1. John Milton Background
for
Paradise Lost, Book I
By John Milton

2. Intent to be a Poet
At 21 Years of Age

3. Milton attended Christ College in Cambridge
School
Milton attended Christ College in Cambridge

4. 30 Years Old
When John Milton was about 30 years old he left his father’s estate and traveled to Italy to meet the artists, scholars, philosophers, and scientists whose works he had been studying.

5. For Twenty Years
Milton neglected his poetry because during the Civil Wars in England he wrote pamphlets on behalf of Parliament. After the wars, he served as Latin Secretary to the State Council for the Puritan Commonwealth.

6. Tragedies Deaths of his first two wives
The deaths of all but three of his children
At the age of forty- four the loss his eyesight

7. 1660
Milton was free to devote himself to writing the epic poem he had planned so many years earlier.

8. Arrested
When the Puritan government was dissolved and King Charles II ascended the throne, Milton was arrested as a traitor.
Influential friends managed to save him from probable hanging, but he was forced to retire and pay heavy fines that left him nearly penniless.

9. Before Milton’s Death
In the years before his death, he dictated to his daughters not just one epic masterpiece, but two: Paradise Lost and its sequel, Paradise Regained.

10. Sonnets
Milton wrote twenty- four sonnets between and 1658.

11. Epic Poetry
The epic is a long narrative poem that tells the story of a hero and reflects the values of a culture. For seventeenth-century English writers, the ancient Greek and Roman epic poets, such as Homer, set the standard for literary greatness.

12. Age
Milton was blind and around 53 years old when he first began composing his 10,565 line epic poem Paradise Lost.

13. What is Paradise Lost about?

14. Blank Verse
Blank verse, or unrhymed iambic pentameter, is one of the simplest forms, in that each line is essentially a new stanza. Shakespeare used blank verse for the poetry in his plays (although not for his sonnets, which were rhymed).
Unrhymed Iambic Pentameter is five iambs per line, which is a metrical foot in verse in which an unaccented syllable is followed by an accented one, as in “a-rouse” and “a- cat.” The meter of Paradise Lost (1667) is a form so flexible and natural that even among the verse experiments of the modernist period it remains a favored structure.
(Handbook of Literary Terms: Second Edition)

15. Felt about Rhyme
Milton thought it was unnecessary.

16.
Paradise Lost was written as the dust was settling after years of war and turmoil. From 1642 to 1660, the government of England went from a monarchy to a commonwealth (rule by Parliament) to a protectorate (rule by one man, Oliver Cromwell) to a monarchy.

17. Two Decade Period
During this two decade period, no matter which side a person was on, he or she experienced both defeat and triumph. Milton sensed the nation needed an anchor, a literary work that would once again help define and unite a culture.

18. God’s Reason
Milton’s explanation of God’s reason for allowing suffering in the world, and the dark, proud figure of the rebel Satan pitted against God in civil war, must have led readers to reflect on England’s own civil war.

21. Bradley Cooper - SATAN

22. Beezlebub, Archangel Sammuel Rufus Sewell

23. Gabriel (Casey Affleck)
Archangel Michael (Benjamin Walker)

24. Adam (Diego Bonita)
Eve (Camilla Belle)

25. URIEL (Callan McAuliffe)
Abdiel (Djimon Hounsou)
Raphael (Sam Reid)
URIEL (Callan McAuliffe)

26. for Paradise Lost, Book I By John Milton
Literary Terms
for
Paradise Lost, Book I
By John Milton

27. Point of View
The point from which the story is told. Usually the narrator, character or outside observer who tells the story.

28. First Person Point of View
When a character in the story tells the story.
Example: When “I” or “Me” is used in a story or movie to tell the story.

29. Third Person Limited Point of View
The narration does not use “I” or “me”. Only he/she/it.
The narrator focuses on the thoughts and feelings of just one character.

30. Third Person Omniscient Point of View
The all knowing narrator can tell us about the past, present and future of all the characters (godlike).

31. Narrator The person that is telling the story.

32. Setting The time and place of a literary work.
Example: The setting for “The Cask of Amontillado” is “Early evening in an Italian city during a carnival immediately preceding Lent.”  

33. Theme
A central message of a literary work. It is a generalization about people or about life that is communicated through the literary work. Readers think about what the work seems to say about the nature of people or about life.

34. Character
A person or an animal who takes part in the action of a literary work. Characters are sometimes classified as round or flat, dynamic or static.

35. Dynamic Character
This character develops and grows during the course of the story.

36. Round Character
This character shows many different traits--faults as well as virtues.

37. Static Character This character does not change much in the story.

38. Flat Character Has only one or two traits.

39. Stock Character
A stereotypical character that occurs frequently in literature.
Examples are the mad scientist, the battle- scarred veteran, and the strong silent cowboy.

40. Protagonist The main character in a literary work.

41. Antagonist
A character or force in conflict with a main character or the protagonist.

42. Plot The sequence of events in a literary work.

43. Exposition
Is a writing or speech that explains a process or presents information. In the plot of a story or drama, the exposition is the part of the work that introduces the characters, the setting, and the basic situation.
Exposition

44. Rising Action
All the events leading up to the climax.
Rising Action

45. Climax The conflict reaches a high point of interest or suspense.

46. Falling Action Follows the climax and leads to a resolution.

47. Resolution
The end of the central conflict.
Resolution

48. Conflict
A struggle between opposing forces, usually it will form the basis of stories, novels, and plays.

49. Internal Conflict
Involves a character in conflict with himself or herself.

50. External Conflict
The main character struggles with an outside force. Usually the outside force consists of:
man vs. man
man vs. nature
man vs. society
man vs. supernatural (God or gods)

51. Man vs. Man

52. Man vs. Nature

53. Man vs. Supernatural

54. Man vs. Society

55. Terms and Definitions

56. Diction A word choice intended to convey a certain effect.
Example: “It was easy to use that laptop” or “It was effortless using that laptop”

57. Allusion
A reference to a well-known person, place, event, literary work, or work of art.

58. Epic Poetry
The epic is a long narrative poem that tells the story of a hero and reflects the values of a culture. For seventeenth-century English writers, the ancient Greek and Roman epic poets, such as Homer, set the standard for literary greatness.

59. The Hero Character Archetype
In its simplest form, this character is the one ultimately who may fulfill a necessary task and who will restore fertility, harmony, and/or justice to a community. Often he/she will embody characteristics of Young Person from the Provinces, Initiate, Innate Wisdom, Pupil and Son.

60. Blank Verse
Blank verse, or unrhymed iambic pentameter, is one of the simplest forms, in that each line is essentially a new stanza. Shakespeare used blank verse for the poetry in his plays (although not for his sonnets, which were rhymed).
Unrhymed Iambic Pentameter is five iambs per line, which is a metrical foot in verse in which an unaccented syllable is followed by an accented one, as in “a-rouse” and “a- cat.” The meter of Paradise Lost (1667) is a form so flexible and natural that even among the verse experiments of the modernist period it remains a favored structure.
(Handbook of Literary Terms: Second Edition)

61. Media Res
In medias res or medias in res (into the middle of things) is a Latin phrase denoting the literary and artistic narrative technique wherein the relation of a story begins either at the mid-point or at the conclusion, rather than at the beginning, establishing setting, character, and conflict via flashback and expository conversations relating the pertinent past

62. The general term for literary techniques that portray differences between appearance and reality, expectation and result, or meaning and intention.
Implies a twist.
Irony

63. Verbal Irony Words are used to suggest the opposite of what is meant.

64. Dramatic Irony
There is a contradiction between what a character thinks and what the reader or audience knows to be true.

65. Situational Irony
An event occurs that directly contradicts the expectations of the characters, the reader, or the audience.

66. APPOSITIVE
An appositive is a noun or pronoun that is placed next to another noun or pronoun to identify it or give additional information about it.
Example: My brother Frank has red hair. (Frank identifies brother.)

67. APPOSITIVE Phrase
An appositive phrase is an appositive plus any words that modify it. Commas should be used to set off an appositive or appositive phrase that is not essential to the meaning of the sentence.
Example: Mrs. Robinson, a woman of humble origins, now owns a large retail chain. (A woman of humble origins gives additional information about Mrs. Robinson. It is not essential to the meaning of the sentence.)

68. Complex Sentence
A complex sentence contains one independent clause and at least one dependent clause.
They can be switched, but needs a comma if the dependent clause comes first.
A dependent clause is preceded by subordinators such as: because, since, although, when, or after or a relative pronoun such as: who, which, or that.
Example, “Great literature, which stirs the imagination, also challenges the intellect.”

69. Apostrophe
directly addressing an imaginary person, place, thing, or abstraction, either living, dead or absent from the work. Example: Ophelia, in Hamlet, says, “O, heavenly powers, restore him.”

70. Hyperbole Is an extreme exaggeration.
Example: I have so much money, I am burning a hole in my pocket
If I told you once, I’ve told you a thousand times

71. Metaphor
A figure of speech in which one thing is spoken of as though it were something else.
Example:
“Time is a monster that cannot be reasoned with”

72. Personification Inanimate objects have human characteristics.
“The wind cried in the dark.”
“The leaves were dancing in the trees.” To Kill a Mockingbird

73. Simile
A figure of speech in which like or as is used to make a comparison between two basically unlike ideas.
Example: Claire is as flighty as a sparrow.

74. Symbol(ism)
Anything that stands for or represents something else. An object that serves as a symbol has its own meaning, but also represents abstract ideas.

75. Connotation
A word that contains a set of ideas associated with it in addition to its explicit meaning. Based on the word, it can be personal and/or based on individual experiences.
Example: “My bad” or “Sorry”
“House” or “Home”

76. The writer or speaker’s attitude toward a subject, character, or audience, and it is conveyed through the author’s choice of words and detail. Tone can be formal or informal, serious or playful, bitter or ironic, indignant, objective, etc.
Tone

77. Foreshadowing
The use in a literary work of clues that suggest events that have yet to occur (future action). Use of this technique helps to create suspense, keeping readers wondering and speculating about what will happen next.

78. Imagery
The descriptive or figurative language used in literature to create word pictures for the reader. These pictures or images, are created by details of sight (visual) – p. 678, sound (auditory), taste (gustatory), touch (tactile), smell (olfactory), movement (kinesthetic), or internal (organic).