Download e-book for iPad: A Preface to Paradise Lost by C. S. Lewis

By C. S. Lewis

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"An crucial paintings in realizing either the literary strategy of C.S. Lewis and the theological assumptions of Paradise misplaced. remarkable in its conciseness."--I.S. Maclean, James Madison University

"Still the main lucid, valuable, enjoyable creation to Milton's poem someone has contrived to jot down. 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, in particular the children sequence entitled The Chronicles of Narnia and his technology fiction area Trilogy.

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

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1 ) The use of slightly unfamiliar words and constructions, in­ cluding archaisms. (2 ) The use of proper names, not solely nor chiefly for their sound, but because they are the names of T H E STYLE O F S E C O N D A R Y E P I C splendid, remote, terrible, voluptuous, o r celebrated things. They are there to encourage a sweep of the reader's eye over the richness and variety of the world-to supply that largior aether which we breathe as long as the poem lasts. (3) Con­ tinued allusion to all the sources of heightened interest in our sense experience (light, darkness, storm, flowers, jewels, sexual love, and the like) , but all over-topped and 'managed' with an air of magnanimous austerity.

2794-820) 'stock' expressions occur six times in twenty-eight lines-again, they are about a quarter of the whole. This phenomenon has been explained often enough from the poet's side. 'These repetitions,' says Mr. Nilsson, 'are a great aid for the singer for whilst reciting them mechanically he is subconsciously forming the next verse' (Homer and Mycenae, p. 203) . But all art is made toface the audience. Nothing can be left exposed, however useful to the performer, which is not de­ lightful or at least tolerable to them.

The backward links are of equal importance in determining the poetical quality of the Aeneid. If l am not mis­ taken it is almost the first poem which carries a real sense of the 'abysm of time'. Priscus, vetus, and antiquus are key-words in Virgil. In Books VI to vm-the true heart of the poem-we are never allowed to forget that Latium-Lurkwood, the hiding place of aged Saturn-has been waiting for the Trojans from the beginning of the world. talus and grey Sabine Bearing his hook in token how he loved the vine, And Saturn old and Janus with his double face .

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