Paradise Lost: A Biography
ΠΌΠ°ΠΉ 2025β―Π³. Β· Princeton University Press
ΠΠ»Π΅ΠΊΡΡΠΎΠ½Π½Π°Ρ ΠΊΠ½ΠΈΠ³Π°
200
ΠΠΎΠ»ΠΈΡΠ΅ΡΡΠ²ΠΎ ΡΡΡΠ°Π½ΠΈΡ
family_home
ΠΠΎΠΆΠ½ΠΎ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ
info
infoΠΠ½ΠΈΠ³Π° ΠΏΠΎΡΠ²ΠΈΡΡΡ Π² Google Play 27 ΠΌΠ°Ρ 2025β―Π³.. ΠΠΈΡΡ ΠΏΠΎΡΠ»Π΅ ΡΡΠΎΠ³ΠΎ ΡΡΠ΅Π΄ΡΡΠ²Π° Π±ΡΠ΄ΡΡ ΡΠΏΠΈΡΠ°Π½Ρ Ρ Π²Π°ΡΠ΅Π³ΠΎ ΡΡΠ΅ΡΠ°.
ΠΠ± ΡΠ»Π΅ΠΊΡΡΠΎΠ½Π½ΠΎΠΉ ΠΊΠ½ΠΈΠ³Π΅
The life and times of Miltonβs epic poem about Satanβs revolt against God and humanityβs expulsion from paradise
John Miltonβs Paradise Lost has secured its place in the pantheon of epic poems, but unlike almost all other works in the pantheon, it is intimately associated with religious doctrine and its implications for how we live our lives. For more than three centuries, it has been a flashpoint for arguments not just about Christianity but also about governance, rebellion and obedience, sexual politics, and what makes poetry great. Alan Jacobs tells the story of Miltonβs enduring poem, shedding light on its composition and reception and explaining why it resonates so powerfully with us today.
Composed through dictation after Milton went blind in 1652, Paradise Lost centers on an ancient biblical answer to the eternal question of how evil came into the world. It has proved impossible to disentangle the defense or critique of the poem from attitudes toward Christianity itself. Does Christian theology entail monarchy or democracy? Are relations between the sexes thwarted by pompous and tyrannical men or by vain and disobedient women? Jacobs traces how generations of readers have grappled with these and other questions, along the way revealing how Miltonβs poem influenced novelists like Mary Shelley and Philip Pullman and has served as the inspiration for paintings, operas, comic books, and video games.
An essential companion to Miltonβs poetic masterpiece, this book shows why Paradise Lost continues to serve as a mirror reflecting our own complex attitudes about power and authority, justice and revolt, and sin and salvation.
John Miltonβs Paradise Lost has secured its place in the pantheon of epic poems, but unlike almost all other works in the pantheon, it is intimately associated with religious doctrine and its implications for how we live our lives. For more than three centuries, it has been a flashpoint for arguments not just about Christianity but also about governance, rebellion and obedience, sexual politics, and what makes poetry great. Alan Jacobs tells the story of Miltonβs enduring poem, shedding light on its composition and reception and explaining why it resonates so powerfully with us today.
Composed through dictation after Milton went blind in 1652, Paradise Lost centers on an ancient biblical answer to the eternal question of how evil came into the world. It has proved impossible to disentangle the defense or critique of the poem from attitudes toward Christianity itself. Does Christian theology entail monarchy or democracy? Are relations between the sexes thwarted by pompous and tyrannical men or by vain and disobedient women? Jacobs traces how generations of readers have grappled with these and other questions, along the way revealing how Miltonβs poem influenced novelists like Mary Shelley and Philip Pullman and has served as the inspiration for paintings, operas, comic books, and video games.
An essential companion to Miltonβs poetic masterpiece, this book shows why Paradise Lost continues to serve as a mirror reflecting our own complex attitudes about power and authority, justice and revolt, and sin and salvation.
ΠΠ± Π°Π²ΡΠΎΡΠ΅
Alan Jacobs is Distinguished Professor of Humanities in the Honors Program at Baylor University. His many books include Breaking Bread with the Dead and The βBook of Common Prayerβ: A Biography (Princeton). His writing has appeared in leading publications such as The New Yorker, Harperβs Magazine, and the Atlantic.
ΠΠ΄Π΅ ΡΠΈΡΠ°ΡΡ ΠΊΠ½ΠΈΠ³ΠΈ
Π‘ΠΌΠ°ΡΡΡΠΎΠ½Ρ ΠΈ ΠΏΠ»Π°Π½ΡΠ΅ΡΡ
Π£ΡΡΠ°Π½ΠΎΠ²ΠΈΡΠ΅ ΠΏΡΠΈΠ»ΠΎΠΆΠ΅Π½ΠΈΠ΅ Google Play ΠΠ½ΠΈΠ³ΠΈ Π΄Π»Ρ Android ΠΈΠ»ΠΈ iPad/iPhone. ΠΠ½ΠΎ ΡΠΈΠ½Ρ
ΡΠΎΠ½ΠΈΠ·ΠΈΡΡΠ΅ΡΡΡ Ρ Π²Π°ΡΠΈΠΌ Π°ΠΊΠΊΠ°ΡΠ½ΡΠΎΠΌ Π°Π²ΡΠΎΠΌΠ°ΡΠΈΡΠ΅ΡΠΊΠΈ, ΠΈ Π²Ρ ΡΠΌΠΎΠΆΠ΅ΡΠ΅ ΡΠΈΡΠ°ΡΡ Π»ΡΠ±ΠΈΠΌΡΠ΅ ΠΊΠ½ΠΈΠ³ΠΈ ΠΎΠ½Π»Π°ΠΉΠ½ ΠΈ ΠΎΡΠ»Π°ΠΉΠ½ Π³Π΄Π΅ ΡΠ³ΠΎΠ΄Π½ΠΎ.
ΠΠΎΡΡΠ±ΡΠΊΠΈ ΠΈ Π½Π°ΡΡΠΎΠ»ΡΠ½ΡΠ΅ ΠΊΠΎΠΌΠΏΡΡΡΠ΅ΡΡ
Π‘Π»ΡΡΠ°ΠΉΡΠ΅ Π°ΡΠ΄ΠΈΠΎΠΊΠ½ΠΈΠ³ΠΈ ΠΈΠ· Google Play Π² Π²Π΅Π±-Π±ΡΠ°ΡΠ·Π΅ΡΠ΅ Π½Π° ΠΊΠΎΠΌΠΏΡΡΡΠ΅ΡΠ΅.
Π£ΡΡΡΠΎΠΉΡΡΠ²Π° Π΄Π»Ρ ΡΡΠ΅Π½ΠΈΡ ΠΊΠ½ΠΈΠ³
Π§ΡΠΎΠ±Ρ ΠΎΡΠΊΡΡΡΡ ΠΊΠ½ΠΈΠ³Ρ Π½Π° ΡΠ°ΠΊΠΎΠΌ ΡΡΡΡΠΎΠΉΡΡΠ²Π΅ Π΄Π»Ρ ΡΡΠ΅Π½ΠΈΡ, ΠΊΠ°ΠΊ Kobo, ΡΠΊΠ°ΡΠ°ΠΉΡΠ΅ ΡΠ°ΠΉΠ» ΠΈ Π΄ΠΎΠ±Π°Π²ΡΡΠ΅ Π΅Π³ΠΎ Π½Π° ΡΡΡΡΠΎΠΉΡΡΠ²ΠΎ. ΠΠΎΠ΄ΡΠΎΠ±Π½ΡΠ΅ ΠΈΠ½ΡΡΡΡΠΊΡΠΈΠΈ ΠΌΠΎΠΆΠ½ΠΎ Π½Π°ΠΉΡΠΈ Π² Π‘ΠΏΡΠ°Π²ΠΎΡΠ½ΠΎΠΌ ΡΠ΅Π½ΡΡΠ΅.
