Titlebook: Cosmos and Character in Paradise Lost; Malabika Sarkar Book 2012 Palgrave Macmillan, a division of Nature America Inc. 2012 alchemy.epic.G

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Cytology

Invocations: Milton as Moses,e. The unique status of the invocations as at once fictional and real, dramatic as well as autobiographical, enables Milton to use this device as a means of engaging with fundamental debates raised within the epic narrative. One of the issues constantly debated and questioned in . is that of authori

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,“Unoriginal Night” and Milton’s Chaos,trayal of Satan, there can be no doubt that the other significant factor that contributes to this sense of a strong beginning is his depiction of chaos. Milton’s chaos is powerful because it is enigmatic. Chaos is a dynamic entity, simultaneously a place and a person. It is evil and terrifying in it

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,“This Pendent World”: The Cosmos of ,d sees “fast by hanging in a golden chain / This pendent world” (2.1051–52). As readers, this is our first encounter with Milton’s new cosmos, one of the most remarkable innovations in ., and the suggestive phrase—this “pendent world”— captures the essential ambiguity in the epic poet’s imaginative

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Satan and Astronomical Signs,al phenomena that Milton works into his text at strategic points in the epic. In depicting space, time, and celestial movement, he is concerned with the larger picture, however innovative that might be. Even the specifics of celestial movement, such as the moving sunbeams, the dark cone of night, or

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,Adam, Eve, and the “Virtuous Touch” of Alchemy,tic tableaux, but as evolving figures. Both as individuals and within their relationship, the representation of Adam and Eve in the epic is remarkable for its depth and complexity. Within the very brief time span of the narrative, we notice both individual characteristics that distinguish Adam and E

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