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Unit 22: Paradise Lost-I (Non-detailed Study): Discussion and Analysis-III

Introduction Notes

Milton’s fourth invocation differs from earlier ones in that he does not call on Urania except obliquely,
and he does not mention his blindness. Rather he offers an explanation for his epic and says that the
tone must now become “Tragic”. The word "tragic" had two connotations for Milton. First, it carried
the simple moral meaning of something terribly bad or unfortunate. Christians since the Middle
Ages had always considered the falls of Lucifer and Adam tragic. But "tragic" also refers to the dramatic
concept of tragedy as first defined by Aristotle and developed through the centuries to its high
achievement in Elizabethan England. Milton knew the nature of dramatic tragedy from his study of
the Greeks as well as from reading Shakespeare and other Elizabethan dramatists.
The first scene of Book X takes place in Heaven, where the angels are aware of Adam's and Eve's fall.
God assembles the hosts to confirm this fact and to emphasize that he knew Adam and Eve would
yield to temptation but that he in no way inclined them to the deed. The act was of their own free
wills. Now, however, Adam and Eve must be judged; however, God adds, justice can be tempered
with mercy. God sends the Son to pronounce sentence on Adam and Eve.
Books XI and XII change the focus of Paradise Lost. The plot of Adam's and Eve's fall has been com-
pleted. The final scenes for most characters have occurred. A brief conclusion seems logical. Instead,
Milton adds two more books that trace biblical history through Jesus. Many scholars and readers
have questioned the artistic justification for these books, and, in truth, the books do seem to need-
lessly prolong the work. On the other hand, several solid arguments can be adduced to explain the
reasons for Books XI and XII, if not their necessity.
Milton's stated purpose in the poem is to justify God's ways to Man. By the end of Book X, Milton has
been able to explain his concept of what God did and why, but he has offered little in the way of
justification. Can the single instance of disobedience by Eve and then Adam justify death, war, plague,
famine — an endless list of evil? To truly accomplish his goal, Milton needs to show the effects of the
fall on Adam and Eve over a longer period and at the same time develop the notion that some greater
good than innocence and immortality in Paradise could result from the fall. Books XI and XII repre-
sent Milton's attempt at justification.
Book XII appears to be a simple continuation of Book XI, and, in fact, in the first edition of Paradise
Lost, Books XI and XII were one book. In the second edition, Milton changed his original ten book
format to twelve. One of the changes was the division that created Books XI and XII. Biblical scholars
in the seventeenth century dated the Creation at 4,000 BC and the flood at 2,000 BC. So Milton divided
his original Book X into two 2,000 years sections, each ending with a savior — Noah in Book XI and
Jesus in Book XII. He also arranged for a slightly different presentation in each book. Book XI is
presented as a series of almost scene-like visions, each complete in itself. Book XII is much more
narrative. Michael says that he will now tell the story, and he presents a grand sweep of historical
events rather than a scene-by-scene account.

22.1 Book – IX, Lines 1—403

22.1.1 Summary: Prologue and Invocation

With Raphael’s departure for Heaven, the story no longer consists of conversations between heavenly
beings and humankind. Milton explains that he must now turn to Adam and Eve’s actual act of
disobedience. The poem must now turn tragic, and Milton asserts his intention to show that the fall
of humankind is more heroic than the tales of Virgil and Homer. He invokes Urania, the “Celestial
Patroness” (IX.21) and muse of Christian inspiration, and asks for her to visit him in his sleep and
inspire his words, because he fears he is too old and lacks the creative powers to accomplish the
task himself. He hopes not to get caught up in the description of unimportant items, as Virgil and
Homer did, and to remain focused on his ultimate and divine task.

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