By C. S. Lewis
"An crucial paintings in knowing either the literary strategy of C.S. Lewis and the theological assumptions of Paradise misplaced. exceptional in its conciseness."--I.S. Maclean, James Madison University
"Still the main lucid, worthy, pleasing advent to Milton's poem an individual has contrived to put in writing. conventional literary feedback at its best."--Lance E. Wilcox, Elmhurst College
About the author
C.S. Lewis (1898-1963) used to be an Irish writer and pupil of combined Irish, English, and Welsh ancestry. Lewis is understood for his paintings on medieval literature, Christian apologetics and fiction, particularly the kids sequence entitled The Chronicles of Narnia and his technological know-how fiction area Trilogy.
A Preface to Paradise misplaced presents an interpretation of Milton's function in writing the epic.
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Additional resources for A Preface to Paradise Lost
The noblest character is a Trojan, and nearly all the atrocities are on the Greek side. I find even no hint (except possibly in m, 2--g) that the Trojans are re garded, either for better or for worse, as being a different kind of people from the Greeks. No doubt it is possible to suppose an earlier version in which the Trojans were hated-just as it is possible to suppose an earlier Beowulf free from all the Christian passages, or a 'historical' Jesus totally different from the figure in the Synoptic tradition.
The ostensible philoso phical purpose of the poem (to justify the ways of God to Man) is here of quite secondary importance. The real function of these twenty-six lines is to give us the sensation that some great thing is now about to begin. If the poet succeeds in doing that sufficiently, we shall be clay in his hands for the rest of Book 1 and perhaps longer ; for be it noted that in this kind of poetry most of the poet's battles are won in advance. And as far as I am con cerned, he succeeds completely, and I think I see something of how he does it.
Even the fuller pause at the end of a paragraph must be felt as we feel the pause in a piece of music, where the silence is part of the music, and not as we feel the pause between one item of a concert and the next. Even between one Book and the next we must not wholly wake from the enchantment nor quite put off our festal clothes. A boat will not answer to the rudder unless it is in motion ; the poet can work upon us only as long as we are kept on the move. Roughly speaking, Milton avoids discontinuity by an avoid ance of what grammarians call the simple sentence.
A Preface to Paradise Lost by C. S. Lewis