EPIC

Epic Conventions or characteristics common to both types include:1. The her o

i s a f i gur e of gr eat nat i onal or even cosmi c i mpor t ance, usually the
ideal man of his culture. He often has superhuman or divine traits. He has
an imposing physical stature and is greater inall ways than the common man.
2.
The setting is vast in scope. It covers great geographical distances, p e r h a p s
e v e n v i s i t i n g t h e u n d e r wo r l d , o t h e r wo r l d s , a n d
o t h e r times.3 . T h e a c t i o n c o n s i s t s o f d e e d s o f v a l o r o r
s u p e r h u ma n c o u r a g e (especially in battle). 4.Supernatural forces
interest themselves in the action and interveneat times. The intervention of
the gods is called "machinery."5.The style of writing is elevated, even
ceremonial.6.Additional conventions: certainly all are not always present)

Opens by stating the theme of the epic.

Writer invokes a Muse, one of the nine daughters of Zeus. The poet prays to the
muses to provide him with divine inspiration totell the story of a great hero.

Nar r at i ve opens i n medi a r es. Thi s means "i n t he mi ddl e
of t h i n g s , " u s u a l l y wi t h t h e h e r o a t h i s l o we s t p o i n t .
E a r l i e r portions of the story appear later as flashbacks.

C a t a l o g s a n d g e n e a l o g i e s a r e g i v e n . T h e s e l o n g l i s t s
o f obj ect s, pl aces, and peopl e pl ace t he f i ni t e act i on of t he epi c
within a broader, universal context. Oftentimes, the poet is also paying homage to
the ancestors of audience members.

Main characters give extended formal speeches.
Use of the epic simile. A standard simile is a comparison using" l i k e " o r
" a s . " An e p i c o r Ho me r i c s i mi l e i s a mo r e i n v o l v e d , ornate
comparison, extended in great detail.
Heavy use of repetition and stock phrases. The poet repeats passages
that consist of several lines in various sections of the epic and uses
Homeric epithets, short, recurrent phrases used to describe people, places, or
things. Both made the poem easier to memorize.
PARADISE LOST AS AN EPIC
I n l i t er at ur e, an epi c i s a nar r at i ve poem on t he gr and scal e and
i n majestic style concerning the exploits and adventures of a superhuman hero or
her oes) engaged i n a quest or some ser i ous endeavour . The her o
i s distinguished above all men by his strength and courage, and is
restrained only by a sense of honour. The subject-matter of epic includes myth,
legend, h i s t o r y , a n d f o l k t a l e . I t i s u s u a l l y s e t i n a
h e r o i c a g e o f t h e p a s t a n d embodies its country's early history
and expresses its values. Battles and perilous journeys play a large part, as do
gods, the supernatural, and magic; scenes ar e of t en set i n t he Under wor l d
or i n heaven. The hi gh soundi ng, bombastic and ornate language, war
like speeches, ancient and mythical r ef er ences and t he use of
super nat ur al machi ner y ar e some of t he mai n features or essential
ingredients of the epic writing. The Epic can be defines as:
An Epic is a highest form of poetry i.e. a long narrative poem in which characters
and actions are of heroic proportions. It is written in an elevated style with a
serious theme at least of national or international level.
An epic must accord with the technical principles of great epics of classical
antiquity set by the classical writers like Homer and Virgil. But when we analyse
Paradise Lost as an epic, following the set principles, we can aptly say that John
Milton, a puritan, and a scholarly person, surpasses even his favourite masters
Homer and Virgil in producing a model structure of epic writing for rest of
the times. Unlike the national subjects taken up by Homer and Virgil, Milton
succeeds in writing an epic having more serious rather universal subject that
is the fall of man on the model of the Greek and Latin epics. The subject,
whom Aristotle, Tasso, Homer, Virgil and other epic poets took are ancient and
their themes are nation but Miltons subject is more ancient than that of any
other epic. He deals with the subject
Of mans disobedience and the fruit Of that forbidden tree, whose mortal
taste, Brought death into this work and all our woe With loss of Eden
Characteristics of Paradise Lost as an Epic
Ar i s t o t l e d e s c r i b e d s i x c h a r a c t e r i s t i c s : " f a b l e , a c t i o n ,
c h a r a c t e r s , sentiments, diction, and meter" most important elements of epic.
Fable:
Fabl e or st or y i s t he basi s of t he epi c. Bossu i s of t he opi ni on
t hat
the p o e t s f i r s t b u s i n e s s i s t o f i n d a mo r a l , wh i c h i s
p e r f e c t o r i mp e r f e c t according as the action is more or less so.
The subject of the Paradise lost concerns wi t h not onl y a nat i on or a
par t i cul ar count r y, r at her t he dest i ny of t he whol e manki nd i s
associ at ed wi t h i t . I n t hi s par t i cul ar sense, Par adi se l ost excel s
ot her s epi c as i t s act i on i s contrived in hell, executed on earth and
punishes by heaven. Coleridge commenting on the Universal appeal of
Paradise Lost says,
The superiority of Paradise Lost is obvious in this respect that the interest
transcends the limit of a nation it contains the matter of deep interest to all
mankind; forming the basis of all religions and the true occasion of all of all
philosophy what so ever
Besides, Milton has filled his story with so many surprising incidents which bear
so close an analogy with what is delivered in Holy writ, that it is capable of
pleasing the most delicate reader, without giving offense to the most scrupulous.
Theme:
The f i r st convi ct i on of epi c wr i t i ng i s t hat i t car r i es a ser i ous
t heme at l east of nat i on or international level. The destiny of a nation or
region is associated with it. The theme of an epic, accor di ng t o Ar i st ot l e,
must be pr obabl e and mar vel l ous. Mi l t on, however , makes some
changes in choosing theme as in the very early lines he declares that his aim was to
attempt,
Things un attempted yet in Prose or rhyme
Expl ai ni ng subj ect or t heme of Par adi se Lost , Hal l am says t hat i t
i s
the f i n e s t e v e r c h o s e n f o r h e r o i c p o e t r y, i t i s a l s o ma n a g e
b y Mi l t o n wi t h remarkable skill. The Iliad wants completeness; the
subject of Odyssey is hardly extension, the Aeneid is spread over too long a
space: the Pharasaliai s o p e n t o t h e s a me c r i t i c i s m a n d t h e I l i a d :
t h e s u b j e c t o f t h e Th e b a i d possesses no i nt er est i n our eyes:
yet t he f al l of Man has a mor e gener al interest than the Crusade.
Character
The characters in the epic, like other classical epics, are of high status
rather more high and noble than ancient heroes of Homer and Virgil. The
characters in Miltons Paradise Lost are the most sublime that human beings can
conceive. They are God, Christ, the good and evil angels, and Adam and Eve,
the Parents of whole human race and their status enjoying heavenly life.
Addison says
It is impossible for any of Paradise readers whatever nation, country or people he
may belong to, not to be related to the person who is the principal actor in it; but
what is still infinitely more to its advantage, the principal actors not only our
progenitors, but our representative.
The heroes of ancient epics have the outstanding personalities, heroic
mould and stuff, but Adam is bestowed with more heroic qualities than any
other hero. Whereas Satan, an Archfiend, revolts and preaches disaffection
against God, yet, Milton portrays him so skill fully that he appears to be
more exalted and most depraved being. The quality of Satan as leader is
hence responsible for most of the critics to consider him to be a hero of this great
epic. Even the critics like Robert Burn is forced to say "Give me the spirit of my
favourite hero, Milton's Satan"
Episodes:
Like the classical epic writers, Milton succeeds in lending Paradise Lost with
perfect unity of plot. Everything or even in the poem leads up to or flows
from it. The plucking of the fruit of t he t r ee of knowl edge, t he war
bet ween God & Sat an, f ol l owed by t he f al l of Sat an, Long
descriptions of hell and heaven and seduction scene all these events are closely
woven and seem a single and a compact action. As a masterly person, Milton
plunges into the middle of the story, instead of beginning, but in the middle he
traces the earlier story and forwards the story to a striking end. During this Milton
still is following a rule of epic writing. In the course of the events Milton
convincingly shows the utter powerlessness, helplessness and depravity of evil
beside the almightiness, beauty and benevolence of God. Evil never
succeeds; it never does under any circumstances. Milton shows this in the
defeat of Satan:
so stretchd out huge in length the Arch-fiend lay, Chaind on the burning lake;
nor ever thence Had risn, or heavd his head, but that the will And high
permission of all-ruling heaven, Left him at large to his own dark designs.
Diction & style:
War like speeches is another feature of epics. Through these speeches, the poet
actually explains the background and the scenery, the characters themselves speak
fully explaining their thoughts, f eel i ngs and mot i ves. Mi l t on once agai n
seems at t he t op, whi l e pr es ent i ng t he war l i ke speeches of Satan,
who emerges as a giant leader with all heroic qualities inspiring all the
readers. I n Book- I Sat an has been r epr esent ed i n her oi c di mensi on.
He di spl ays unyi el di ng courage, shrewdness as leader. From the very first
speech, he appears to be a great orator with profound leadership qualities.
What though the field be lost, all is not lost, The unconquered will
immortal hate
He like a great leader arranges a council and gives them the urge to wage another
war against The Supreme Victor. Thorough analysis of their defeat is done to
formulate new strategy. He like a great leader praises his fellows and gives them
boost by calling them Princes, The Knights and the Warriors he also pinches them
by his words
Wake up or be fallen forever
The whip of words works and all of the fallen shrubs rise and whole dark
hell resounds with their slogans and flashes with blazing swords and shields as
Milton describes the scene in these lines,

Highly they raged Against the highest, and fierce with grasped arms Clashed on
their soundings shields, the den of war Hurling defiance towards the vault of
heaven.
Integrity:
The use of similes, metaphors and allusions are another ingredient of
epic writing and Paradise Lost is the best blend of this quality. Especially
Book-I can aptly be declared as one of the best example of Miltons skill in
using similes and metaphors. Milton being the most learned uses similes,
metaphors and allusions to suit their appropriateness adding to the grandeur of the
poem. He found an inexhaustible store of learning and experience in classical
literature and mythology, from which he drew material for his similes. He tells us
that the palace of hell is far beyond the magnificence of Babylone, or great
Alcairo, and the army of rebel angel far exceeds those,
That fought at Thebes and Ilium, on each side Mixed with auxiliary gods; and
what resounds In fable or romance of Uthers son, Begirt with British and Armoric
Knights; And all who since, baptized or infidel; Jousted in Aspramount or
Matalban, Damasco, Morocco, or Tribisond, When charlemain with all his peerage
fell By Fontarabia.

Machinery:
The classical writers set another tradition ie, the use of supernatural machinery,
which developst he pl ot and s ol ves i t s compl i cat i ons. John Mi l t ons
ski l l once agai n excel s ot her poet s i nexhibiting the superb usage of
supernatural machinery in the poem. There are only two humancharacters, Adam
& Eve, rest of all the characters including God, angles, Satan and
rebellionangels all are supernatural beings.

Thus the use of supernatural machinery in this epic is very convincing.
Sentiments;
As paradise Lost primarily deals with supernatural powers and agencies,
there is very littles c o p e f o r t h e e x p r e s s i o n o f h u ma n
s e n t i me n t s . Ad a m a n d Ev e a r e t h e o n l y t wo h u ma n characters.
Their sentiments both of fears and repentance have, of course, been beautifully and
f or cef ul l y r ender ed. The angui sh r i si ng f r om t he hor r or s
at t endi ng t he sense of t he di vi nedispleasure are very justly and powerfully
described. But the real greatness of Milton lies in thefact that he has rendered
supernatural powers as human beings and ascribed to them human
sentiments. Dr Johnson says that,
The sentiments, as expressive of manners, are appropriated tocharacters are, for
the later part, unexceptionally just.
Conclusion;

To conclude it would be very apt to remark that Paradise Lost fulfills all the
requirements andthe convictions laid down by the classics and is one of the
best epic ever written in Englishliterature. A sane critic is justified in giving
these remarks;
There is nothing in English literature, but Paradise Lost
Engl i sh l i t er at ur e wi l l r emai n i ndebt ed t o Mi l t on f or hi s
r emar kabl e and gl owi ng pi ece of literature for all the ages. Milton
following the classical tradition matches his own purpose i.e.j ust i f i es t he
ways of God t o men and has t r ansf or med t he cl assi cal secul ar
epi c i nt o atheological and universal one. He actually has enriched the epic
tradition and it is apt to say thatParadise Lost is the best example of the
tradition and the individual talent. Therefore, itsconfirmed that the subject
of this epic is more ancient, serious and lofty than any other epic. It promotes a
universal view of mans life.
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