Paradise Lost by Barbara K. Lewalski (PDF)

Description

In this authoritative edition of John Milton’s epic poem, Paradise Lost is presented in the original language of its 1674 publication, with explanatory annotations and word glosses. Edited by one of the world’s leading Milton scholars, the author of the acclaimed The Life of Milton (Blackwell 2000), which won the Milton Society of America’s James Holly Hanford Book Award Offers readers the opportunity to experience the brilliance and beauty of Paradise Lost as it was experienced by his contemporaries Presents Paradise Lost in its original 1674 form Incorporates accidentals (spelling and punctuation) from the 1674 edition Recovers Miltonic rhythms, pronunciations, and sound qualities often lost in modern editions Annotates names, places, biblical and literary allusions, and unfamiliar words Includes illustrations by John Baptista Medina from the 1688 Folio edition

User’s Reviews

Editorial Reviews: Review “Barbara Lewalski is the doyenne of the community of Milton scholars, but she also remains committed to the enterprise of teaching. In this exemplary edition of Paradise Lost both qualities are in evidence: the text is scrupulous and the scholarship rigorous, but both the introduction and the notes are accommodated to the needs of students who will be coming to the poem for the first time. This is an edition that will please students and professors alike, and its sheer quality is a tribute to Barbara Lewalski’s passion to provide readers with all the help they need to understand the greatest of all English poems.” Gordon Campbell, University of Leicester “Teachers and scholars will welcome Barbara Lewalski’s Blackwell edition of Paradise Lost, one not only informed by the erudition of a prominent and highly respected Miltonist but advantaged by her sound decision to reproduce the original language, spelling, punctuation, capitalization, and italics of the 1674 text.” Edward Jones, Editor, Milton Quarterly “For the student or general reader, looking for an old-spelling edition that is faithful to the original punctuation, this edition has much to recommend it. Its annotation is crisp, purposeful and well-judged.” Thomas N. Corns, University of Wales, Bangor “A superb teaching text. Lewalski’s edition respects Milton’s original poem and offers supremely clear introductions, bibliography and special material to guide the student reader and educated lay person alike to new discoveries in a work that, quite simply, has it all: good, evil, God, Satan, humans, angels, love, despair, war, politics, sex, duty, and sublime poetry―set in a cosmic landscape that inspires wonder and seduces new readers in every generation.” Sharon Achinstein, Oxford University Book Description This authoritative edition of Miltonrsquo;s great epic, Paradise Lost, presents the poem in the original language (spelling and punctuation) of its 1674 publication. It thereby recovers pronunciations, sonorities, and rhythms often lost in modernized editions. Barbara K. Lewaiski offers readers the opportunity to experience the brilliance and beauty of Paradise Lost as that poem was experienced by Miltonrsquo;s contemporaries. Beginning with a brief historical and critical introduction, Lewalski also provides judicious explanatory annotations that clarify names and places, identifyrsquo; biblical and literary allusions, and gloss unfamiliar words. She includes as well a textual apparatus of variant readings, a select bibliography, and several illustrations from the 1688 Folio edition. Lewalskirsquo;s Paradise Lost is the first of three paperback volumes presenting authoritative texts of the complete poetry and major prose of John Milton in original language, thereby making these texts readily available to students and scholars. From the Inside Flap This authoritative edition of Milton’s great epic, Paradise Lost, presents the poem in the original language (spelling and punctuation) of its 1674 publication. It thereby recovers pronunciations, sonorities, and rhythms often lost in modernized editions. Barbara K. Lewalski offers readers the opportunity to experience the brilliance and beauty of Paradise Lost as that poem was experienced by Milton’s contemporaries. Beginning with a brief historical and critical introduction, Lewalski also provides judicious explanatory annotations that clarify names and places, identify biblical and literary allusions, and gloss unfamiliar words. She includes as well a textual apparatus of variant readings, a select bibliography, and several illustrations from the 1688 Folio edition.Lewalski’s Paradise Lost is the first of three paperback volumes presenting authoritative texts of the complete poetry and major prose of John Milton in original language, thereby making these texts readily available to students and scholars. From the Back Cover This authoritative edition of Milton’s great epic, Paradise Lost, presents the poem in the original language (spelling and punctuation) of its 1674 publication. It thereby recovers pronunciations, sonorities, and rhythms often lost in modernized editions. Barbara K. Lewalski offers readers the opportunity to experience the brilliance and beauty of Paradise Lost as that poem was experienced by Milton’s contemporaries. Beginning with a brief historical and critical introduction, Lewalski also provides judicious explanatory annotations that clarify names and places, identify biblical and literary allusions, and gloss unfamiliar words. She includes as well a textual apparatus of variant readings, a select bibliography, and several illustrations from the 1688 Folio edition.Lewalski’s Paradise Lost is the first of three paperback volumes presenting authoritative texts of the complete poetry and major prose of John Milton in original language, thereby making these texts readily available to students and scholars. About the Author Barbara K. Lewalski is William R. Kenan Jr. Professor of English Literature and of History and Literature at Harvard University. She is author of the definitive critical biography, The Life of Milton (Blackwell, 2000), which won the Milton Society of America’s James Holly Hanford Book Award, and which has been widely celebrated. Her many other publications include Paradise Lost and the Rhetoric of Literary Forms (1985); Milton’s Brief Epic: The Genre, Meaning and Art of Paradise Regained (1966); and Protestant Poetics and the Seventeenth-Century Religious Lyric (1979). Read more

Reviews from Amazon users which were colected at the time this book was published on the website:

⭐Amazon has the bad habit of lumping reviews of multiple editions of a book without regard as to author/editor or publisher, to the detriment of the buyer’s choosing an edition, so I write to make a few comments on the 984,562 editions of “Paradise Lost” listed for purchase. I have used the titles as listed by Amazon to help find the editions I refer to, and, with the exception of the books by Kastan, Lanzara, and BookCaps, the ones I discuss below are ones I own and am familiar with.The version with an introduction and comments by Pullman has text that is large and readable, line numbers and some nice illustrations, taken from the first illustrated edition, published in 1688. It is a nice copy for those who want just the text of the poem. The text is based on Stephen Orgel’s 2008

⭐which has been modernized presumably with respect to capitalization, spelling and punctuation. The comments by Pullman are worthwhile, but, while he may be a very good writer, he is not a scholar of Milton. Unlike Orgel, there are no annotations or notes to explain Milton’s often arcane language and allusions.For readers seeking annotated versions, I suggest the following.The ultimate edition of Milton is Alastair Fowler’s

⭐: it has been called the Bible of Milton scholars; one review I saw called it suitable for graduate students majoring in Milton. It is one of the few available based on the first edition of “Paradise Lost”, published in 1667, but Fowler states that it also includes the additions made in the second edition of 1674 — the version that most of today’s editors use. Know that Fowler has produced a very, very scholarly version with many, many notes, sometimes to the point that they leave only two or three lines of the poem on the page, so I strongly urge using the “Look Inside” feature before deciding to buy it. I recommend Fowler’s 1998

⭐edition in used paperback —- reissued in 2006 with a new cover and much higher price.The blurb from the publisher on the Pullman webpage misleads the reader by mentioning “This is the first fully-annotated, old-spelling edition …” It ain’t (as the small print says). I can’t find the actual book this blurb refers to, there are several that might be the one mentioned. One such version, with very favorable recommendations, is Barbara K. Lewalski’s 2007

⭐that reproduces the original language, spelling, punctuation, capitalization, and italics of the 1674 text. Its annotations are on the same page. Again, I would again urge potential buyers to “Look Inside.” (Incidentally, I was able to find a .pdf copy of it online).Another annotated edition, again with those on the same page, that sticks close to the original 1674 text (but with some minor modernization) is Merritt Y. Hughes’

⭐, first published in 1935, and revised in 1962. It is advertised as one popular with college professors for their classes, whatever that may mean. From what I gather, Fowler has replaced Hughes as the scholarly version to use.The edition by Hughes was taken in 2003 by David Scott Kastan (

⭐) and edited more extensively, again with the annotations on the same page. Incidentally, Kastan’s comments on how he edited, along with comments on any editor’s choices when dealing with Milton, are well worth reading, and can be found under “Textual Introduction” using the “Look Inside” feature. I urge reading them to understand how and why there are so many different editions of Milton.Yet another annotated edition that comes close to the original is by John Leonard’s

⭐. The ad for this version states that the text has been modernized to the degree of reducing some capitals and italics, and correcting the spelling and some punctuation. It is annotated, but not to the degree of Fowler — but the notes are at the back of the book rather than the bottom of the page as seems customary and which I personally find difficult to use because of constantly having to flip between pages. Again, I would urge potential buyers to “Look Inside.”There are many other scholarly editions available in addition to the ones I have mentioned here, including one online at the John Milton Reading Room at Dartmouth College.For those who might like a less challenging version of “Paradise Lost”, I suggest BookCaps “translation” (Amazon’s words, not mine)

⭐or at an even less difficult level, Joseph Lanzara’s

⭐. Should those prove too difficult, there might be somewhere a copy by Classics Illustrated comics, although a search by Google turns up nothing — perhaps they never published one.Since each edition of “Paradise Lost” has its strengths and weaknesses, how does the buyer go about selecting an edition for purchase? To me, it’s rather like buying a car — ultimately based upon personal preference, but in this case, rather than engine and body style, determined by the way the editor has modified Milton’s language and added annotations, and their degree of adherence to his original language — some editors produce as little modernization as possible to retain Milton’s original meter and rhythm for reading aloud, while others try for a more modern sound. I would suggest using the “Look Inside” feature, to see what the editor has done, to help making a decision.Whichever edition you buy —- and I recommend the one by Lewalski —- may you find great enjoyment in reading what I consider the greatest epic poem in the English language — although you might agree more with what Donald Sutherland’s character, Jennings, had to say about it in the movie “Animal House”: “Now what can we say about Milton’s “Paradise Lost”? It’s a very long poem. It was written a long time ago, and I’m sure a lot of you have difficulty understanding exactly what Milton was trying to say. ….. Don’t write this down, but I find Milton probably as boring as you find Milton. Mrs. Milton found him boring too. He’s a little bit long-winded, he doesn’t translate very well into our generation, and his jokes are terrible.”

⭐Synopsis:Milton’s “Paradise Lost” explores the fall of man in a semi-epic fashion chronicling the fall of the archangels, creation, Lucifer’s deception of man, the original sin and man’s expulsion from the Garden.The Objective:It has been said that Milton wrote this semi-epic poem in the desire to explain the ways of God to man. This poem does Jehovah and his drones more injustice than it justifies. Actually, by my perception, Milton displays the naiveté and gullibility of man’s mind. As I read this book I could not help but to lament, with a hint of comedic relief, for society knowing that in 2010 people still ardently believe all of this actually occurred, or at least as the Bible foretells it. Which to be honest with you, Milton’s version has no more factual quality than the Bible itself, as pertaining to mythological and paranormal activity, not in relation to the historically relevant parts. Nonetheless, Milton decided to venture into an abyss with naiveté himself if he thought he would be able to eloquently portray a sound omnipotent, omnipresent and omniscient deity while simultaneously retaining a perceptual benevolence, magnanimity and shrewdness in the same character. Here, in this regard, neither Milton nor the author’s of the Bible afford success. One of the myriad of problems is that personifying one deity as having all of the above qualities is just oxymoronic. Milton himself knew this, which is why he had to utilize the Son as a metaphoric supplement of the last three qualities to keep the other elevated on its stilts. It is difficult to fuse together the perspectives of two distinct cultural and temporal perspectives of God-in references to the Old Testament and the New Testament- these cannot be interwoven as one; there is just not continuity of character there. Personally, a more accurate representation of a sound omnipotent, omnipresent and omniscient deity is manifested in the character Dr. Manhattan from the modern Alan Moore epic “Watchmen.” I wonder if this character is the epitome of what man will become as a result of our consumption the forbidden fruit?!Just as his counterparts of past and present, Milton attempts to demonize Paganism and has an overt chauvinistic sexism. The interesting quality that I have always found about Christianity, the organized religion not the Christ himself, is that it adopted Pagan customs to convert Pagans, obviously for a larger control over the European population, and ironically demonized it afterwards. Not to mention, Paganism has a very strong emphasis of goddess worship in most of its constituent cultures, but in Judeo-Christian literature the woman is subordinate and inferior, along with these qualities women are further subjected to ridicule and subjugation for committing the “original sin.”Milton makes it obvious that man can only continue to worship God in ignorance. Once man has bitten of the fruit of Knowledge his perspective changes and an indefinite INDIVIDUAL pursuit of that Essence begins. Actually, this whole “interdicted knowledge” was more than likely contrived by the powers-that-be rather than the power-that-is. Ignorance was a sure tool for suppressing a population into obedience, submission and guilt, and who were the mediators of those illiterate times? Priests, subordinate to the kings, and in later culture, kings and lords. The whole system was oriented to serfdom, vassalage, submission and control. Why do you think the Protestants presented so much of a stir in the seventeenth century? Milton says it best, “[Interdicted] with design / To keep them low, whom knowledge [will] exalt / Equal with [priests and kings]” (IV 525-527), slightly out of context but it fits the accusation. As a work of literature Milton did an excellent job conveying vivid imagery in a poetic style, but he corroded it by bloating the book at times with Botoxic irrelevant allusions and descriptions.Before anyone reads this particular print, which is the only one I recommend, particularly due to Gustave Dore’s prolific drawings, they should make sure they have an extensive vocabulary as well as some historic reference for the time periods relating to Milton and the Bible. To me this availed my understanding and enjoyment of the book without the inhibitions of footnotes and translations, these only detract from the quality of the story.The Subjective:I have to commend Milton for his efforts, especially considering his condition at the time he wrote this. This work is very admirable regardless of your particular intellectual or spiritual bias. It is a work of art and I feel that we are indeed better off in the arts for having such fictional literature influenced by our most prominent mythology. While I would not compare this to Dante’s “Inferno,” Milton gave us his best effort and for anyone who renders art and literature from their consciousness for all of us to share should be honored and revered, as opposed to solely giving the world physical labor and dying with no other contribution.Lastly, I cannot help but to wonder if the mythological Tree of Knowledge was a psychoactive plant of some sort which we have a symbiotic relationship with. Could this be the catalyst that removed us from the animal kingdom into eventual progression into advanced civilization? Is this story an allegory of that? Milton’s rendition seems to point to this from his affinity with the collective unconscious:”O sacred, wise, and wisdom-giving plant, / Mother of [thought]! Now I feel thy power / Within me clear; not only to discern / Things in their causes, but to trace the ways / Of highest agents, deemed however wise /…[You give us] life / To knowledge [, chaos, creativity and Novelty] (IX 279-287). Not death, but life / Augmented, opened eyes, new hopes, new joys, / Taste so divine, that what of sweet before / Hath touched my sense, flat seems to this, and harsh (IX 984-987). [A]nd shook sore / [Our] inward state of mind, calm region once, / And full of peace, now tossed and turbulent [, but oh how divine] (IX 1125-1126).”With a few insertions to sway the context, which has minimal influence to its overall meaning, anyone who has ever had a psychedelic experience sees how ostensible this concoction of words describes the nature of that psychological event. – D.R.Thomas

⭐”Earth felt the wound, and Nature, from her seat, sighing through all her works, gave signs of woe, that all was lost.”After much delay, I finally took the plunge and read Milton’s epic poem “Paradise Lost”. Honestly, poetry isn’t something I read often, but, since this is one of the most influential works of the English language, I decided it was worth stepping outside my comfort zone for. Now that I have completed it, I am grateful that I did.Paradise Lost is a retelling of the Fall recorded in the Bible. So, it covers the rebellion of Satan and his cohort, his tempting of Eve, and the Fall of mankind into sin.What I enjoyed the most about Paradise Lost was the writing. Milton is a master of the English language. His crafting of words is positively gorgeous. As for the narrative, the rebellion of Satan was the most intriguing section. Also, Milton’s insight into the “rational” of evil and temptation is insightful.However, there are parts which I did not enjoy. Especially in Milton’s explanation of the Fall of Man. He firmly places the majority of the blame on Eve and appears to have a dim view of women in general. From my reading of the Biblical text, I do not believe it is justifiable to place more blame on Eve than on Adam for the Fall. Also, it is not in harmony with the Bible to have a dimmer view of of women since both men and women are made in God’s Image.Despite that, I would say that the good outweighs the bad in “Paradise Lost”. If you are a fan of epic poetry, or want to understand more of your literary heritage, then I recommend that you give this book a try.

⭐Somewhat pretentiously, I decided to read some of ‘The Classics’ in order to inflate an already bloated ego. This was one of those classics. Now I don’t doubt Milton’s skill, or that some people find it fascinating, but, having been a huge fan of The Secret 7 as a boy, I’m sorry to say that the rather protracted and verbose text left me cold. Perhaps I’m simply not ready for ‘The Classics’ after all.

⭐I wanted to read this especially as I love the Iambic Pentameter blank verse style of writing but also because I have been thinking of writing a major biblical poetic work since I started writing spiritual poetry for about four years now. The idea of reading Milton had been on the back burner for years.I read it through lightly, as I am not versed in the classics, but was looking for inspiration from the poem for my own project. I got that in bucketloads and have since started my poem, having written over 1050 lines so far. It will take time but I will get there. Paradise Lost is a real journey, difficult at times, but so worth it. Essential reading.

⭐I have wanted a copy of Dore’s illustrations to Paradise list for some time, but after reading some negative reviews on here,I was concerned about buying it.I need not have had any concerns at all! I am a collector of vintage and antique books but can’t afford any Dore original copies, but I couldn’t be more delighted with this one. Full illustration plates throughout, lovely paper, lovely embossed lettering on the front board.I never thought I was going to be this delighted. Love it!

⭐New Penguin cloth-bound edition – not great quality tbh.Pages are made from paper so thin it’s possible to see the print on the page overleaf coming through.This volume came with a sticky label (why?) which removed some of the pattern when it came off – see photo. I’m keeping this for myself but if it was a gift I would not have been happy.No idea why this volume had a sticky label when another bokok in the clothbound series I ordered came with a cardboard label…..(see other pic)

⭐It’s a classic which I have never read in the past. Should’ve, didn’t. So I am slowly wading my way through but I am no Stephen Fry so it’s taking me a bit of time.

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