John Milton in the context of "Christian folklore"

Poetic tradition is a concept similar to that of the poetic or literary canon (a body of works of significant literary merit, instrumental in shaping Western culture and modes of thought). The concept of poetic tradition has been commonly used as a part of historical literary criticism, in which a poet or author is evaluated in the context of his historical period, his immediate literary influences or predecessors, and his literary contemporaries. T. S. Eliot claimed in Tradition and the Individual Talent, published in 1919, that for a poet to fully come into his own, he must be aware of his predecessors, and view the work of his predecessors as living, not dead. The poetic tradition is a line of descent of poets who have achieved a sublime state and can surrender themselves to their work to create a poem that both builds on existing tradition and stands on its own.

The necessity of a poet to be aware of his place in relation to his poem and to his tradition, to surrender himself to his work and to the great masters preceding him, is revisited by Harold Bloom in his 1973 work, The Anxiety of Influence. Bloom argued that each and every “great poet” must struggle with and overcome the anxiety of weakly imitating his predecessor poets. Bloom grounded his arguments on the work of Friedrich Nietzsche (notably Genealogy of Morals) and Sigmund Freud, though he disagrees with the tendency of both authors to “over-idealize the imagination.” To Bloom, a poetic tradition is a tradition of creative misreading, with each upcoming poet clearing a space in the poetic tradition for himself or herself by alleging some inconsistency, or mistake, or insufficient progress on the part of his or her predecessor(s). He cites multiple examples in this work and in his other work on the same topic, A Map of Misreading, published in 1975. One of these is the multiplicity of misreadings by poets and critics—including T. S. Eliot, Northrop Frye, and Percy Shelley—of Milton’s epic poems, Paradise Lost and Paradise Regained.

Christian mythology is the body of myths associated with Christianity. The term encompasses a broad variety of legends and narratives, especially those considered sacred narratives. Mythological themes and elements occur throughout Christian literature, including recurring myths such as ascending a mountain, the axis mundi, myths of combat, descent into the Underworld, accounts of a dying-and-rising god, a flood myth, stories about the founding of a tribe or city, and myths about great heroes (or saints) of the past, paradises, and self-sacrifice.

Various authors have also used it to refer to other mythological and allegorical elements found in the Bible, such as the story of the Leviathan. The term has been applied to myths and legends from the Middle Ages, such as the story of Saint George and the Dragon, the stories of King Arthur and his Knights of the Round Table, and the legends of the Parsival. Multiple commentators have classified John Milton's epic poem Paradise Lost as a work of Christian mythology. The term has also been applied to modern stories revolving around Christian themes and motifs, such as the writings of C. S. Lewis, J. R. R. Tolkien, Madeleine L'Engle, and George MacDonald.

A strophe (/ˈstroʊfiː/) is a poetic term originally referring to the first part of the ode in Ancient Greek tragedy, followed by the antistrophe and epode. The term has been extended to also mean a structural division of a poem containing stanzas of varying line length. Strophic poetry is to be contrasted with poems composed line-by-line non-stanzaically, such as Greek epic poems or English blank verse, to which the term stichic applies.

In its original Greek setting, "strophe, antistrophe and epode were a kind of stanza framed only for the music", as John Milton wrote in the preface to Samson Agonistes, with the strophe chanted by a Greek chorus as it moved from right to left across the scene.

The Anxiety of Influence: A Theory of Poetry is a 1973 book by Harold Bloom on the anxiety of influence in writing poetry. It was the first in a series of books that advanced a new "revisionary" or antithetical approach to literary criticism. Bloom's central thesis is that poets are hindered in their creative process by the ambiguous relationship they necessarily maintain with precursor poets. While admitting the influence of extraliterary experience on every poet, he argues that "the poet in a poet" is inspired to write by reading another poet's poetry and will tend to produce work that is in danger of being derivative of existing poetry, and, therefore, weak. Because poets historically emphasize an original poetic vision in order to guarantee their survival into posterity, the influence of precursor poets inspires a sense of anxiety in living poets. Thus Bloom attempts to work out the process by which the small minority of 'strong' poets manage to create original work in spite of the pressure of influence. Such an agon (a vain attempt by a writer to resolve the conflict between his ideas and those of a much more influential predecessor), Bloom argues, depends on six revisionary ratios, which reflect Freudian and quasi-Freudian defense mechanisms, as well as the tropes of classical rhetoric.

Before writing this book, Bloom spent a decade studying the Romantic poets of the early nineteenth century. This is reflected in the emphasis given to those poets and their struggle with the influence of John Milton, Robert Burns, and Edmund Spenser. Other poets analyzed range from Lucretius and Dante to Walt Whitman, Wallace Stevens, and John Ashbery. In The Anxiety of Influence and other early books, Bloom claimed that influence was particularly important for post-enlightenment poets. Conversely, he suggested that influence might have been less of a problem for such poets as Shakespeare and Ben Jonson. Bloom later changed his mind, and the most recent editions of The Anxiety of Influence include a preface claiming that Shakespeare was troubled early in his career by the influence of Christopher Marlowe. The book itself is divided into six major categories, called "six revisionary ratios" by Bloom. They are clinamen, tessera, kenosis, daemonization, askesis, and apophrades.

Paradise Lost is an epic poem in blank verse by the English poet John Milton (1608–1674). The poem concerns the biblical story of the fall of man: the temptation of Adam and Eve by the fallen angel Satan and their expulsion from the Garden of Eden. The first version, published in 1667, consists of ten books with over ten thousand lines of verse. A second edition followed in 1674, arranged into twelve books (in the manner of Virgil's Aeneid) with minor revisions throughout. It is considered to be Milton's masterpiece, and it helped solidify his reputation as one of the greatest English poets of all time.

At the heart of Paradise Lost are the themes of free will and the moral consequences of disobedience. Milton seeks to "justify the ways of God to men," addressing questions of predestination, human agency, and the nature of good and evil. The poem begins in medias res, with Satan and his fallen angels cast into Hell after their failed rebellion against God. Milton's Satan, portrayed with both grandeur and tragic ambition, is one of the most complex and debated characters in literary history, particularly for his perceived heroism by some readers.

Paradise Regained is an epic poem by English poet John Milton, first published in 1671. The volume in which it appeared also contained the poet's closet drama Samson Agonistes. Paradise Regained is connected by name to his earlier and more famous epic poem Paradise Lost, with which it shares similar theological themes; indeed, its title, its use of blank verse, and its progression through Christian history recall the earlier work. However, this effort deals primarily with the temptation of Christ as recounted in the Gospel of Luke.

Milton composed Paradise Regained at his cottage in Chalfont St Giles in Buckinghamshire. Paradise Regained is four books long and comprises 2,065 lines; in contrast, Paradise Lost is twelve books long and comprises 10,565 lines. As such, Barbara K. Lewalski has labelled the work a "brief epic".

A hierarchy of genres is any formalization which ranks different genres in an art form in terms of their prestige and cultural value.

In literature, the epic was considered the highest form, for the reason expressed by Samuel Johnson in his Life of John Milton: "By the general consent of criticks, the first praise of genius is due to the writer of an epick poem, as it requires an assemblage of all the powers which are singly sufficient for other compositions." Below that came lyric poetry, and comic poetry, with a similar ranking for drama. The novel took a long time to establish a firm place in the hierarchy, doing so only as belief in any systematic hierarchy of forms expired in the 19th century.

Jacob Tonson, sometimes referred to as Jacob Tonson the Elder (12 November 1655 – 17 March 1736), was an eighteenth-century English bookseller and publisher.

Tonson published editions of John Dryden and John Milton, and is best known for having obtained a copyright on the plays of William Shakespeare by buying up the rights of the heirs of the publisher of the Fourth Folio after the Statute of Anne went into effect. He was also the founder of the famous Kit-Cat Club. His nephew, Jacob Tonson the Younger (1682–1735), was his business partner. The business was continued by the younger Tonson's son, Jacob Tonson (1714–1767).

"An Essay on Man" is a poem published by Alexander Pope in 1733–1734. It was dedicated to Henry St John, 1st Viscount Bolingbroke (pronounced 'Bull-en-brook'), hence the opening line: "Awake, my St John...". It is an effort to rationalize or rather "vindicate the ways of God to man" (l.16), a variation of John Milton's claim in the opening lines of Paradise Lost, that he will "justifie the wayes of God to men" (1.26). It is concerned with the natural order God has decreed for man. Because man cannot know God's purposes, he cannot complain about his position in the great chain of being (ll.33–34) and must accept that "Whatever is, is right" (l.292), a theme that was satirized by Voltaire in Candide (1759). More than any other work, it popularized optimistic philosophy throughout England and the rest of Europe.

Pope's Essay on Man and Moral Epistles were designed to be the parts of a system of ethics which he wanted to express in poetry. Moral Epistles has been known under various other names including Ethic Epistles and Moral Essays.