Crucial Tis Pity Quotes

ALL HAIL VICTORIA, QUEEN OF THE QUOTES. Thank you for sending these in. The rest of you: write them down, learn them turn them into a poem, categorise them, read them backwards, turn them into memes... whatever, just learn them!

better 'tis to bless the sun than reason why it shines

Friar about reason

must I not do what all men else may, love?

Giovanni, justifying his love

that beauty which, if framed anew, the gods would make a god of

Giovanni's deification of Annabella's beauty

a customary form

Giovanni about the taboo

bound so much the more by nature

Giovanni about why he and his sister must love

thou art lost

Friar to Giovanni about his soul

death waits on thy lust

Friar to Giovanni about the sin of lust

heaven is just

Friar about heaven's judgement

my fate's my god

Giovanni about fate

have got mine honour with expense of blood

Grimaldi (honour and revenge society)

I would not for my wealth my daughter's love should cause the spilling of one drop of blood

Florio IRONICALLY about Annabella’s love

blessed shape of some celestial creature

Annabella about Giovanni’s body

my fates have doomed my death

Giovanni about fate and death

O that it were not in religion sin to make our love a god, and worship it

Giovanni about making their love an idol

 

thy immortal beauty hath untuned all harmony both of my rest and life

Giovanni (can't sleep, like PL)

you must either love, or I must die

Giovanni suicidal about love

love me, or kill me, sister

Giovanni - love or death

I made her almost burst her belly with laughing

Bergetto ironically about making Annabella laugh

love me, or kill me, brother

Annabella - love or death

no more sister now, but love, a name more gracious

Giovanni replacing sister with love

be proud to know that yielding thou hast conquered

Giovanni - losing = winning

stol'n contents

Annabella - they have taken something they shouldn’t have

my heart's delight prevailed

Annabella about delight

sucked divine ambrosia from her lips

Giovanni - sensual idea of lust, as with the fruit in PL

hold myself in being king of thee more great than were I king of all the world

Giovanni - king of the world

a paradise of joy

Annabella - like Eden?

thy sensual rage of blood hath made my youth a scorn to men and angels

Hippolita - destructiveness of Soranzo’s lust

false wanton

Hippolita about Soranzo’s lying ;) nature

nor think with supple words to smooth the grossness of my abuses

Hippolita - won’t let words win her over - but we do

you are too double in your dissimulation

Hippolita - duality of lies

Thy soul is drowned too deeply in thy sins

Hippolita - souls, sins, Soranzo

the vows I made, if you remember well, were wicked and unlawful: 'twere more sin to keep them than to break them

Soranzo - the morality of vows

learnt to repent and die, for by my honour I hate thee and thy lust: you have been too foul

Soranzo - damning anger at foul Hippolita

my vengeance shall give comfort to this woe

Hippolita

on this delicious bane my thoughts shall banquet

Hippolita and the banquet of revenge

revenge shall sweeten what my griefs have tasted

Hippolita on the sweet taste of revenge

Soranzo is the man that hath her heart

Richardetto - on owning Annabella’s heart

thou hast told a tale, whose every word threatens eternal slaughter to the soul

Friar on the slaughter of the soul

be thou resolved, thou art a man remarked to taste a mischief

Friar on the dangers of choosing sin

what I have done I'll prove both fit and good

Giovanni trying to prove his own righteousness

virtue itself is reason but refined, and love the quintessence of that

Giovanni virtue...reason...love

had you youth like mine, you'd make her love your heaven, and her divine

Giovanni - making love heaven and Annabella divine

th'art too far sold to hell, it lies not in the compass of my prayers to call thee back

Friar - Giovanni is beyond salvation (questionable)

a world of variety

Giovanni - Annabella is a bit like Cleopatra

for colour, lips

Giovanni on A’s lips

for sweet perfumes, her breath

Giovanni on A’s breath

for jewels, eyes

Giovanni on A’s eyes

for threads of purest gold, hair

Giovanni on A’s hair

for delicious choice of flowers, cheeks

Giovanni on A’s cheeks

Hear her but speak, and you will swear the spheres make music to the citizens in heaven.

Giovanni on A’s voice

a pair of souls are lost

Friar - two are damned

I can have wenches enough in Parma for half-a-crown apiece, cannot I, Poggio?

Bergetto on women as commodity

that you shall know anon, at better leisure. Welcome sweet night! The evening crowns the day.

Giovanni (in PL, the morning is that which is poetic - difference in light/dark activities)

in terms of love, where merit cannot sway, policy must

Grimaldi on merit vs cunning

if this hit, I'll laugh and hug revenge

Richardetto hugging revenge

 

 

you have unripped a soul so foul and guilty as I must tell you true, I marvel how the earth hath borne you up

Friar on Annabella’s foul soul and guilty sin

you are wretched, miserably wretched, almost condemned alive

Friar on Annabella’s wretchedness

there lies the wanton on racks of burning steel, whiles in his soul he feels the torment of his raging lust

Friar’s idea of the luster’s punishment in hell

then you will wish each kiss your brother gave had been a dagger's point

Friar ironically about her brother’s kisses

heaven is merciful, and offers grace even now

Friar on heaven’s mercy

spend not the time in tears, but seek for justice

Florio on uselessness of tears

the Cardinal is noble; he no doubt will give true justice

RIchardetto’s vain hope of church justice

is this a churchman's voice? dwells justice here?

Donado’s despair over church justice

justice is fled to heaven and comes no nearer

Florio on justice’s distance

when cardinals think murder's not amiss, great men may do their wills, we must obey; but heaven will judge them for't another day

Florio’s faith in final judgement

Ere I'd endure this sight, to see my love clipped by another, I would dare confusion, and stand the horror of ten thousand deaths

Giovanni would do anything to keep Annabella to himself

let rash report run on; the breath that vents it will, like a bubble, break itself at last

Hippolita on rumour

 

Mistress She-Devil, your own mischievous treachery hath killed you

Vasques on Hippolita’s treachery

now have fitted her a just payment in her own coin

Vasques on a taste of Hipolita’s own medicine

may thy bed of marriage be a rack unto thy heart, burn blood and boil in vengeance

Hippolita’s curse on Soranzo’s marriage bed

mayst thou live to father bastards, may her womb bring forth monsters, and die together in your sins, hated, scorned, and unpitied

Hippolita’s curse on Soranzo’s children

here's the end of lust and pride

Richardetto about Hippolita’s death

that marriage seldom's good, where the bride-banquet so begins in blood

Friar’s prediction about the bloody banquetted marriage

though vengeance hover, keeping aloof yet from Soranzo's fall, yet he will fall

Richardetto on Soranzo’s imminent fall

all human worldly courses are uneven; no life is blessed but the way to heaven

Richardetto on Philotis’ call to the convent

who dies a virgin lives a saint on earth

Richardetto on virgins on earth

Come, strumpet, famous whore

Soranzo’s insult of A #1

thy adulterous veins

Soranzo insults A’s veins

harlot, rare, notable, harlot

Soranzo thinks A is unusual in her lust

your loose cunning whoredom

Soranzo’s insult of A’s behaviour

your hot itch and pleurisy of lust

Soranzo on A’s lust

the heyday of your luxury

Soranzo thinks luxury is a sin

belly-sports

Soranzo’s ironic insult of A & G’s relationship

thy corrupted bastard-bearing womb

Soranzo’s insult of A’s womb

whore of whores

Soranzo on Annabella (__ of __s)

excellent quean

Soranzo calls A an e____ q___ (whore)

the man, the more than man

Annabella’s view of Giovanni’s manliness

this noble creature was in every part so angel-like, so glorious, that a woman who had not been but human, as was I, would have kneeled to him, and begged for love

Annabella thinks no woman could have resisted Giovanni

you are not worthy once to name his name without true worship, or, indeed, unless you kneeled, to hear another name him

Annabella thinks Giovanni is a god

I'll rip up thy heart, and find it there

Soranzo’s ironic threat to find Giovanni’s name

I'll hew thy flesh to shreds

Soranzo’s ironic threat to tear A to pieces

thy lust-be-lepered body

Soranzo’s insult of Annabella’s lustful body

I leave revenge behind, and thou shalt feel't

Annabella knows revenge will come

I will not slack my vengeance

Soranzo’s vow for revenge

 

such a damned whore deserves no pity

Soranzo thinks Annabella doesn’t deserve pity

Sir, you must be ruled by your reason and not by your fury; that were unhuman and beastly

Vasques thinks reason is human, and fury is beastly

I prize my life as nothing

Annabella, mimicking Acts 20:24 - blasphemous

tis as manlike to bear extremities as godlike to forgive

Vasques shows that they are not godlike who don’t forgive

in this piece of flesh, this faithless face of hers, had I laid up the treasure of my heart

Soranzo had his treasure where his heart was

in the shame of thy lewd womb even buried me alive

Soranzo feels buried alive in A’s shame

I did too dearly love you

Soranzo regrets his love of A

the part I loved, which was thy heart

Soranzo thinks he loved A for her personality

a husband; in that name is hid divinity

Soranzo’s verdict on husbands

tis as common to err in frailty as to be a woman

Soranzo thinks women are weak

I carry hell about me; all my blood is fired in swift revenge

Soranzo experiences a living hell

damnable hag

Vasques about Putana as a hag

you toad-bellied bitch

Vasques about Putana as a bitch

to what a height of liberty in damnation hath the devil trained our age

Vasques condemns the age

I must… tutor him better in his points of vengeance

Vasques wants to teach Soranzo about revenge

O, my soul runs circular in sorrow for revenge

Soranzo’s soul is confused in its desire for revenge

he is sold to death, and the devil shall not ransom him

Vasques thinks Giovanni is beyond salvation

a wretched, woeful woman's tragedy

Annabella description of her life

My conscience now stands up against my lust with depositions charactered in guilt

Annabella about her guilt

My conscience... tells me I am lost

Annabella’s feeling of being lost

they who sleep in lethargies of lust hug their confusion, making heaven unjust, and so did I

Annabella about the effects of lust

here I sadly vow repentance, and a leaving of that life I long have died in

Annabella repenting

to laugh at your horns, to feast on your disgrace, riot in your vexations, cuckold you in your bride-bed

Vasques about Annabella’s scorn of Soranzo

revenge is all the ambition I aspire: to that I'll climb or fall; my blood's on fire

Soranzo on his desire for revenge

O the glory of two united hearts like hers and mine

Giovanni on the glory of ‘love’

my world, and all of happiness, is here, and I'd not change it for the best to come: a life of pleasure is Elysium

Giovanni would not exchange anything for his life and pleasure

 

stood Death threatening his armies of confounding plagues, with hosts of dangers hot as blazing stars, I would be there

Giovanni thinks he is invincible

resolve to strike as deep in slaughter as they all

Giovanni wants destruction

the wildness of thy fate draws to an end, to a bad fearful end

Friar condemns Giovanni to fate

since no prayer can make thee safe, I leave thee to despair

Friar gives up on trying to save Giovanni

despair, tortures of a thousand hells, all's one to me

Giovanni doesn’t care about pain

If I must totter like a well-grown oak, some under-shrubs shall in my weighty fall be crushed to splits: with me they all shall perish

Giovanni wants to bring others down with him - simile

what you do is noble, and an act of brave revenge

Soranzo to banditti about the nobility of revenge

arm your courage in your own wrongs

Vasques stirring up Soranzo’s anger

young incest-monger

Vasques’ name for Giovanni

he may post to hell in the very act of his damnation

Vasques wants Giovanni to go straight to hell

let him go and glut himself in his own destruction

Vasques wants Giovanni to cause his own destruction

hath your new sprightly lord found out a trick in night games more than we could know in our simplicity?

Giovanni’s jealousy of Soranzo

I hold fate clasped in my fist

Giovanni thinks he controls fate

 

could command the course of time's eternal motion

Giovanni thinks he controls time

this banquet is an harbinger of death to you and me

Annabella warns that the banquet signals death

death, and a swift repining wrath

Giovanni about his face

these are the funeral tears shed on your grave

Giovanni is clearly sad to kill A

the tribute which my heart hath paid to Annabella's sacred love hath been these tears, which are her mourners now

Giovanni’s heart lauds A with tears, and mourns her with tears

go thou, white in thy soul, to fill a throne of innocence and sanctity in Heaven

Giovanni wants Annabella to die in a state of grace

the laws of conscience and civil use may justly blame us, yet when they but know our loves, that love will wipe away that rigour which would in other incests be abhorred

Giovanni thinks their love acquits their sin

forgive me - Giovanni /\ with my heart - Annabella

A’s ironic whole-hearted forgiveness

to save thy fame, and kill thee in a kiss

Giovanni wants to keep A from gossip

revenge is mine; honour doth love command

Giovanni rejoices after killing A

for to dispute with thy most lovely beauty, would make me stagger to perform this act, which I most glory in

Giovanni can’t argue with A

Soranzo, thou hast missed thy aim in this; I have prevented now thy reaching plots

Giovanni has trumped Soranzo

 

killed a love, for whose each drop of blood I would have pawned my heart

Giovanni has killed A who he loved so much

How over-glorious art thou in thy wounds, triumphing over infamy and hate

Giovanni thinks A is glorious in death - blasphemy in hint at Christ’s wounds

stand up, my heart, and boldly act my last and greater part

Giovanni gets ready to commit next act of revenge

hath your new sprightly lord found out a trick in night games more than we could know in our simplicity?

Giovanni’s jealousy of Soranzo

I hold fate clasped in my fist

Giovanni thinks he controls fate

could command the course of time's eternal motion

Giovanni thinks he controls time

this banquet is an harbinger of death to you and me

Annabella warns that the banquet signals death

death, and a swift repining wrath

Giovanni about his face

these are the funeral tears shed on your grave

Giovanni is clearly sad to kill A

the tribute which my heart hath paid to Annabella's sacred love hath been these tears, which are her mourners now

Giovanni’s heart lauds A with tears, and mourns her with tears

go thou, white in thy soul, to fill a throne of innocence and sanctity in Heaven

Giovanni wants Annabella to die in a state of grace

the laws of conscience and civil use may justly blame us, yet when they but know our loves, that love will wipe away that rigour which would in other incests be abhorred

Giovanni thinks their love acquits their sin

forgive me - Giovanni /\ with my heart - Annabella

A’s ironic whole-hearted forgiveness

to save thy fame, and kill thee in a kiss

Giovanni wants to keep A from gossip

revenge is mine; honour doth love command

Giovanni rejoices after killing A

for to dispute with thy most lovely beauty, would make me stagger to perform this act, which I most glory in

Giovanni can’t argue with A

Soranzo, thou hast missed thy aim in this; I have prevented now thy reaching plots

Giovanni has trumped Soranzo

killed a love, for whose each drop of blood I would have pawned my heart

Giovanni has killed A who he loved so much

How over-glorious art thou in thy wounds, triumphing over infamy and hate

Giovanni thinks A is glorious in death - blasphemy in hint at Christ’s wounds

stand up, my heart, and boldly act my last and greater part

Giovanni gets ready to commit next act of revenge

 

Summary of Paradise Lost Part 1 - then full summary

Because the printout I gave you was rubbish.

Summary: Lines 27–722: Satan and Hell

Immediately after the prologue, Milton raises the question of how Adam and Eve’s disobedience occurred and explains that their actions were partly due to a serpent’s deception. This serpent is Satan, and the poem joins him and his followers in Hell, where they have just been cast after being defeated by God in Heaven.

Satan lies stunned beside his second-in-command, Beelzebub, in a lake of fire that gives off darkness instead of light. Breaking the awful silence, Satan bemoans their terrible position, but does not repent of his rebellion against God, suggesting that they might gather their forces for another attack. Beelzebub is doubtful; he now believes that God cannot be overpowered. Satan does not fully contradict this assessment, but suggests that they could at least pervert God’s good works to evil purposes. The two devils then rise up and, spreading their wings, fly over to the dry land next to the flaming lake. But they can undertake this action only because God has allowed them to loose their chains. All of the devils were formerly angels who chose to follow Satan in his rebellion, and God still intends to turn their evil deeds toward the good.

Once out of the lake, Satan becomes more optimistic about their situation. He calls the rest of the fallen angels, his legions, to join him on land. They immediately obey and, despite their wounds and suffering, fly up to gather on the plain. Milton lists some of the more notable of the angels whose names have been erased from the books of Heaven, noting that later, in the time of man, many of these devils come to be worshipped as gods.

Among these are Moloch, who is later known as a god requiring human sacrifices, and Belial, a lewd and lustful god. Still in war gear, these fallen angels have thousands of banners raised and their shields and spears in hand. Even in defeat, they are an awesome army to behold.

Satan’s unrepentant evil nature is unwavering. Even cast down in defeat, he does not consider changing his ways: he insists to his fellow devils that their delight will be in doing evil, not good. In particular, as he explains to Beelzebub, he wishes to pervert God’s will and find a way to make evil out of good. It is not easy for Satan to maintain this determination; the battle has just demonstrated God’s overwhelming power, and the devils could not even have lifted themselves off the lake of fire unless God had allowed it. God allows it precisely because he intends to turn their evil designs toward a greater good in the end. Satan’s envy of the Son’s chosen status led him to rebel and consequently to be condemned. His continued envy and search for freedom leads him to believe that he would rather be a king in Hell than a servant in Heaven. Satan’s pride has caused him to believe that his own free intellect is as great as God’s will. Satan remarks that the mind can make its own Hell out of Heaven, or in his case, its own Heaven out of Hell.

Satan addresses his comrades and acknowledges their shame in falling to the heavenly forces, but urges them to gather in order to consider whether another war is feasible. Instantly, the legions of devils dig into the bowels of the ground, unearthing gold and other minerals. With their inhuman powers they construct a great temple in a short time. It is called Pandemonium (which means “all the demons” in Greek), and the hundreds of thousands of demonic troops gather there to hold a summit. Being spirits, they can easily shrink from huge winged creatures to the smallest size. Compacting themselves, they enter Pandemonium, and the debate begins.

Analysis

Throughout the first two or three books of Paradise Lost, Satan seems as if he’s the hero of the poem. This is partly because the focus of the poem is all on him, but it is also because the first books establish his struggle—he finds himself defeated and banished from Heaven, and sets about establishing a new course for himself and those he leads. Typically, the hero or protagonist of any narrative, epic poem or otherwise, is a person who struggles to accomplish something. Milton plays against our expectations by spending the first quarter of his epic telling us about the antagonist rather than the protagonist, so that when we meet Adam and Eve, we will have a more profound sense of what they are up against. But even when the focus of the poem shifts to Adam and Eve, Satan remains the most active force in the story.

One important way in which the narrator develops our picture of Satan—and gives us the impression that he is a hero—is through epic similes, lengthy and developed comparisons that tell us how big and powerful Satan is. For example, when Satan is lying on the burning lake, Milton compares him to the titans who waged war upon Jove in Greek mythology. Then, at greater length, he compares him to a Leviathan, or whale, that is so huge that sailors mistake it for an island and fix their anchor to it. In other epics, these sorts of similes are used to establish the great size or strength of characters, and on the surface these similes seem to do the same thing. At the same time, however, the effect of these similes is to unsettle us, making us aware that we really do not know how big Satan is at all. No one knows how big the titans were, because they were defeated before the age of man. The image of the Leviathan does not give us a well-defined sense of his size, because the whole point of the image is that the Leviathan’s size generates deception and confusion.

More than anything, the similes used to describe Satan make us aware of the fact that size is relative, and that we don’t know how big anything in Hell is—the burning lake, the hill, Pandemonium, etc. Milton drives this fact home at the end of Book I with a tautology: while most of the devils shrink in size to enter Pandemonium, the important ones sit “far within / And in their own dimensions like themselves” (I.792–793). In other words, they were however big they were, but we have no way of knowing how big that was. Finally, it is important to note that the first description of Satan’s size is the biggest we will ever see him. From that point on, Satan assumes many shapes and is compared to numerous creatures, but his size and stature steadily diminishes. The uncertainty created by these similes creates a sense of irony—perhaps Satan isn’t so great after all.

The devils in Paradise Lost are introduced to the story here in Book I in almost a parody of how Homer introduces great warriors in the Iliad. The irony of these descriptions lies in the fact that while these devils seem heroic and noteworthy in certain ways, they just lost the war in Heaven. As frightening and vividly presented as these creatures are, they did not succeed in killing a single angel.

In Book I, Milton presents Satan primarily as a military hero, and the council of devils as a council of war. In doing so, he makes Paradise Lost resonate with earlier epics, which all center around military heroes and their exploits. At the same time, Milton presents an implicit critique of a literary culture that glorifies war and warriors. Satan displays all of the virtues of a great warrior such as Achilles or Odysseus. He is courageous, undaunted, refusing to yield in the face of impossible odds, and able to stir his followers to follow him in brave and violent exploits. Milton is clearly aware of what he’s doing in making Satan somewhat appealing in the early chapters. By drawing us into sympathizing with and admiring Satan, Milton forces us to question why we admire martial prowess and pride in literary characters. Ultimately he attempts to show that the Christian virtues of obedience, humility, and forbearance are more important.

FULL SUMMARY

The action begins with Satan and his fellow rebel angels who are found chained to a lake of fire in Hell. They quickly free themselves and fly to land, where they discover minerals and construct Pandemonium, which will be their meeting place. Inside Pandemonium, the rebel angels, who are now devils, debate whether they should begin another war with God. Beezelbub suggests that they attempt to corrupt God’s beloved new creation, humankind. Satan agrees, and volunteers to go himself. As he prepares to leave Hell, he is met at the gates by his children, Sin and Death, who follow him and build a bridge between Hell and Earth.

In Heaven, God orders the angels together for a council of their own. He tells them of Satan’s intentions, and the Son volunteers himself to make the sacrifice for humankind. Meanwhile, Satan travels through Night and Chaos and finds Earth. He disguises himself as a cherub to get past the Archangel Uriel, who stands guard at the sun. He tells Uriel that he wishes to see and praise God’s glorious creation, and Uriel assents. Satan then lands on Earth and takes a moment to reflect. Seeing the splendor of Paradise brings him pain rather than pleasure. He reaffirms his decision to make evil his good, and continue to commit crimes against God. Satan leaps over Paradise’s wall, takes the form of a cormorant (a large bird), and perches himself atop the Tree of Life. Looking down at Satan from his post, Uriel notices the volatile emotions reflected in the face of this so-called cherub and warns the other angels that an impostor is in their midst. The other angels agree to search the Garden for intruders.

Meanwhile, Adam and Eve tend the Garden, carefully obeying God’s supreme order not to eat from the Tree of Knowledge. After a long day of work, they return to their bower and rest. There, Satan takes the form of a toad and whispers into Eve’s ear. Gabriel, the angel set to guard Paradise, finds Satan there and orders him to leave. Satan prepares to battle Gabriel, but God makes a sign appear in the sky—the golden scales of justice—and Satan scurries away. Eve awakes and tells Adam about a dream she had, in which an angel tempted her to eat from the forbidden tree. Worried about his creation, God sends Raphael down to Earth to teach Adam and Eve of the dangers they face with Satan.

Raphael arrives on Earth and eats a meal with Adam and Eve. Raphael relates the story of Satan’s envy over the Son’s appointment as God’s second-in-command. Satan gathered other angels together who were also angry to hear this news, and together they plotted a war against God. Abdiel decides not to join Satan’s army and returns to God. The angels then begin to fight, with Michael and Gabriel serving as co-leaders for Heaven’s army. The battle lasts two days, when God sends the Son to end the war and deliver Satan and his rebel angels to Hell. Raphael tells Adam about Satan’s evil motives to corrupt them, and warns Adam to watch out for Satan. Adam asks Raphael to tell him the story of creation. Raphael tells Adam that God sent the Son into Chaos to create the universe. He created the earth and stars and other planets. Curious, Adam asks Raphael about the movement of the stars and planets. Eve retires, allowing Raphael and Adam to speak alone. Raphael promptly warns Adam about his seemingly unquenchable search for knowledge. Raphael tells Adam that he will learn all he needs to know, and that any other knowledge is not meant for humans to comprehend. Adam tells Raphael about his first memories, of waking up and wondering who he was, what he was, and where he was. Adam says that God spoke to him and told him many things, including his order not to eat from the Tree of Knowledge. After the story, Adam confesses to Raphael his intense physical attraction to Eve. Raphael reminds Adam that he must love Eve more purely and spiritually. With this final bit of advice, Raphael leaves Earth and returns to Heaven.

Eight days after his banishment, Satan returns to Paradise. After closely studying the animals of Paradise, he chooses to take the form of the serpent. Meanwhile, Eve suggests to Adam that they work separately for awhile, so they can get more work done. Adam is hesitant but then assents. Satan searches for Eve and is delighted to find her alone. In the form of a serpent, he talks to Eve and compliments her on her beauty and godliness. She is amazed to find an animal that can speak. She asks how he learned to speak, and he tells her that it was by eating from the Tree of Knowledge. He tells Eve that God actually wants her and Adam to eat from the tree, and that his order is merely a test of their courage. She is hesitant at first but then reaches for a fruit from the Tree of Knowledge and eats. She becomes distraught and searches for Adam. Adam has been busy making a wreath of flowers for Eve. When Eve finds Adam, he drops the wreath and is horrified to find that Eve has eaten from the forbidden tree. Knowing that she has fallen, he decides that he would rather be fallen with her than remain pure and lose her. So he eats from the fruit as well. Adam looks at Eve in a new way, and together they turn to lust.

God immediately knows of their disobedience. He tells the angels in Heaven that Adam and Eve must be punished, but with a display of both justice and mercy. He sends the Son to give out the punishments. The Son first punishes the serpent whose body Satan took, and condemns it never to walk upright again. Then the Son tells Adam and Eve that they must now suffer pain and death. Eve and all women must suffer the pain of childbirth and must submit to their husbands, and Adam and all men must hunt and grow their own food on a depleted Earth. Meanwhile, Satan returns to Hell where he is greeted with cheers. He speaks to the devils in Pandemonium, and everyone believes that he has beaten God. Sin and Death travel the bridge they built on their way to Earth. Shortly thereafter, the devils unwillingly transform into snakes and try to reach fruit from imaginary trees that shrivel and turn to dust as they reach them.

God tells the angels to transform the Earth. After the fall, humankind must suffer hot and cold seasons instead of the consistent temperatures before the fall. On Earth, Adam and Eve fear their approaching doom. They blame each other for their disobedience and become increasingly angry at one another. In a fit of rage, Adam wonders why God ever created Eve. Eve begs Adam not to abandon her. She tells him that they can survive by loving each other. She accepts the blame because she has disobeyed both God and Adam. She ponders suicide. Adam, moved by her speech, forbids her from taking her own life. He remembers their punishment and believes that they can enact revenge on Satan by remaining obedient to God. Together they pray to God and repent.

God hears their prayers, and sends Michael down to Earth. Michael arrives on Earth, and tells them that they must leave Paradise. But before they leave, Michael puts Eve to sleep and takes Adam up onto the highest hill, where he shows him a vision of humankind’s future. Adam sees the sins of his children, and his children’s children, and his first vision of death. Horrified, he asks Michael if there is any alternative to death. Generations to follow continue to sin by lust, greed, envy, and pride. They kill each other selfishly and live only for pleasure. Then Michael shows him the vision of Enoch, who is saved by God as his warring peers attempt to kill him. Adam also sees the story of Noah and his family, whose virtue allows them to be chosen to survive the flood that kills all other humans. Adam feels remorse for death and happiness for humankind’s redemption. Next is the vision of Nimrod and the Tower of Babel. This story explains the perversion of pure language into the many languages that are spoken on Earth today. Adam sees the triumph of Moses and the Israelites, and then glimpses the Son’s sacrifice to save humankind. After this vision, it is time for Adam and Eve to leave Paradise. Eve awakes and tells Adam that she had a very interesting and educating dream. Led by Michael, Adam and Eve slowly and woefully leave Paradise hand in hand into a new world.

 

Paradise Lost: Percy Shelley's influence?

Not too long, and quite fascinating...


http://knarf.english.upenn.edu/Articles/wade.html

Frankenstein and Paradise Lost: York Notes

Did I request thee, Maker, from my clay To mould Me man? Did I solicit thee From darkness to promote me? (Paradise Lost, 10.743–5)

Shelley chooses for her epigraph a quotation from Paradise Lost, one of the books in the monster's library, and this, along with the many other references to Milton's epic poem throughout the novel, suggests the need to keep this story in mind when reading Frankenstein. The epigraph immediately encourages us to associate Victor with God and the monster with Adam, and this seems appropriate since, as creator, Victor assumes the role of God, and the 'man' he creates is the monster.


However, while the monster certainly fits the role of Adam, he also becomes the demon, assuming the role of Satan, the fallen archangel who engineers the fall of Adam and brings Sin and Death into the world. When the monster confronts Victor, after the murder of William, he declares that he has been changed by his exclusion from paradise: 'I am thy creature; I ought to be thy Adam, but I am rather the fallen angel, whom thou drivest from joy for no misdeed' (p. 103). The monster even echoes Satan's words in Paradise Lost at such moments as when he declares to Walton that, after his potential companion had been destroyed, 'Evil thenceforth became my good' (p. 222).


Victor similarly links himself with Satan, the fallen angel, and while the analogy drawn between the monster and Satan focuses attention on the creature's horrific acts of savage violence, the analogy drawn between Victor and Satan focuses attention more on Victor's pride and ambition. In attempting to displace God, he demonstrates the same pride as Satan, who had similar aspirations. Commenting upon his torment of guilt, Victor draws upon the following simile: 'Like the archangel who aspired to omnipotence, I am chained in an eternal hell' (p. 214). Victor's hell is within him: it is hell as a psychological state, but this is also true of the hell so powerfully described by Satan in Paradise Lost.


For the Romantics, Milton's Satan is an interesting, even glamorous figure, nothing like the shadowy figure of the Bible. Percy Shelley even considered that Satan was morally superior to God in Milton's poem, and many of the Romantic poets admired the grandeur and boldness of his aspirations. While Victor must be condemned for the neglect of his creature, it is possible that he too can still be admired for his bold aspirations, his refusal to be satisfied with a mundane and uneventful existence with his family, and his attempt to give humankind a power thought to belong to God alone. To come to that conclusion, however, perhaps we need to be convinced that his work is driven by the desire to benefit others and not by more selfish motives.

Tuesday's missing lessons - complete by Thursday

This should take you about two hours, in all, of concentrated work.

Turn to page 131 in your Marvell book: 'Women and Sex'.

Read, annotate and respond to pages 131-137, completing all activities and responding to all questions. That means you should:

-  give detailed answers (in word or on paper) to ANY sentences ending in a question mark

- annotate all the poems mentioned (Young Love, The Picture of Little TC, To His Coy Mistress), using the corresponding sections in the back of the book to help your understanding (pages 92, 93 and 89 respectively).

Everything you need is in those 6 pages; how much you get from them is up to you.

We'll be using this as a basis for discussion on Thursday.

John Carew's gruesome drooling over a 13-year old girl, referred to on page 133, is below:

The Second Rapture

by Thomas Carew

No, worlding, no, 'tis not thy gold,
Which thou dost use but to behold;
Nor fortune, honour, nor long life,
Children, or friends, nor a good wife,
That makes thee happy: these things be
But shadows of felicity.
Give me a wench about thirteen,
Already voted to the queen
Of lust and lovers; whose soft hair,
Fann'd with the breath of gentle air,
O'erspreads her shoulders like a tent,
And is her veil and ornament;
Whose tender touch will make the blood
Wild in the aged and the good;
Whose kisses, fast'ned to the mouth
Of threescore years and longer slouth,
Renew the age; and whose bright eye
Obscures those lesser lights of sky;
Whose snowy breasts (if we may call
That snow, that never melts at all)
Makes Jove invent a new disguise,
In spite of Juno's jealousies;
Whose every part doth re-invite
The old decayed appetite;
And in whose sweet embraces I
May melt myself to lust, and die.
This is true bliss, and I confess
There is no other happiness.

Marvell: a ridiculous number of enlightening essays

Thanks, praise and possibly some biscuits to Hannah for sharing this treasure-chest of essays on Marvell. Thank you Hannah!


Scroll down to Marvell...




http://www.luminarium.org/sevenlit/sevenessay.htm#marvell

Cracking essay on Frankenstein

Can't recommend this enough; THIS is how to write about Frankenstein. Notice the easy writing style... and some points worth remembering.


http://www.academia.edu/182157/Frankenstein_In_a_Better_Light