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.
Satan returns to the Garden of Eden the night after Raphael’s departure. Satan’s return comes eight days after he was caught and banished by Gabriel. He sneaks in over the wall, avoiding Gabriel and the other guards. After studying all the animals of the Garden, Satan considers what disguise he should assume, and chooses to become a snake. Before he can continue, however, he again hesitates—not because of doubt this time, but because of his grief at not being able to enjoy this wondrous new world. He struggles to control his thoughts. He now believes that the Earth is more beautiful than Heaven ever was, and becomes jealous of Adam and Eve and their chosen status to occupy and maintain Paradise. He gripes that the excess beauty of Earth causes him to feel more torment and anguish. Gathering his thoughts into action, he finds a sleeping serpent and enters its body.
The next morning, Adam and Eve prepare for their usual morning labors. Realizing that they have much work to do, Eve suggests that they work separately, so that they might get more work done. Adam is not keen on this idea. He fears that they will be more susceptible to Satan’s temptation if they are alone. Eve, however, is eager to have her strength tested. After much resistance, Adam concedes, as Eve promises Adam that she will return to their bower soon. They go off to do their gardening independently.
Milton begins Book IX as he began Books I and VII: with an invocation and plea for guidance, as well as a comparison of his task to that of the great Greek and Roman epics, the Iliad, Odyssey, and the Aeneid. Milton explains by way of this invocation that Adam and Eve’s fall is the major event that occurs in Paradise Lost. Their fall is the poem’s climax, even though it comes as no surprise. By describing the fall as tragic, Milton conveys the gravity and seriousness of this catastrophe for all of humankind, but he also situates Adam and Eve’s story within the literary conventions of tragedy, in which a great man falls because of a special flaw within his otherwise larger-than-life character. The fall paves the way for humankind’s ultimate redemption and salvation, and thus Milton can claim that his epic surpasses Homer’s and Virgil’s because it pertains to the entire human race, not one hero or even one nation.
Milton mocks the knightly romances of the Middle Ages on the grounds that they applaud merely superficial heroism. The idea of the chivalrous warrior was an oxymoron in Milton’s view. Milton presents his hero as a morally powerful person—Adam’s strength and martial prowess are entirely irrelevant. Milton voices doubts about whether his society will appreciate a real Christian hero, or whether he himself is still skilled enough or young enough to complete his literary task, balancing his confidence in his own ability with the humility appropriate to a Christian poet.
Satan’s return to the story presents him as a changed and further degenerated character. Before the temptation of Eve, we see Satan go through another bit of soul-searching. This time, however, he does not waver in his determination to ruin humankind, but only makes a cold expression of regret for things that might have been. Milton notes that Satan is driven to action by the grief and turmoil he feels inside and by his wounded sense of pride. It is clear now that Satan’s decision to corrupt humankind is final, yet he still thinks about how he would have enjoyed the beauty of Earth if he had not rebelled. Milton displays the internal agony that results from the sin of despair: Satan can clearly see, despite all his previous arguments, that it would have been better to remain good. However, he has forbidden himself from even considering the possibility of repentance. As a result, he degenerates further and further, making his mind and body his own personal Hell.
Milton has given absolute power to the reason and free will of both men and Satan, only to show that the mind can defeat itself—using reason to arrive at an unreasonable position. Satan’s thoughts are increasingly contradictory and confusing, becoming hard for us, and perhaps for himself, to follow. Satan comes to believe his own faulty logic and his own lies. In Books I and II, his ability to reason is strong, but now in Book IX he can hardly form a coherent argument. Ironically, Satan has proved the truth of his own earlier statement that the mind can make a heaven of hell or a hell of heaven. Satan intended to make a heaven out of Hell, where he would be an evil version of God. Instead, he has brought his torture with him, and made a hell out of the earth that, but for him, would be heavenly.
This is it.... this is what sends us all to Hel....
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I agree with most of the explanation and analysis above. But one thing else to be added is that a hero doesn't bear evil intentions ever, otherwise there would be no difference between a protagonist and an antagonist.
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Q. What qualities of an epic do you find in 'Paradise Lost'?
Ans: Paradise Lost is one of the finest examples of epic tradition in all of literature. Paradise Lost is an epic poem in blank verse by the 17th-century English poet John Milton. It was originally published in 1667 (though written nearly ten years earlier) in ten books, with a total of over ten thousand individual lines of verse.
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