1 - 26:
In the first 26 lines of the poem the narrator, in keeping with the tradition of epic poetry, invokes the aid of his “Heav’nly Muse.” More importantly, though, in line 26 the reader is furnished with the poet / narrator’s over-arching purpose: to “justifie the ways of God to men.” It is important to note that the promise is to justify God’s ways not to the inclusive singular "man," but to a subset of humanity identified as men. Arguments over gender inclusion or exclusion can be made, but Milton’s apparent sexism aside, his text is aimed not at all people but only at that “fit audience though few” referred to at line 31 of Book VII. This audience would probably be the Elect, those justified through God’s Grace as accorded with Milton’s highly personal form of Christianity, derived from but not identical to Calvinism, either before or during Milton’s life time.
27 - 33:
In lines 27 - 33 the speaker calls on his muse to first explain the cause of Adam and Eve's ("our Grand Parents") original sin. The speaker characterizes the muse as virtually all-knowing, thanks to heavenly permission. In phrasing the speaker's request, the poet calls attention to the belief that Adam and Eve (and, by implication, subsequently all of humanity) would have ruled the world, subject to only one injunction: the original commandment not to eat the fruit of the tree of the knowledge of good and evil. In asking his final question of the muse--"Who first seduced them"--the speaker introduces a cause and effect relationship that might suggest Adam and Eve, and again all humans by implication, are not fully and not initially responsible for their sin(s). What might this imply about the doctrine of original sin, and about the natural state of the human creature?
34 - 83:
The muse seems to respond to the speaker's invocation in lines 34 to 83. In answer to the question "who first seduced" humankind, the muse replies that it was "the infernal serpent," who was himself driven by envy and a desire for revenge against God for having him (the serpent) cast out of heaven. The muse adds the detail, in ll. 35 - 6, that the serpent deceived Eve to achieve his revenge. After his direct answer to the speaker's question, "the muse" prepares the poem's transition to a discussion between the leaders of the rebel angels from their new abode outside of heaven on and around a lake of fire. The most important quality of this passage is the subtle insistence that it was Eve who was first deceived, thus setting her up as the first cause of "death . . . and all our woe" (l.3). While Milton adds much to the Biblical narrative throughout his poem, in assigning blame to Eve he is following the Bible closely (cf. Gen. 3).
84 - 126:
These lines are spoken by Satan, as he awakens in Hell (immediately after being driven out of heaven). He begins, looking at Beelzebub (as we discover), with the words “If thou beest thee” (1.84). This is significant because later in the poem (4.827-31) Satan berates the angel Zephon for not recognizing him. At that point in the poem Satan suggests Zephon is either so lowly an angel that he has never seen Satan, or is lying by pretending not to recognize him. This latter suggestion seems to betray Satan’s own deceptive psychology: especially when combined with the self-awareness he displays when he says that “misery hath join’d [Beelzebub and him] / In equal ruin” (1.90-1) and that they are “chang’d in outward luster” (1.97).
This awareness of his fallen state and the deceptiveness of his character should inform our understanding of Satan’s assertion in lines 105-9 that his “unconquerable Will” will never be subjected by God:
What though the field be lost?
All is not lost; the unconquerable Will,
And study of revenge, immortal hate,
And courage never to submit or yield:
And what is else not to be overcome?
Although these lines sound courageous, they might be simply an example of whistling past the graveyard.
When Satan references “Fate” in line 116 he touches on one of the major themes of the poem, juxtaposing the power of Fate against the will of God, as is exposed through his use of the word “foresight” in line 119.
128 - 55:
The speaker alerted us at 1.80-81 that the previous passage was spoken to Beelzebub, so we know that this reply, ll. 128-55, is made by him. Beelzebub suggests they (the rebel angels) might still be alive and living in hell just so that God can enjoy their misery (146-8: this is probably apostasy) or so that they can serve him as vassals, being conquests of war (149-52). If such is their lot, how can it serve them "to undergo eternal punishment?" (155). This invites the question: what is the alternative to undergoing eternal punishment, and the answer would seem to be self-annihilation.
Earlier, Beelzebub’s language shows Satan to be the leader of the rebellious angels: "O Prince, O Chief of many Throned Powers, / That led th' imbattled Seraphim to War" (128-9), and it suggests he genuinely believes their rebellion had a chance of succeeding: "endanger'd Heav'n's perpetual King" (131). Such a belief shows the reader the rebels' false pride, but also, ultimately, their ignorance, an ignorance reinforced by the assertion that God's "high Supremacy" might have been "upheld by strength, or Chance, or Fate" (132-3). This shows Beelzebub’s ignorance of God’s worthiness as the most supreme being by attributing it to military might ("strength") or luck ("chance") or some power greater than and prior to God himself ("Fate").
157 - 91:
Satan shows that he understands Beelzebub’s implication about the alternative to suffering eternal punishment when he tells him that "to be weak is miserable / [whether] Doing or Suffering" (157-8). When combined with the assertion of the next lines — "To do aught good never will be our task, / But always to do ill our sole delight" (159-60) - what Satan shows the reader here is a bit of his unbounded pride. Anyone who believes him- or herself equal to any of the vagaries or misfortunes of life fails to recognize that there is a power or are powers greater than the self. In Milton's context, it would be to put oneself on a par with God, which is just where Satan sees himself. Interestingly, by recognizing that God seeks to produce good from the evil they do ("his Providence / Out of our evil seek[s] to bring forth good" [162-3]) Satan — inadvertently, it seems — acknowledges God's goodness.
In the latter portion of this passage Satan surveys Hell and proposes the grand consultation about what to do next that will be the subject of Book 2 of the poem.
192 - 241:
In this passage the speaker of the poem returns, initially to describe Satan's immensity (195-210). Then we are told that Satan is only able to move around in Hell because God allows it; that is, God’s power extends even into Hell (210-13). God allows this so that Satan can demonstrate the rightness of God's damnation of him: "with reiterated crimes he might / Heap on himself damnation" (214-5). This reasoning bears directly on the poem's thesis of justifying the ways of God to men (1.26). Immediately below this we see the first explanation of why humans can be forgiven (redeemed) but Satan and his cohorts cannot: humans fall because they are deceived by Satan, but Satan cannot be forgiven because he is the master of his own destruction (215-20).
242 - 70:
In the beginning of this passage of text, Satan seems to be lamenting the grand realm of heaven. However, he quickly adapts to the new surroundings, being glad to have a place of his own, saying that “fardest from him is best.” (247) Satan now feels that he can make a kingdom of his own in Hell, and although he was banished from Heaven by God, he and his followers may now reign over a domain just as splendid. He now must consider the risks and rewards that would come with an attempt to challenge God in Heaven.
Satan seems to have a glass half-full attitude about being cast down from Heaven. He thinks he “can make a Heav’n of Hell, a Hell of Heav’n.” (255) This line reminded me of William Blake’s work, The Marriage of Heaven and Hell. Blake and Milton both struggle with the balance of good and evil as well as that of Heaven and Hell in their works.
272 - 82:
In this passage Beelzebub is responding to Satans call to his friends to join Satan in Hell and fight against Heaven. In these lines Beelzebub is describing what will happen to those who will join Satans movement. Beelzebub understands those who take up with Satan will be astounded and amazd (281) because he has been amazed at the power that Satan holds in Hell. Beelzebubs response draws attention to the suffering that will come to those who decided to join Satans movement (279-80). He knows how they will fight on Satans side until their death (280-2) because he is so powerful. Beelzebub describes this power that Satan has over everyone. That he can command anyone to stand with him and they will listen just because it is his voice calling out to them (274-5). Satans commands are so powerful that if he commands them they will gain strength and power to continue fighting (277-9).
283 - 315:
In Book 1, lines 283-315, the narrator/poet describes the action and atmosphere of Satan and Hell. In these lines the narrator depicts Satan's movement toward the fiery waters upon which "His Legions" (301) lie. In these lines, the narrator draws attention to the immense size of the Arch-fiend, by suggesting that the massive tree like spear appears but a wand in his hand. This detail seems notable as it recalls lines 194-209 as they also discuss his substantial size. These lines also contrast the opposing atmospheres of Heaven and Hell. The narrator refers to the terrain of Hell as "burning Marl, not like the steps/ On Heaven's Azure" (296-7). Another important piece of information in these lines is the Angels' physical transformation. This is the first moment they are seeing themselves as something exceedingly different than what they were before ("Under amazement of their hideous change" (313)). Lastly, this moment in the text could be considered the beginning of Satan's reign in Hell, as it is at this moment he first looks upon his vast amount followers and awakens them with the speech that follows.
1. 331 - 75:
In this passage, the speaker is explaining that Satan is calling upon his fallen men who were once angels. He calls them “Godlike shapes and forms/
Excelling human, Princely Dignities,/ And Powers that earst in Heaven sat on Thrones;” (358-60). These, so called ‘rebellion angels’, were once angels in
heaven and have names in heaven but on earth, they are nameless. The speaker mentions that “God thir Creator, and th’invisble/ Glory of him that made them,
to transform” (369-70). It was God who created everything, including these rebellion angels. This passage, to me, seems to be foreshadowing what is about
to come. There are good and evil in the world, some of which is once good and turns into evil. Also, both created by God. A war between good and evil seems
to be what is going to happen and it is God who is creating it and allowing it.
376 - 391:
Invoking the Muse, the speaker alerts us to the forthcoming list of particular fallen angels in positions of leadership between Satan their "Emperor" (378) and the more ordinary ranks. The Muse's account begins in line 381 with a general description of their objectives and tactics. Satan's chiefs wish to divert worship away from the God Jehovah. In so doing, they aim for the very heart of Jewish worship - God's dwelling-place on earth at Sion (386). Religious practices from surrounding nations are considered deeds of darkness (391) when compared with the light of God (cf. Ps. 50:2). Mentioning the Cherubim at the Altar (387, cf. Ex. 25:18-20; I Kngs. 6:27) highlights the ongoing battle between God's angel armies, and the forces of Satan.
392 - 505:
Beginning with Moloch which means King. He is responsible for “parents tears” and “Thir children’s cries unheard”. He was unhappy with his position and therefore moved his temple next to God’s with the help of Solomon. He is driven away by Josiah to hell, lust is mentioned which is one of the seven deadly sins. Next is Chemos who convinces Israel to listen to him and they begin to worship him. With them came Baalim and Ashtaroth (Spirits) who can basically become whatever they choose: male, female - they are untied without limbs or joints. Next was Astoreth, who was worshipped by virgins. Her temple also built by Solomon. Thammuz “came next behind” which makes me think that he is less important considering Milton used the word “behind”. It says that the river named after him ran red with his blood because he was wounded yearly. Dagan is a sea monster who is half fish half man, his hands and head cut off in his own temple. Rimmon described as a “Leper” (person rejected by others for moral or social reasons). Next the beasts/bestial beings of Egypt: Osiris, Isis and Orus. The last is Belial “a Spirit more lewd fell not from Heaven, or more gross to love vice for itself”. He did not receive a temple, but is well recognized. He sounds extremely vile being associated with injury, outrage, insolence and wine, rape etc.
1. 506 - 21:
In lines 506-521, the speaker describes how the fallen angels previously listed “were the prime in order and in might” (506). The reader now knows the importance and significance of the fallen angels based upon their place in the list. The lines that follow speak of the “Ionian Gods” with having “Heav’n and Earth thir boasted parents” (508-509). The lines after this begin to give the relationship between the Gods which start with Titan who is “Heavn’s first born” (510) and he has his “birthright seiz’d by younger Saturn” (511-512). Jove, who is Saturn’s son takes the power from Saturn and he reigns over “crete and Ida” and in “Olympus” (514-516). After having his power taken away from him by Jove, Saturn leaves.
1. 522 - 30:
In lines 522-30, the speaker is describing Satan's speech to the people who have been rejected from heaven, which have gathered to hear Satan speak. They were not expecting him to be joyful, because they were still thinking about the eternal paradise they lost in heaven. Satan, however, was preparing for the coming war between heaven and hell. The speaker explains that they, "have found themselves not lost in loss itself" (55-56). Instead of finding Satan in despair, fixating on all that he has lost in his fall, they find him preparing for battle. The people rejected from heaven were ashamed and doubted Satan, but after Satan delivers a rousing speech he casts off their doubt and regains their loyalty, confidence, and their support for the coming battle.
1. 531 - 67:
In lines 531-567, the speaker explains the reaction to Satan’s speech
from the rejects of Heaven. After seeing Satan in a state of joy
rather than depression, the rejects assembled themselves into a
battalion excited to join Satan’s army. The speaker describes Azazel
as baby angel, “Cherube”: alluding to Azazel’s grandeur and
importance. The speaker is explaining Satan’s army almost as if it is
beautiful and godly (although it is quite the opposite). Basically the
entire section is explaining all of Satan’s army: confident in Satan,
excitement and awaiting His command to go forth and fight against
Heaven.
1. 567 - 87:
The speaker has just explained the leadership of Satan's battalion in great detail. The culmination of this description comes in lies 567-87 where Satan's army has been assembled in its entirety and Satan is seen surveying his masterpiece. As he "Darts his experienc't eye" [568] over the infantry he assimilates their appearance and stature to that of gods and finding that the sum of their number pleases his expectations he "distends with pride". The speaker then aims to enhance our understanding of the magnificence of the battalion by drawing reference to 7 famous infantries who supposedly pale in comparison. Why does the speaker feel the need to make so many comparisons? This is a prime example of apostasy. The number seven is God's symbol of completion as seen in creation (Gen. 2:2) and the apocalyptic judgments (Rev. 10:7). The speaker assumes that his audience is familiar with the references he alludes to however it is important not to gloss over these comparisons if one wishes to garner an accurate visual image of Satan's legions.
[575] "that small infantry" In Greek mythology the pygmean stood a mere one and a half feet tall. However their size did not by any means hinder there agricultural lifestyle (Hecataeus) nor their eternal fight against the cranes who would often exit the battlefield with bronze arrowheads lodged in them (Megasthenes).
[576] "Giant brood of Phlegra" The giants or gigantes were a tribe in Greek myth who were said to have made war with the gods. They were rather primitive in their weaponry but were strong, aggressive, and could be as tall as 14 ft. They are depicted as being monstrous with the tails of serpents for legs or a single eye in the middle of their head.
[578] "Thebes and Ilium" The "Heroic Race" that the speaker says fought at these famous cities was a group of warriors which included tens of thousands of trained men and superhuman leaders like Achilles and Odysseus who had semi-divine lineage. They were also aided in their war by the pantheon gods and the trojan war gods respectively.
[581] "British and Armoric Knights" refers to King Arthur's Knights of the Round Table. These Knights were known for their impeccable swordsmanship but more so for the courage, honor, and loyalty to their king.
[583] "Aspramont and Montalban" The speaker's use of these of places: a mountain and a castle respectively draws reference to the army of the great king and warlord of the Franks Charlemagne. His infantry used manpower to to defeat invasions and strategy to lay siege on Rinaldo the Paladin.
[584] "Damasco, or Marocco, or Trebisond," refers to a series of tournaments featured in Ludovico Ariosto's Orlando Furioso. These sporting events were a means for knights and soldiers to gain honor by displaying chivalry through combat.
[585-87] "Biserta" "Fontarabbia" Charlemagne's last battle was fought at Fontarabbia. Legend has it that Muslims (or infidels) from Biserta conquered the great warlord and his troops in the battle and killed Charlemagne in the process.
1.622 - 62:
In this section of the poem I believe Satan is talking because on lines 237-238 the speaker (Satan) mentions he who reigns Monarch in Heav'n it is clear that God is not the speaker of these lines but that the speaker would have to be someone knowledgeable with heaven. It is a speech and not part of a narration as one can see with words such as me (237) or our (645) which indicate a voice separate from the narrators whose does not come in, in a personal manner. These lines tell the story of change and of difference. They also tell some of the interconnectedness that exists between different aspects such as God(s), Heaven, Worlds and States. Satan is trying to get those who are on his side of the difference all together and all on the same page so they can be a united force. Those who are with Satan are known as Fallen Angels because they are no longer good and are no longer in Heaven. The passage shows how when situations change people change along with them as their motives change. These lines also demonstrate how those who are classified as followers look up to a leader for guidance, listen to them and are willing to be on their side.
Also, in line 640-642 there is the implication that God´s strength is what caused the fall of Satan. They also reverse conventional ways of looking at God and Satan by making God appear to be the bad person and Satan to be the one who was wronged.
Lastly in line 647 where it says by fraud or guile is stating the way to hurt God.
1. 663 - 9:
In lines 663-69, the speaker illustrates the reaction of the fallen angels to Satan's speech. Satan's words incite a passionate response from the amassed army, matched by the diction of the passage. The "flaming swords/...
sudden blaze/... [and] illumin'd hell" (664-666) adequately describe the fiery response instigated by his speech. The stanza is significant because it demonstrates Satan's capabilities as a leader. He is able to inspire millions into "defiance toward the Vault
of Heav'n" (669). The passage casts Satan in a heroic light, millions are willing to follow Satan into battle despite their powerful opposition. He creates solidarity among the fallen angels through a common cause,
a feat which God failed to accomplish. Out of the millions that form Satan's army, not a single dissenting voice is present. In contrast, God lost millions of angels since He was unable to consolidate the inhabitants of Heaven.
An intresting aspect of the passage I noticed was the speaker's use of hierarchy. In lines 666-67, the speaker progresses from "hell", to "highly", and finally "the Highest". The sequence from low to high parallels the oncoming assault against Heaven.
Additionally, the sequence disrupts the portrayal of Satan as a heroic figure. Although he is capable of uniting millions of rebel angels, he is still at the bottom of the hierarchy. The ascending list begins with the most base position, hell and Satan, before
progressing to the highest level, occupied by God. Despite Satan's capabilities and supposed greatness, even he is unable to contend against the natural order of the hierarchy.
1. 717 - 32:
In lines 717-732, the speaker is Satan. He says the roof is decorated in elaborate Gold patterns, just as Hamlet does in 2.2 when he thinks there is nothing more godlike than the human being. By Alcairo he means Cairo, the capital city of Egypt, and means ëthe virtuousí. Belus is a Mesopotamian god of the air, that the Ancient Hebrews know as Baal in Jeremiah 51:44. He was also the mythical founder of Babylon. Sarapis is a Greco-Egyptian god of the sun. His temple in Alexandria was the most magnificent structure in the city. When the speaker says ëStood fixt her stately highthí, he means that the pile is very sturdy. Brazen means made of brass, and by foulds the speaker means the popular ancient folding doors that closed like an accordion. Cressets are lamps on a pole that burn, in this case, naphtha and asphaltus.
1. 732 - 51:
In lines 732- 51 of Milton's Paradise Lost, the speaker addresses the final construction of Satan's palace while paying special attention to the architect of Mulciber. Mulciber, the equivalent to Vulcan in Roman myth and Hephaestus in Greek, was the God of fire, volcanoes, and metalworking. This is significant considering his current place in Hell. He also bears a similarity to Satan as in the myth he was born crippled and was cast from Olympus resulting in a three day long fall from the heavens. Despite their differences of situation, this fall forms a striking parallel between Satan and Mulciber. Similarly, like Satan Mulciber previously resided in Heaven before he was "sent with his industrious crew to build in hell" (1. 751) where he designed Pandemonium.
1. 752 - 87:
In these lines, the narrator describes the gathering of Satan’s host at Satan’s capital Pandaemonium—literally ‘all spirits’ or more accurately ‘all demons’, but easily interpreted by modern readers as a place of great noise and commotion. Milton gives another image of the immense size of the horde in lines 762-67 noting that the demons swarm and fill the hall despite its ‘spacious’ grandeur. To deal with the crowding, a signal is given and the demons shrink their size to that of dwarves or elves; here Milton references fae-creatures, as are seen in Shakespeare’s A Midsummer Night’s Dream, drawing one of many paralells between pagan creatures and Christian demons. More noticeably, he compares Pandaemonium’s crowd to a hive of bees in lines 768-75. The bee simile could suggest a hive of drones obeying a single master with great efficiency but little independent thought; however, Hughes also notes that bees were also used as examples of creatures fully devoted to the idea of ‘divine right’, and total obedience to a single appointed leader.
1. 788 - 98:
In the last 10 lines of book one, the speaker is Satan and he is describing the appearance of his court, as on lines 795-797 he says, "In close recess and secret conclave sat a thousand Demy-Gods on golden seats, frequent and full". Since earlier in book one on line 5, "restore us, and regain the blissful seat." This can be read as foreshadowing to the loss of power from what is moral since those in Satan's court now sit upon the chairs. Milton uses opposite adjectives to describe the court, contrasting the differences against one another in line 789-790 by saying, "Thus incorporeal spirits to smallest forms reduc'd thir shapes immense". The shrinking of the spirits actually plants the idea about the large quantity of spirits trying to fit in, and when farther down Satan explains that the "Seraphic Lords" do not shrink, the impression of their importance is reiterated. This gave me the image in my head of a movement back and forth with the opposite words, ending with the commotion of the many spirits filing in, and sudden silence as the meeting begins. It was written like a piece of music with a crescendo and then silence before the big finale takes place.