Download A Preface to Paradise Lost by C. S. Lewis PDF

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, helpful, interesting creation to Milton's poem a person 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) was once 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, specifically the young ones sequence entitled The Chronicles of Narnia and his technology fiction area Trilogy.

A Preface to Paradise misplaced offers an interpretation of Milton's objective in writing the epic.

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Extra info for A Preface to Paradise Lost

Example text

Only the style-the unwearying, unmoved, angelic speech of Homer-makes it endurable. Without that the Iliad would be a poem beside which the grimmest modern realism is child's play. Beowulf is a little different. In Homer the background of accepted, matter-of-fact despair is, after all, a background. In Beowulf that fundamental darkness comes out into the fore­ ground and is partly embodied in the monsters. And against those monsters the hero fights. No one in Homer had fought A PREFACE TO PARADISE LOST against the darkness.

The most obvious characteristic of an oral technique IS Its continual use of stock words, phrases, or even whole lines. It is important to realize at the outset that these are not a second­ best on which the poets fall back when inspiration fails them : they are as frequent in the great passages as in the low ones. In 1 03 lines of the parting between Hector and Andromache (justly regarded as one of the peaks of European poetry) phrases, or whole lines, which occur again and again in Homer are twenty-eight times employed (fl.

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. Firstly, there is the quality of weight, produced by the fact that nearly all the lines end in long, heavy mono­ syllables. Secondly, there is the direct suggestion of deep spiritual preparation at two points-0 spirit who dost prefer and What in me is dark.

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