Phiêu Lưu Chữ tải về miễn phí cuốn sách

Jai Brooks jaibrooksyd2d5 — Milton wrote this while blind, and claimed it was the result of divine inspiration which visited him nightly. There are few texts that could reasonably be added into the Bible, and this is certainly one of them (the Divine Comedy is another). Paradise Lost outlines portions of the Bible which, thanks to its haphazard combination of mythic stories, are never fully explored. In fact, most of Paradise Lost has become tacitly accepted into the Christian mythos, even if most Christians do not recognize it as a source. It also updated not only the epic, but the heroic form, and its questioning of the devil is a great philosophical exploration, even if it may ultimately prove a failure, as I shall try to explain. The question remains: even if the Vatican did not explicitly include it, why are there not smaller sects which so often spring up around such and inspiring and daring work? The answer is that one need not explicitly include something that has been included implicitly. Many readers accept Milton's view of events as accurate and that it was wholly derived from the Bible, when in fact, it is largely an original work. Under Constantine, Hell and the Devil were re-conceptualized. The representation of Hell in the Bible is often metaphorical, and does not include 'fire and brimstone'. Hell is defined as 'absence from God' and nothing more. This is supposed to be a painful and unfulfilling experience, but not literal physical torture. Much of the modern conceptualization of Hell is based upon Hellenic mythological influences and verses from Revelation taken out of context. The place of 'fire and brimstone' is where the Devil and the Antichrist are put after the apocalypse, and is never stated as being related to human afterlife. Likewise, the Devil is most commonly depicted as a greedy idiot chasing after farts. The only tempting he ever does Biblically is during Job, where he must first ask God if he is permitted to interfere. The concept of the Devil as a charming, rebellious trickster and genius is entirely Milton. He portrays him this way to align Satan with the heroic figures of Epic Poetry. This is not because he thinks of the Devil as a hero, but rather so he can show that our heroes should not be rebellious murderers as they were in ancient stories, but humble, pious, simple men. He gives the Devil philosophical and political motivations for rebelling, but has him fail to notice that God cannot be questioned or defeated. However, this requires that one absolutely believe this assertion without ever testing it. Anyone who accepts it unquestioningly (such as C.S. Lewis) is bound to believe that the Devil is foolish to question the natural order. However, Milton himself states that the Devil had no choice but to doubt, and due to our own rational minds, man cannot help doubting either. In this case, we might fall in with Blake, and suggest that Milton was the Devil's man, not because he wanted to be, but because he carried biblical rhetoric to its rational conclusion. This is illustrated in a rather shocking way in the creation of Eve: finding herself, utterly new to the world, she sees her own reflection in a puddle and, finding it beautiful, leans down naively and tries to kiss it. This amusing retelling of the myth of Narcissus indicates that God made women naturally autoerotic and bisexual. Sadly, this never made it into modern Christianity, for some reason, but it does show the strength of Paradise Lost: Milton provides rhetorical support for every idea he explores, even those he did not side with. It is a great book of questions, and a book which demands the reader think and try to understand. We are supposed to sympathize with the Devil because he is heroic and dangerous, but we also know he is the Devil. We know that to sympathize with him is wrong, and that he is supposed to be wrong. Milton here invented the concept of the Devil we cannot help but sympathize with, and who we must fight daily to overcome. He defined sin as doubt, but without realizing that doubt will always deconstruct an old answer and suggest a new one. The fact remains that metaphysically, doubt can only injure us in a realm we cannot know exists. As the enemy of any tyranny--of men, of ideas--doubt is the helpmeet of all who struggle. The Devil is the father of doubt, and the final outcome of doubt is always accepting that we are fundamentally ignorant: either in our believing, or in our not believing. He also uses the English language in an entirely idiomatic and masterful way, his is one of the few unique voices of English. Reading him sometimes proves a challenge for those without a background in Latin, since his sentence structure and particularly his verb use are stripped-down and multipurpose, taking the form of metaphysical poets to its logical conclusion. He is also one of the most knowledgeable and allusive of writers, especially when it comes to the longer form. His encyclopedic exploration of myths, reinvention of scenes, and adoption of ideas make this work one of the most wide-reaching and interconnected in English. This can make his work somewhat daunting for readers, who are often unwilling to read the books he references in preparation for tackling him, which I find rather ironic, since no one complains about having to read ten-thousand pages of Harry Potter before tackling the last book.