Explain the theology of grace, voiced by Milton's God.

Considering Milton's self-representation in prose, read the invocation to Book 1 (1-26) of .

Then discuss Milton's ideal of male friendship.4.

In 1673 Milton brought out a reprint of the 1645 edition of his adding most of the sonnets written in the interval. The last four years of his life were devoted to prose works of no particular interest. He continued to live in London. His third marriage had proved happy, and he enjoyed something of the renown which was rightly his. Various well-known men used to visit him—notably Dryden, who on one of his visits asked and received permission to dramatise It does not often happen that a university can point to two such poets among her living sons, each without rival in his generation.

How and for what purpose(s) does Milton manipulate the reader's point of view?3.

Consider Milton's portraits of ideal femininity in these passages.

Fortunately this poetic interregnum in Milton’s life was not destined to last much longer. The Restoration came, a blessing in disguise, and in 1660 the ruin of Milton’s political party and of his personal hopes, the absolute overthrow of the cause for which he had fought for twenty years, left him free. The author of could once more become a poet.

Why does Milton begin the second half of his epic with the Creation story?

An edition based upon Sir Richard Jebb’s lectures at Cambridge in 1872, with extensive notes and commentaries on this famous work: Milton’s famous defense of freedom of speech. It was a protest against Parliament’s ordinance to further restrict the freedom of print. Milton issued his oration in an unlicensed form and courageously put his own name, but not that of his printer, on the cover.

Milton argues a little like his own Magician (Comus).

With reference to the invocation to Book 3 (1-55, especially the sonnet-like passage 37-55) and to Sonnets 7, 16, and "To Mr Cyriack Skinner upon his Blindness," discuss the relations Milton draws between his creative aspirations, his human fallibility, and God.


Cf. Gray’s fine lines () on Milton’s blindness:

In Book 7, Milton, a seventeenth-century Protestant, has Raphael, a pre-historic angel, tell the Creation story largely in the words of Moses, a pre-Christian Jew and the presumed author of Genesis (in English translation, of course).

John Milton, Areopagitica (1644) (Jebb ed.) [1644]

Consider Milton's sonnets addressed to female friends (9, 10, and 14) and the episode of Eve's departure from Adam's and Raphael's after-dinner conversation.

Milton's "Paradise Lost": Hidden Meanings

Compare and contrast Adam's birth story to other narratives recounted so far of a character's awakening sense of self, of his or her relation to origins.

Paradise Lost Study Guide | GradeSaver

Milton’s father had settled at Horton in Buckinghamshire. Thither the son retired in July, 1632. He had gone to Cambridge with the intention of qualifying for some profession, perhaps the Church. This purpose was soon given up, and when Milton returned to his father’s house he seems to have made up his mind that there was no profession which he cared to enter He would choose the better part of studying and preparing himself, by rigorous self-discipline and application, for the far-off divine event to which his whole life moved.

Thoughts on Metamorphoses by Ovid, and Paradise Lost …

Other components that contribute to the status of “Paradise Lost” are characters, inventive use of verses, Milton’s unique poetic abilities and sincere desire to create the most dramatic and beautiful creations in the history of literature.