readers, that it rather is to
15 be esteem’d an example set, the first in English, of ancient liberty recover’d to Heroic
Poem from the troublesom and modern bondage of Rimeing.
In the 1668 and 1669 reissues of the 1667 edition, Samuel Simmons explained in a brief address, “The Printer
to the Reader,” that he had elicited from Milton the arguments to the several books and this note on the
verse: “Courteous Reader, there was no Argument at first intended to the Book, but for the satisfaction of
many that have desired it, I have procur’d it, and withall a reason of that which stumbled many others,
why the Poem Rimes not.”
3 barbarous Age. The Middle Ages, following the fall of Rome and the demise of classical culture.
4–5 famous modern Poets. Ariosto, Tasso, and Spenser used rhymed stanzas in their heroic poems.
8. Spanish poetry is usually rhymed, but unrhymed verse was used by Joan Boscà Almugaver in Leandro (1543)
and by Garcilaso de la Vega. Among Italian examples, Milton probably knew Torquato Tasso’s hexam-
eron, Il Mondo Creato (written 1592–4).
9 best English Tragedies. Shakespeare chiefly, but also Marlowe.
10 apt Numbers. Appropriate rhythm.
11 quantity. Alludes to Greek and Latin quantitative meter, which Milton does not imitate; his direct ref-
erence is probably to the number of syllables in the poetic line, e.g., ten (usually) for his own iambic
pentameter lines.
15–16. The charged language – “ancient liberty,” “modern bondage” – associates the Restoration aesthetic
norm of rhymed verse with Stuart political tyranny and aligns classical and Elizabethan unrhymed poetry,
and Milton’s own blank verse, with republican liberty.
BOOK 1
THE ARGUMENT
This first Book proposes, first in brief, the whole Subject, Mans disobedience, and the loss
thereupon of Paradise wherein he was plac’t: Then touches the prime cause of his fall,
the Serpent, or rather Satan in the Serpent; who revolting from God, and drawing
to his side many Legions of Angels, was by the command of God driven out of Heaven
5 with all his Crew into the great Deep. Which action past over, the Poem hasts into the
midst of things, presenting Satan with his Angels now fallen into Hell, describ’d here,
not in the Center ( for Heaven and Earth may be suppos’d as yet not made, certainly not
yet accurst) but in a place of utter darkness, fitliest call’d Chaos: Here Satan with his
Angels lying on the burning Lake, thunder-struck and astonisht, after a certain space
10 recovers, as from confusion, calls up him who next in Order and Dignity lay by him;
they confer of thir miserable fall. Satan awakens all his Legions, who lay till then in
the same manner confounded; They rise, thir Numbers, array of Battel, thir chief
Leaders nam’d, according to the Idols known afterwards in Canaan and the
Countries adjoyning. To these Satan directs his Speech, comforts them with hope
15 yet of regaining Heaven, but tells them lastly of a new World and new kind of Creature
to be created, according to an ancient Prophesie or report in Heaven; for that Angels
were long before this visible Creation, was the opinion of many ancient Fathers. To find
out the truth of this Prophesie, and what to determin thereon he refers to a full
Councel. What his Associates thence attempt. Pandemonium the Palace of Satan rises,
20 suddenly built out of the Deep: The infernal Peers there sit in Councel.
5–6. According to Horace, the epic poet should begin in medias res.
7. Center. Hell was not, as some thought, in the center of the earth.
17. Fathers. Church Fathers writing in the early Christian centuries, e.g., Jerome, Origen, Basil, Chrysostom,
Gregory of Nazianzen. See Milton’s Christian Doctrine, 1.7.
1–26. The first Proem contains the epic statement of theme (1–5) and the invocation.
4. Christ, the second Adam.
6. See 7.1 and note. Urania, the Greek Muse of astronomy, had been made into the Muse of Christian
poetry by Du Bartas and other religious poets. Here she is identified as the Muse that inspired biblical
prophet-poets.
12 Paradise Lost
8. Moses, thought to be the author of Genesis and the other four books of the Pentateuch, was tending sheep
on Mount Horeb (“Oreb”) when God spoke to him from a burning bush (Exod. 3:1– 2); he received the
Law on the highest peak, “Sinai.” chosen Seed. The Jews.
9–10 In the Beginning. Echoes Gen. 1:1; Milton thought God created the universe out of unformed matter
(“Chaos”), not out of nothing. Sion Hill. Mount Zion, associated with the biblical poet David (reputed
author of many psalms); also the site of Solomon’s Temple with its songs and ceremonies.
11–12 Siloa’s Brook. Siloah, a pool near Mount Zion (Neh. 3:15); it parallels Aganippe, the Muses’ spring.
Also Siloam, the pool where Jesus cured a blind man (John 9:1–11). Oracle. Mount Zion as site of
Divine teaching and prophecy (Isa. 2:3).
15 Aonian Mount. Mount Helicon, home of the classical Muses.
16. The line translates Ariosto, Orlando Furioso 1.2.2: “Cosa non detta in prosa mai, né in rima.”
17 Spirit. Probably the creative power of God (see Milton’s commentary on Gen. 1:2 in Christian Doctrine,
1.7), but possibly the Holy Spirit, understood in antitrinitarian terms (ch. 6).
17–22. A composite of biblical phrases (e.g., Gen. 1:2, 1 Cor. 3:16, Mark 1:10, Luke 3:22, and John 1:32).
Milton’s brooding image comes from the Hebrew, accurately translated in the Tremellius Latin Bible
(“incubabat”).
27. An opening question like this is an epic convention. Compare Aeneid 1.8, “Musa, mihi causas memora”
(“Tell me the cause, O Muse”).
Book 1 13
33. Compare Iliad 1.8, asking who first sowed discord among the Greeks.
34. See Rev. 12:9: “that old serpent, called the Devil, and Satan.” The description of Satan’s fall (42 – 9) echoes
Isa. 14:12–15, Luke 10:18, and Jude 6.
48. Adamant was a mythical substance of great hardness.
50. Alludes to the analogous fall of the defeated Titans in Greek myth (Hesiod, Theogony 664 –735), who fell
nine days from heaven to earth and nine more into Tartarus.
66. The phrase alludes to the inscription over Dante’s Hell, “All hope abandon, you who enter here” (Inferno
3.9) and to Euripides, Troades 681, “to me even hope, that remains to all mortals, never comes.”
14 Paradise Lost
74. Milton here describes the distance from Heaven to Hell as three times the distance from the center (earth)
to the outermost sphere. Cf. other descriptions of the universe at 2.1051–3 and 8.66 –170.
81. The Phoenician sun god Baal (the name in Hebrew means “Lord of the Flies”); in Matt. 12:24 he is called
“the prince of the devils.” Like Satan (whose name in Hebrew means “Adversary”) and the other fallen
angels, he is now known by the name he will bear in Hell and as a pagan deity.
84–5. Satan’s opening words recall Aeneas’ vision of the ghost of Hector on the night of Troy’s fall, “so changed
from the living Hector” (Aeneid 2.274–5).
Book 1 15
230–7 subterranean wind. Thought to be the cause of earthquakes. Pelorus. Cape Faro, a promon-
tory on the east of Sicily, near the volcanic Mount “Ætna.” Cf. Aeneid 3.570 –7, Virgil’s description of Etna
darkening Pelorus with its smoke.
Book 1 19
338–43 Amrams Son. Moses (Exod. 6:20), who with his rod called down a plague of locusts on Egypt “so
that the land was darkened” (Exod. 10:12–15; PL 12.184 –8).
348 Sultan. The title of the Ottoman emperors, connoting despotism.
351–5. The barbarian invasions of Rome began with northern tribes crossing the Rhine (“Rhene”) and
Danube (“Danaw”) rivers, then spreading across Spain via “Gibralter” into North Africa (“Lybian sands”).
22 Paradise Lost
363 Books of Life. Record of the names of the faithful (Rev. 3:5 and 21:27).
373. Tertullian, Origen, Augustine, and others identified the pagan gods with the fallen angels, and the belief
continued to Milton’s time.
376. The catalogue of the gods here is an epic convention. Homer catalogues commanders and ships, Virgil,
warriors; both begin with an invocation to the Muse (Iliad 2.484; Aeneid 7.641).
381–91. The first group of devil-idols settled in the Middle East, close neighbors of “Jehovah” whose seat was
in Jerusalem (“Sion”). Milton draws many details about them from John Selden’s De Diis Syris.
Book 1 23
386–7 Cherubim. Golden Cherubim adorned opposite ends of the gold cover on the Ark of the Covenant,
where Jehovah was “thron’d” (2 Kgs 19:15; Ps. 80:1).
392–9 Moloch. In Hebrew, “King.” A god of the Ammonites, usually represented with a calf ’s head crowned.
Rabba (“city of waters”) is modern Amman in Jordan; the towns “Argob” and “Basan,” and the river “Arnon”
lie east of the Dead Sea. Children were sacrificed by being placed alive in Moloch’s red-hot brazen image
while “Timbrels” sounded to cover their cries (2 Kgs 23:10).
403–5 that opprobrious Hill. 1 Kgs 11:7: the Mount of Olives. Under the names “Tophet” and “Gehenna,”
the “Valley of Hinnom” (2 Kgs 23:10) adjacent to Jerusalem became a “Type of Hell.” Groves throughout
the Old Testament are associated with idolatry.
406–11 Chemos. Moabite fertility god, associated with the phallic god Priapus; his priests were said to
defecate ritually before his shrine. Their lands (many taken from Isa. 15 –16) are mentioned in these lines.
Seon. Sihon, king of the Ammonites. Asphaltick Pool. The Dead Sea. “Asphaltick” refers to its deposits
of bitumen.
412–14 Peor. The story of Peor seducing the Israelites in “Sittim” and the resulting “woe,” a plague killing
24,000, is told in Num. 25:1–9.
24 Paradise Lost
416 Hill of scandal. The Mount of Olives, where Solomon built temples to Chemos and Moloch (1 Kgs 11:7).
418 Josiah. A reforming king of Judah, Josiah destroyed the groves and idols of Moloch, Chemos, Astoreth,
and Bael (2 Kgs 23:4–14).
419–21. Palestine is bordered by the “Euphrates” on the east and the “Brook” of Besor on the Egyptian bor-
der (1 Sam. 30:10).
422 Baalim and Ashtaroth. Plural forms of the sun god Baal and the moon goddess Astoreth (438; “Astarte,”
439). Baal means Lord, and is used as a prefix, e.g., Baal-Peor.
439–41 Astarte. The Phoenician (“Sidonian,” from the city Sidon) original of Aphrodite, with a bull’s head
above her own from which sprang “crescent Horns” (Nativity Ode, 200).
443–6 th’ offensive Mountain. The Mount of Olives where “uxorious” King Solomon, whom God gave a
“large” heart, built a temple for “Astoreth” at the behest of his many wives (2 Kgs 23:13; 1 Kgs 4:29, 11:1–8).
Book 1 25
446–52 Thammuz. A Syrian god; his Greek form was “Adonis,” beloved of Aphrodite, metamorphosed into
the anemone. Annual festivals identify his death in “Lebanon” from a boar’s wound and his revival, with
the death and rebirth of vegetation. Here, “Adonis” is a Lebanese river, so named because each July it
turned blood red from iron-rich clay.
455 Ezekiel. Ezek. 8:12–16 describes women’s “dark” idolatrous rites for Thammuz in the “Porch” and men’s
worship of the sun within the Temple.
457–63. When the Philistines stole the Ark of God they placed it in the temple of their sea-god, Dagon ( half-
man, half-fish) but his statue fell down and broke in pieces (1 Sam. 5:1–5).
464–6. The five chief cities of the Philistines, sites of Dagon’s worship (see Zeph. 2:4): “Azotus” (Ashdod),
“Gath,” “Ascalon,” “Accaron” (Ekron), and “Gaza” (Azza).
467–76 Rimmon. The chief Syrian god. The Syrian general Naaman was cured of leprosy when (at the prophet
Elisha’s bidding) he bathed in the river Jordan and then renounced Rimmon (2 Kgs 5:1–19); “Abbana” and
“Pharphar” are rivers of “Damascus,” the chief city of Syria. King “Ahaz” of Judah conquered Syria but then
converted to Rimmon’s cult (2 Kgs 16:7–18).
26 Paradise Lost
477–82. The second group of devils includes gods originally driven from Olympus by the revolt of the giants
and forced to wander in “brutish” (animal) forms (Ovid, Metamorphoses 5.319–31). The Egyptians later wor-
shiped such animal-headed gods: “Osiris,” a bull; “Isis,” a cow; “Orus” (Horus), a falcon.
482–4. While Moses was receiving the Law his brother Aaron made the “Calf in Oreb” with golden orna-
ments “borrow’d” (carried out of ) Egypt (Exod. 12:35); the Israelites worshiped the idol, traditionally identified
with the Egyptian god Apis (Exod. 32:1–4).
484–9 Rebel King. Jeroboam led ten tribes in a revolt against Solomon’s son Rehoboam, and “doubled” Aaron’s
sin by making two golden calves, one in “Bethel,” one in “Dan” (1 Kgs 12:19 –30); at the Passover, “Jehovah”
(Exod. 12:12) smote the Egyptian firstborn ( both men and beasts) and all their gods.
490–502 Belial. Hebrew for “worthlessness.” Not a god, but phrases such as “Sons of Belial” ( Judg. 19:22,
20:13, and 2 Cor. 6:15) encouraged personification. The sons of the high priest “Ely,” themselves priests,
were “sons of Belial,” seizing offerings meant for God and lying with prostitutes (1 Sam. 2:12 –22). Milton
invites association with Restoration churches, courts, and cities.
Book 1 27
503–5. Lot begged the Sodomites to rape his virgin daughters rather than his angel guests; no rape occurred,
and the angels destroyed “Sodom” (Gen. 19:1–10, 24). At “Gibeah” ( Judg. 19:22–9) an old man prevented
“worse” homosexual rape by surrendering his Levite guest’s concubine to “certain sons of Belial”; she was
raped all night and was found dead the next morning. The change from the biblical concubine to “a Matron”
heightens the crime.
508–10. The Ionian Greeks (“Javans issue,” i.e., of the line of Noah’s grandson Javan, son of Japhet) held the
Titans to be gods, supposedly the progeny of “Heav’n” (Uranus) and “Earth” (Gaea).
510–15 Titan. Titan, the firstborn, was deposed by his younger brother “Saturn” (or Cronos), who was in
turn deposed by his son “Jove” (Zeus) who had been reared in secret in a cave on Mount “Ida” in “Creet”
(Crete).
515–19. The Olympian gods dwelt on Mount “Olympus”; Apollo’s Pythian oracle was at Delphi (“Delphian
Cliff”), high on Mount Parnassus; “Dodona” was an ancient site of Zeus’ oracle; “Doric Land”: Greece.
519–21. The defeated “Saturn” fled over the Adriatic (“Adria”) to Italy (“th’ Hesperian Fields”), to France (“Celtic”
lands) to roam (“the utmost Isles”) of Britain.
28 Paradise Lost
534 Azazel. Traditionally, one of the four standard-bearers of Satan’s army; a chief devil in the Book of Enoch.
543. For their “Reign” see 2.894–909, 959–70.
550–4 Phalanx. Greek battle formation consisting of footsoldiers presenting a square, impenetrable thicket
of spears, usually eight ranks deep. Dorian mood. The Greek musical mode used for solemn
martial music, intended to produce calm firmness (Plato, Republic 3.399A). The Spartans (“Hero’s old”)
marched to battle to the Dorian music of “Flutes.”
Book 1 29
573 never since created man. i.e., since man was created (Latin idiom).
575–9. See Iliad 3.1–6 for the war of the pygmies (with a pun on “infantry,” infants) and the “Cranes.” The
Giants fought the Olympian gods at “Phlegra” in Macedonia (Pindar, Nemian Odes 1.67–8); the Greek armies
(“Heroic Race”) fought battles at “Theb’s” and “Ilium” (Troy), aided by various gods.
580–4. Armies from romances include “British” and “Armoric knights” (from Brittany) who fought with Arthur
(“Uthers Son”); and Charlemagne’s army that defeated the Saracens at “Aspramont” (the dark mountain).
Knightly jousts took place at the sites named, all from romances about chivalric wars between Christians
and Saracens: “Montalban” (the white mountain) the home of Rinaldo, “Damasco” (Damascus), “Marocco”
(Marrakesh, a sultanate in what is now Morocco), and “Trebisond” (Trabzon, a Byzantine city on the
Black Sea).
585–7. Saracens gathered at “Biserta” (Bizerte) in Tunisia to invade Spain (Boiardo, Orlando Innamorato 2.29.1–22);
Charlemagne’s rearguard, led by his best knight Roland, was massacred at Roncesvalles, near “Fontarabbia”
(Fuenterrabia, on the Spanish coast). But in no version of the story did Charlemagne himself fall.
30 Paradise Lost
597–9. The censor objected to these lines, as perhaps an allusion to the eclipse on the day of Charles II’s
birth, portending “change” (i.e., the Interregnum). disastrous. astrologically unfavorable (dis + astrum).
620. Satan weeping before his defeated troops recalls Agamemnon stricken with grief in similar circumstances
(Iliad 9.13–14)
Book 1 31
668. Like Roman legions, the fallen angels applaud by beating swords on shields.
32 Paradise Lost
711–12 Exhalation. Exhalations were thought to cause comets and meteors ( bad omens) and pestilence
(cf. 10.693–5). Pandæmonium rises to symphonic and vocal music, like Thebes to Amphion’s lyre.
714 Doric pillars. Round and fluted, Doric pillars are severe and plain. Pandæmonium combines classical archi-
tectural features with elaborate ornamentation, perhaps suggesting St. Peter’s in Rome.
715–16 Architrave. The beam that rests on top of the columns. Cornice. The part above and over-
hanging the frieze. Freeze. The frieze: the architectural element above the architrave on which
the sculptures usually are set.
717–20 Babilon. Babylon in Assyria had temples to “Belus” (Baal); “Alcairo” (ancient Memphis, near Cairo) had
temples to “Serapis” (composite of Osiris and Apis, the bull god). Both cities were famously magnificent.
728–9 Cressets. Iron baskets hung from the ceiling, holding burning pitch (“Asphaltus”); oily “Naphtha” was
placed in the lamps.
34 Paradise Lost
738–46. Hephæstus (in “Greece”), Vulcan or “Mulciber” in Italy (“Ausonian land”), was architect of the clas-
sical gods’ palaces; the story of his fall, cast out by Zeus (“angry Jove”) to land in “Lemnos” in the “Ægean”
sea, is told in Iliad 1.590–4. Zenith. the highest point of the celestial sphere.
747 Erring. Milton thought the classical myths were erroneous versions of biblical stories.
756 Pandæmonium. Milton’s coinage, literally “all Demons,” an inversion of Pantheon, “all gods.”
768–76. Bee similes were common in epic from Homer on (Iliad 2.87–90; Aeneid 1.430–6); also, the bees’ (roy-
alist) society was often cited in political arguments. The simile prepares for the sudden contraction of the
“common” devils, enabling them to fit into the Hall of Pandæmonium (791–2).
769. The sun is in the zodiacal sign of “Taurus” (the Bull) from about April 19 to May 20.
Book 1 35
780–1 Pigmean Race. Pygmies were thought to live beyond the Himalayas (“the Indian Mount”).
792–4. These “Lords” retained their own size.
795 conclave. Secret assembly, often ecclesiastical.
797 Frequent. Crowded together. full. In great number.
Figure 4 Illustration to Book 2, 1688
BOOK 2
THE ARGUMENT
The Consultation begun, Satan debates whether another Battel be to be hazarded
for the recovery of Heaven: some advise it, others dissuade: A third proposal is prefer’d,
mention’d before by Satan, to search the truth of that Prophesie or Tradition in Heaven
concerning another world, and another kind of creature equal or not much inferiour
5 to themselves, about this time to be created: Thir doubt who shall be sent on this
difficult search: Satan thir chief undertakes alone the voyage, is honourd and
applauded. The Councel thus ended, the rest betake them several wayes and to sev-
eral imployments, as thir inclinations lead them, to entertain the time till Satan return.
He passes on his journey to Hell Gates, finds them shut, and who sat there to guard
10 them, by whom at length they are op’nd, and discover to him the great Gulf
between Hell and Heaven; with what difficulty he passes through, directed by Chaos,
the Power of that place, to the sight of this new World which he sought.
1. A typical epic convention (in e.g. Iliad 2.53–394, Aeneid 11.302– 446, Tasso, Gerusalemme Liberata 2.58 – 90)
involved councils debating war and peace, with spokesmen on each side. Infernal councils have
antecedents in Tasso, Vida, Valvasone, and others.
11–12. Satan is given directions by “Chaos,” the ruler (“Power”) of “that place” (Chaos) to the created uni-
verse (“new World”).
2 Ormus. Hormuz, an island port at the mouth of the Persian Gulf, famous for pearls.
4 Barbaric. Exotic; pertaining originally to all nations except Greece and Rome.
5 merit. Desert, either good or bad. Cf. 3.309–10, 6.43.
11 Powers and Dominions. Angelic orders; “vertues” (15) were also an angelic order. Milton retains the
names but not the arrangement into distinct hierarchical ranks.
38 Paradise Lost
139 Ethereal mould. Heavenly substance, derived from “ether,” the fifth and purest element, supposed incor-
ruptible.
148. Cf. Seneca, De Consolatione Ad Marciam 11.4–5, describing the capacity of thoughts to range through
heaven and all past and future time.
42 Paradise Lost
170–4. For Belial’s questions, cf. Tasso, Gerusalemme Liberata 10.44 –7. For God’s “ breath that kindled” cf.
Isa. 30:33, “the pile [of Hell] is fire and much wood; the breath of the Lord, like a stream of brimstone,
doth kindle it.” For God’s “red right hand” cf. Horace, Odes 1.2.1– 4, Jove hurling thunderbolts with a “red
right hand.”
190–1. “He that sitteth in the heavens shall laugh; the Lord shall have them in derision” (Ps. 2:4). Milton’s
God is not passionless, but displays a range of emotions, see Christian Doctrine 1.2.
Book 2 43
199–200. Echoing Mucius Scaevola’s famous words, when he held his hand in the fire to demonstrate Roman
fortitude (Livy, Ab Urbe Condita 2.12.10).
212 mind. Be concerned about; be aware of.
220 light. May be a noun, the opposite of darkness, or an adjective, “easy to bear.”
44 Paradise Lost
252–60. Mammon echoes the Stoic stance of Horace (Epistles 1.18.107–10) but not his proposed simple lifestyle.
Book 2 45
327–8. God’s iron scepter symbolizes Justice, his golden scepter, Mercy. Cf. Rev. 19:15, “he shall rule them
with a rod of iron.” In 1653 Milton translated Ps. 2:9 with the phrase, “ With iron scepter bruised.” See
PL 5.886–7.
Book 2 47
349–50. Cf. Ps. 8:5: “For thou hast made him a little lower than the angels.” See PL 1.654, 8.228.
352–3. In classical epic the heavens shake when the king of the gods (Zeus, Jove) takes an oath.
369–70. Gen. 6:7, God determining to destroy the world by flood: “And the Lord said, I will destroy man
[and all the creatures] . . . for it repenteth me that I have made them.”
383. Adam is the “root” of the human family tree.
48 Paradise Lost
406 palpable obscure. Darkness so thick it can be felt (cf. Exod. 10:21).
409 vast abrupt. An abyss, referring to Chaos, the gulf between two created places, heaven and hell.
410 happy Ile. Earth, with probable allusion to the Isles of the Blessed in Greek mythology.
420. Cf. 3.217.
Book 2 49
533–6. The seeming appearance of warfare in the skies, reported before several notable battles including the
English Civil War, was thought to warn of the wars to come.
539–41 Typhœan rage. Typhon’s name was associated with typhoon, and meant “whirlwind.” See note to
1.198–9.
542–6 Alcides. Hercules (Alcides), wearing a poisoned (“envenom’d”) robe given to him through a decep-
tion practiced on his wife after he returned from a victory at “Oechalia,” was driven mad with pain. Wrongly
suspecting his beloved companion “Lichas,” who innocently gave him the cloak, he threw him along with
uprooted trees from the top of Mount “Oeta” in Thessaly into “the Euboic Sea,” the strait between Thessaly
in northern Greece and the Isle of Euboia. Cf. Ovid, Metamorphoses 9.134 –229.
557–65 Various classical schools are prefigured here, e.g. the Peripatetic, Epicurean, and Stoic, as well as con-
temporary theological debates about predestination, foreknowledge, and free will. Cf. Jesus’ denunciation
of the classical schools in Paradise Regained 4.291–321.
Book 2 53
596 harpy-footed. With eagle-like talons. In Homer the Harpies (winged monsters with women’s faces) carry
souls off to the avenging Furies (Odyssey 20.61–78). Milton combines the Harpies and the Furies.
611 Medusa. One of the three Gorgons, women with snaky hair whose look turned men to stone.
614. In Homer’s hell “Tantalus” is tormented (tantalized) by being forced to stand in the middle of a lake whose
waters recede whenever he tries to slake his raging thirst (Odyssey 11.582–92).
628 Hydras. Venomous serpents with nine heads, each of which grew back when severed. Chimeras. Fire-
breathing monsters. Gorgons. See note to line 611.
629 Adversary. The literal meaning of “Satan” (see 1 Pet. 5:8).
Book 2 55
638 Close sailing. Sailing close to the wind. Bengala. Bengal, in India
639 Ternate and Tidore. Two of the Spice Islands, in the Moluccas (Indonesia).
640–2 Trading Flood. The trade route for spice merchants on the Indian “Ethiopian” Ocean, sailing from
the Moluccas toward “the Cape” of Good Hope and the South “Pole.”
648–9. The two figures blocking Satan’s path allude to the monster Scylla and the giant whirlpool Charybdis,
who threaten sailors passing down the Straits of Messina between Italy and Sicily (Odyssey 12.229 – 59).
The identification of the two “shapes” comes at lines 760 and 787 below.
650–61. Sin is modeled on “Scylla,” a beautiful nymph whose lower parts were changed into a ring of bark-
ing dogs when Circe, out of jealousy, poured poison into the straits between “Calabria,” the southernmost
part of Italy, and Sicily (“Trinacrian shore”) where she was bathing (Ovid, Metamorphoses 14.40–74).
Another model is Spenser’s Errour (Faerie Queene 1.1.14 –15).
655 Cerberian. Like Cerberus, the many-headed watchdog of Hades.
56 Paradise Lost
662–5 Night-Hag. Hecate, goddess of sorcery, whose approach is signaled by howling dogs, and who attends
orgies of witches in Lapland (famous for witchcraft), drawn by the blood of babies they have sacrificed.
666–73. The portrayal of Death as a shadowy, black, nebulous figure with dart and crown is traditional
(cf. Rev. 6:2).
692 third part. The number comes from Rev. 12:4. Cf. PL 1.632– 3 and 9.141– 2.
Book 2 57
709–11 Ophiucus. A vast northern constellation, the Serpent Bearer. Comets were thought to predict or even
cause disasters such as “Pestilence” and “Warr”; one that appeared in this constellation in 1618 was taken
as an augury of the Thirty Years War. Cf. Tasso’s comparison of Argantes to a comet that threatens death
“To mighty lords, to monarchs, and to kings” (Gerusalemme Liberata 7.52).
714–18. Boiardo (Orlando Innamorato 1.16.10) likens Orlando and Agrican’s encounter to a clash of thunder-
clouds. The “Caspian” was notorious for storms.
722 foe. The Son will destroy “him that had the power of death, that is, the devil” (Heb. 2:14). He will also
destroy “the last enemy . . . death” (1 Cor. 15:26).
58 Paradise Lost
752–8. In Greek myth, Athena sprang fully armed out of the head of Zeus, an allegory, according to some
theologians, of God’s generation of the Son. Sin, Death, and Satan in their various incestuous interrela-
tions parody obscenely the relations between God and the Son, Adam and Eve (cf. 5.602–17, 8.457– 77).
The “left” is the sinister side.
760–87. The allegorical figures of Sin and Death are based on Jas. 1:15: “Then when lust hath conceived, it
bringeth forth sin, and sin, when it is finished, bringeth forth death.” But the incest of Sin and Death is
Milton’s own conception.
Book 2 59
864–70. Parodies the Nicene Creed, “Jesus Christ . . . who sitteth on the right hand of the Father, and . . .
of whose kingdom there shall be no end.” Cf. PL 3.62–3, 250 – 65.
873 bestial train. Her yelping offspring.
877 wards. The ridges inside a lock, corresponding to the incisions on the key.
62 Paradise Lost
883 Erebus. In Greek myth, the son of Chaos. The name means darkness, and is applied to the dark space
through which the dead pass into Hades.
891–6. As a cosmic place, Chaos is infinitely extended and without any order; it surrounds the created places,
hell, heaven, the universe and it contains the primal matter out of which God creates. In Christian Doctrine
1.7, Milton argues that creation is not out of nothing but from matter originally in and then separated
from God and therefore good (cf. PL 7.168–73). As mythological figures “Chaos” and “eldest Night” are
the most ancient gods (Hesiod, Theogony 123, and Orphic Hymns 3.1–2). Milton allegorizes Chaos as embodi-
ment of and anti-ruler (Anarch) of that place, along with Night, his consort.
898–903. These subatomic qualities combine in nature to form the four elements fire, earth, water, and air,
but in Chaos they struggle endlessly and the atoms remain unformed, embryonic. Milton’s description
owes something to Ovid, Metamorphoses 1.5–20. Atomist philosophers (e.g. Lucretius, De Rerum Natura
Book 2) saw atoms as forming the universe through endless collisions, by chance.
904 Barca . . . Cyrene. Cities in the Libyan desert.
905 Levied. Enlisted as troops, also, raised up. poise. Add weight to.
Book 2 63
921–2 to compare / Great things with small. A Virgilian formula (Eclogues 1.23; Georgics 4.176).
Bellona. Roman goddess of war.
939 Syrtis. The Syrtes were shifting sandbars and dangerous quicksands off the North African coast. Lucan
describes them (Pharsalia 9.303–4) as “ambiguous between sea and land.”
943–7 Gryfon. Griffins were fabulous creatures, half-eagle, half-lion, who guarded the gold of Scythia; it was
stolen from them by the one-eyed “Arimaspian” people (Herodotus, 3.116).
64 Paradise Lost
960–7. Chaos’s court of personifications resembles the halls of Pluto in Aeneid 6.273 – 81.
964. Latin “Orcus” and Greek “Ades” (Hades) are names of Pluto, ruler of the underworld.
965 Demogorgon. Often taken to be the most ancient and terrible of the gods, associated with Night. In Bocaccio’s
De Genealogiis Deorum he is the parent of Night and the other dark gods, Erebus, Tumult, Discord, etc.
Book 2 65
1017–18. Jason and his companions sailed in the “Argo” through the “Bosporus” to the Black Sea, passing between
the Symplegades, or “justling Rocks.”
1019–20. Homer’s Odysseus (“Ulysses”) sailing through the Straits of Messina between Italy and Sicily avoids
the whirlpool of “Charybdis” and steers by the “other” monster, Scylla (not a whirlpool in Homer) who
devours six of his men (Odyssey 12.55–126, 222–59).
66 Paradise Lost
16 Lymbo of Vanity. In Ariosto, Orlando Furioso 34., stanzas 72 – 87, the Knight Astolfo flies to the Limbo
of Vanity in the moon, to recover Orlando’s lost wits. Milton refers to that Limbo as the recent name
(“since call’d”) of the Paradise of Fools that Satan visits.
1–55. This second Proem or invocation is a hymn to Light, addressed either as the first creature of God
(“first-born,” cf. 7.243–4, where light is termed the “first of things,” and Gen.1:3) or as coeternal with God,
with allusion to 1 John 1:5, “God is Light, and in him is no darkness at all.”
4 unapproached. Cf. 1 Tim. 6:16: God dwells “in the light which no man can approach unto.”
68 Paradise Lost
7 hear’st thou rather. Would you rather be called (a Latinism). Ethereal. consisting of ether, the fifth,
purest element.
11. Echoes Spenser, Faerie Queene 1.1.39, “the world of waters wide and deepe.”
12. Cf. 7.210–12, 233–4.
14 Stygian Pool. The river Styx, in the classical Hades.
17 Orphean Lyre. Orpheus, the Greek poet whose song could charm even trees and rocks, visited the under-
world to win back his wife, Eurydice; one of the poems attributed to him is the so-called Orphic hymn
“To Night.” Milton’s song, Christian and epic, is of another kind, “other notes.”
19 heav’nly Muse. Urania, invoked at 1.6–16 but not named until 7.1. See note to that line.
20–1. Echoes the Sibyl’s warning to Aeneas (Aeneid 6.126– 9).
25–6. Medical terms of Milton’s day for diseases of the eyes, one of which he thinks may have caused his
blindness: “drop serene” translates gutta serena, a form of blindness in which the vision is “quencht” but
the eyes retain their clear appearance (as Milton’s did); “dim suffusion” translates suffusio nigra, a disease
in which the vision is “veild” as with cataracts.
30 Sion. The mountain of scriptural inspiration, with its “flowrie Brooks” Siloa and Kidron (in contrast with
Mount Parnassus and its stream, Helicon).
32. Milton composed chiefly at night.
Book 3 69
35 Thamyris. A legendary Thracian poet who was punished with blindness for boasting he could sing better
than the Muses (Iliad 2.594–600). Mæonides. Homer, said to be the son of Mæon, was often
referred to by this patronymic.
36 Tiresias. A blind Theban seer who foretold many events in the mythical history of Thebes; he also revealed
Oedipus’ guilt to him. Phineus. Thracian king said to have been blinded by the gods for revealing
their counsels, but in the Second Defence Milton denies that his blindness was a punishment. In both, blind-
ness and prophecy are linked.
37 voluntarie. Freely, as in a musical voluntary, added at will by the performer.
61–2. The sight of God is said to be the supreme joy of heaven, the greatest “Beatitude” (see Christian
Doctrine 1.33).
63. Cf. Heb. 1:3: “the brightness of his glory, and the express image of his person.”
70 Paradise Lost
97–102. Milton insists that God created Adam and Eve and the angels with “sufficient” power and with rea-
son and free will to resist evil. “The matter or object of the divine plan was that angels and men alike
should be endowed with free will, so that they could either fall or not fall” (Christian Doctrine 1.3).
108–9 Reason also is choice. For example, reason is meaningless unless it can eventuate in choices which
are free. Cf. Areopagitica, “When God gave him reason he gave him freedom to choose, for reason is but
choosing.”
111–19. Summarizes Milton’s argument in Christian Doctrine 1.3 – 4, that God does not predestine any to sin
or damnation and that his perfect foreknowledge of events does not amount to predestination; rather, he
foresees because he knows past, present, and future at once. God knows what will happen (even as humans
know what is happening or has happened) but does not cause the actions of humans or angels.
72 Paradise Lost
136 Spirits elect. The unfallen angels. In Christian Doctrine 1.9 Milton insists that the angels “stand by their
own strength” and are called “elect” (1 Tim. 5:21) only in the sense that they are “beloved, or excellent.”
Cf. PL 5.535–7.
140. In Christian Doctrine 1.5 Milton argues that God imparted to his Son his divine substance but not his
“whole essence,” as no two beings can have the same essence.
150–5. The Son echoes, or rather foreshadows, another mediator, Abraham, in his pleas to the Lord to spare
Sodom, “That be far from thee to do after this manner, to slay the righteous with the wicked . . . that be
far from thee. Shall not the Judge of all the earth do right?” (Gen. 18:25).
Book 3 73
170–2. The Son is the agent through whom God’s power, “effectual might,” is exercised (cf. l Cor. 1:24), the
“word” through whom his “wisdom” is made manifest and his creative will is performed ( John 1:1–3).
See PL 6.710–14 and 7.163–6.
174–80. After the Fall salvation is only possible through God’s grace. Reason and will are so damaged that
unless God renews them humans cannot resist sin or respond to the grace offered.
183–90. Milton’s God rejects the Calvinist doctrine that he had from the beginning predestined the damna-
tion or salvation of each soul; rather, he associates himself with the Arminian doctrine that grace sufficient
for salvation is offered to all, enabling each person, if he or she so chooses, to believe and persevere. He does,
however, assert the right to give special grace to some, “elect above the rest.” See Christian Doctrine 1.4.
189 stonie hearts. Cf. Ezek. 11:19. “I will take the stony heart out of their flesh, and will give them an heart
of flesh.” See PL 11.1–5.
74 Paradise Lost
200. By at long last withdrawing his offered grace God leaves such obdurate sinners to themselves, to become
more and more hardened and blinded. See Christian Doctrine 1.8.
212 rigid satisfaction. Here and in Christian Doctrine 1.16 Milton’s God paraphrases the Anselmic theory of
the Atonement: “Satisfaction means that Christ . . . fully satisfied divine justice by fulfilling the Law and
paying the just price on behalf of all men.”
213–19. Cf. the devils in the Great Consult (2.402–26). charitie. Heavenly love, disinterested and altru-
istic (Latin caritas).
Book 3 75
236–7. Echoes Nisus’ offer to save the life of his friend Euryalus, Aeneid 9.427–8: “Me, me adsum, qui feci,
in me convertite ferrum, O Rutuli! mea fraus omnis.”
243–4. Cf. John 5:26: “For as the Father hath life in himself; so hath he given to the Son to have life in
himself.”
247–9. Cf. Ps. 16:10: “Thou wilt not leave my soul in hell; neither wilt thou suffer thine Holy One to see
corruption.”
253 mortall sting. Cf. 1 Cor. 15:55–6: “O death, where is thy sting? . . . The sting of death is sin.”
258 ruin. Throw down (the Latin sense).
259. Cf. 1 Cor. 15:26: “The last enemy that shall be destroyed is death.”
76 Paradise Lost
286 Head of all mankind. Cf. 1 Cor. 11:3: “The head of every man is Christ.”
288–9. Cf. 1 Cor. 15:22: “For as in Adam all die, even so in Christ shall all be made alive.”
290–4. Summarizes the reformed doctrine of justification by faith. The merit of Christ attributed vicariously
(“imputed”) to humans frees from original sin those who renounce their own deeds, both good and bad,
and hope to be saved through faith.
293 transplanted. Cf. Christian Doctrine 1.21, “Of Ingrafting in Christ”: “God the Father plants believers in
Christ. That is to say, he makes them sharers in Christ.” The first effect is “new life and growth.”
Book 3 77
297 ransomed. Cf. Matt. 20:28, “The Son of man came . . . to give his life a ransom for many.”
309. A heterodox doctrine, that the Son was Son of God by merit. In Ovid, Metamorphoses 2.42 –3 (George
Sandys’ translation), Apollo says to his son, Phaeton, “by merit, as by birth, to thee is due that name.”
Cf. PL 2.5.
320. Orders of angels.
321–2. Cf. Phil. 2:10: “At the name of Jesus every knee should bow, of things in heaven, and things in earth,
and things under the earth.”
323–32. The description of the Last Judgment draws on several biblical texts, among them Matt. 24:30 –1
and 25:31–2, 1 Cor. 15:51–2, and 1 Thess. 4:17.
78 Paradise Lost
334–5. For the fiery destruction and new heavens and earth, see 2 Pet. 3:12–13, and Rev. 21:1.
340–1. Cf. 1 Cor. 15:28: “And when all things shall be subdued unto him, then shall the Son also himself be
subject unto him that put all things under him, that God may be all in all.”
351 Amarant. In Greek, unfading, a legendary immortal flower.
350–71. Milton’s heaven draws upon imagery from Rev. 4 and 22:1– 2 (thrones, harps, golden crowns, sea
of jasper, angelic hymns, pure river, tree of life); other details, e.g. the “Elisian” flowers, recall classical
descriptions of the Elysian Fields.
Book 3 79
373. This line is a direct quote from Joshua Sylvester’s Divine Weeks and Works (1605) 1.1.45, a translation of
Du Bartas’ La Semaine (1578).
381–2. Cf. Isa. 6:2, describing the seraphim around God’s throne, “each one had six wings; with twain he
covered his face.”
383–7. Cf. Col. 1:15–16: “Who is the image of the invisible God, the firstborn of every creature: For by him
were all things created, that are in heaven and that are in earth.” For Milton the Son is not eternal, as in
Trinitarian doctrine, but is God’s first creation and the agent through whom he created all other beings.
Neither is he omniscient, nor omnipotent, nor immutable, nor co-equal with the Father, but participates
in those divine qualities only as the Father devolves them upon him. See Christian Doctrine 1.5.
389 ample Spirit. The power of God, not the Holy Spirit (see Christian Doctrine 1.6 ).
392 Dominations. An angelic order, standing here for all the rebel angels.
392–9. See 6.750–64, 824–92.
80 Paradise Lost
412–15. The shift to first person suggests that Milton is quoting the angels singing as a single chorus, or that
he associates himself with their song, or both.
419–22 first convex. The outermost of the ten spheres that comprise the universe. Satan “alighted ” ( both
landed, and was illumined by the dim light reflected from heaven) and “walks” on the outer shell of that
sphere.
Book 3 81
431–9 Vultur. Vultures were said to be able to scent their prey across continents. Imaus. Mountain
ridge extending north through Asia from modern Afghanistan to the Arctic Ocean, the regions (“ bounds”)
of the pillaging “roving Tartar.”
436. The rivers “Ganges” and “Hydaspes” (a tributary of the Indus) rise the mountains of northern India.
438–9 Sericana. A region in northwest China. canie Waggons. Juan Gonzales de Mendoza described these
Chinese landships, made of cane or bamboo.
440–97. Milton’s Paradise of Fools (named in line 496) was inspired by Ariosto’s (less satiric) Limbo of Vanity
located in the moon (Orlando Furioso 34., stanzas 72–87; cf. PL 3.459). Milton’s region is reserved for deluded
followers of misplaced devotion, chiefly Roman Catholics.
461 Translated Saints. Holy patriarchs like Enoch (Gen. 5:24) and Elijah (2 Kgs 2:11), carried to the heavens
while yet alive.
82 Paradise Lost
463–5 Giants. Born of the unnatural marriages between the “sons of God ” and the daughters of men
(Gen. 6:4). See also PL 11.573–627, 683–99.
466 Babel. The tower, intended to reach heaven (Gen. 11:3 –9), became an emblem of pride and folly.
467 Sennaar. (the Vulgate form of Shinar), the plain of Babel on which the tower of “Babel” was built.
469–73 Empedocles. A Presocratic philosopher who threw himself into “Ætna” to conceal his mortality; the
volcano defeated his plan by casting up one of his sandals. Cleombrotus. A youth who drowned him-
self to attain the immortality promised in Plato’s Phaedo.
474–5 Embryo’s and Idiots. Those not responsible morally, but still marked by original sin so they could
not enter heaven, were said by Catholic theologians to be held in Limbo. The “White” friars (“Friers”)
are Carmelites, the “Black” are Dominicans, and the “Grey” Franciscans.
477 Golgatha. Golgotha, “Place of the skull,” the hill where Christ was crucified. See Luke 24:5–6, “Why seek
ye the living among the dead? He is not here, but is risen.”
478–80. Some try to ensure their salvation by wearing on their deathbed the robes of various religious orders.
481–5. These souls imagine their journey through the spheres in the Ptolemaic system: the seven then known
planets, the eighth sphere of the fixed stars, then the “Crystalline Sphear” (added to the Ptolemaic system
to account for anomalies in astronomical observations). Its “ Trepidation” (oscillation or trembling), meas-
ured by Libra (the scales, “ballance”), was much disputed (“talkt”) in Milton’s time. After the tenth sphere,
the Primum Mobile (“that first mov’d”) which imparts motion to all the rest, they imagine ascent to the
empyreal Heaven.
485 Keys. Cf. Matt. 16:19: “And I will give unto thee [Peter] the keys of the kingdom of heaven: and what-
soever thou shalt bind on earth shall be bound in heaven: and whatsoever thou shalt loose on earth shall
be loosed in heaven.” See “Lycidas,” 110.
Book 3 83
557–9. In the zodiac, “Libra” in the east is diametrically opposite Aries or the Ram (“the fleecie Starr”) that
seems to carry the constellation “Andromeda” on its back in the west, in the Atlantic below the “Horizon.”
562–5 first Region. The upper air down to the Primum Mobile, the crystalline sphere and “innumerable
Starrs.”
566–71 other Worlds. The plurality of worlds was a topic of much speculation in Milton’s day (see
8.140–52). The gardens of the Hesperides and the Fortunate Isles (“happy Iles”) of Greek mythology, were
classical versions of paradise.
574–6. Satan cannot tell if he is flying up or down, or by a centric orbit that has the earth or the sun as its
center, or by an eccentric orbit that does not. Nor can he tell the distance he flew measured by degrees
(“Longitude”) along the ecliptic, the apparent orbit of the sun around the earth.
582–3. Kepler (in 1609) theorized that the sun’s magnetism caused planetary motion.
86 Paradise Lost
620 visual ray. The eye was thought to emit a beam onto the object perceived.
622–3. Cf. Rev. 19:17: “I saw an angel standing in the sun.”
636–7. A young “stripling” cherub not yet in the “prime” of life, or not of the first rank of angels.
648–53 Uriel. In Hebrew “Light [or fire] of God,” he is the angel named first among the seven who stood
before God’s “Throne” in the Apocryphal 1 Enoch 22:1. Zech. 4:10 states that “those seven . . . are the
eyes of the Lord, which run to and fro through the whole earth,” but Uriel is not mentioned there or any-
where else in the canonical Bible. See also Rev. 1:4.
88 Paradise Lost
695–8. Aristotle in the Nicomachean Ethics locates virtue in the mean between excess and privation, but Uriel
exempts the glorification of God from that dictum.
705–7. No creature, including the angels and even the Son, know the “secret purposes, the knowledge of
which the Father has reserved to himself alone” (Christian Doctrine 1.5)
708–20. Compare Raphael’s story of the Creation to Adam in Book 7 below.
716. The fifth element (“quintessence,” ether) of which the incorruptible heavenly bodies were made.
721 The rest. The stars that form the sphere of the fixed stars, enclosing “this Universe.”
90 Paradise Lost
730 triform. Refers to the moon’s phases, but also to the ancient poets’ description of the moon’s triple nature:
Luna in heaven, Diana on earth, Hecate in hell.
742 Niphates. A mountain on the border between Armenia and Assyria.
BOOK 4
THE ARGUMENT
Satan now in prospect of Eden, and nigh the place where he must now attempt
the bold enterprize which he undertook alone against God and Man, falls into many
doubts with himself, and many passions, fear, envy, and despare; but at length
confirms himself in evil, journeys on to Paradise, whose outward prospect and
5 scituation is discribed, overleaps the bounds, sits in the shape of a Cormorant on
the Tree of life, as highest in the Garden to look about him. The Garden describ’d;
Satans first sight of Adam and Eve; his wonder at thir excellent form and happy state,
but with resolution to work thir fall; overhears thir discourse, thence gathers that
the Tree of knowledge was forbidden them to eat of, under penalty of death; and
10 thereon intends to found his Temptation, by seducing them to transgress: then leaves
them a while, to know further of thir state by some other means. Mean while Uriel
descending on a Sun-beam warns Gabriel, who had in charge the Gate of Paradise,
that some evil spirit had escap’d the Deep, and past at Noon by his Sphere in the
shape of a good Angel down to Paradise, discovered after by his furious gestures in
15 the Mount. Gabriel promises to find him ere morning. Night coming on, Adam and
Eve discourse of going to thir rest: thir Bower describ’d; thir Evening worship.
Gabriel drawing forth his Bands of Night-watch to walk the round of Paradise, appoints
two strong Angels to Adams Bower, least the evill spirit should be there doing some
harm to Adam or Eve sleeping; there they find him at the ear of Eve, tempting her
20 in a dream, and bring him, though unwilling, to Gabriel; by whom question’d, he
scornfully answers, prepares resistance, but hinder’d by a Sign from Heaven, flies
out of Paradise.
1–5. John of Patmos heard a cry warning of the “great dragon . . . called the Devil, and Satan” (Rev. 12:9)
when he and his angels were put to “second rout” in a second war in heaven: “Woe to the inhabiters of
the earth and of the sea! for the devil is come down among you, having great wrath, because he knoweth
that he hath but a short time” (Rev. 12:12).
2 Apocalyps. Apocalypse, “unveiling,” the Greek title of the book of Revelation.
92 Paradise Lost
156–9. See Orlando Furioso 34.51, Ariosto’s Paradise, where “from flowers, fruits and grass the breezes stole /
The varied perfumes.”
161 Mozambic. Mozambique, off the southeast coast of Africa, noted for its fertility.
162 Sabean. Saba, the biblical Sheba (1 Kgs 10:1–13).
163 Arabie the blest. Arabia Felix, modern Yemen (incorporating Sheba, above), and noted for the “sweet odors
of myrrh and other odoriferous plants” that waft out to sea (Diodorus Siculus, Library of History 3.44).
165 old Ocean. The Titan Oceanus.
168–71. The Apocryphal book of Tobit (chapters 6–8) tells of Tobias, “Tobits Son,” who married Sara in “Media”
and avoided the fate of her previous seven husbands (killed on their wedding night by her demon lover
“Asmodeus”) by following the instructions of the angel Raphael to burn the heart and liver of a fish,
producing a fishy smell (“fishie fume”) to drive him off. Asmodeus then fled to Egypt where Raphael
“bound” him.
Book 4 97
193 lewd Hirelings. Base men interested only in money. Milton would have clergy support themselves, doing
away with tithes or state support. See his Considerations touching the Likeliest means to Remove Hirelings out
of the Church (1659), the condemnation of “hireling wolves” in his sonnet “To the Lord Cromwell,” and
“Lycidas,” 113–21.
194 Tree of Life. Cf. Gen. 2:9: “And out of the ground made the Lord God to grow every tree that is
pleasant to the sight, and good for food; the tree of life also in the midst of the garden, and the tree of
knowledge of good and evil.”
209–10. Cf. Gen. 2:8: “And the Lord God planted a garden eastward in Eden; and there he put the man whom
he had formed.”
211 Auran. The province of Haran or Hauran on the eastern border of Israel.
98 Paradise Lost
212–14 Great Seleucia. A powerful city on the Tigris, south of Baghdad, built by Seleucus Nicator,
Alexander the Great’s general (“Grecian Kings”) as seat of government for his Syrian empire. Called
“Great” to distinguish it from other cities with the same name, it marks the eastern boundary of Eden.
Telassar. The ancient name of Seleucia, mentioned in the Old Testament twice as a place where the Assyrians
destroyed “the Children of Eden” (2 Kgs 19:12 and Isa. 37:12).
221–2. See Christian Doctrine 1.10: “It was called the tree of knowledge of good and evil from the event, for
since it was tasted, not only do we know evil, but we do not even know good except through evil.”
223 a River large. The Tigris, identified at 9.71.
229–35. Cf. Gen. 2:10: “a river went out of Eden to water the garden: and from thence it was parted, and
became into four heads.”
239 mazie error. Meandering as in a maze (“error” here keeps its Latin sense, errare, wandering).
242 curious Knots. Flower beds laid out in intricate regular designs, associated with Tudor garden art.
boon. Bountiful.
Book 4 99
247 seat. Like a country estate, with a variety of prospects (“various view”).
250–1 Hesperian Fables. By contrast to the feigned golden apples of the Hesperides (fabled paradisal islands
in the Western Ocean) Eden has “true” golden apples.
266–7 Universal Pan. The wood-god “Pan” was taken as a symbol of “Universal” nature since his name in
Greek means “all.” Graces. Euphrosyne, Aglaia, and Thalia attend upon Venus, as in Botticelli’s
Primavera. Hours. Horae, goddesses of the seasons. See Milton’s “L’Allegro,” 11–24, and Comus 986.
268–84. Even as he denies the comparison Milton associates Eden with four famous beauty spots of clas-
sical myth.
268–72. Enna. A lovely meadow in Sicily from which “Proserpin” was kidnapped by “gloomie Dis” (Pluto);
her mother “Ceres” sought her throughout the world.
272–5 Grove / Of Daphne. A laurel grove on the river “Orontes” in Syria, whose “inspir’d/Castalian Spring”
was named for the Muses’ fountain near Parnassus and was said to bestow prophetic powers.
100 Paradise Lost
275–9 Nyseian Ile. Nysa in the river “Triton” in Tunisia was where “Ammon,” an Egyptian god, identified
with Jupiter (“Jove”) and with Noah’s son “Cham” (Ham) hid the nymph “Amalthea” and his child by her,
“Bacchus,” from his wife “Rhea.”
280–4 Mount Amara. At the source of the Nile (“Nilus head”) at the Equator (“Ethiop Line”), in splendid
palaces amid paradisal gardens, the “Abassin” (Abyssinian) kings kept their sons (“issue”) to avoid sedition.
Peter Heylyn, in his Cosmographie (1652), said it was “a dayes journey high,” and that “some have taken
(but mistaken) it for the place of Paradise” (4.64).
301 Hyacinthin. Curled. Cf. Odysseus’ hair that “hung down like hyacinthine petals” shining like “gold on
silver” (Odyssey 6.231–2).
302–8. See 1 Cor. 11:14–15: “if a man have long hair, it is a shame unto him . . . But if a woman have long
hair, it is a glory to her: for her hair is given her for a covering.” The AV glosses “covering” to indicate
that “she is under the power of her husband.” Royalists were often derided by Puritans for their long hair.
Compare Eve’s “Disheveld” and “wanton” ringlets to nature in Eden (4.236 – 43).
Book 4 101
329 Zephyr. God of the west wind, hence, to make a cool breeze welcome.
102 Paradise Lost
344. See Isa. 11:6: “The leopard shall lie down with the kid; and the calf and the young lion and the fatling
together.”
348 Insinuating. moving sinuously, twisting. Gordian twine. cords as convoluted as the Gordian knot
which Alexander the Great had to cut with his sword.
361–5. See Ps. 8:5: “For thou hast made him a little lower than the angels, and hast crowned him with glory
and honour.”
Book 4 103
383 Kings. Cf. Isaiah’s prophecy of the fall of Babylon (Isa. 14:9) promising to stir up to “meet thee at thy
coming . . . all the chief ones of the earth . . . all the kings of the nations.” The reference suggests that
Hell is (and will be) populated by kings. Some of the fallen angels bear monarchical titles: Princedoms,
Dominations, Thrones, etc.
389–94. Satan is cast as a Machiavellian politician and tyrant, appealing to reason of state (“public reason”),
“Honour and Empire,” and “necessitie, / The Tyrants plea” to justify evil deeds.
402–8. When Satan inhabits them, the future predators foreshadow their natures after the Fall. couchant.
Lying close to the ground, ready to pounce.
104 Paradise Lost
423–7. See Gen. 2:16–17: “Of every tree of the garden thou mayest freely eat: But of the tree of the knowledge
of good and evil, thou shalt not eat of it: for in the day that thou eatest thereof thou shalt surely die.”
430–2. See Gen. 1:26: “And God said, Let us make man in our image . . . and let them have dominion over
the fish of the sea, and over the fowl of the air, and over the cattle . . . , and over every creeping thing
that creepeth upon the earth.”
443 Head. Cf. 1 Cor. 11:3: “the head of every man is Christ; and the head of the woman is the man; and the
head of Christ is God.”
447 by so much odds. By such a large difference.
Book 4 105
449–91. Compare Adam’s account of his creation and marriage to Eve (8.250 –520).
456–76. Eve’s experience parallels, with significant differences, the story of Narcissus, who fell in love with
his own reflection and pined away; he was then transformed into the flower bearing his name (Ovid,
Metamorphoses 3.402–510).
475 Mother of human Race. Cf. Gen. 3:20, “Adam called his wife’s name Eve, because she was the mother
of all the living.”
106 Paradise Lost
499–501. In Iliad 14.346–51 Zeus (“Jupiter”), god of the sky, and Hera (“Juno”), goddess of the air, make love
under a cloud; their union was sometimes allegorized as a union of aether and air. Milton’s Jupiter impreg-
nates the clouds with the seeds of flowers that grow after rain.
Book 4 107
592–5. Here and elsewhere Milton describes the cosmos in both Ptolemaic and Copernican terms.
Book 4 109
641–56. This embedded love lyric, replete with striking rhetorical figures of circularity and repetition, dis-
plays Eve’s poetic talents. It is constructed as an epanalepsis, a figure which begins and ends with the same
word (“Sweet / sweet”) after intervening matter.
670–3 Temper. Heal or refresh by restoring the proper balance of elements or humors. The stars were thought
to have their own occult influence, and also to moderate that of the sun.
Book 4 111
688 Divide the night. Mark the watches of the night; also, perform musical divisions, elaborate melodic
passages.
691 sovran Planter. See Gen. 2:8: “God planted a garden eastward in Eden.”
707–8. Forest and field deities of classical mythology. “Pan,” “Silvanus,” and “Faunus” were fertility gods, half-
man, half-goat.
711 Hymenæan. Wedding song. Hymen was the classical god of marriage.
112 Paradise Lost
What day the genial° Angel to our Sire presiding over marriage
Brought her in naked beauty more adorn’d,
More lovely then Pandora, whom the Gods
715 Endowd with all thir gifts, and O too like
In sad event,° when to the unwiser Son outcome
Of Japhet brought by Hermes, she ensnar’d
Mankind with her faire looks, to be aveng’d
On him who had stole Joves authentic° fire. own, original
720 Thus at thir shadie Lodge arriv’d, both stood,
Both turnd, and under op’n Skie ador’d
The God that made both Skie, Air, Earth and Heav’n
Which they beheld, the Moons resplendent Globe
And starrie Pole:° Thou also mad’st the Night, the sky
725 Maker Omnipotent, and thou the Day,
Which we in our appointed work imployd
Have finisht happie in our mutual help
And mutual love, the Crown of all our bliss
Ordaind by thee, and this delicious place
730 For us too large, where thy abundance wants
Partakers, and uncropt falls to the ground.
But thou hast promis’d from us two a Race
To fill the Earth, who shall with us extoll
Thy goodness infinite, both when we wake,
735 And when we seek, as now, thy gift of sleep.
This said unanimous, and other Rites
Observing none, but adoration pure
Which God likes best, into thir inmost bowre
Handed° they went; and eas’d° the putting off hand in hand / spared
740 These troublesom disguises which wee wear,
Strait side by side were laid, nor turnd I weene° surmise
Adam from his fair Spouse, nor Eve the Rites
Mysterious° of connubial Love refus’d: awe-inspiring, sacred
714–19 Pandora. Pandora (Greek, “all gifts”) was an artificial woman, molded of clay, bestowed by the gods
on Epimetheus (“afterthought”), brother of Prometheus (“forethought”), who angered the gods by steal-
ing Jove’s fire for man. She brought a box that foolish Epimetheus (“the unwiser Son / Of Japhet”) opened,
releasing all the ills of the human race, leaving only hope trapped inside. The brothers were sons of the
Titan Iapetos, who was often identified with Japhet, the third son of Noah. The Eve–Pandora parallel was
often noted.
724–5. See Ps. 74:16: “The day is thine, the night also is thine: thou hast prepared the light and the sun.”
736–8 Rites. Like many Puritans, Milton objected to set forms of prayer, so Adam and Eve pray spontan-
eously, therefore sincerely, though paradoxically they pray together, “unanimous.”
Book 4 113
744–9. 1 Tim. 4:1–3, applied by Protestants to the Roman Church, warns that “in the latter times some shall
depart from the faith . . . Forbidding to marry.” Cf. 1 Cor. 7:9, “ But if they cannot contain, let them marry:
for it is better to marry than to burn,” and Gen. 1:28: “And God said unto them, Be fruitful, and multi-
ply, and replenish the earth.”
750–75. An embedded epithalamium (wedding song originally sung outside the bridal chamber). The Bard
takes on the role of celebrator singing outside Adam and Eve’s bower as they prepare for sex and sleep,
though this couple’s wedding night took place at some earlier time.
761. Cf. Heb. 13:4: “Marriage is honourable in all, and the bed undefiled.”
762 Saints and Patriarchs. Many of them were married.
763. The “golden shafts” (arrows) of Cupid (Love) were said to produce true love; his lead-tipped arrows, hate.
768 Mixt Dance. Men and women dancing together. wanton Mask. The ostentatious entertainments
of the Stuart court.
769–70 Serenate. Milton imagines a Petrarchan serenade (night song) by a lover perishing from the cold
(“starv’d”) his “proud” lady exudes by her refusals of love (a typical Petrarchan conceit).
114 Paradise Lost
776–7. The conical shadow cast by the earth has moved “Half way up Hill,” i.e., halfway between the hori-
zon and the zenith, so it is 9 p.m.
778 Ivorie Port. The source of false dreams in Homer (Odyssey 6.562 – 5), dreams whose message is never
accomplished.
782 Uzziel. Hebrew, “Strength of God.” Cabbalistic tradition identified him as one of the seven angels before
God’s throne.
788 Ithuriel. Hebrew, “Discovery of God.” Zephon. Hebrew, “ Look-out.” There is no biblical account
of angels so named.
802 Organs. Instruments. Fancie. The faculty that forms mental images.
Book 4 115
805 animal Spirits. The highest of the three kinds of fine vapors produced in the human body: ascending
from the blood to the brain, they convey sense data from past experiences, and issue through nerves to
impart motion to the body.
812 Celestial temper. Ithuriel’s spear “tempered” (prepared ) in celestial ether.
116 Paradise Lost
862 half-rounding. Completing the circle of the garden, half having swung left, half right.
Book 4 117
940 mid Aire. Satan will become “prince of the power of the air” (Eph. 2:2).
945 cringe. Satan contemptuously parallels the angels’ courtly deference, keeping various “distances” before
God’s throne, with keeping a safe distance from battle.
Book 4 119
958–60. See 5.617, 660–71, for Satan’s behavior on the day of the Son’s exaltation.
971 limitarie. Frontier guard, also one of limited authority.
980 ported Spears. Held slantways in front.
981 Ceres. Roman goddess of agriculture, here a metonymy for grain.
987 Teneriff. A mountain in the Canary Islands. Atlas. a mountain in Morocco.
unremov’d. immovable.
990–7. Cf. 6.668–77.
120 Paradise Lost
997–8 golden Scales. The constellation Libra (the Scales) is between Virgo (identified with “Astraea,” god-
dess of Justice, who fled the earth at the end of the Golden Age) and Scorpio.
1002–3. In several classical epic similes the fates of opposing heroes are weighed in scales by the gods:
cf. Iliad 8.69–72, where the destiny of the Greeks is weighed against that of the Trojans, and Virgil, Aeneid
12.725–7, where Aeneas’ fate is weighed against that of Turnus. See also Isa. 40:12: God “hath measured
the waters in the hollow of his hand, and meted out heaven with the span, and comprehended the dust
of the earth in a measure, and weighed the mountains in scales, and the hills in a balance.”
1004 kickt the beam. i.e., of the scales: the battle desired by Satan proved lighter.
1012. See Dan. 5:27, God’s warning to King Belshazzar, “Thou art weighed in the balances, and art found
wanting.”
Figure 5 Illustration to Book 5, 1688 ( John Baptista Medina)
BOOK 5
THE ARGUMENT
Morning approach’t, Eve relates to Adam her troublesome dream; he likes it not, yet
comforts her: They come forth to thir day labours: Thir Morning Hymn at the Door
of thir Bower. God to render Man inexcusable sends Raphael to admonish him of his
obedience, of his free estate, of his enemy near at hand; who he is, and why his enemy,
5 and whatever else may avail Adam to know. Raphael comes down to Paradise, his
appearance describ’d, his coming discern’d by Adam afar off sitting at the door of his
Bower; he goes out to meet him, brings him to his lodge, entertains him with the
choycest fruits of Paradise got together by Eve; thir discourse at Table: Raphael per-
forms his message, minds Adam of his state and of his enemy; relates at Adams request
10 who that enemy is, and how he came to be so, beginning from his first revolt in
Heaven, and the occasion thereof; how he drew his Legions after him to the parts
of the North, and there incited them to rebel with him, perswading all but only Abdiel
a Seraph, who in Argument diswades and opposes him, then forsakes him.
1–2. Cf. the Homeric descriptive formula, “rosy-fingered dawn” (Iliad 1.477).
3–4. Cf. 9.1049–52.
6. Rustling leaves and foaming streams (“fuming rills”) are stirred by the morning breezes (“fan”) of “Aurora,”
goddess of the dawn.
16 Zephyrus. God of the west wind. Flora. Goddess of flowers. They were consorts in Ovid, Fasti 5.197–207.
Cf. Botticelli, Primavera.
Book 5 123
17–25. Adam’s morning love song (aubade) works variations on Song of Solomon 2:10 –12: “Rise up, my love,
my fair one, and come away . . . The flowers appear on the earth; the time of the singing of birds is come.”
Compare Satan’s serenade at 5.38–47.
41 love-labor’d. Produced by love and for love.
45–90. Cf. the temptation of Eve at 9.532–48, 568–612, 679 –732.
124 Paradise Lost
100–13. Adam’s explanation of the dream summarizes the orthodox faculty psychology and dream theory
of Milton’s time, a knowledge unfallen man possesses. “Fansie” (fancy) forms images of the “external things”
the “five watchful Senses” present; “Reason” connects or separates those images, producing “knowledge
or opinion.” In sleep, reason withdraws and fancy takes over, “misjoyning shapes” and mismatching “words
and deeds” from past experience, in “dreams.”
117 God. Probably angel, as elsewhere, but perhaps also God, whose omniscience includes knowledge of evil.
126 Paradise Lost
140 wheels. Helios, or Sol, god of the sun, was imagined to drive the chariot of the sun from east to west.
146–52 various style. Adam and Eve employ many forms of speech and song that harmonize together in
“fit strains” but are at the same time spontaneous and ecstatic, expressing “holy rapture.” Milton, like other
Puritans, disapproved of set liturgical forms.
153–208. Their morning hymn works variations on Psalms 148, 104, and 19, as well as the canticle Benedicite.
Book 5 127
166–8. Venus, the morning star, is the last star to disappear at dawn and (as Hesperus) the first to appear in
the evening.
176–8 Orb that flies. The orb of the “fixt Starrs” revolves, though the stars remain “fixt” in place.
five other wandring Fires. The other planets besides the moon and sun, already mentioned, are Mercury,
Mars, Jupiter, Saturn, and Venus (or earth), which change positions. These motions produce the music of
the spheres, audible to unfallen humans.
180–3. The four elements – earth, water, air, fire – are the “eldest birth” of nature, and “nourish” all things
by their “ceasless change” and orderly interactions.
128 Paradise Lost
215–19. A familiar emblem of matrimony, the “Elm,” symbolizing masculine strength, and the “Vine,” fem-
inine fruitfulness, softness, and sweetness. But “adopted Clusters” seems to carry matriarchal implications.
221–3 Raphael. In Hebrew, “Health of God.” He was the advisor of “Tobias” in winning his wife (see 4.168–71
and note), and told him how to cure Tobit’s blindness (Apocrypha: Tobit 11:7–14). In cabbalism he is one
of the four angels (with Gabriel, Michael, and Uriel) in charge of the four corners of the earth.
229–30. God spoke to Moses, “face to face, as a man speaketh unto his friend” (Exod. 33:11).
Book 5 129
249 Ardors. Spirits (angels) burning in love, from the Latin ardere, “to burn.”
261–3 Galileo. Cf. 1.288–91.
264–6 Cyclades. A circular group of islands in the south Aegean sea. The two islands a “Pilot” might see as
“spots” from within the archipelago are “Delos” (the traditional center but famous for having floated adrift)
and “Samos,” outside the group, off the coast of Asia Minor.
266–76. Raphael’s descent is an epic topos, modeled on the descents of Virgil’s Mercury (Aeneid 4.238 – 58)
and Tasso’s Michael (Gerusalemme Liberata 9.60–2).
130 Paradise Lost
272 Phœnix. A mythical, unique bird (“sole”) who lived five hundred years, was consumed by fire, and was
reborn from the ashes which it then carried to the Temple of the Sun at Heliopolis in Egypt (“Ægyptian
Theb’s”).
276–85 proper shape. Modeled on the description of the Seraphim in Isa. 6:2; “each one had six wings; with
twain he covered his face, and with twain he covered his feet, and with twain he did fly.”
285 Maia’s son. Mercury, messenger of the gods.
293 Cassia. A cinnamon. Nard. Spikenard. Balme. Balsam. All were used to make perfumed
ointments.
299–300. Raphael’s visit to Adam is modeled on Abraham’s entertainment of three angels: “[Abraham] sat
in the tent door in the heat of the day; And he lift up his eyes and looked, and, lo, three men stood by
him.” He and his wife Sarah prepared a meal for the angels, but most Christian commentators agreed that
these angels, being spirits, ate only in show (Gen. 18:1– 8).
Book 5 131
304–7. Eve prepared sweet drinks (“nectarous draughts”) from juices (“milkie stream”) of “Berrie or Grape,”
to be enjoyed “between” courses of “savourie fruits.”
322 small store. Reserve. store. Abundance.
132 Paradise Lost
339–41 middle shoare. “Pontus,” the south coast of the Black Sea, was famous for nuts and fruits; the “Punic”
(Carthaginian) coast of North Africa on the Mediterranean, was famous for figs; the garden of Alcinous
in the mythical island of Scheria is described in Odyssey 7.113 – 28 as perpetually fruitful.
345 inoffensive moust. Unfermented grape juice. meathes. Meads, honey-sweetened drinks.
349 unfum’d. Naturally scented, not needing to be burned as incense.
354–7 tedious pomp. The showy display of kings like Charles II whose pageantry “Dazles the croud” but
falls far short of the “solemn” natural majesty of Adam.
Book 5 133
371 Vertue. One of the traditional nine orders of angels in the scheme of Dionysius the Areopagite:
Seraphim, Cherubim, Thrones, Dominions, Virtues, Powers, Principalities, Archangels, Angels. Milton uses
these titles freely, in the Protestant manner, without regard to this hierarchical order. Some angels are
given more than one title: Raphael is called “Vertue” here, “Seraph” at line 277, and “Arch-Angel” at 7.41.
378 Pomona. Roman goddess of fruit trees.
381–2 three. On “Mount Ida,” Venus, Juno, and Minerva “naked strove” for the apple of discord inscribed
“for the fairest.” Paris awarded the prize to Aphrodite (“the fairest Goddess”) in return for the love of
Helen, which led to her rape and the Trojan War.
385–8. Cf. the angel’s words to Mary announcing that she would bear a son, Jesus (Luke 1:28): “Hail, thou
that art highly favoured, the Lord is with thee: blessed art thou among women.” For Mary as “second Eve”
see PL 10.183.
398–400 our Nourisher. Cf. Jas. 1:17, “Every good gift and every perfect gift is from above, and cometh
down from the Father of lights.”
134 Paradise Lost
404–500. Raphael’s discourse and dialogue about the nature of things recall Lucretius’ De Rerum Natura
(“Of the Nature of Things”), often termed a philosophic epic; Raphael chooses a brief version of that genre
for his exposition.
404–13. As a monist who believed that all creation is of “one first matter” (472; see also Christian Doctrine
1.7), Milton denied the more common (dualistic) idea that angels are pure spirits (who would not eat or
have any experiences pertaining to the senses); he held instead that angels are of a very highly refined
material substance .
412 concoct, digest, assimilate. The three stages of digestion.
414–26 The grosser feeds the purer. That all features of the natural world require sustenance from crea-
tures below them in the scale of being was a commonplace (Cf. Pliny, Natural History 2.9). Robert Fludd,
Utriusque cosmi historia (1617), has an engraving that shows the sun supping with the ocean (1.5 – 6).
418–20 spots. Raphael describes moonspots as undigested vapors not yet assimilated to the moon’s substance.
Cf. 1.287–91, where those spots are described in Galileo’s terms as features of the moon’s landscape.
427–30. “Nectar” and “ambrosia” are the drink and food of the classical gods; Milton adds “pearly grain,”
like the manna showered on the Israelites in the desert (Cf. Exod. 16:14).
Book 5 135
435 in mist. The usual explanation (“common gloss”) of orthodox theologians was that when angels
appeared to humans they took bodies of air. See lines 299 – 300 above, and note.
438 transubstantiate. In common theological use, the Roman Catholic doctrine that the bread and wine of
the eucharist are in their substance transformed into the body and blood of Christ. Milton vigorously denied
that doctrine, describing as a true transubstantiation the angels’ transformation of earthly food into their
more highly refined substance. The residue (“what redounds”) passes out as vapor through the pores (“tran-
spires”) – the angelic form of excretion.
446–8 Sons of God. A patristic tradition identifies them with angels (as here) though they are usually said
to be human sons of Seth, as in 11.621–2. Gen. 6:2 tells of their marriage to the daughters of men.
136 Paradise Lost
469–79. Milton held that the universe was created out of Chaos, not out of nothing (ex nihilo), the orthodox
position. The primal matter of Chaos had its origin in God, who subsequently created all things from that
matter (see 7.168–73). This materialist monism denies sharp distinctions between angels and men, spirit
and matter, all being of one substance with different degrees of refinement. The universe Raphael
describes is hierarchical but also dynamic and striving, as beings become increasingly spiritual (“spiritous”)
or increasingly gross depending on their moral choices (see Christian Doctrine 1.7).
479–87. The plant figure provides an illustration of the dynamism of being in Milton’s universe, and further
explains why Raphael can eat the fruit. That fruit is transformed into various orders of “spirits”: “vital,”
fluids in the blood sustaining life; “animal,” produced from the vital spirits and controlling sensation and
motion; and “intellectual,” spirits controlling the faculties of the soul – fancy, understanding, and reason.
The soul derives her being from the spirits and so is material.
483 sublim’d. Raised to a higher state, an alchemical term referring to the change of a solid into a gas.
488–90 Discursive, or Intuitive. According to the traditional dualist assumption, angels are pure spirits whose
intuition (immediate apprehension of truth) is absolutely distinct from human reason (which involved com-
bining data and arguing from premises to conclusions). Milton makes the distinction only relative,
“Differing but in degree.”
Book 5 137
557 Worthy of Sacred silence. Translates Horace, Odes 2.13.29, referring to songs sung by Alcaeus and Sappho
in Hades; their words are “sacro digna silentio.”
563 High matter. Raphael’s account of the war in Heaven is an epic device, a narrative of past action; it is
also a mini-epic itself, with traditional battles, challenges, and single combats. As an “epic” poet treating
sacred matter, Raphael confronts a narrative challenge similar to Milton’s own.
Book 5 139
571–6. Raphael first explains his narrative strategy in terms of the traditional notion of “accommodation,”
couching spiritual matters in “corporal” terms that humans can understand; but he then extends the Platonic
idea that earth is a shadow of heaven (Republic 10.397B –598D) to suggest that the two realms are more
similar than earthly thinkers have supposed.
580–2. Countering a long philosophical tradition, Milton asserts the existance of time and motion in Heaven,
before the creation of the universe (see Christian Doctrine 1.7).
583 great Year. The cycle completed when all the heavenly bodies simultaneously return to their original
positions (see, e.g., Plato, Timaeus 39d). A common estimate of that cycle was 36,000 earth years.
589 Gonfalons. Flags hung from a crossbar. Van. Vanguard.
140 Paradise Lost
603–5: Cf. Ps. 2:7: “I will declare the decree . . . Thou art my Son; this day have I begotten thee.” This
episode refers to the exaltation of the Son as King, not his actual begetting, since he is elsewhere described
as “of all Creation first” (3.383), and as God’s agent in creating the angels and everything else (5.835 – 8).
606. Cf. Col. 2:10: “Ye are complete in him, which is the head of all principality and power.”
607–8 by my Self have sworn. At Gen. 22:16, God swears by himself to bless Abraham. See Phil. 2:9 –11:
“God also hath highly exalted him . . . That at the name of Jesus every knee should bow, of things in heaven,
and things in earth, and things under the earth” (cf. Isa. 45:23).
620–7 Mystical dance. The “intricate” dance of the angels produces “harmonie Divine,” like the “intricate”
movements of the stars and the planets in both circular and noncircular (“Eccentric”) orbits that produce
the music of the spheres according to the Pythagorean theory.
Book 5 141
658–9 former name. Traditionally understood to be Lucifer: “How art thou fallen from heaven, O Lucifer,
son of the morning” (Isa. 14:12). The poem claims that his former name was blotted from the books of
life (see PL 1.361–5).
664 Messiah. In Hebrew the name means “anointed.”
142 Paradise Lost
671 next subordinate. His original name in Heaven is also lost, but he will come to be known as Beelzebub
(2.299–300).
673 Sleepst thou. In many epics a voice awakens heroes or villains from sleep and lures them to rash or
adventurous acts.
689 North. The traditional site of Lucifer’s throne. See Isa. 14:13: “I will exalt my throne above the stars of
God . . . in the sides of the north.”
Book 5 143
708 Morning Starr. An allusion to Satan as Lucifer, compared to the star Venus or Hesperus which bore the
name Lucifer when it appeared as the first star in the morning (see notes to lines 166 and 658 above).
710 third part. Cf. Rev. 12:4: “And his [the dragon’s] tail drew the third part of the stars of heaven, and did
cast them to the earth.”
735–7. Cf. Ps. 2:4: “He that sitteth in the heavens shall laugh: the Lord shall have them in derision.”
144 Paradise Lost
741 dextrous. Skillful, but also with the Latin meaning of “right hand,” in reference to the Son at God’s right
hand (606 above).
750. See note to line 371, above.
766 Mountain of the Congregation. Cf. Isa. 14:13–14, where Lucifer is quoted, “I will sit also upon the mount
of the congregation, in the sides of the north: . . . I will be like the most High.”
Book 5 145
787–802. Compare Milton’s republican theory, stated in the Tenure of Kings and Magistrates: “No man who
knows ought, can be so stupid to deny that all men naturally were borne free, being the image and resem-
blance of God himself, and were by privilege above all the creatures, born to command and not to obey:
and that they liv’d so” (until Adam’s sin necessitated magistrates and laws, though sovereign power always
remained with the people). Cf. Adam’s natural republicanism, when learning of the first king, Nimrod
(PL 12.64–71).
805 Abdiel. Hebrew, “Servant of God.”
146 Paradise Lost
843 reduc’t. Suggests something like an incarnation of the Son for the angels.
856–9. Cf. 8.250–1, 276–82, Adam’s comment on his recollection of origins; also cf. 4.43– 5.
875 Seraph. Hebrew, “to burn.”
148 Paradise Lost
2–3 Morn. Aurora, goddess of the dawn. Hours. daughters of Jove who control the seasons and guard
the gates of Heaven. rosie hand. echoes the Homeric formula “rosy-fingered dawn” (Iliad 1.477).
4–14. Hesiod’s cave in the abyss where Night and Day alternate (Theogony 744 – 57), here relocated “fast by”
(next to) God’s throne.
150 Paradise Lost
29–30 Servant of God. Literal translation of the Hebrew name Abdiel. Echoes the parable of the talents
(Matt. 25:21), “Well done, thou good and faithful servant.” better fight. Cf. 1 Tim. 6:12, “Fight
the good fight of faith.”
42 Right reason. True, upright reason, translating the Stoic and Scholastic recta ratio.
43 by right of merit. See 3.309 and 2.5–6.
44 Michael. Hebrew, “Who is like God”; in Jewish and patristic tradition he is prince of the angels. Cf. Rev.
12:7–9 for his role in the battle in Heaven.
46 Gabriel. Hebrew, “Strength of God.”
49 Equal in number. As one-third of the angels rebelled, God sends out only an equal number of those who
remained loyal.
Book 6 151
64–6 instrumental Harmonie. Cf. 1.549–53, where the fallen angels march to music by flutes and recorders
in the Dorian mode, also prompting to heroic action.
73–6. Similes comparing armies to birds are epic commonplaces (cf. Iliad 2.459 – 64, Aeneid 7.699 –701), but
Raphael adapts his simile to Adam’s experience (cf. PL 8.349 –54).
152 Paradise Lost
105 intervall. Latin, intervallum, the space between two armed camps.
110 Adamant. A mythical substance of great hardness.
Book 6 153
145–8 dissent. Puritans who refused to adhere to the national church after the Restoration were termed
dissenters. Sect. A term used by adherents of the Church of England and by Presbyterians to smear
those who separated from the national church. Abdiel’s terms align him with those Puritan schismatics –
Baptists, Quakers, Socinians, and others – whom Milton often defended in his prose tracts; like them Abdiel
claims that truth may reside with a single “dissenter” or sect of a few.
152–6 seditious. Treasonous. Satan’s language aligns him with those Anglicans after the Restoration who
denounced dissenters as traitors, with Presbyterians who look to a “Synod” (a Presbyterian assembly) to
define truth, and with conformists of all stripes who think truth is confirmed by numbers (“A third part
of the Gods”).
154 Paradise Lost
163 Unanswerd least thou boast. i.e., lest you boast that I did not answer your argument.
167–9 Ministring. Satan’s contemptuous pun links the angels’ service (“ministring”), which he terms
“Servilitie,” with the street songs of minstrels (“Minstrelsie of Heav’n”).
174–81 Nature. Abdiel cites a “natural law” principle set forth by Aristotle and by Milton in the Second Defense,
that when one man excels all the rest in worthiness he should rule.
178–81 servitude. See 12.90–101. Milton often invoked the principle that tyrants are enslaved to their own
passions.
183–4. Cf. Satan’s words at 1.263.
Book 6 155
232–5. i.e., they had leaders, yet each single warrior seemed like a commander-in-chief, skilled in all military
operations.
254–5 rockie Orb. Satan’s “ample Shield” made of “tenfold Adamant,” a mythical impenetrable substance
imagined as folded ten times in thickness. Cf. 542–3 below.
Book 6 157
310–15 to set forth / Great things by small. A Virgilian formula, here introducing an epic simile compar-
ing the single combat of Satan and Michael (“great things”) with war among the planets (“small” by com-
parison), prompted by the clash of two planets from opposed positions causing a “malign” influence and
throwing into discord the music of the spheres (“jarring Sphears”).
330–3 Nectarous humor. The fluid angels bleed because they drink nectar; cf. the ichor that flows from
Aphrodite’s wound, which also heals itself promptly (Iliad 5.339 – 42). Sanguin. Blood red.
Book 6 159
350–3. Cf. 1.423–31. limb themselves. Provide themselves with limbs, dense or aery.
355–6 might of Gabriel. Mighty Gabriel (Homeric diction). Ensignes. Banners, which identify the
several divisions of troops. array. Thick rows of troops.
365. Adramelec. King of fire, the Babylonian sun god worshiped in Samaria with human sacrifice (2 Kgs 17:31).
Asmadai. Asmodeus, creature of judgment, the evil spirit of the Apocryphal book of Tobit (see PL 4.168).
371–2 Ariel. “Lion of God.” Arioc. “Lion-like.” Ramiel. “Thunder of God,” one of the angels
fornicating with women in 1 Enoch 6:7. All three names are used of good and bad angels in rabbinical
and demonological texts.
160 Paradise Lost
416. Nocturnal councils called by an army defeated in a battle are common in epic.
441–2 made the odds. Gave them the advantage, since “Nature” gives them none.
447 Nisroc. An Assyrian god worshiped by Sennacherib (2 Kgs 19:36 –7). His Hebrew name means “flight.”
162 Paradise Lost
560–7. The passage is full of puns, e.g., “Peace” (and piece, a weapon); “composure” (settlement of disputes
and construction [of weapons]); “brest” (heart/the forward line of a military formation); “overture” (offer
to negotiate/opening, the bore of the cannon); “discharge . . . charge” (perform our duty/fire our explo-
sives); “appointed” (chosen/equipped); “touch” (state/ignite, touch off ); “propound” (propose/crush by
beating).
576–90. These lines contain numerous debased puns relating to bodily functions, e.g., “mouthes,” “orifice,”
“behind,” “narrow vent,” “deep throated,” “belcht,” “Emboweld,” “entrails,” “disgorging,” “glut,” “Iron
Globes.”
589 chaind Thunderbolts. Chain shot, cannonballs linked together.
166 Paradise Lost
611–12. More puns: “entertain” (welcome/engage an enemy); “open Front” (candid face/front rank of troops);
“Brest” (heart/forward line of a military company).
613 composition. Another pun (truce/composition of gunpowder).
621–7. Belial puns on “terms of weight” (solid negotiating terms/heavy cannonballs); “amus’d” (held their
attention/bewildered them); “stumbl’d” (nonplussed/tripped up); “understand” (comprehend/support); “walk
not upright” (deal dishonestly/cannot stand on their feet).
Book 6 167
643–6. The hurling of “Hills” as missiles is taken from the war between the Olympian gods and the Titans
in Hesiod’s Theogony 713–20.
168 Paradise Lost
680–2 Effulgence. Radiance. cf. Heb. 1:3, describing the Son as “the brightness of his glory and the express
image of his person.” invisible. Cf. Col. 1:15, “Who is the image of the invisible God.”
684 Second Omnipotence. Two omnipotences are a logical impossibility. Cf. John 5:19, “The Son can do
nothing of himself, but what he seeth the Father do,” a text Milton cites in Christian Doctrine 1.5, to argue
that the Son derives all power from the Father.
Book 6 169
728–9. Cf. Matt. 3:17, “my beloved Son, in whom I am well pleased.”
731–3. Cf. 1 Cor. 15:24, 28: “Then cometh the end, when he shall have delivered up the kingdom to God . . .
then shall the Son also himself be subject unto him that put all things under him, that God may be all in
all” (See PL 3.339–41).
739 undying Worm. Cf. Mark 9:44: “[Hell is] Where their worm dieth not, and the fire is not quenched.”
170 Paradise Lost
750–61 Chariot of Paternal Deitie. The Son’s living chariot, with its four-faced Cherubim – the faces being
man, lion, ox (or cherub), and eagle – is taken from Ezek. 1 and 10. See especially 10:12, “And their whole
body, and their backs, and their hands, and their wings, and the wheels, were full of eyes round about,
even the wheels that they four had.”
751 Undrawn. Moving by its own power.
761 Urim. Gems worn by the high priest Aaron on his breastplate of judgment (Exod. 28:30).
762–4 Victorie. Milton’s personification is based on Nike, the winged Greek goddess of victory, and on Jove’s
bird, the eagle. three-bolted Thunder. Jove’s weapon is the three-forked thunderbolt.
769–72 Chariots of God. Cf. Ps. 68:17, “The chariots of God are twenty thousand, even thousands of angels:
the Lord is among them.” wings of Cherub. Cf. Ps. 18:10, “And he rode upon a cherub.”
Saphir Thron’d. Cf. Ezek. 1:26, “the likeness of a throne, as the appearance of a sapphire stone.”
Book 6 171
801–11 Stand still. Echoes Moses’ words when God destroyed the Egyptians in the Red Sea (Exod. 14:13):
“Fear ye not, stand still, and see the salvation of the Lord which he will shew to you to day.”
808 Vengeance is his. Cf. Rom. 12:19, “Vengeance is mine; I will repay, saith the Lord.”
172 Paradise Lost
815 Kingdom and Power and Glorie. Cf. Matt. 6:13, “For thine is the kingdom, and the power, and the
glory, for ever.”
827 the Four. The Four “Cherubic shapes” of line 753.
842–3 Mountains . . . shelter. Cf. Rev. 6:16, the cry of the damned to the mountains, “Fall on us, and hide
us from the face of him that sitteth on the throne, and from the wrath of the Lamb.”
845. See lines 753 and 827.
Book 6 173
853. Cf. Hesiod’s Zeus, who put forth all his strength against the Titans (Theogony 687–9).
856–7 Heard / Of Goats. In the parable of the sheep and the goats, the latter were sent “into everlasting
fire, prepared for the devil and his angels” (Matt. 25:33, 41).
871. In Hesiod’s Theogony (720–5) the Titans fell nine days from heaven to earth, and nine more days from
earth to Tartarus.
174 Paradise Lost
885 Palme. An emblem of victory, cf. Christ’s entry into Jerusalem (Matt. 21:5 – 9).
892 right hand. Cf. Heb. 1:2–3: “the Son . . . sat down on the right hand of the Majesty on High.”
909 weaker. Eve, as the “weaker vessel” (1 Pet. 3:7). She is present for this story, see PL 7.50 –1.
BOOK 7
THE ARGUMENT
Raphael at the request of Adam relates how and wherefore this world was first cre-
ated; that God, after the expelling of Satan and his Angels out of Heaven, declar’d
his pleasure to create another World and other Creatures to dwell therein; sends his
Son with Glory and attendance of Angels to perform the work of Creation in six
5 dayes: the Angels celebrate with Hymns the performance thereof, and his reascen-
tion into Heaven.
22 Diurnal Spheare. The universe, which seems to rotate daily, is the scene for the remainder of the epic.
25–8. After the Restoration of Charles II (May 1660) until the passage of the Act of Oblivion (August 1660),
Milton was in danger of death and dismemberment (like Orpheus, lines 34 –5). Several of his republican
colleagues were hanged, drawn, and quartered for their part in the revolution and regicide.
29–30. Milton’s early biographers report that he composed at night or in the early hours of the morning,
then waited for a scribe to take down his dictation.
32–7 Thracian Bard. Orpheus, the archtypal poet, whose “Harp and Voice” charmed even “Woods and Rocks,”
but were drowned out by the Bacchantes, a “wilde Rout” of screaming women who murdered and dis-
membered him in the “Rhodope” mountains in Thrace, and threw his body parts into the river Hebrus
(cf. “Lycidas,” 58–63). Milton fears that a similar “barbarous dissonance” unleashed by the Restoration
royalists will drown his voice and threaten his life.
37–8 Muse. Calliope, the Muse of epic poetry, was the mother of Orpheus.
40–50. The second epic question (paralleling 1.27–33), signals that Book 7 is the beginning, structurally, of
the poem’s second half; Virgil makes a similar gesture in Book 7 of the Aeneid.
Book 7 177
72 Divine interpreter. Echoes Mercury’s title as messenger of the gods, “interpres divum” (Aeneid 4.378).
178 Paradise Lost
88–9 ambient Aire. The surrounding air “yeelds” to solids or “fills” the spaces between them.
interfus’d. Interfusus, poured between (Latin).
90–3. Adam’s question about God’s actions before the Creation was often cited by theologians as an exam-
ple of presumptuous and dangerous speculation, especially when, as here, it implies mutability in God.
But in Milton’s Eden error that is not deliberate is not sinful.
98–106. Pleas to continue a story are common in epic, see Odyssey 11.372 – 6, where Alcinous urges Odysseus
to continue speaking until dawn.
103 Deep. Chaos, invisible (“unapparent”) because dark and without form.
Book 7 179
126–30 Knowledge is as food. A commonplace. Cf. Davanant, Gondibert (1651): “For though books serve
as diet for the mind, / If knowledge, early got, self-value breeds, / By false digestion it is turned to wind,
/ And what would nourish on the eater feeds” (2.8.22–5).
131–3 Lucifer. Now known as Satan, he is brighter among the angels than the morning star of that name is
among the other stars.
142 us dispossest. Once he had dispossessed us (a Latinism).
144 thir place. Echoes Job 7:10, about the dead: “He shall return no more to his house, neither shall his
place know him any more.”
145 greater part. Cf. Satan’s conflicting representations of the numbers of the rebels (1.633, 6.156. 9.141–2)
and see 2.692.
180 Paradise Lost
182–3. Cf. Luke 2:14, the angels’ song at the birth of Jesus: “Glory to God in the highest, and on earth peace,
good will toward men.”
199–201 Chariots wing’d. Cf. Zech. 6:1, “behold, there came four chariots out from between two moun-
tains . . . of brass.”
205–9 Harmonious sound. Cf. 2.880–1, and 565–8 below and note.
182 Paradise Lost
225 golden Compasses. Wisdom, in Prov. 8:27, declares, “When he prepared the heavens, I was there: when
he set a compass upon the face of the depth.”
233–5 Matter unform’d and void. Cf. Gen. 1:2, “And the earth was without form, and void; and darkness
was upon the face of the deep. And the Spirit of God moved upon the face of the waters.” Cf. PL 1.21–2.
237–8 tartareous. Crusty, gritty matter (“infernal dregs”), purged from the universe and associated with
Tartarus, hell.
243. God’s creating words, here and later, are quoted almost exactly from Gen. 1 (cf. chapters 1 and 2), but
Milton freely elaborates the creatures’ responses.
244 Ethereal. Ether was thought to be a fifth element or “quintessence,” the substance of the celestial bodies
above the moon.
Book 7 183
245 Sprung from the Deep, and from her Native East
To journie through the airie gloom began,
Sphear’d in a radiant Cloud, for yet the Sun
Was not; shee° in a cloudie Tabernacle° light / temporary dwelling
Sojourn’d the while. God saw the Light was good;
250 And light from darkness by the Hemisphere
Divided: Light the Day, and Darkness Night
He nam’d. Thus was the first Day Eev’n and Morn:
Nor past uncelebrated, nor unsung
By the Celestial Quires, when Orient° Light shining
255 Exhaling° first from Darkness they beheld; rising as vapor
Birth-day of Heav’n° and Earth; with joy and shout the sky
The hollow Universal Orb they fill’d,
And touch’d thir Golden Harps, and hymning prais’d
God and his works, Creatour him they sung,
260 Both when first Eevning was, and when first Morn.
Again, God said, let ther be Firmament
Amid the Waters, and let it divide
The Waters from the Waters: and God made
The Firmament, expanse of liquid, pure,
265 Transparent, Elemental Air, diffus’d
In circuit to the uttermost convex° vault
Of this great Round:° partition firm and sure, universe
The Waters underneath from those above
Dividing: for as Earth, so he the World
270 Built on circumfluous° Waters calme, in wide flowing around
Crystallin Ocean, and the loud misrule
Of Chaos farr remov’d, least fierce extreames
Contiguous might distemper° the whole frame: disturb
And Heav’n° he nam’d the Firmament: So Eev’n the sky
275 And Morning Chorus sung the second Day.
The Earth was form’d, but in the Womb as yet
252 Eev’n and Morn. One twenty-four-hour period measured from sundown to sundown, in the Jewish
manner.
261–75 Firmament. The space between the earth and the outer shell (“uttermost convex”) of the universe,
filled with transparent air; it is the visible “Heav’n” or sky (274), not the ethereal heaven where God and
the angels reside. The “Waters underneath” are the oceans on which the earth rests; the waters “above”
are the “circumfluous Waters,” comprising a “Crystallin Ocean” that surrounds the outer shell of the uni-
verse; “Chaos” is thereby “farr remov’d” from creation.
276–81. Earth is at first an “Embryo” enveloped in a “Womb . . . / Of Waters”; then she is herself the “great
Mother” made ready (“Fermented”) to conceive and bear every other creature. Milton draws on
Lucretius, De Rerum Natura (2.991–8), for the concept of earth as Magna Mater and also on Ovid’s account
of Creation (Metamorphoses 1.1–51).
184 Paradise Lost
321–2 cornie Reed. Stalks bearing grain; they appear as a forest of spears uplifted by a battalion
(“Embattell’d”). Cf. 4.980–3.
331–7. Cf. Gen. 2:5–6: “[God made] every plant of the field before it was in the earth, and every herb of the
field before it grew: for the Lord God had not caused it to rain upon the earth, and there was not a man
to till the ground. But there went up a mist from the earth, and watered the whole face of the ground.”
186 Paradise Lost
360 cloudie Shrine. The “cloudie Tabernacle” (248 above) where light had been stored.
366 Morning Planet. probably Venus, which Galileo’s telescope found to be crescent-shaped (“guilds her
horns”) in her first quarter. The 1667 edition has “his horns” which would refer to Lucifer, who was named
by Raphael as the brightest star at 7.131 and is designated as the morning star in the Nativity Ode, 74.
The change accommodates Gallileo’s finding.
373 Longitude. Course round the ecliptic, from east to west (not the modern use of the term).
374–5 Pleiades. Seven daughters of Atlas, transformed to a cluster of stars known as the Seven Sisters; they
rise in the spring and are thought to shed fertility (“sweet influence”) into the earth. Cf. Job 38:31, “Canst
thou bind the sweet influences of Pleiades.”
Book 7 187
388 Reptil. All creatures that crawl or creep. They are the first animate creatures, having a “living Soule.”
402–3. The fishes’ darting motions resemble boats (“Sculles”) oared now on one side, now on the other; as
they turn they seem to form a “Bank” within the sea.
412 Leviathan. The great whale (cf. 1.200–8).
420–1 callow. Unfeathered, but soon they have full plumage (“fledge”) and the wing feathers (“summ’d thir
Penns”) needed for flight.
422–3 despis’d. Looked down upon (the literal meaning); the ground seemed to be under a cloud of birds.
188 Paradise Lost
429–30 mutual wing. Birds were thought to support each other when they fly in formation.
438–40. The swan’s outstretched (“mantling”) wings seem to form a cloak; it resembles a monarch on a
royal barge (“state”), rowing itself with its “Oarie” feet.
Book 7 189
460–2 Those. The wild beasts who come forth “in Pairs” and spread out (“rare”) at wide intervals.
these. Domestic cattle, who come forth “in flocks” and “broad Herds,” and at once find pasture.
471 Behemoth. A huge biblical beast ( Job. 40:15–24), often identified with the elephant.
474 River Horse. Translates the Greek hippopotamus.
476 Worme. Any creeping creature, including serpents.
485–9 Parsimonious Emmet. The thrifty ant, with its capacious intellect (“large heart”) will become the
symbol of a frugal and self-governing republic (“Pattern of just equalitie”), with the “popular” (populous,
plebeian) tribes of common people (“Commonaltie”) joining in rule. In The Ready and Easy Way, Milton
makes ant colonies a symbol “of a frugal and self governing democratie or Commonwealth; safer and more
thriving in the joint providence and counsel of many industrious equals, then under the single domina-
tion of one imperious Lord.”
489–92 Deliciously. Bees here suggest delightful ease but become a symbol of monarchy associated with
Hell (1.768–75).
190 Paradise Lost
524–8. Cf. Gen. 2:7: “And the Lord God formed man of the dust of the ground, and breathed into his nos-
trils the breath of life; and man became a living soul.”
557 Idea. Eternal archetype or pattern, as in Plato; concept in the mind of God.
192 Paradise Lost
600 Golden Censers. Incense burners, cf. Rev. 8:3–4: “another angel came and stood at the altar, having a
golden censer; and there was given unto him much incense, that he should offer it with the prayers of all
the saints . . . And the smoke of the incense . . . ascended up before God.”
605 Giant Angels. This allusion to the Giants’ revolt against Jove implies that the Greek myth is a classical
type or version of the angels’ rebellion.
618–20 Hyaline. From the Greek for glass (Rev. 4:6, “a sea of glass like unto crystal”). The universe is con-
structed (“founded”) on this sea, the “Crystallin Ocean” above the firmament (see line 271 above), as opposed
to the “nether Ocean” (624), the earth’s seas.
194 Paradise Lost
631–2. Contrast Virgil, Georgics 2.458–9, on the happiness of farmers who live in harmony with an abundant
nature: “O happy husbandmen! too happy, should they come to know their blessings!”
634 Halleluiahs. Hebrew, Praise the Lord.
Figure 6 Illustration to Book 8, 1688 ( John Baptista Medina)
BOOK 8
THE ARGUMENT
Adam inquires concerning celestial Motions, is doubtfully answer’d, and exhorted to
search rather things more worthy of knowledg: Adam assents, and still desirous to detain
Raphael. relates to him what he remember’d since his own Creation, his placing in
Paradise, his talk with God concerning solitude and fit society, his first meeting and
5 Nuptials with Eve, his discourse with the Angel thereupon; who after admonitions
repeated departs.
1 doubtfully. Ambiguously.
14. Introducing Raphael’s prototype of astronomical treatises, notably Galileo’s Dialogue Concerning the Two
Chief World Systems (Italian, 1632; Latin and English trans., 1635). Adam stands in the place of Galileo’s
Sagredo, an intelligent inquirer who seeks to be informed about the movement of the planets, while Raphael
takes on the role, first, of the Ptolemaic apologist (Simplicio), then of the Copernican (Salviati).
15–38. Relying on his senses, Adam assumes the universe is Ptolemaic, but finds logical difficulties in that
system. Cf. Eve’s question at 4:657–8, and Adam’s answer.
Book 8 197
52–7 preferr’d. The emphasis on Eve’s choice indicates that she is not bound by Paul’s prohibition in 1 Cor.
14:35, “If they will learn any thing, let them ask their husbands at home: for it is a shame for women to
speak in the church,” but observes this hierarchical decorum for her own pleasure.
198 Paradise Lost
90. Raphael here begins his rationale for the Ptolemaic system.
117–18 Not that I so affirm. Raphael refuses to “reveal” astronomical truth to Adam, leaving that matter
open to human scientific speculation. He suggests that Adam’s Ptolemaic assumptions result from his earth-
bound perspective, and implies that angels from their perspective see the cosmos in other terms.
122–58. Raphael now argues the case for Copernican astronomy and introduces still more advanced scientific
notions that Adam had not imagined – multiple universes and other inhabited planets.
200 Paradise Lost
126 wandring. Elliptical. The word planet comes from the Greek word for wanderer.
127 Progressive. Moving west to east. retrograde. Moving east to west (contrary to the order of the
zodiac signs).
128 six. The six planets we see move: Saturn, Jupiter, Mars, Venus, Mercury, and the moon. Raphael suggests
that “the Planet Earth” rather than the sun may be the “sev’nth,” moving imperceptibly (“Insensibly”).
130 three differrent Motions. According to Copernicus the three motions are daily rotation, annual revo-
lution around the sun, and “motion in declination” to align the earth’s axis always with the same point
in the celestial sphere.
132 thwart obliquities. Irregular and “contrarie” paths that cross each other, which, if the earth doesn’t rotate,
you must “else” ascribe to the planets (131).
133–6 rhomb. Greek, wheel. The invisible tenth or outer sphere (Primum Mobile), “suppos’d” by Ptolemaic
astronomers to revolve every twenty-four hours (“Nocturnal and Diurnal”) carrying the planets with it; this
concept is necessary if you would “save the Sun his labour,” but if the earth rotates it “needs not thy beleefe.”
148–9 Moons. Planets “attendant” upon a sun; they exchange reflected light reciprocally but also have some
“peculiar” light of their own (7.368). Galileo had discovered four of the moons of Jupiter.
150–1 Male and Femal Light. The sun and moon had long been gendered, through association of the sun
with Apollo and the moon with Diana; here their light is imagined to be a sexually active force, “perhaps”
endowing the several planets with life (“animate”).
Book 8 201
152. Bruno and Descartes were among those who accepted the idea that suns, planets, and moons were inhab-
ited; Kepler rejected the idea.
187–9. Cf. Belial’s “thoughts that wander through Eternity” (2.148).
202 Paradise Lost
250–333. Cf. Eve’s recollection of her earliest moments of consciousness (4.449 –76).
250–1. Cf. Satan’s inability to remember his creation (5.859–63) and the very different inference he draws
from that fact.
204 Paradise Lost
271–3. Many exegetes speculated that Adam spontaneously spoke Hebrew; Milton in his Art of Logic did not
specify the language but wrote that it was “without doubt divinely given.” Adam’s ability to name the
creatures was taken to indicate his intuitive understanding of their natures.
273–82. Adam instinctively works out the central principles of natural theology: that there is a Creator and
that he should be adored.
292 at my Head a dream. In the Iliad (2.20) a dream sent by Zeus in the guise of Nestor stands at
Agamemnon’s head. Compare Eve’s dream (4.800–9, 5.30 – 93).
Book 8 205
384–8 harmonie. As with poorly matched musical instruments, Adam’s string is too taut (“intense”) and the
animals’ string is too slack (“remiss”) to be in harmony (“suite”).
402 pleasure. “Eden” is Hebrew for “pleasure.”
415–17 perfet. God is absolutely perfect, man is perfect only “in degree,” relatively.
208 Paradise Lost
460–1 Cell / Of Fancie. Cf. Adam’s explanation of the role of Fancy to Eve (5.100 –13).
465 left side. Some commentators explained that the left side is nearest the heart; others pointed to the left
as the “sinister” side, foreshadowing Eve’s role in the Fall.
466 cordial spirits. The so-called “vital spirits” that the heart distributes throughout the body.
478–520. Cf. Eve’s version of these events (4.467–91).
210 Paradise Lost
495–9. Cf. Gen. 2:23–4: “And Adam said, This is now bone of my bones, and flesh of my flesh: she shall be
called Woman, because she was taken out of Man. Therefore shall a man leave his father and his mother,
and shall cleave unto his wife: and they shall be one flesh.”
511. Cf. Raphael’s “rosie red” glow at 8.618–19.
519–20 Eevning Starr. The rising of Hesperus was the signal among the ancients for lighting the “bridal
Lamp” and conducting the bride to the bridegroom.
Book 8 211
543–4 resembling less. Most commentators on Genesis agreed that Eve was a less perfect image of God
than was Adam.
553 Looses. Becomes unstable. discount’nanc’t. Disconcerted.
556 Occasionally. Contingently, to meet Adam’s need.
212 Paradise Lost
591–2 scale. Raphael summarizes the Neoplatonic ladder of love (see Plato, Symposium 211C –D), by which
humans may move from sensual love to higher stages of human love, and ultimately to love of the Good,
or God.
598–600. Adam takes respectful issue with Raphael’s apparent denigration of human sex in his account of
the Neoplatonic ladder. mysterious. At Eph. 5:31–2 Paul speaks of the marital union (“one flesh”)
as a “great mystery,” as it reflects the union of Christ and the Church.
609–10. i.e., “various objects, variously represented to me by my senses.”
619. Red is the color traditionally associated with Seraphim, who burn with ardor. Raphael’s smile also glows
with friendship for Adam, and appreciation of his perceptive inference about angelic sex. Given the monism
Raphael explains in Book 5 (469–500) and demonstrates by eating human food, Raphael has to be made
to qualify his apparent Neoplatonic dualism in seeming so sharply to separate physical and spiritual love.
214 Paradise Lost
631 Earths green Cape. Cape Verde near Dakar and the islands off that coast are the westernmost
(“Hesperian”) points of Africa.
634–5. Cf. 1 John 5:3: “this is the love of God, that we keep his commandments.”
Figure 7 Illustration to Book 9, 1688 ( John Baptista Medina)
BOOK 9
THE ARGUMENT
Satan having compast the Earth, with meditated guile returns as a mist by Night
into Paradise, enters into the Serpent sleeping. Adam and Eve in the Morning go forth
to thir labours, which Eve proposes to divide in several places, each labouring apart:
Adam consents not, alledging the danger, lest that Enemy, of whom they were fore-
5 warn’d, should attempt her found alone: Eve loath to be thought not circumspect or
firm enough, urges her going apart, the rather desirous to make tryal of her
strength; Adam at last yields: The Serpent finds her alone; his subtle approach, first
gazing, then speaking, with much flattery extolling Eve above all other Creatures.
Eve wondring to hear the Serpent speak, asks how he attain’d to human speech and
10 such understanding not till now; the Serpent answers, that by tasting of a certain
Tree in the Garden he attain’d both to Speech and Reason, till then void of both:
Eve requires him to bring her to that Tree, and finds it to be the Tree of Knowledge
forbidden: The Serpent now grown bolder, with many wiles and arguments induces
her at length to eat; she pleas’d with the taste deliberates a while whether to impart
15 thereof to Adam or not, at last brings him of the Fruit, relates what perswaded her
to eat thereof: Adam at first amaz’d, but perceiving her lost, resolves through vehe-
mence of love to perish with her; and extenuating the trespass, eats also of the Fruit:
The Effects thereof in them both; they seek to cover thir nakedness; then fall to vari-
ance and accusation of one another.
16 amaz’d. Stunned.
1–47. In this fourth Proem, Milton does not invoke the Muse but testifies (21– 2) to her customary nightly
visits, “unimplor’d.”
1–6. The Miltonic Bard declares a shift in mode from the pastoral of “rural repast” and eclogue (which here
includes georgic labor, physical and intellectual) to “Tragic.”
Book 9 217
13–19. The Bard proposes that the tragedy of the Fall surpasses the tragic element in several classical epics:
“Achilles” pursuing the fleeing (“Fugitive”) Hector (“his Foe”) three times around “Troy Wall” before killing
him; “Turnus” fighting and then killed by Aeneas, who had received as wife Turnus’ betrothed (“Lavinia
disespous’d”); Odysseus (“the Greek”) tormented by “Neptun’s ire” for blinding his son Polyphemus; and
Aeneas (“Cytherea’s [Venus’s] Son” plagued by “Juno’s” anger because Venus had been judged by Paris to
be more beautiful than Juno or Minerva.
21 Celestial Patroness. Urania, named in 7.1.
22–4 dictates to me slumbering. Milton’s verses seem to pour forth directly (“unpremeditated”) from the
Muse’s inspiration; they are the product of a lifetime of study, thought, and experience. Milton’s nephew,
Edward Phillips, reports that Milton often awoke in the morning with lines of poetry fully formed and
ready to be dictated to an amanuensis.
25–6. See Introduction, pp. xviii–xix, for an account of Milton’s “long” consideration of possible epic sub-
jects and plans.
30–1 Battels feign’d. Milton disparages the customary subjects of epic and romance, with allusion to the
Arthurian matter he once considered as subject for a national epic, but then rejected as merely fables.
34–7. Milton now rejects several familar elements of contemporary romantic epics (Ariosto, Tasso, Spenser).
tilting Furniture. Equipment for jousting. Impreses quaint. Ingenious heraldic devices on shields.
Caparisons. Ornamental coverings or armor for horses. Bases. Cloth coverings for horses.
tinsel Trappings. Coverings over the harness or saddle of horses, ornamented with gold or silver threads.
37 marshal’d Feast. Well ordered, with guests arranged according to rank.
218 Paradise Lost
44–6 That name. The designation, heroic poem. age too late. The Restoration era might well be
unreceptive to this poem. cold / Climat. Milton long believed that England’s climate was less amenable
to epic poetry than the warmth of the Mediterranean region. Years. His own advanced age (he was
in his fifties when writing the poem). damp. Benumb. intended wing / Deprest. Purposed
poetic flights held down, kept from soaring.
49–50 Hesperus. The evening star, actually the planet Venus.
62–6. By circling the globe from east to west at the equator (“Equinoctial Line”) for three nights and then
longitudinally for four nights over the north and south poles (“From Pole to Pole”) Satan can remain in
darkness (“rode / With darkness”), keeping himself always in the earth’s shadow, ahead of the advancing
edge of the sun’s light. Carr of Night. The earth’s shadow, imagined as a chariot driven by the
goddess, Night. Colure. The colures were two great circles intersecting at right angles at the poles.
Book 9 219
70 Now not, though Sin, not Time, first wraught the change,
Where Tigris at the foot of Paradise
Into a Gulf shot under ground, till part
Rose up a Fountain by the Tree of Life;
In with the River sunk, and with it rose
75 Satan involv’d in rising Mist, then sought
Where to lie hid; Sea he had searcht and Land
From Eden over Pontus, and the Poole
Mæotis, up beyond the River Ob;
Downward as farr Antartic; and in length
80 West from Orontes to the Ocean barr’d
At Darien, thence to the Land where flowes
Ganges and Indus: thus the Orb he roam’d
With narrow search; and with inspection deep
Consider’d every Creature, which of all
85 Most opportune might serve his Wiles, and found
The Serpent suttlest Beast of all the Field.
Him after long debate, irresolute
Of° thoughts revolv’d, his final sentence° chose among / decision
Fit Vessel, fittest Imp° of fraud, in whom offspring, offshoot
90 To enter, and his dark suggestions hide
From sharpest sight: for in the wilie Snake,
Whatever sleights° none would suspicious mark, artifices
As from his wit and native suttletie
Proceeding, which in other Beasts observ’d
95 Doubt° might beget of Diabolic pow’r suspicion
Active within beyond the sense of brute.
Thus he resolv’d, but first from inward griefe
His bursting passion into plaints thus pour’d:
O Earth, how like to Heav’n, if not preferr’d
100 More justly, Seat worthier of Gods, as built
With second thoughts, reforming what was old!
For what God after better worse would build?
105–7. Cf. the different views of the cosmos held by Eve (4.657 – 8), Adam (8.15 – 38), and Raphael (8.98 – 9,
114–78).
Book 9 221
141–2. Cf. the conflicting estimates of the rebel numbers at 1.632 – 3, 2.692, and 6.156. Cf. Rev. 12:3 – 4, the
casting down of “the third part of the stars of heaven.”
146–7 his Created. Cf. 5.853–63 and 4.43.
151 spoils. Goods seized from a defeated enemy.
156 flaming Ministers. Cf. Heb. 1:7: “Who maketh his angels spirits and his ministers a flame of fire.”
166 imbrute. Satan embodying his “essence” in a snake parodies the Son becoming “incarnate” as man.
222 Paradise Lost
231–4. Adam’s praises invite comparison with the qualities of a virtuous wife set forth in Prov. 31, especially
verses 27–8: “She looketh well to the ways of her household, and eateth not the bread of idleness. Her
children arise up and call her blessed; her husband also, and he praiseth her.”
224 Paradise Lost
270 Virgin. Unspotted, peerless. Virginity in Puritan usage can include chaste marriage. See Calvin, Institutes
4.12:28: “the second sort of virginity is the chaste love of matrimony.” Cf. PL 4.737–73.
275–8 over-heard. Eve had been “attentive” to all of Raphael’s story about Satan (7:51), but evidently hears
his reiterated warnings from a “shadie nook” when she returns from tending her flowers just as he departs
(8:41–51, 633–643).
Book 9 225
309–12. In Renaissance Neoplatonism, love (and especially the sight of the beloved) inspired the lover to
virtue.
322–41. Compare and contrast Areopagitica: “I cannot praise a fugitive and cloister’d vertue, unexercis’d &
unbreath’d, that never sallies out and sees her adversary, but slinks out of the race, where that immortall
garland is to be run for, not without dust and heat. Assuredly we bring not innocence into the world, we
bring impurity much rather: that which purifies us is triall, and triall is by what is contrary.”
226 Paradise Lost
349–56 Reason he made right. Right Reason, a classical concept accommodated to Christian (Scholastic)
philosophy, is the God-given power to apprehend truth and the moral law. See Christian Doctrine 1.4: “Reason
has been implanted in all, by which they may of themselves resist bad desires.” Also, cf. PL 5.520 – 9.
Book 9 227
386–90 light. Light-footed, quick, but with overtones of fickle or frivolous. Oread. A mountain-nymph.
Dryad. A wood-nymph. Delia. Diana, born on the isle of Delos, hunted with a “Traine” of nymphs,
and with “Bow and Quiver.”
392 Guiltless of fire. Without experience of fire, unneeded in Paradise. So Eve’s gardening tools are neces-
sarily “rude.” A possible allusion also to the guilt of Prometheus, who stole fire from heaven.
393–6 Pales. Goddess of flocks and pastures. Pomona. Goddess of fruit-trees; she was chased by the
wood-god “Vertumnus” in many guises, before surrendering to him. Ceres. Goddess of harvests, in
the springtime (“Prime”) of life before she was impregnated by “Jove” with “Proserpina,” whose abduction
by Pluto to Hades brought winter to the world.
228 Paradise Lost
Then voluble° and bold, now hid, now seen gliding, undulating
Among thick-wov’n Arborets° and Flours small trees
Imborderd on each Bank, the hand° of Eve: handiwork
Spot more delicious then those Gardens feign’d
440 Or° of reviv’d Adonis, or renownd either
Alcinous, host of old Laertes Son,
Or that, not Mystic, where the Sapient King
Held dalliance with his fair Egyptian Spouse.
Much hee the Place admir’d, the Person more.
445 As one who long in populous City pent,
Where Houses thick and Sewers annoy° the Aire, make noisome, pollute
Forth issuing on a Summers Morn to breathe
Among the pleasant Villages and Farmes
Adjoynd, from each thing met conceaves delight,
450 The smell of Grain, or tedded° Grass, or Kine,° spread out to dry / cattle
Or Dairie, each rural sight, each rural sound;
If chance with Nymphlike step fair Virgin pass,
What pleasing seemd, for° her now pleases more, because of
She most, and in her look summs all Delight.
455 Such Pleasure took the Serpent to behold
This Flourie Plat,° the sweet recess° of Eve plot / retreat
Thus earlie, thus alone; her Heav’nly forme
Angelic, but more soft, and Feminine,
Her graceful Innocence, her every Aire° manner
460 Of gesture or lest action overawd
His Malice, and with rapine sweet bereav’d
His fierceness of the fierce intent it brought:
That space the Evil one abstracted° stood withdrawn
From his own evil, and for the time remaind
465 Stupidly good,° of enmitie disarm’d, good because in a stupor
Of guile, of hate, of envie, of revenge;
But the hot Hell that alwayes in him burnes,
Though in mid Heav’n, soon ended his delight,
And tortures him now more, the more he sees
440–1 reviv’d Adonis. The Garden of Adonis was a beautiful pleasure garden named for the lovely youth
loved by Venus, killed by a boar, and, in some versions of the myth, revived and enjoyed by Venus in
that garden (cf. Faerie Queene 3.6.29–46). Alcinous. The Phæacian king who entertained “Laertes Son”
Odysseus in magnificent gardens (Odyssey 7.112–35).
442–3 Sapient King. Solomon, noted for his wisdom (sapience) entertained his “fair Egyptian Spouse,” the
queen of Sheba, in a lovely garden (S. of S. 6:2) that was real, not mythic (“Mystic”) as the others were.
461 rapine sweet. From Latin rapere, to seize, the root of both “rape” and “rapture,” underscoring the para-
dox of the ravisher (temporarily) ravished. bereav’d. Took from.
230 Paradise Lost
505–7 Cadmus. The legendary founder of Thebes, and his wife Harmonia (“Hermione”) were changed to
serpents when they went to “Illyria” (Albania) in old age. the God. Aesculapius, god of healing,
sometimes came forth as a serpent from his temple in “Epidaurus” – erect, crested, and with gilded folds
like Satan’s serpent (Ovid, Metamorphoses 15.622–744).
Book 9 231
507–10 Ammonian Jove. Jupiter Ammon made love to “Olympias” in the form of a serpent, and sired
Alexander the Great. Capitoline. Jupiter Capitolinus in serpent form sired “Scipio” Africanus, the
“highth of Rome” (greatest Roman), who defeated Hannibal.
521–2 Circean call. The witch Circe transformed men into a “Herd disguis’d” of fawning animals (Odyssey
10:212–19; Metamorphoses 14.45f ).
529–30 Organic. Satan either used the actual tongue (organ) of the serpent or else produced vibrations (“impulse”)
in the air to produce speech.
532–48. Satan’s entire speech is couched in the extravagant phrases and conceits of the Petrarchan love tradi-
tion; cf. Eve’s dream at 5.38–93.
232 Paradise Lost
581–2 sweetest Fenel. According to Pliny serpents ate fennel to aid in shedding their skins and to sharpen
their eyesight; folklore had it that they drank the milk of sheep and goats.
585 fair Apples. Genesis does not identify the forbidden fruit as apples, but that identification became con-
ventional, probably because in Latin malum means both apple and evil (malus).
599–604 to degree. To bring on by degrees “Of Reason.” There is no precedent in Genesis or the interpre-
tative tradition for Satan’s argument by analogy based on the snake’s supposed experience of attaining to
reason and speech by eating the forbidden fruit.
606–12. Satan continues his Petrarchan language of courtship.
613 spirited. Both inspired by and possessed by an evil spirit, Satan.
234 Paradise Lost
629 blowing. Blossoming trees that exude the aromatic gums, “Myrrh” and “Balme” (balsam).
634–42 wandring Fire. Will-o’-the-wisp, phosphorescent marsh gas, composed (“compact”) of an oily
(“unctuous”) exhalation kindled through friction (“agitation”) to a “Flame.” Often mistaken for “evil
Spirits,” such fires frightened and misled the bewildered (“amaz’d”) “Night-wanderer” into “Boggs and Mires.”
Book 9 235
653–4 Daughter of his voice. A Hebraism, Bath Kol, daughter of a voice. This is God’s “Sole” direct com-
mandment; otherwise their unfallen “Reason” leads them to understand and follow the moral “Law”
of nature.
659–63. Cf. Gen. 3:1–3: “Now the serpent was more subtil than any beast of the field which the Lord God
had made. And he said unto the woman, Yea, hath God said, Ye shall not eat of every tree of the garden?
And the woman said unto the serpent, We may eat of the fruit of the trees of the garden: But of the fruit
of the tree which is in the midst of the garden, God hath said, Ye shall not eat of it, neither shall ye touch
it, lest ye die.” Eve’s formulation indicates her “sufficient” understanding of the prohibition.
668–9 act / Rais’d. Drawn up to full dignity.
670–2 som Orator renound. Like the Athenian Demosthenes or the Roman Cicero, defending liberty “som
great cause.” free Rome. Rome when it was a republic. since mute. Such oratory no longer
exists, presumably because such love of liberty (in monarchical Europe, and now including England) no
longer exists.
675–8 brooking. Allowing; Satan omits the usual rhetorical practice of beginning with a “Preface” and
rising by stages to “highth” of style, but rather begins his speech at once in an “impassion’d” high style
(“to highth upgrown”).
236 Paradise Lost
685 ye shall not Die. Cf. Gen. 3:4, “And the serpent said unto the woman, Ye shall not surely die.”
689 Fate. As often before, Satan ascribes ultimate agency to Fate rather than God.
695 whatever thing Death be. Satan has of course met Death (2.781–814; cf. 4.425– 7).
698–9 if what is evil / Be real. Theologians normally defined evil as a privation of or turning away from
good; on that assumption Satan argues that evil has no real existence.
708 Gods. Satan often equivocates with the term suggesting the angels’ equality with God; throughout this
passage he explicitly describes them as a pantheon of gods (cf. 718–19).
711 proportion meet. Satan invites Adam and Eve to aspire to divinity based on analogy with the supposed
experience of the snake.
Book 9 237
713–15. Satan perverts the Pauline concept of death to sin (Col. 3:3, 9 –10): “For ye are dead, and your life
is hid with Christ in God . . . ye have put off the old man with his deeds; And have put on the new man,
which is renewed in knowledge after the image of him that created him.”
716–17. Compare and contrast Raphael’s prediction of human evolution (5.491–500).
729–30. An echo of Virgil’s comment on Juno’s anger (Aeneid 1.11), “Can so much anger dwell in heavenly
hearts.”
735–40 eager appetite. Cf. Gen. 3:6: “the woman saw that the tree was good for food, and that it was pleas-
ant to the eyes, and a tree to be desired to make one wise.”
744 Pausing a while. The pause makes Eve’s action a matter of willed choice, not merely impulsive.
238 Paradise Lost
745–81. See Christian Doctrine, ch. 11, on the two parts of sin, evil desire and evil action.
781 eat. Ate, an accepted past tense, pronounced “et.”
Book 9 239
782–4. Earth felt the wound. Cf. Rom. 8:22: “we know that the whole creation groaneth and travaileth in
pain together.” See also 9.1000–4 and 10.651–714.
795–807. Cf. Adam and Eve’s morning hymn (5:144–208).
804 Gods. Like Satan, Eve now refers to a pantheon of gods.
240 Paradise Lost
835–7 low Reverence. Eve’s idolatry of the “power” within the tree recalls the idolatrous reverence the rebel
angels offered to Satan (2.477–9).
853–4 excuse. Eve’s expression as she approached Adam first registered “excuse,” like the “Prologue” in a
play, and “Apologie” ( justification, self-defense) served as prompter to her speech.
Book 9 241
974–5 Direct, or by occasion. The direct or indirect “good” of tasting the fruit has been the “happie trial”
of Adam’s love.
977–81. Cf. Eve’s earlier comment (826–33).
997–9. Cf. 1 Tim. 2:14: “And Adam was not deceived, but the woman being deceived was in the transgres-
sion.”
1003–4 Sin / Original. The theological doctrine that all Adam’s descendants are stained by Adam’s sin and
thereby subject to physical death and (unless saved by grace) to damnation. Cf. Christian Doctrine 1.11.
Book 9 245
1026 ten. Looks forward to the Mosaic covenant, with its ten commandments.
1029–32. Echoes Zeus’ amorous invitation to Hera (Iliad 14.314 –28), and also Paris to Helen (Iliad 3.441– 6).
1037. Cf. other places where Adam and Eve join and disjoin hands: 4.321, 488 – 9, 9.385– 6, 12.648.
1039–45. Cf. Adam and Eve’s lovemaking in innocence: 4:705–10, 738 – 43, 771–3.
246 Paradise Lost
1058–9 hee. “shame” now “cover’d” them, but revealed (“Uncover’d”) their guilt.
1059–62 Danite. Samson, of the tribe of Dan, told the Philistine “Harlot” “Dalilah” that the secret of his great
strength lay in his hair; she sheared it off while he slept, and when he awoke he was easily captured by
his enemies and blinded.
1067 Eve, in evil hour. Adam’s bitter pun suggests a false etymology for Eve’s name and repudiates the actual
etymology, “life,” which Adam will later reaffirm (11.159– 61).
1071–3. Adam, like most commentators, derives the tree’s name, the Tree of Knowledge of Good and Evil,
from its effect. Cf. Christian Doctrine 1.10: “since Adam tasted it, we not only know evil, but we know
good only by means of evil.”
Book 9 247
1078–80 concupiscence. The theological term for the unruly human passions and desires seen as one effect
of the Fall, and causing an abundance (“store”) of evils. “Shame” is the “last” evil, the “first” is the “foul
concupiscence” that produces it.
1095–1110 broad smooth leaves. The banyan, or Indian fig tree, has small leaves, but the account Milton
draws on from Gerard’s Herbal (1597) contains the several details related in these lines. “Malabar” and “Decan”
(Deccan) are in southern India.
1111 Amazonian Targe. Shield of the Amazons, female warriors of Greek myth.
248 Paradise Lost
1120–31. The immediate psychological effects of the Fall are seen in the subjection of reason and will to the
lower faculties of sensual appetite.
1136, 1144 wandring, severe. Both words now take on their fallen meanings. In unfallen Eden wandering
is blameless (4.234, 8.312); at 4.293–4 “severe” means “austerely simple”; here it means “harsh.”
1144 What words . . . Lips. A Homeric formula.
Book 9 249
16 manifold in sin. Having multiple sins. In Christian Doctrine 1.11 Milton suggests that no sin “can be named,
which was not included in this one act.”
29 Accountable. Liable to be called to answer for how they fulfilled their duties (guarding Paradise).
31 easily approv’d. Their plea of “utmost vigilance” was readily accepted.
38–9 Foretold so lately. Cf. 3.80–96.
43–7 no Decree of mine. Cf. 3.96–128.
Book 10 253
49–50 Death denounc’t. Formally proclaimed; cf. Gen. 2:17: “But of the tree of the knowledge of good and
evil, thou shalt not eat of it: for in the day that thou eatest thereof thou shalt surely die.” Cf. PL 8:323–33.
53 Forbearance no acquittance. God’s restraint (“Forbearance”) in exacting punishment does not “acquit”
Adam of the punishment due. “Omittance is not quittance” was a proverb.
54. i.e., my justice must not be “scorn’d” as my generosity (“bountie”) has been.
56–7 All Judgement. Cf. John 5:22: “For the Father judgeth no man, but hath committed all judgment unto
the Son.”
60–1 Mediator. Cf. Christian Doctrine 1.15, “The mediatorial office of Christ is that whereby . . . he volun-
tarily performed, and continues to perform, on behalf of man, whatever is requisite for obtaining recon-
ciliation with God, and eternal salvation.”
70 Son belov’d. Cf. Matt. 3:17: “This is my beloved Son, in whom I am well pleased.”
254 Paradise Lost
90–1 strait. Immediate; cf. Raphael’s journey from heaven to earth (8.110 –14).
92–102. Cf. Gen. 3:8: “And they heard the voice of the Lord God walking in the garden in the cool of the
day: and Adam and his wife hid themselves from the presence of the Lord God amongst the trees of the
garden.”
Book 10 255
121–3. Cf. Gen. 3:11, “And he said, Who told thee that thou wast naked? Hast thou eaten of the tree, whereof
I commanded thee that thou shouldest not eat?”
137–43. Compare Adam’s speech in Gen. 3:12, “The woman whom thou gavest to be with me, she gave me
of the tree, and I did eat.”
148–50 of thee, / And for thee. Cf. 1 Cor. 11:8–9, “For the man is not of the woman; but the woman of
the man. Neither was the man created for the woman; but the woman for the man.”
256 Paradise Lost
157–62. Cf. Gen. 3:13, “And the Lord God said unto the woman, What is this that thou hast done? And the
woman said, The serpent beguiled me, and I did eat.”
165–7. i.e., the serpent was “unable” to “transferre” his own “Guilt” in being “polluted” to Satan, who made
him his “instrument.”
169–70 more to know. Adam and Eve cannot now understand the terms of the judgment on the serpent.
175–8. Cf. Gen. 3:14, which these lines closely paraphrase.
179–81. Cf. Gen. 3:15: “And I will put enmity between thee and the woman, and between thy seed and her
seed; it shall bruise thy head, and thou shalt bruise his heel.” This is the “protoevangelium,” or judgment
of Satan in the serpent, that contains the promise of the redeemer, the woman’s “Seed.” Adam and Eve
do not fully understand it until 12.429–33, 598–605.
Book 10 257
183–4. Cf. Jesus’ comment to his disciples (Luke 10:18), “I beheld Satan as lightning fall from heaven.”
185–8 Prince of the Aire. Cf. Eph. 2:2, where Satan is called “prince of the power of the air”; Col. 2:15, which
states that Christ, “having spoiled principalities and powers, he made a shew of them openly, triumphing
over them”; and Eph. 4:8, declaring that when Christ “ascended up on high, he led captivity captive.”
193–6. Cf. Gen. 3:16: “Unto the woman he said, I will greatly multiply thy sorrow and thy conception; in
sorrow thou shalt bring forth children, and thy desire shall be to thy husband, and he shall rule over thee.”
In Christian Doctrine 1.10 Milton claimed that after the Fall the husband’s power over his wife was
increased.
197–208. Cf. Gen. 3:17–19: “And unto Adam he said, Because thou hast hearkened unto the voice of thy
wife, and hast eaten of the tree, of which I commanded thee, saying, Thou shalt not eat of it: cursed is the
ground for thy sake; in sorrow shalt thou eat of it all the days of thy life; Thorns also and thistles shall it
bring forth to thee; and thou shalt eat the herb of the field; In the sweat of thy face shalt thou eat bread,
till thou return unto the ground; for out of it wast thou taken: for dust thou art, and unto dust shalt thou
return.”
258 Paradise Lost
214–17 form of servant. Cf. Phil. 2:7; John 13:5 tells of Jesus washing his disciples’ feet; Gen. 3:21 records
that the “Lord God made coats of skins, and clothed” Adam and Eve.
222–3. Cf. Isa. 61:10: “he hath covered me with the robe of righteousness.”
Book 10 259
290–3 Cronian Sea. The Arctic Ocean. th’imagin’d way. The northeast passage from Pechora
(“Petsora”), a river in Siberia, to north China (Cathay) which Henry Hudson looked for in 1608 but could
only imagine because it was blocked by ice.
294–6 Mace petrific. Death’s materials are the “cold and dry” elements. His mace is associated with
Neptune’s “Trident,” which was said to have “fix’t” the “floating” Greek island “Delos.”
297 Gorgonian rigor. The Gorgon Medusa turned to stone anything she looked upon.
306 great things to small. A familiar Virgilian formula.
307–11. The Persian king “Xerxes” ordered the sea whipped when it destroyed the bridge of ships he built
over the Hellespont ( joining “Europe with Asia”), so as to invade Greece. Susa. The biblical Shusan, Xerxes’
winter residence, was founded by the mythical Prince Memnon (“Memnonian Palace”).
313 Pontifical. Bridge-building, with a pun on “papal.” The pope had the title Pontifex Maximus.
Book 10 261
323–4 three sev’ral wayes. The golden staircase or chain linking the universe to Heaven (3.510 –18); the
new bridge linking it to Hell; and the passage through the spheres down to earth (3:526 – 9).
328–9. Satan steered between Sagittarius (“the Centaure”) and Scorpio, thereby passing through Anguis, the
constellation of the Serpent.
342–5 listening. Satan evidently heard the “discourse” and “plaints” of Adam and Eve at 10.720–1096), which
thus precede his return to Hell; he also concluded that his own “doom” was “of future time.”
355 Trophies. Objects or persons captured in battle displayed in the triumphs accorded Roman generals and
emperors who won great military victories; here, the bridge itself is a trophy of victory.
262 Paradise Lost
381 Quadrature. The New Jerusalem is described as “foursquare” in Rev. 21:16. Satan’s new conquest, earth,
is an orb (“Orbicular”), so Sin implies its superiority since a sphere was thought to be more perfect than
a cube. Cf. PL 2.1048, where Heaven is said to be “undetermind square or round.”
386–7 Antagonist. The name “Satan” means Adversary or Antagonist.
390. The repeated word emphasizes that Satan is enacting a triumph, passing over a triumphal bridge rather
than through triumphal arches; the scene would likely evoke the Roman-style triumphal processions and
arches celebrating the Restoration of Charles II.
Book 10 263
413–14 Planet-strook. The planets, stricken as by the malign influence of an adverse planet, suffered not
merely a temporary but a “real Eclips,” a permanent loss of light.
424–6 Pandæmonium. Literally “place of all demons”; it is termed the “seate” of “Lucifer” (Satan’s name before
his fall), in allusion to and comparison with the morning star named Lucifer (the light-bringer).
427 the Grand. “the grand infernal Peers” (cf. 2.507).
264 Paradise Lost
429–39 the Tartar. The simile compares the fallen angels’ withdrawal from other regions of Hell to guard
their metropolis to Tartars retiring before attacking Russians and to Persians retreating before attacking
Turks. Astracan. A Tartar region near the mouth of the Volga, annexed by Ivan the Terrible in
1556. Bactrian Sophi. Persian Shah (Bactria, modern Afghanistan, was a province of Persia).
Turkish Crescent. Refers both to the Turkish battle formations and to their emblem. Realm of
Aladule. Armenia, whose last Persian ruler before the Turkish conquest, named Aladule, was forced to
retreat before the Turks to Tabriz (“Tauris”) in northwest Persia (Iran) or to Kazvin (“Casbeen”), north of
Tehran.
441–55. Satan’s invisble entry and sudden blazing forth recall the sudden appearance of the Sultan, Solimano,
in Tasso, Gerusalemme Liberata 10:32–50.
444 Plutonian. Infernal, from Pluto, the classical god who rules the underworld.
453 Stygian. Of the river Styx in Hades, the river of hate.
Book 10 265
460–1. Satan declares that his followers now hold their titles “in possession” (de facto), by reason of his con-
quest of earth, not only “of right” (de jure) – a common legal distinction.
480. Protesting both to and against Fate.
266 Paradise Lost
503 bliss. Ironically, the final word of Satan’s triumphal speech rhymes with and prepares for the “hiss” that
will soon greet him (508).
511–47. The scene recalls Dante’s vivid description of the thieves metamorphosed into snakes (Inferno 24 –5).
524–6 Scorpion. This has a venomous sting at the tip of the tail. Asp. A small Egyptian viper.
Amphisbœna. A mythical snake with a head at either end. Cerastes. An asp with horny projections
over each eye. Hydrus, and Ellops. Mythical water snakes. Dipsas. A mythical snake whose
bite caused raging thirst.
527–8 Gorgon. Medusa. Ovid explains that the blood dropping from her severed head as Persius flew with
it over Libya accounts for the abundance of snakes in that country (Metamorphoses 4.617– 20). Milton’s cat-
alogue of snakes recalls Lucan’s enumeration of the serpents that sprang from Medusa’s blood (Pharsalia
9.697–733). Ophiusa. Greek, “full of serpents,” the name given to several islands, including Rhodes.
Book 10 267
528–32 Dragon. Associated with Satan, cf. Rev. 12:9. Python. A gigantic serpent engendered from the
slime left by Deucalion’s flood; Apollo slew him and appropriated the “Pythian Vale” and shrine at Delphi
(Metamorphoses 1.438–47), a narrative sometimes read as type of Christ’s victory over the “Dragon” Satan.
559–60 Megœra. One of the three Furies with snaky hair, goddesses of vengeance.
561–70 bituminous Lake. The Dead Sea, where “Sodom,” the evil city destroyed by fire and brimstone (“flamed”)
once stood (Gen. 19:24). Apples reputedly grew nearby, which looked good but dissolved into ashes when
touched. Milton’s scene also evokes the myth of Tantalus, from whom water and fruit receded every time
he reached for them to assuage his raging hunger and thirst (Odyssey 11.582 – 92). Cf. the curse on the ser-
pent, “dust shalt thou eat all the days of thy life” (Gen. 3:14).
268 Paradise Lost
574–6 lost shape. God permitted them to resume their shape as fallen angels, but turned them to serpents
in an “annual humbling.”
578–84 some tradition. The Titan “Ophion” (whose name means “Serpent”) and his wife “Eurynome” (the
wide-ruling or “wide- / Encroaching”) ruled Olympus until driven away by “Saturn” and his wife “Ops”;
they in turn were overthrown by “Dictæan Jove,” who lived in Crete on Mount Dicte. Milton suggests that
these myths represent versions of the fallen angels’ story transmitted by them to “the Heathen.”
586–8. Sin was “in power” in Eden in the actual sins of Adam and Eve; now Sin will dwell “in body,” as a
“Habitual” physical presence in all creatures, due to original sin.
589–90 pale Horse. Cf. Rev. 6:8, “Behold a pale horse: and his name that sat on him was Death, and Hell
followed with him.” Death is “not mounted yet” because that action is predicted for the Last Days.
Book 10 269
601 unhide-bound Corps. Death’s hunger is such that he can never fill out his skin, so his “hide” does not
cling close to his bones.
606 Sithe of Time. A familiar emblem shows Time (and Death) as a mower with a scythe.
620 wastful Furies. Avenging classical deities (the Eumenides), here, Sin and Death,
270 Paradise Lost
638–9. Cf. Rev. 21:1, “And I saw a new heaven and a new earth: for the first heaven and the first earth were
passed away.”
641–5. Cf. Rev. 19:6, “And I heard as it were the voice of a great multitude, and as the voice of many waters,
and as the voice of mighty thunderings, saying, Alleluia” and Rev. 16:7, “Even so, Lord God Almighty,
true and righteous are thy judgments.”
657 other five. Planets, see note to 5.176–8.
659. The positions of 60, 90, 120, and 180 degrees, respectively.
Book 10 271
664–5 Winds. Often shown on early maps as blowing from the four “corners” of the earth.
668–80. The poem offers both a Copernican and a Ptolemaic explanation of the shifts made in the cosmos
so as to change the prelapsarian eternal spring, when the sun’s orbit was parallel to the equator,
“Equinoctial Rode.” The Copernican explanation (offered first) proposes that the axis of the earth, “the
Centric Globe,” is now tilted and the “Poles” turned “ascanse” (668 –71). The Ptolemaic explanation is that
the plane of the sun’s orbit is tilted (671–8) so that the sun journeys from Aries through the zodiac. In
spring and summer it passes a like declination (“Like distant breadth”) through “Taurus” and the Pleiades
(“the Seav’n / Atlantick Sisters”), Gemini (“the Spartan Twins”), and Cancer (“the Tropic Crab”). Then at
full speed (“down amaine”) it moves in late summer and autumn through “Leo,” Virgo (“the Virgin”), and
Libra (“the Scales”), to “Capricorne” in winter.
686–7 Estotiland. Northern Labrador. Magellan. The Straits of Magellan, at the tip of South America.
688 Thyestean. Thyestes seduced the wife of his brother Atreus, who, in revenge, served one of Thyestes’
sons to him in a “Banquet.” The sun changed its course in horror.
272 Paradise Lost
696 Norumbega. Northern New England and maritime Canada. Samoed. Northeastern Siberia.
698–706 Boreas . . . Cœcias . . . Argestes . . . Thrascias. All winds that blow from the north, northeast, and
northwest, bursting from the cave (“brazen Dungeon”) in which Aeolus had imprisoned the winds. “Notus
and Afer” come from Sierra Leone (“Serraliona”) on the west coast of Africa. Blowing across them
(“thwart”) are the “Levant” from the east and specifically the Levant region, and the “Ponent” (western)
winds “Eurus” (east-southeast), “Zephir” (the west wind), “Sirocco” (southeast) and “Libecchio” (southwest).
707 Discord. The classical Discordia was the sister of Death, hence “Daughter of Sin.”
711 graze the Herb all leaving. Vegetation and fruit were the prelapsarian foods of all creatures; meat-
eating began with the Fall.
720 O miserable of happie. Adam’s “sad complaint” begins with the classical formula for a tragic fall, the
change from happiness to misery. Cf. Satan’s soliloquy on Mount Niphates (4.32–113).
Book 10 273
738–41 Mine own. Adam’s “own” curse will remain “bide upon” him, and the curses of “all” his descen-
dants will flow back (“redound”) on him as on their “natural center”; objects at that center (“in thir place”)
were thought to be weightless (“light”), but these curses will be “Heavie.”
743–6. Cf. Isa. 45:9: “Woe unto him that striveth with his Maker! . . . Shall the clay say to him that fash-
ioneth it, What makest thou?”
760–5. Cf. Isa. 45:10: “Woe unto him that saith unto his father, What begettest thou?”
274 Paradise Lost
770 dust. Cf. Gen. 3:19: “dust thou art, and unto dust shalt thou return.”
792. Adam concludes that the soul dies with the body; he has reasoned his way to part of Milton’s Mortalist
heresy (Christian Doctrine 1.13) but not the rest, that both body and soul rise again on the Last Day.
794–808 man is not so. Adam intuits an axiom of Scholastic philosophy, that the action of agents is limited
by the nature of the objects they act upon, so he reasons that “finite” matter cannot suffer “infinite” divine
punishment.
Book 10 275
799 Strange contradiction. Adam concludes, with the Scholastics and Milton himself, that God cannot do
things that “imply a contradiction” (Christian Doctrine 1.2).
832–4 On mee, mee onely. Cf. the Son’s offer to accept all humankind’s guilt (3.236 –7) and Eve’s similar
offer (10.935–6).
276 Paradise Lost
860–2. Cf. Adam and Eve’s Morning Hymn (5:153–208, esp. 203 – 4).
867. Adam’s misogynistic outcry begins by reference to the patristic tradition that the name “Eve,” aspirated,
means “serpent.” Raphael (5:388–91) and Adam later (11.159 – 61) refer to the tradition that interprets her
name to mean “life”; cf. 9.1067.
Book 10 277
917–18. Eve assumes the posture of a classical suppliant, clasping Adam’s knees as she begs for reconciliation.
936–7 Mee mee only. Cf. Adam’s cry at 832–4 above and the Son’s offer (3.236 – 7).
Book 10 279
996 present object. Eve herself, who then imagines her own frustrated desire.
1015 What thy minde contemnes. Life, which your mind seems to despise.
Book 10 281
1052–4. Adam echoes Elizabeth’s address to Mary, mother of Jesus, “Blessed is the fruit of thy womb” (Luke
1:42), alluding unaware to the promise about the “Seed” of the woman. aslope. Like a spear that
“Glanc’d” aside from its target and hit the ground.
282 Paradise Lost
1075–8. Cf. Lucretius, De Rerum Natura 5.1091–5, for the theory that fire was discovered from lightning strik-
ing the forests. Tine. Ignite. thwart. Slanting.
1098–1104. The final six and a half lines repeat almost word for word lines 1086 – 92, only with changed verb
tenses, as Adam’s proposed gesture of repentance is seen to be carried out in every detail.
Book 10 283
6 denounces. Proclaims.
1 stood. May mean “remained,” or that, after prostrating themselves (10.1099) they prayed standing upright;
their “port” was “Not of mean suiters” (8–9). Cf. 4.720–2.
3–5 Prevenient Grace. Grace preceding human choice, enabling the will (in bondage as a result of sin) to
repent. Cf. Ezek. 11:19, “I will take the stony heart out of their flesh, and will given them an heart of
flesh” – a proof-text for regeneration.
5–7 Unutterable. Cf. Rom. 8:26: “we know not what we should pray for as we ought: but the Spirit itself
maketh intercession for us with groanings which cannot be uttered.”
10–14 ancient Pair. In a Greek myth analogous to the Noah story, “Deucalion” and his wife “Pyrrha” alone
survive a universal flood by building an ark. They then pray to “Themis,” goddess of justice, who tells
them to restore humankind by throwing stones behind them, which turn into men and women
(Metamorphoses 1.318–415).
286 Paradise Lost
18 incense. Cf. Rev. 8:3, “another angel came . . . having a golden censer; and there was given unto him
much incense, that he should offer it with the prayers of all saints upon the golden altar which was before
the throne.”
25 Priest. In Christian Doctrine 1.15, Milton defines Christ’s priestly function as that whereby he “once offered
himself to God the Father as a sacrifice for sinners, and has always made, and still continues to make inter-
cession for us.”
33–4 Advocate / And propitiation. Cf. 1 John 2:1–2: “We have an advocate with the Father, Jesus Christ
the righteous: And he is the propitiation for our sins.”
34–6 ingraft. The theological term for the Son taking to himself all the “works” of humans, perfecting their
good deeds by his “Merit” and by his “Death” paying the debt due God’s justice for their evil deeds.
42–4 Made one. Cf. John 17:22–3: “that they may be one, even as we are one: I in them, and thou in me,
that they may be made perfect in one.”
Book 11 287
50–5 pure immortal Elements. These themselves “purge” man as a “distemper” (“unharmoneous” dis-
order), and “Eject” him from Eden to a place where the air and food are more “gross,” like himself,
disposing him for death, the “dissolution wrought by Sin.”
64 Faith and faithful works. Cf. Christian Doctrine 1.22: “we are justified by faith without the works of the
law, but not without the works of faith” – a qualification of the reformed doctrine of Sola Fides.
65 renovation. The resurrection and renewal of body and soul at the Last Day.
74–6. A trumpet sounded on Mount “Oreb” when God delivered the Ten Commandments to Moses (Exod.
19:19); it will sound again at the Last Judgment (“general Doom”).
288 Paradise Lost
83–98. Several phrases in God’s speech are closely quoted from Gen. 3:22–3: “And the Lord God said, Behold,
the man is become as one of us, to know good and evil: and now, lest he put forth his hand, and take
also of the tree of life, and eat, and live for ever: Therefore the Lord God sent him forth from the garden
of Eden, to till the ground from whence he was taken.” Milton adds the phrase, “dream at least to live /
For ever” (95–6) to signal that some of God’s statements (84 –5, 94 –5) are ironic.
115 As I shall thee enlighten. God, it seems, reveals the “future” events to Michael at the same time as
Michael presents them to Adam (see 12:128).
Book 11 289
118–22. Cf. Gen. 3:24: “So he drove out the man; and he placed at the east of the garden of Eden Cherubims,
and a flaming sword which turned every way, to keep the way of the tree of life.”
128–9 Cherubim; four faces each. Cf. Ezek. 1:10 and PL 6.753– 6. Janus. The Roman god of door-
ways had two faces – in one version, four, corresponding to the four seasons and the four quarters of
the earth.
129–33 Argus. Argus, with one hundred eyes, was set by Juno to watch Jove’s mistress Io, but “Hermes” (Mercury)
put all of his eyes to sleep with his music (“Arcadian Pipe”) and his sleep-inducing caduceus (“opiate Rod”).
135 Leucothea. Roman goddess of the dawn.
290 Paradise Lost
194–5 mute signs. Both scenes portray a regal creature (eagle, lion) driving forth a superlatively lovely pair.
Without making a specific interpretation Adam infers that they may be “Forerunners” of God’s purpose.
214–15 Mahanaim. “Jacob” gave this name, meaning “armies” or “camps” (“field Pavilion’d”) to a place where
he saw an army of angels (Gen. 32:1–2).
216–20 flaming Mount. The “Syrian King” had “levied Warr” against “Dothan” in an effort to capture Elisha
the prophet (“One man”), but God surrounded him on a mountain with horses and chariots of fire (2 Kgs
6:17).
292 Paradise Lost
269–70 Native Soile. Unlike Adam, Eve was created in the “Paradise” of Eden.
277. Milton departs from Gen. 2:19–20, in which Adam alone gives names. The action of naming the flowers
(like Adam’s naming of the beasts, 8.352–5) signifies intuitive knowledge of their nature.
279 ambrosial Fount. See 4.237–40, describing the fount in Eden that “Ran Nectar.”
294 Paradise Lost
316. Cf. Gen. 4:14, Cain’s response to his punishment: “from thy face shall I be hid.”
323–6. The patriarchs raised “Altars” wherever God appeared to them.
Book 11 295
357–8 future dayes. Prophetic visions are a common feature of epic, e.g., Aeneas’ vision of his descendants
culminating in the Roman empire (Aeneid 6.754–854).
367 drencht. Placed in her eyes a soporific liquid (drench).
296 Paradise Lost
381–4. When Satan tempted Christ (the subject of Milton’s brief epic, Paradise Regained) he took him to “an
exceeding high mountain” and showed him “all the kingdoms of the world, and the glory of them” (Matt.
4:8). Cf. Paradise Regained 3.251–4.169.
383–92. Christ, the “second Adam” (but not Adam, who is shown “nobler sights,” 411), will first view “des-
tined” (yet to come) kingdoms in Asia: “Cambalu,” capital of Cathay (north China), ruled by such Khans
as Ghenghis and Kublei, “Cathaian Can”; “Temir” (Tamburlaine), ruled “Samarchand” (Samarkand), near
the “Oxus” river in modern Uzbekistan; “Paquin” (Peking, Beijing), of “Sinæan Kings” (Chinese); “Agra and
Lahor” (Lahore), “Mogul” capitals in northern India and Pakistan; “golden Chersonese,” the Malay peninsula
east of India, fabled for wealth.
393–6. Then Christ will see “Persian,” Russian, and Turkish kingdoms. In Persia (Iran), he will see “Ecbatan”
(Hamadan), a summer residence of Persian kings, and “Hispahan” (Isfahan), which became the Persian
capital in the sixteenth century. “Bizance” (Byzantium, Constantinople, Istanbul) was capital of the
Ottoman empire and ruled by “Sultans” after falling to the Turks in 1453.
397–401. In Africa he will see Abyssinia (northern Ethiopia), empire of the “Negus” (ruler) reaching to “Ercoco”
(Arkiko), a Red Sea port. Then “Mombaza” (Mombasa) and “Melind” (Malindi) in Kenya and “Quiloa” (Kilwa),
an island port off the coast of Tanzania; “Sofala,” a port in Mozambique, sometimes identified with the
biblical “Ophir,” from which Solomon took gold for his temple (1 Kgs 9:28); and “Congo” and “Angola” on
the west coast.
Book 11 297
402–4. In North Africa, looking from the “Niger” river in west Africa flowing eastward to the Atlantic to the
“Atlas” mountains in Morocco (or possibly to Mout Atlas in Mauritania), he sees the kingdom of various
Muslim rulers called Al Mansur (“Almansor”), probably referring to Abu’Amir al Ma-Ma’afiri, Caliph of Cordova.
That empire takes in “Fez,” capital of Morocco, Tunis (“Sus”), “Algiers, “ and “Tremisen” (Tlemeen), part
of Algeria.
406–11. Christ will see places in the New World only “in Spirit,” probably because they lie on the other side
of the spherical earth: “Mexico” the seat of Montezuma (“Motezume”), the last Aztec emperor; “Cusco in
Peru” seat of Atahualpa (“Atabalipa”), the last Inca emperor, murdered by Pizarro; “yet unspoil’d / Guiana”
(a region including Surinam, Guyana, and parts of Venezuela and Brazil) – not yet discovered and plun-
dered by the Spanish. Its chief city, Manoa, was identified with the mythical city of gold, “El Dorado,” by
“Geryons Sons” (the Spanish); in Spenser’s Faerie Queene Geryon, a mythical three-headed monster killed
by Hercules, is an allegory of the great power and oppression of Spain.
414 Euphrasie and Rue. Both herbs were thought to sharpen eyesight.
298 Paradise Lost
429–47. Milton’s version of the Cain and Abel story provides a clear reason for God’s acceptance of Abel’s
sacrifice, as Gen. 4:1–16 does not. Michael does not name any of the biblical personages or places in Book
11; he sees the scenes but may not know the names these persons or places will bear.
430–1 arable. Land capable of being ploughed. tilth. Cultivated.
434–7 A sweatie Reaper. Cain. Cf. Gen. 4:2: “And Abel was a keeper of sheep, but Cain was a tiller of the
ground.”
441–2. Acceptable sacrifices were often consumed by “Fire from Heav’n”; Cf. Lev. 9:24 and Judg. 6:21.
455. Adam has to be told that these are his own sons, not simply descendants.
Book 11 299
477–95. This is the only non-biblical sight presented to Adam, a “Lazar-house” or hospital for leprosy and
other infectious diseases, named for Lazarus (Luke 16:19 –25).
484–8 Stone. Morbid concretion. Dæmoniac Phrenzie. Manic frenzy, often attributed to posses-
sion by evil spirits. Moon-struck madness. Lunacy. pining Atrophie. Emaciation.
Marasmus. A wasting away of the body. wide-wasting Pestilence. Plague (the Great Plague of
1665 had killed over 60,000 Londoners). Rheums. Rheumatic pains.
491. For Death’s “Dart” see 2.672, 786.
300 Paradise Lost
496 not of Woman born. A man’s tears and softer feelings were attributed to his feminine part; Adam was
created of the dust of the earth, not born of woman. Cf. Macbeth 5.8.13 –18.
511–13. Cf. Christian Doctrine 1.12: “some remnants of the divine image still exist in us, not wholly extin-
guished by this spiritual death.”
518 His Image. Man does not now bear God’s image but that of “ungovern’d appetite.”
Book 11 301
542–4 Aire of youth. In assigning elements and humors to the several ages, “Aire” and the sanguine (“cheer-
ful”) temperament arising from the blood were associated with youth; earth, and the melancholy tem-
perament produced by phlegm and black bile (“cold and dry”) were associated with age. Cf. Robert Burton,
Anatomy of Melancholy (1621), 1.2.2, 1.3.5. damp. Depression of spirits.
556–97 spacious Plaine. Adam’s third vision is based on Gen. 4:20 –2, of the three sons of Lamech, descen-
dants of Cain.
557–8 Tents . . . Cattel. These identify the persons in the first part of this vision with Jabel, “the father of
such as dwell in tents, and of such as have cattle” (Gen. 4:20).
558–63 Instruments. Gen. 4:21 describes his brother Jubel as “father of all such as handle the harp and organ.”
563 fugue. Musical form in which one statement of the theme seems to chase another.
564–73 one who at the forge. Tubal-Cain, the third brother, was “an instructer of every artificer in brass
and iron” (Gen. 4:22).
302 Paradise Lost
574–80 a different sort. The descendants of Seth, Adam’s third son (Gen. 4:25 – 6). hether side. The
Western (or hither) side, away from the east where Cain’s sons lived.
578–9 works / Not hid. Seth’s descendants were traditionally credited with the discovery of astronomy, a
lawful science not involving the “matters hid” that Raphael warned against. Or, perhaps, a contrast to
Tubal-Cain’s delving for hidden metals (cf. 1.687–8).
588–9 Eevning Star. Venus, planet of love.
591 Hymen. God of marriage.
Book 11 303
635 Said th’ Angel, who should better hold his place
By wisdome, and superiour gifts receav’d.
But now prepare thee for another Scene.
He lookd and saw wide Territorie spred
Before him, Towns, and rural works between,
640 Cities of Men with lofty Gates and Towrs,
Concours° in Arms, fierce Faces threatning Warr, hostile encounters
Giants of mightie Bone, and bould emprise;° enterprise, prowess
Part wield thir Arms, part courb the foaming Steed,
Single or in Array of Battel rang’d° drawn up in ranks
645 Both Horse and Foot, nor idely mustring stood;
One way a Band select° from forage drives of picked men
A herd of Beeves, faire Oxen and faire Kine
From a fat° Meddow ground; or fleecy Flock, fertile
Ewes and thir bleating Lambs over the Plaine,
650 Thir Bootie; scarce with Life the Shepherds flye,
But call in aide, which makes a bloody Fray;
With cruel Tournament the Squadrons joine;
Where Cattle pastur’d late, now scatterd lies
With Carcasses and Arms th’ensanguind° Field bloodstained
655 Deserted: Others to a Citie strong
Lay Seige, encampt; by Batterie, Scale, and Mine,
Assaulting; others from the wall defend
With Dart and Jav’lin, Stones and sulfurous Fire;
On each hand slaughter and gigantic deeds.
660 In other part the scepter’d Haralds call
To Council in the Citie Gates: anon
Grey-headed men and grave, with Warriours mixt,
Assemble, and Harangues are heard, but soon
In factious opposition, till at last
665 Of middle Age one rising, eminent
In wise deport, spake much of Right and Wrong,
Of Justice, of Religion, Truth and Peace,
And Judgment from above: him old and young
638–73 Adam’s fourth vision is of the Giant offspring of the previous marriages (683–5). Cf. Gen. 6:4: “There
were giants in the earth in those days, and also after that, when the sons of God came in unto the daugh-
ters of men, and they bare children to them, the same became mighty men which were of old, men
of renown.” Some details recall scenes from the shield of Achilles – siege, cattle raid, battle, assembly
(Iliad 18.490–616).
656 Batterie. Battering rams. Scale. Ladders. Mine. Tunnels under the walls.
665–71 one rising. Enoch, who “walked with God, and he was not, for God took him” (Gen. 5:24). He was
translated to heaven at 365 years of age, “middle Age” compared to other patriarchs (Adam 930, Seth 912).
Book 11 305
Exploded° and had seiz’d with violent hands, mocked, drove out
670 Had not a Cloud descending snatch’d him thence
Unseen amid the throng: so violence
Proceeded, and Oppression, and Sword-Law
Through all the Plain, and refuge none was found.
Adam was all in tears, and to his guide
675 Lamenting turnd full sad; O what are these,
Deaths Ministers, not Men, who thus deal Death
Inhumanly to men, and multiply
Ten thousandfould the sin of him who slew
His Brother; for of whom such massacher
680 Make they but of thir Brethren, men of men?
But who was that Just Man, whom had not Heav’n
Rescu’d, had in his Righteousness bin lost?
To whom thus Michael. These are the product
Of those ill mated Marriages thou saw’st:
685 Where good with bad were matcht, who of themselves
Abhor to joyn; and by imprudence mixt,
Produce prodigious° Births of bodie or mind. monstrous
Such were these Giants, men of high renown;
For in those dayes Might onely shall be admir’d,
690 And Valour and Heroic Vertu call’d;
To overcome in Battle, and subdue
Nations, and bring home spoils with infinite
Man-slaughter, shall be held the highest pitch
Of human Glorie, and for Glorie done
695 Of triumph, to be styl’d great Conquerours,
Patrons of Mankind, Gods, and Sons of Gods,
Destroyers rightlier call’d and Plagues of men.
Thus Fame shall be atchiev’d, renown on Earth,
And what most merits fame in silence hid.
700 But hee the seventh from thee, whom thou beheldst
The onely righteous in a World perverse,
And therefore hated, therefore so beset
689–99 Might only. The traditional values of epic, which Milton critiques in the Proem to Book 9.
what most merits fame. Cf. 9.31–3, “the better fortitude / Of Patience and Heroic Martyrdom /
Unsung.”
700–9. Jude 14 identifies Enoch as “the seventh from Adam.” Some details are drawn from Jude 14–15, describ-
ing Enoch’s prophecy of God’s pronouncing judgment with “ten thousand of his saints” on those “that
are ungodly among them of all their ungodly deeds which they have ungodly committed, and of all their
hard speeches which ungodly sinners have spoken against him.” The “Cloud with winged Steeds” may be
taken from Elijah’s translation to heaven (2 Kgs 2:11), often associated with Enoch’s.
306 Paradise Lost
With thir four Wives; and God made fast the dore.
Meanwhile the Southwind rose, and with black wings
Wide hovering, all the Clouds together drove
740 From under Heav’n; the Hills to their supplie° assistance
Vapour, and Exhalation dusk° and moist, dark mist
Sent up amain;° and now the thick’nd Skie with main force
Like a dark Ceeling stood; down rush’d the Rain
Impetuous, and continu’d till the Earth
745 No more was seen; the floating Vessel swum
Uplifted; and secure with beaked prow
Rode tilting o’re the Waves, all dwellings else
Flood overwhelmd, and them with all thir pomp
Deep under water rould; Sea cover’d Sea,
750 Sea without shoar; and in thir Palaces
Where luxurie late reign’d, Sea-monsters whelp’d
And stabl’d; of Mankind, so numerous late,
All left, in one small bottom° swum imbark’t. boat
How didst thou grieve then, Adam, to behold
755 The end of all thy Ofspring, end so sad,
Depopulation; thee another Floud,
Of tears and sorrow a Floud thee also drown’d,
And sunk thee as thy Sons; till gently reard
By th’ Angel, on thy feet thou stoodst at last,
760 Though comfortless, as when a Father mourns
His Children, all in view destroyd at once;
And scarce° to th’ Angel utterdst thus thy plaint. barely able
O Visions ill foreseen! better had I
Liv’d ignorant of future, so had borne
765 My part of evil onely, each dayes lot
Anough to beare; those now, that were dispenst° given
The burd’n of many Ages, on me light° alight
At once, by my foreknowledge gaining Birth
Abortive, to torment me ere thir being,
770 With thought that they must be. Let no man seek
Henceforth to be foretold what shall befall
Him or his Childern, evil he may be sure,
764–6. Cf. Matt. 6:34: “Sufficient unto the day is the evil thereof.”
768 foreknowledge. The term suggests that Adam is experiencing something akin to God’s foreknowledge,
which the poem insists is not predestination. Adam knows what is to happen but can neither cause it nor
prevent it.
768–9 Birth / Abortive. Their birth seems to Adam both monstrous and too soon born.
308 Paradise Lost
797–806. These lines may also allude to the backsliding Puritans who betrayed the Commonwealth in 1660
and have now taken on the vices of the restored royalists.
808 One Man except. Noah.
Book 11 309
831 horned floud. Classical river gods were often depicted as horned.
833 the great River. The Euphrates (see Gen. 15:18). the op’ning Gulf. The Persian Gulf.
844–6. Cf. 5.423–6.
310 Paradise Lost
886–7. Cf. Gen. 6:6: “it repented the Lord that he had made man on the earth, and it grieved him at his
heart.”
892–5. This covenant marked by the rainbow – that God will not again destroy the earth by flood (Gen.
9:15–17) – is a type of the covenant of grace through which God will save humankind.
899. Cf. Gen. 8:22: “While the earth remaineth, seedtime and harvest, and cold and heat, and summer and
winter, and day and night shall not cease.”
900–1. The restoration of nature following the Flood is seen as a type of the renewal of all things after the
final conflagration at the Last Judgment, “new heavens and a new earth, wherein dwelleth righteousness”
(2 Pet. 3:13).
BOOK 12
THE ARGUMENT
The Angel Michael continues from the Flood to relate what shall succeed; then, in
the mention of Abraham, comes by degrees to explain, who that Seed of the Woman
shall be, which was promised Adam and Eve in the Fall; his Incarnation, Death,
Resurrection, and Ascention; the state of the Church till his second Coming. Adam
5 greatly satisfied and recomforted by these Relations and Promises descends the Hill
with Michael; wakens Eve, who all this while had slept, but with gentle dreams com-
pos’d to quietness of mind and submission. Michael in either hand leads them out
of Paradise, the fiery Sword waving behind them, and the Cherubim taking thir
Stations to guard the Place.
7 second stock. from Noah himself, but also as a type of Christ in whom believers are ingrafted; see 3.287–89.
9 mortal sight to faile. Adam no longer sees the visions or pageants as before, but simply listens to Michael’s
narration; cf. Rom. 10:17, “So then faith cometh by hearing, and hearing by the word of God.” Michael,
however, continues to see the visions (128).
Book 12 313
24–35 one. Nimrod. Cf. Gen. 10:8–10: “And Cain begat Nimrod: he began to be a mighty one in the earth.
He was a mighty hunter before the Lord . . . And the beginning of his kingdom was Babel.” Milton identifies
Nimrod as the first king, in terms that equate kingship with tyranny. He explains “before the Lord” as
meaning either that he openly defied God (“despite,” 34) or that he claimed divine right (“second
Sovrantie,” 35) from heaven, like the Stuart kings.
29 law of Nature. Grounded in reason, and dictating a government based on “fair equalitie, fraternal state” (26).
36–7. Drawing upon a false etymology linking the name Nimrod with the Hebrew “to rebel,” Milton
associates Nimrod with kingship generally (cf. 1.484 and 6.199 for other rebel kings). The lines allude also
especially to Charles I, who accused the Puritans of rebellion in the Civil War but who in Milton’s view
was himself a rebel against God for usurping the absolute monarchy belonging only to God.
40–59 Plain. The plain of Shinar in ancient Babylon (“Sennaar,” 3.467). Gen. 11:4 describes the building of
the “Towre” of Babel and refers to the “Citie” (Babylon). “And they said, Go to, let us build us a city and
a tower, whose top may reach unto heaven, and let us make us a name, lest we be scattered abroad upon
the face of the whole earth.” Though Genesis does not directly associate Nimrod with the tower, he was
traditionally made responsible for both tower and city (Gen. 10:9 –10).
314 Paradise Lost
62 Confusion. Taken to be the meaning of “Babel,” where God in punishment confounded the original lan-
guage of humans into multiple languages (Gen. 11:9).
64–71 aspire / Above his Brethren. Adam’s response suggests that republicanism is a matter of natural law,
clearly understood as such by Adam; he echoes an argument Milton often invoked to support republi-
canism against monarchy.
81–90 Rational Libertie. As Milton often did and as Abdiel did earlier (6.179 – 81), Michael links political to
psychological servility, and political liberty to inner freedom, i.e., the exercise of “right Reason” and con-
trol of passions.
Book 12 315
90–101. This passage, presenting loss of liberty as often (though not always) God’s punishment for a nation’s
servility. implicitly interprets the Restoration of Charles II as a divine judgment on the baseness of the
English.
101–4 th’ irreverent Son. Ham, son of Noah, looked on the nakedness of his father and brought down Noah’s
curse upon himself and his “vitious Race” (depraved descendants): “Cursed be Canaan; a servant of ser-
vants shall he be unto his brethren” (Gen. 9:25). Milton is probably thinking of the Canaanites (descen-
dants of Ham’s son Canaan), since “Race” did not carry its modern meaning. Noah’s curse was used, however,
to justify black slavery, as blacks came to be classed among Ham’s descendants.
111 one peculiar Nation. Israel, specially chosen by God, cf. Deut. 14:2, “The Lord hath chosen thee to be
a peculiar people unto himself.” In Christian Doctrine 1.4 Milton notes the “national election, by which
God chose the whole nation of Israel for his own people.” And, like many Puritans, he thought for a time
that God had chosen England as a new Israel.
113 one faithful man. Abraham, whose name means “father of many nations.” Lines 113 –51 are based on
Gen. 11:27–17:9.
316 Paradise Lost
143–7 Mount Carmel. A mountain range near Haifa, on the Mediterranean coast of Israel. Jordan. The
river was thought incorrectly to have two sources (“double-founted”), the Jor and the Dan. Senir.
A ridge of Mount Hermon.
152 faithful Abraham. This is the first personal name Michael identifies; he later supplies several names of
persons and places. Abraham is given the epithet “faithful” by Paul in Gal. 3:9.
153 Son. Isaac. Grand-childe. Jacob.
155–64. Jacob’s son Joseph, the next youngest of his twelve sons, rose to a high position in Egypt and invited
his father and brothers to that land to escape famine; his story is told in Gen. 37–50.
158. Adam can evidently see geographical features, but not the scenes or persons Michael sees and describes.
165–214. The story of the Israelites enslaved in Egypt and freed by “Moses” and “Aaron” is told in Exod. 1–14.
172 spoile. “jewels of silver, and jewels of gold, and raiment” (Exod. 12:35).
318 Paradise Lost
175–90 Signes and Judgements. The ten plagues God sent upon the Egyptians to force Pharaoh to release
the Israelites.
191 River-dragon. Literally, the crocodile, here referring to the Egyptian Pharaoh, termed “the great dragon
that lieth in the midst of his rivers” (Ezek. 29:3).
193–4 Ice / More hard’nd. Ice which thawed and then was refrozen was thought to be harder than never-
melted ice.
194–214 Sea / Swallows him. Pharaoh’s forces (“Host”) were drowned in the Red Sea as it rushed back
after the “rod of Moses” caused it to divide, forming “two crystal walls” which the Israelites passed between
(Exod. 14:5–31.).
201–4 present in his Angel. Milton’s explanation, here and also in Christian Doctrine 1.5, as to how the Lord
guided his people in a “Cloud” and a “Pillar of Fire” (Exod. 13:21–2).
Book 12 319
216 not the readiest way. The Israelites’ passage through the desert lasted thirty-eight years (Exod.
13:17–18).
225 great Senate. The Seventy Elders of the Sanhedrin (Num. 11:16 –25), which Milton cites as a divinely
ordained pattern of republican government in his Readie and Easie Way (1660).
226–32 Laws. God delivered ceremonial, civil, and moral/religious laws (the Ten Commandments) to Moses
on “the Mount of Sinai,” with “Thunder Lightning and loud Trumpets” (Exod. 19 –23).
232–3 types / And shadowes. The principle of typology, whereby persons and events in the Hebrew Bible
are understood to prefigure Christ or matters pertaining to his life or to the church.
320 Paradise Lost
236–8. Cf. the Israelites’ plea to Moses, “Speak thou with us and we will hear: but let not God speak with
us, lest we die” (Exod. 20:19).
240–4 Mediator. Moses is a type (“figure”) of Christ in his role as mediator between the people and God;
“all the Prophets”: in Christian typological explication, the prophets of the Hebrew Bible were read as
foretelling Christ as Messiah.
247–56 Tabernacle. A portable “Sanctuary” (Exod. 25–6).
256–7. Cloud . . . fiery gleame. Described in Exod. 40:38.
259–60 Land. Canaan; see 137–46 and note.
263–9. At Joshua’s bidding, the sun stood still in “Gibeon,” and the moon in “Aialon,” (both a few miles north
of Jerusalem) “until the people had avenged themselves upon their enemies,” the Amorites ( Josh.
10:12–13). Israel. Isaac’s son Jacob was named Israel (“He that striveth with God”) and his descen-
dants (“descent”) would come to be known as the Children of Israel (Gen. 32:28).
Book 12 321
273–7 Mine eyes true op’ning. Adam supposes that the promise made to him pertains to Abraham’s seed,
but he has yet to understand that Abraham is, in this, a type of Christ (see below, 446 –50).
291–9 shadowie expiations. The ceremonial sacrifices of “Bulls and Goats” under the Law are types point-
ing to Christ’s efficacious sacrifice, which alone can win “Justification” for humankind, by Christ’s merits
being “imputed,” attributed vicariously, to them through “Faith.” The theological doctrine of justification
holds that fallen humans cannot perform the commandments of the Law, or appease God through cere-
monial sacrifices. Cf. Gal. 2:16: “A man is not justified by the works of the law, but by the faith of Jesus
Christ.”
322 Paradise Lost
300–6. A more complete exposition of the theological concept of typology, according to which Judaism fore-
shadows and is perfected by Christianity, the Old Law of justice is fulfilled in the New Law of love, and
the covenant made with Moses is superseded by a “better Cov’nant,” the covenant of grace (cf. Heb. 8:6).
310–14 Jesus. The Greek equivalent of the Hebrew “Joshua,” who, rather than Moses, led the Children of
Israel into the promised land of Canaan, being in this a type of Christ leading his people to the heavenly
paradise.
320–34 Judges. Military leaders. The history briefly summarized here is recounted in Judges, 1 and 2 Sam.,
and 1 and 2 Kgs.
321–4 The second. The second king of Israel was David, promised by the prophet Nathan that “thy throne
shall be established for ever” (2 Sam. 7:16).
325–7 Royal Stock. The Messiah was prophesied to come of David’s lineage, and Jesus was referred to as
Son of David (Luke 1:32).
Book 12 323
332–4 his next Son. Solomon, noted for “Wisdom,” built a “glorious Temple” to house the Ark of the Covenant
(1 Kgs 6–7). clouded Ark. So called because “a cloud covered the tent of the congregation” which
held the Ark when the Israelites wandered in the desert (Exod. 40:34).
339–45 proud Citie. Babylon. The Babylonian captivity and the destruction of the Temple (sixth century
BCE) are recounted in 2 Kgs 25 and Jer. 39:1–10.
346–50 Cov’nant sworn. The promise to David to make “his throne as the days of heaven” (Ps. 89:29).
leave of Kings. The Persian kings Cyrus the Great, Darius, and Artaxerxes allowed the Israelites to return
from Babylon and rebuild the Temple (Ezra).
353–7 Priests dissension. Strife among the priests allowed the Selucid king Antiochus IV to sack Jerusalem
and pollute the Temple; then one of the priestly family of the Maccabees, Aristobulus I, seized the “Scepter,”
disregarding the claims of David’s dynasty.
358 stranger. Antipater the Idumean, father of Herod the Great who ruled at the time of Christ’s birth, was
procurator of Judaea from 47 BCE.
324 Paradise Lost
360–9. The story of the birth of Jesus is recounted in Matt. 1–2 and Luke 1–2.
370–1. An echo of Virgil’s prophecy of Augustus (Aeneid 1.287), “imperium Oceano, famam qui terminet
astris” (“he will bound his empire with the ocean, his glory with the stars”).
379. Cf. 5.385–7 and Luke 1:28.
Book 12 325
447–50. Michael here makes explicit the meaning of the promise offered typologically to Abraham’s seed.
454 Prince of aire. One of Satan’s titles; cf. Eph. 2:2, “prince of the power of the air.”
Book 12 327
469–78. These lines do not affirm a simple concept of felix culpa – that the Fall was fortunate in bringing
humans greater happiness than they would otherwise have enjoyed – but rather, that the Fall provided
God an occasion to bring still greater good out of evil. Cf. 5.496 –503 for the prelapsarian plan for Adam
and Eve’s growth in perfection.
486 Comforter. The Holy Spirit, who for Milton is much subordinate to both Father and Son.
489 upon thir hearts. Cf. Heb. 8:10, “I will put my laws into their mind, and write them in their hearts.”
491–2 spiritual Armour. Cf. Eph. 6:11–16: “Put on the whole armour of God, that ye may be able to stand
against the wiles of the devil . . . Above all, taking the shield of faith, wherewith ye shall be able to quench
all the fiery darts of the wicked.”
328 Paradise Lost
501 speak all Tongues. Cf. Acts. 2:4–7, where the apostles speak in many tongues.
506 story written. In the Gospels and Epistles.
507–11 Wolves. Cf. Acts 20:29: “after my departing shall grievous wolves enter in among you, not sparing
the flock.” See “Lycidas,” 113–29.
513–14. The Bible (“those written Records pure”) can only be rightly understood by the illumination of the
Spirit in each Christian.
515–37. The history summarized is of the corruption of the Church and persecutions of conscience in patris-
tic times and after, under the popes and Christian rulers, but the passage also alludes to what Milton saw
as the revival of “popish” superstitions in the English Church after the Restoration and the fierce perse-
cution of dissenters.
526 his consort Libertie. Cf. 2 Cor. 3:17: “Where the Spirit of the Lord is, there is liberty.” Milton insisted
in his prose tracts that Christ’s gospel and the Spirit of God promote liberty, civil and religious.
527 living Temples. Individual Christians, cf. 1 Cor. 3:16: “Know ye not that ye are the temple of God.”
Book 12 329
529–30 Infallible. An attack on papal claims of infallibility, asserted though not proclaimed as doctrine until
1870; the attack extends to all religious or civil leaders who attempt to impose an orthodoxy.
543–51. With the account of the Second Coming of Christ, the Last Judgment, and the renewal of all things,
the meaning of the “Womans seed” destroying Satan’s works is made fully explicit. Cf. 2 Pet. 3:13, “we,
according to his promise, look for new heavens and a new earth.”
330 Paradise Lost
567–68 weak / Subverting worldly strong. Cf. 1 Cor. 1:27: “God hath chosen the weak things of the world
to confound the things which are mighty.”
587 paradise within thee. Compare Satan’s interior state at 4.20 –2, 75.
589 Speculation. Both extensive view and theological inquiry.
Book 12 331
611–13 Dreams advise. The lines suggest that Eve’s dream was also a vehicle of prophecy to her. Cf. Num.
12:6: “If there be a prophet among you, I the Lord will make myself known unto him in a vision, and will
speak unto him in a dream.”
615–18 with thee to goe. Eve’s last love lyric in the poem invites comparison with her prelapsarian lyric
(4.641–56); it also echoes Ruth’s promise to accompany her mother-in-law Naomi: “whither thou goest,
I will go; and where thou lodgest, I will lodge” (Ruth 1:16).
621–3. In these lines Eve describes herself as the central epic protagonist of the poem, through whom “all”
is lost and “all” is restored.
332 Paradise Lost
THE END
Textual Notes
Citations are to the 1674 and 1667 editions and to the manuscript (MS) for Book 1; citations
to the Arguments are to 1674 and 1668/9. The chosen reading is listed first. I have reversed
italic and roman type in the prefatory Latin poem by Samuel Barrow, in the note on the
verse, and in the Arguments.
Book 1
Argument
14. hope (1674, 1668) hopes (1669)
Book 2
Argument
5. shall (1674) should (1668/9)
Book 3
Argument
2. his (1674) the (1668/9)
21. plac’t here, (1674, 1668) plac’t there, (1669)
694. No indentation in 1674 or 1667, but the usual practice in both editions is to begin a new
verse paragraph when the speaker changes.
741. in (1674, some copies 1667) with (some copies 1667)
Book 4
Argument
15. find him (1674) find him out (1668/9)
Book 5
Argument
6. appearance (1674) appearing (1668/9)
650. God). Th’ Angelic ] Period omitted in both editions, evidently by accident as the capital
indicates.
Book 6
311. small, if ] small, If (1674, 1667). The capital is clearly an error, as what follows com-
pletes the epic simile begun in line 310.
568. So scoffing in ambiguous words, he scarce (1667) So scoffing in ambiguous words he
scarce, (1674)
620. mood. (1667) mood, (1674). The period is usual before quoted speech.
666. under ground (1667) under ground, (1674). The added comma is probably a printer’s
error.
846. Wheels, (1667) Wheels (1674)
Book 7
Book 7 of the 1667 edition in ten books is divided into Books 7 and 8 in the 1674 edition,
with lines 1–640 of Book 7 (1667) becoming the new Book 7 (1674).
Argument
The Argument to Book 7 (1674) contains the first half of the Argument to Book 7 as printed
in 1668 and 1669.
321. swelling (Bentley’s emendation) ] smelling (1667, 1674) The emendation is widely
accepted; the printer’s eye probably registered “smelling” from line 319.
322. and (1674) add (1667)
366. her (1674) his (1667) “her” would refer to Venus as the morning star, “his” to Lucifer.
The change seems deliberate, not accidental.
370. First in the East his glorious Lamp (Fletcher’s plausible emendation) ] First in his East
the glorious Lamp (1667, 1674). The printer evidently transposed “his” and “the.”
451. Soul (Bentley’s emendation) ] Foul (1674), Fowle (1667). The emendation is almost
certainly correct, as the creation of Fowles was treated in lines 417–46. The attempted
correction in 1674 mistakenly kept F for the intended S.
494. needless (emendation) ] needlest (1674, 1667), probably an error, though it could be an
intended variant.
563. stations (1667) station (1674)
588. Father, for ] Father (for (1674, 1667). The parenthesis should be a comma, given the
opening and closing parentheses in lines 589 and 590.
Book 8
Book 8 (1674) comprises lines 641–1290 of Book 7 in the 1667 edition.
Textual Notes 337
Argument
The Argument to Book 8 (1674) contains the last half of the Argument to Book 7 as printed
in 1668 and 1669.
1. Adam inquires (1674) Adam then inquires (1668/9)
2. search (1674) seek (1668/9)
Book 9
Argument
The Argument to Book 9 is the same as that for Book 8 as printed in 1668 and 1669.
Book 10
Argument
The Argument to Book 10 is the same as that for Book 9 as printed in 1668 and 1669.
Book 11
Book 10 of the 1667 edition is divided to form Books 11 and 12 of the 1674 edition. Book 11
contains lines 1–897 of the 1667 Book 10.
Textual Notes 339
Argument
The Argument of Book 11 (1674) is roughly the first half of the Argument to Book 10 as
printed in 1668 and 1669.
233. coming; (1667) coming? (1674). Conceivably, the question mark was substituted for an
exclamation point.
329. footstep trace (1667) foot step-trace (1674)
335. Earth, (1667) Earth. (1674)
380. to the amplest reach (1674) to amplest reach (1667). 1667 conforms to the meter, but
the change may be intended.
427. that sin derive (1667) that derive (1674)
485–7. added in 1674
Dæmoniac Phrenzie, moaping Melancholie
And Moon-struck madness, pining Atrophie
Marasmus and wide-wasting Pestilence,
lines 484–5 in 1667 read:
Intestin Stone and Ulcer, Colic Pangs,
Dropsies, and Asthma’s, and Joint-racking Rheums. (line 488 in 1674)
551–2. Of rendring up and patiently attend / My dissolution. Michael repli’d, (1674) Of ren-
dring up. Michael to him repli’d (10.548, 1667)
579. last (1674, 1669 errata) lost (1667)
651. makes (1674) tacks (1667)
710. punishment; (1667) punishment? (1674)
787. New verse paragraph. Neither 1674 nor 1667 indent, but new speeches are normally
indented. This speech begins a new page so the compositor may have missed it.
870. who (1674) that (1667)
Book 12
The 1674 edition begins with five added lines, and contains lines 898–1541 of the 1667 Book 10.
Argument
The Argument to Book 12 is roughly the last half of the Argument to Book 10 in 1668 and
1669. Much of the first sentence is new:
The Angel Michael continues from the Flood to relate what shall succeed; then, in the men-
tion of Abraham, comes by degrees to explain, who that Seed of the Woman shall be, which
was promised Adam and Eve in the Fall; his Incarnation, Death, Resurrection, and Ascention;
the state of the Church till his Second Coming. Adam greatly satisfied. . . (1674)
340 Textual Notes
. . . thence from the Flood relates, and by degrees explains, who that Seed of the Woman
shall be; his Incarnation, Death, Resurrection, and Ascention; the state of the Church till his
second Coming. Adam greatly satisfied. . . (1667)
1–5 added in 1674. Lines 897–8 of Book 10 (1667) read: “Both Heav’n and Earth, wherein
the just shall dwell. / Thus thou hast seen one World begin and end;” In 1674 these are
line 901 of Book 11 and line 6 of Book 12. The paragraph inception at line 6 is new to the
1674 edition.
191. The (1674) This (1667)
238. he grants what they besaught (1674) he grants them thir desire (1667)
300. Law (1667) law (1674)
534. Will deem (1667) Well deem (1674)
Appendix
Sketches for a drama on the subject of the Fall, from Milton’s notebook (the Trinity
manuscript). The first two sketches have lines drawn through them, apparently delet-
ing them. In the last two sketches, some items are heavily crossed out.
his
Moses προλογζε [prologizei] recounting how he assum’d a true bodie, that it
corrupts not because of his with god in the mount declares the like of Enoch
and Eliah, besides the purity of ye pl[ace] that certaine pure winds, dues,
and clouds præserve it from corruption whence Heavenly Love [ex]horts
to the sight of god, tells they cannot se Adam in the state of innocence by
reason of sin thire sin
Justice 5 Mercie
6 debating what should become of man if he fall
Mercie 7
Wisdome
(hymne of ye creation)
Chorus of Angels sing a
Act 2
Heavenly Love
Evening starre
chorus sing the mariage song and describe Paradice
Act 3
Lucifer contriving Adams ruine
Chorus feares for Adam and relates Lucifers rebellion and fall
Act 4
Adam 5
fallen 6
Eve 7
Conscience cites them to Gods examination
chorus bewails and tells the good Adam hath lost
Act 5
Adam and Eve, driven out of Paradice
presented by an angel with
Labour greife hatred Envie warre famine Pestilence
sicknesse 5
mutes to whome he gives
discontent 4
thire names
Ignorance 6
likewise winter, heat, Tempest &c
Feare 4
enterd into ye world
Death 7
Sketches for Dramas on the Fall 343
Faith 5
Hope 6 comfort him and i[n]struct him
Charity 7
chorus breifly concludes
Several pages later Milton sketched another plan under the title Adams Banishment,
crossed out and replaced by the title
Adam unparadiz’d
Adams Banishment
The angel Gabriel either descending or entering, shewing since
(in earth, as in heaven, describes Paradise. next
this globe was created, his frequency as much\
next first the chorus shewing the reason of his comming to keep his watch in Paradise
after Lucifers rebellion by command from god, & withall expressing his desire to
see, & know more concerning this excellent new creature man. the angel Gabriel as
by his name signifying a prince of power tracing paradise with a more free office
comes passes by the station of ye chorus & desired by them relates what he knew
of man as the creation of Eve with thire love, & mariage. after this Lucifer appeares
after his overthrow, bemoans himself, seeks revenge on man the chorus prepare
resistance at his first approach at last after discourse of enmity on either side he
departs wherat the chorus sings of the battell, & victorie in heavn against him & his
accomplices, as before after the first act was sung a hymn of the creation.
[[sentence inserted from opposite leaf ]] heer again may appear Lucifer relating,
& insulting in what he had don to the destruction of man.
man next & Eve having by this time bin seduc’d by the serpent appeares confusedly
cover’d with leaves conscience in a shape accuses him, Justice cites him to the
place whither Jehova call’d for him in the mean while the chorus entertains the
stage, & his [is] inform’d by some angel the manner of his fall.
[[sentence inserted from foot of page]] heer the chorus bewailes Adams fall.
Adam then & Eve returne accuse one another but especially Adam layes the blame
to his wife, is stubborn in his offence Justice appeares reason with him convinces
him [[sentence inserted from foot of page]] the chorus admonisheth Adam, & bids
him beware by Lucifers example of impenitence
the Angel is sent to banish them out of paradice but before causes to passe before
his eyes in shapes a mask of all the evills of this life & world he is humbl’d relents,
dispaires. at last appeares Mercy comforts him & brings in faith hope & charity promises
the Messiah, then calls in faith, hope, & charity, instructs him he repents gives
god the glory, submitts to his penalty the chorus breifly concludes. compare
this with the former draught.
Select Bibliography
John S. Diekhoff. Milton on Himself: Milton’s Utterances upon Himself and his Works. New York:
Oxford University Press, 1933; repr. New York: Humanities, 1965.
J. Milton French, ed. The Life Records of John Milton, 5 vols. New Brunswick, NJ: Rutgers University
Press, 1949–58.
Harris F. Fletcher. The Intellectual Development of John Milton, 2 vols. Urbana: University of
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