Paradise Lost and Other Poems

This is basically required reading for anyone who wants to call themselves educated. This is not easy reading, but I think it is important to finish. There are many allusions to this book in numerous other classics, so I would say it is required. Personally, I enjoyed most of this book, but my favorite parts were ones involving the Devil. He is much more interesting than God or Jesus- they just sit around complementing each other all day. If you are thinking of buying this, you probably know what you are getting into anyway, so go for it.

For a long time, I have wanted to read Milton's "Paradise Lost" (yes, I, a nineteen-year-old male, wanting to read Milton outside of class). I'm glad I chose this Signet Classic version. You know what "Paradise Lost" is about, or you wouldn't be here, so I won't summarize what has become an essential piece of epic poetry. "Samson Agonistes" is a beautiful "minor epic" styled after the ancient Greek tragedies, while "Lycidas" is...well, it's confusing. But exquisitely worded, and truly enjoyable nonetheless. Le Comte's annotations are helpful, though they sometimes get in the way of the reading (in many spots, half the page is devoted to footnotes). Cifelli's introductions are easy to read (I've come across some introductions to pieces of literature that are harder to read than the literature itself, so these intros were a relief), and even helpful in understanding the texts. The fact of the matter is this: unless you are an academic schooled in interpreting Biblical poetry, you're gonna have a hard time with "Paradise Lost" (Cifelli echoes these remarks, so I'm not alone here). However, trust me, it is worth it. If you are a student (as am I), or simply an interested reader (as I also am), you will love "Paradise Lost"--not for its simplicity, but for its complexity, for its beauty. This Signet Classic edition is helpful and enjoyable; read it, and enjoy.

Of Man's first disobedience and the fruit Of that forbidden tree whose mortal taste Brought death into the world and all our woe, With loss of Eden, till on greater Man Restore us and regain the blissful seat Sing, Heavenly Muse... Not a lot people know that 'Paradise Lost' has as a much lesser known companion piece 'Paradise Regained'; of course, it was true during Milton's time as it is today that the more harrowing and juicy the story, the better it will likely be remembered and received. This is not to cast any aspersion on this great poem, however. It has been called, with some justification, the greatest English epic poem. The line above, the first lines of the first book of the poem, is typical of the style throughout the epic, in vocabulary and syntax, in allusiveness. The word order tends toward the Latinate, with the object coming first and the verb coming after. Milton follows many classical examples by personifying characters such as Death, Chaos, Mammon, and Sin. These characters interact with the more traditional Christian characters of Adam, Eve, Satan, various angels, and God. He takes as his basis the basic biblical text of the creation and fall of humanity (thus, 'Paradise Lost'), which has taken such hold in the English-speaking world that many images have attained in the popular mind an almost biblical truth to them (in much the same way that popular images of Hell owe much to Dante's Inferno). The text of Genesis was very much in vogue in the mid-1600s (much as it is today) and Paradise Lost attained an almost instant acclaim. John Milton was an English cleric, a protestant who nonetheless had a great affinity for catholic Italy, and this duality of interests shows in much of his creative writing as well as his religious tracts. Milton was nicknamed 'the divorcer' in his early career for writing a pamphlet that supported various civil liberties, including the right to obtain a civil divorce on the grounds of incompatibility, a very unpopular view for the day. Milton held a diplomatic post under the Commonwealth, and wrote defenses of the governments action, including the right of people to depose and dispose of a bad king. Paradise Lost has a certain oral-epic quality to it, and for good reason. Milton lost his eyesight in 1652, and thus had to dictate the poem to several different assistants. Though influenced heavily by the likes of Virgil, Homer, and Dante, he differentiated himself in style and substance by concentrating on more humanist elements. Say first -- for Heaven hides nothing from thy view, Nor the deep tract of Hell -- say first what cause Moved our grand Parents, in that happy state, Favoured of Heaven so highly, to fall off From their Creator and transgress his will, For one restraint, lords of the world besides? Milton drops us from the beginning into the midst of the action, for the story is well known already, and proceeds during the course of the books (Milton's original had 10, but

Thanks to Edward Le Comte's great biographical introduction, and annotations, this is the best version of this classic work. Unfortunately it is hard to find, because it's 42 years old now. This old Mentor edition was a high quality printing though, so if you find one it stands a good chance of being a best buy!

A superb edition of the greatest poem in the language. Edward Le Comte performs an invaluable job of editing, providing copious annotations which give an encyclopedic overview of Milton's Biblical, Classical, theological, and personal allusions throughout "Paradise Lost" as well as "Samson Agonistes" and "Lycidas", which are the other poems of the title. The back-cover write-up gets it right-- here is the indispensable peer of Vergil, Dante, Homer. These are poetic monuments, cathedrals of sound and sense that are bound to exhilarate anyone who gives them even passing attention: Milton's reverence, rage, and sensuality burn through each line. Never mind even Harold Bloom's protestations to the contrary-- the poetry of the English tradition revolves around a double star, and this is Shakespeare's giant twin in greatness.