Model Answer
0 min readIntroduction
The epic poem, a long narrative poem celebrating heroic deeds and significant events, has a rich tradition stretching back to antiquity. Works like Homer’s *Iliad* and *Odyssey*, and Virgil’s *Aeneid* established conventions that defined the genre for centuries. John Milton’s *Paradise Lost* (1667), a retelling of the biblical story of the Fall of Man, consciously positions itself within this tradition. Milton aimed to create an epic poem for England that would rival the classical masterpieces. To achieve this, he deliberately incorporated numerous elements of the epic form, adapting them to his Christian subject matter and demonstrating a profound engagement with the literary heritage of Greece and Rome.
Classical Epic Conventions and Milton’s Incorporation
Classical epics typically adhere to a set of recognizable conventions. Milton, while innovating in certain aspects, largely embraced these to lend his work the authority and grandeur associated with the genre.
1. Invocation to the Muse
- Classical Convention: Epics traditionally begin with an invocation to a Muse, a goddess of inspiration, requesting assistance in telling the story. (e.g., *Iliad* begins with an invocation to Calliope).
- Milton’s Adaptation: *Paradise Lost* opens with an invocation, but instead of a classical Muse, Milton invokes the “Holy Spirit” (Book I, lines 1-26). This immediately signals a departure from pagan tradition and aligns the poem with its Christian theme. However, the *function* remains the same – seeking divine inspiration to narrate a grand and complex story.
2. *In Medias Res* Beginning
- Classical Convention: Many epics begin *in medias res* – “in the middle of things” – plunging the reader directly into the action, with backstory revealed later. (e.g., *Aeneid* begins with Aeneas at sea, already facing trials).
- Milton’s Adaptation: Milton also employs *in medias res*. *Paradise Lost* begins after Satan and his fallen angels have already been defeated and cast into Hell (Book I). The poem then gradually reveals the events leading up to the Fall through flashbacks and narratives.
3. Epic Similes
- Classical Convention: Extended, elaborate similes, often spanning multiple lines, are a hallmark of epic poetry. These similes serve to heighten the dramatic effect and provide vivid imagery.
- Milton’s Adaptation: Milton utilizes epic similes extensively, though often with a unique stylistic flair. They are frequently drawn from nature and classical mythology, but are often more complex and intellectually demanding than those found in Homer or Virgil. For example, the description of Satan’s size compared to Mount Everest (Book I) is an extended simile.
4. Epithets and Formulaic Phrases
- Classical Convention: Repetitive use of descriptive epithets (e.g., “rosy-fingered dawn” in Homer) and formulaic phrases (e.g., “swift-footed Achilles”) were common mnemonic devices and stylistic features.
- Milton’s Adaptation: Milton employs epithets, though less frequently and with greater variation than Homer. He uses them to characterize his characters and emphasize their qualities. Examples include “the bright insurgent angel” (Satan) and “celestial armour” (angels).
5. Divine Intervention
- Classical Convention: Gods frequently intervene in the affairs of mortals, influencing events and offering assistance or opposition.
- Milton’s Adaptation: God and angels play a significant role in *Paradise Lost*, directly intervening in the narrative. However, Milton’s depiction of divine intervention is nuanced. God’s foreknowledge and allowance of evil raise complex theological questions, distinguishing it from the more arbitrary interventions of the Greek gods.
6. Elevated Style and Language
- Classical Convention: Epics are characterized by a grand, formal, and elevated style of language, often employing poetic devices like alliteration, assonance, and inversion.
- Milton’s Adaptation: Milton’s language in *Paradise Lost* is famously complex and ornate, employing Latinate vocabulary, inverted syntax, and elaborate rhetorical structures. This deliberate stylistic choice aims to create a sense of majesty and solemnity befitting the epic subject matter.
Milton’s Innovations
While largely adhering to epic conventions, Milton also introduced innovations. His focus on internal, psychological conflict, particularly within Satan, was less common in classical epics. Furthermore, the Christian theological framework and the exploration of free will and the problem of evil set *Paradise Lost* apart from its predecessors.
Conclusion
In conclusion, Milton’s *Paradise Lost* is deeply rooted in the epic tradition, consciously incorporating elements like invocation, *in medias res* beginnings, epic similes, epithets, divine intervention, and an elevated style. However, he wasn’t merely imitative. He adapted these conventions to suit his Christian subject matter and introduced innovations in characterization and theological exploration. By skillfully blending tradition and originality, Milton successfully crafted an epic poem that stands as a monumental achievement in English literature, securing its place alongside the classical masterpieces that inspired it.
Answer Length
This is a comprehensive model answer for learning purposes and may exceed the word limit. In the exam, always adhere to the prescribed word count.