Paradise Lost in the context of "Red Right Hand"

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.

John Milton (9 December 1608 – 8 November 1674) was an English poet, polemicist, and civil servant. His 1667 epic poem Paradise Lost was written in blank verse and included 12 books, written in a time of immense religious flux and political upheaval. It addressed the fall of man, including the temptation of Adam and Eve by the fallen angel Satan, and God's expulsion of them from the Garden of Eden. Paradise Lost elevated Milton's reputation as one of history's greatest poets. He also served as a civil servant for the Commonwealth of England under its Council of State and later under Oliver Cromwell.

Milton achieved fame and recognition during his lifetime. His celebrated Areopagitica (1644) condemning pre-publication censorship is among history's most influential and impassioned defences of freedom of speech and freedom of the press. His desire for freedom extended beyond his philosophy and was reflected in his style, which included his introduction of new words to the English language, coined from Latin and Ancient Greek. He was the first modern writer to employ unrhymed verse outside of the theatre or translations.

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".

"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.

Serpents (Hebrew: נָחָשׁ, romanized: nāḥāš) are referred to in both the Hebrew Bible and the New Testament. The symbol of a serpent or snake played important roles in the religious traditions and cultural life of ancient Greece, Egypt, Mesopotamia, and Canaan. The serpent was a symbol of evil power and chaos from the underworld as well as a symbol of fertility, life, healing, and rebirth.

Nāḥāš (נחש‎), Hebrew for "snake", is also associated with divination, including the verb form meaning "to practice divination or fortune-telling". Nāḥāš occurs in the Torah to identify the serpent in the Garden of Eden. Throughout the Hebrew Bible, it is also used in conjunction with seraph to describe vicious serpents in the wilderness]. The tannin, a dragon monster, also occurs throughout the Hebrew Bible. In the Book of Exodus, the staves of Moses and Aaron are turned into serpents, a nāḥāš for Moses, a tannin for Aaron. In the New Testament, the Book of Revelation makes use of ancient serpent and the Dragon several times to identify Satan or the Devil (Revelation 12:9; 20:2). The serpent is most often identified with the hubristic Satan, and sometimes with Lilith.

The illustration of manuscript books was well established in ancient times, and the tradition of the illuminated manuscript thrived in the West until the invention of printing. Other parts of the world had comparable traditions, such as the Persian miniature. Modern book illustration comes from the 15th-century woodcut illustrations that were fairly rapidly included in early printed books, and later block books. Other techniques such as engraving, etching, lithography and various kinds of colour printing were to expand the possibilities and were exploited by such masters as Daumier, Doré or Gavarni.

Hubris (/ˈhjuːbrɪs/; from Ancient Greek ὕβρις (húbris) 'pride, insolence, outrage'), or less frequently hybris (/ˈhaɪbrɪs/), is extreme or excessive pride or dangerous overconfidence and complacency, often in combination with (or synonymous with) arrogance.

Hubris, arrogance, and pretension are related to the need for victory (even if it does not always mean winning) instead of reconciliation, which "friendly" groups might promote. Hubris is usually perceived as a characteristic of an individual rather than a group, although the group the offender belongs to may suffer collateral consequences from wrongful acts. Hubris often indicates a loss of contact with reality and an overestimation of one's own competence, accomplishments, or capabilities.

Poetry made up of lines of the same approximate meter and length, not broken up into stanzas, is called stichic (as opposed to stanzaic). Most poetry from the Old English period is considered stichic. Most English poetry written in blank verse, such as the epic Paradise Lost by John Milton, is stichic. A more contemporary example is Joanna Baillie's "Hay making" 1979 Greek epic, in dactylic hexameter, as is Latin epic whether in hexameter or (in very old poets) Saturnian. Poetic dramatic dialogue, whether in English iambic pentameter or Greek iambic trimeter, also tends to be stichic in nature.

Restoration literature is the English literature written during the historical period commonly referred to as the English Restoration (1660–1688), which corresponds to the last years of Stuart reign in England, Scotland, Wales, and Ireland. In general, the term is used to denote roughly homogeneous styles of literature that centre on a celebration of or reaction to the restored court of Charles II. It is a literature that includes extremes, for it encompasses both Paradise Lost and the Earl of Rochester's Sodom, the high-spirited sexual comedy of The Country Wife and the moral wisdom of The Pilgrim's Progress. It saw Locke's Treatises of Government, the founding of the Royal Society, the experiments and holy meditations of Robert Boyle, the hysterical attacks on theatres from Jeremy Collier, and the pioneering of literary criticism from John Dryden and John Dennis. The period witnessed news becoming a commodity, the essay developing into a periodical art form, and the beginnings of textual criticism.

The dates for Restoration literature are a matter of convention, and they differ markedly from genre to genre. Thus, the "Restoration" in drama may last until 1700, while in poetry it may last only until 1666 (see 1666 in poetry) and the annus mirabilis; and in prose it might end in 1688, with the increasing tensions over succession and the corresponding rise in journalism and periodicals, or not until 1700, when those periodicals grew more stabilized. In general, scholars use the term "Restoration" to denote the literature that began and flourished under Charles II, whether that literature was the laudatory ode that gained a new life with restored aristocracy, the eschatological literature that showed an increasing despair among Puritans, or the literature of rapid communication and trade that followed in the wake of England's mercantile empire.

Iambic pentameter (/aɪˌæmbɪk pɛnˈtæmɪtər/ eye-AM-bik pen-TAM-it-ər) is a type of metric line used in traditional English poetry and verse drama. The term describes the rhythm, or meter, established by the words in each line. Meter is measured in small groups of syllables called feet. "Iambic" indicates that the type of foot used is the iamb, which in English consists of an unstressed syllable followed by a stressed syllable (as in a-BOVE). "Pentameter" indicates that each line has five metrical feet.

Iambic pentameter is the most common meter in English poetry. It was first introduced into English by Chaucer in the 14th century on the basis of French and Italian models. It is used in several major English poetic forms, including blank verse, the heroic couplet, and some of the traditionally rhymed stanza forms. William Shakespeare famously used iambic pentameter in his plays and sonnets, as did John Milton in his Paradise Lost and William Wordsworth in The Prelude.

The War in Heaven is a mythical conflict between supernatural forces in traditional Christian cosmology, attested in the Book of Revelation alongside proposed parallels in the Hebrew Bible and the Dead Sea Scrolls. It is described as the result of Satan, who is often identified as the angel Lucifer, rebelling against God and leading to a war between his followers and those still loyal to God, led by the Archangel Michael. Within the New Testament, the War in Heaven provides basis for the concept of the fallen angels and for Satan's banishment to Hell. The War is frequently featured in works of Christian art, such as John Milton's epic poem Paradise Lost, which describes it as occurring over the course of three days as a result of God the Father announcing Jesus Christ as his Son.

Literature in the Manx language is known from the 16th century. Early works were often religious in theme, including translations of the Book of Common Prayer, the Bible and Milton's Paradise Lost. Edward Faragher (Neddy Beg Hom Ruy; 1831–1908), who published poems, stories and translations, is considered the last major native writer of the language. The historian A. W. Moore collected traditional Manx-language songs and ballads in publications towards the end of the 19th century.

Yn Çheshaght Ghailckagh, the Manx Language Society, was founded at the end of the 19th century. The revival of Manx has resulted in new original works and translations being published in the late 20th and early 21st centuries, with authors including Brian Stowell (1936–2019) and Robert Corteen Carswell (born 1950).

Sir John Baptist Medina (1659 – 5 October 1710) was an artist of Flemish-Spanish origin who worked in England and Scotland, mostly as a portrait painter, though he was also the first illustrator of Paradise Lost by John Milton in 1688.

His Dark Materials is a trilogy of fantasy novels by Philip Pullman consisting of Northern Lights (1995; published as The Golden Compass in North America), The Subtle Knife (1997), and The Amber Spyglass (2000). It follows the coming of age of two children, Lyra Belacqua and Will Parry, as they wander through a series of parallel universes. The novels have won a number of awards, including the Carnegie Medal in 1995 for Northern Lights and the 2001 Whitbread Book of the Year for The Amber Spyglass. In 2003, the trilogy was ranked third on the BBC's The Big Read poll.

Although His Dark Materials has been marketed as young adult fiction, and the central characters are children, Pullman wrote with no target audience in mind. The fantasy elements include witches and armoured polar bears; the trilogy also alludes to concepts from physics, philosophy, and theology. It functions in part as a retelling and inversion of John Milton's epic Paradise Lost, with Pullman commending humanity for what Milton saw as its most tragic failing, original sin. The trilogy has attracted controversy for its criticism of religion. By 2024, more than 22 million copies of the novels had been sold in 50 countries, and they had been translated into 40 languages.

The Ludwell–Paradise House, often also called the Paradise House, is a historic home along Duke of Gloucester Street and part of Colonial Williamsburg in Williamsburg, Virginia. The home was built in 1752–1753 for Philip Ludwell III. In December 1926, it became the first property John D. Rockefeller Jr. authorized W. A. R. Goodwin to purchase as part of the Colonial Williamsburg restoration campaign. After being restored, the Ludwell–Paradise House held the Abby Aldrich Rockefeller Folk Art Collection from 1935 to 1956. The building now serves as a rented private residence in the Williamsburg historic area.

Philip Ludwell II purchased the lot where the Ludwell–Paradise House was constructed in September 1700. Possibly built on the site of a prior house that was constructed between 1680 and 1690, timbers in the surviving structure were dated as being felled in 1752 and brickwork indicates the entire building was completed simultaneously. After being used as a rental property, a tavern that once hosted George Washington, and a host for The Virginia Gazette newspaper, the house's ownership passed to William Lee. Although they made an unfounded legal claim, Philip Ludwell III's daughter Lucy Ludwell Paradise and her husband, John Paradise, were associated with the house, giving the building its name. When the house was one of several properties seized from Paradise and Lee by Patriots during the American Revolutionary War, the Paradises' friend Samuel Johnson privately quipped about "Paradise's loss".

Evil is ever-present in J. R. R. Tolkien's fictional realm of Middle-earth. Tolkien is ambiguous on the philosophical question of whether evil is the absence of good, the Boethian position, or whether it is a force seemingly as powerful as good, and forever opposed to it, the Manichaean view. The major evil characters have varied origins. The first is Melkor, the most powerful of the immortal and angelic Valar; he chooses discord over harmony, and becomes the first dark lord Morgoth. His lieutenant, Sauron, is an immortal Maia; he becomes Middle-earth's dark lord after Morgoth is banished from the world. Melkor has been compared to Satan in the Book of Genesis, and to John Milton's fallen angel in Paradise Lost. Others, such as Gollum, Denethor, and Saruman – respectively, a Hobbit, a Man, and a Wizard – are corrupted or deceived into evil, and die fiery deaths like those of evil beings in Norse sagas.