#creation of the world and expulsion from paradise

[emailclub]

found a pic i’m gonna use for my assignment finally

[illustratus]

The Creation of the World and the Expulsion from Paradise

by Giovanni di Paolo

[artemlegere]

Satan, Sin and Death (A Scene from Milton’s ‘Paradise Lost’)

Artist: William Hogarth (English, 1697–1764)

Date: c. 1735-1740

Medium: Oil paint on canvas

Collection: TATE Britain, United Kingdom

Paradise Lost Epic Poem

Paradise Lost is an epic poem in blank verse by the English poet John Milton (1608–1674). 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. 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 main conflict of the poem involves Satan’s jealous desire to corrupt God’s new and beloved creation by creating human distrust in God’s plan, a distrust that will lead to disobedience. Through the temptations of the antagonist, Satan, Milton emphasizes the corruption to which humans are vulnerable if they are not spiritually aware of the manipulative power of evil around them. Adam and Eve’s inner struggle, an effort to resist temptation, symbolizes the innate human desire to stay loyal or true to a spiritual compass, which, in Milton’s poem, is represented by God’s exhortations and the messages of his angels.

The inciting incident of the poem finds the antagonist, Satan, banished to hell, where he and his fellow devils construct a temple called Pandemonium, a symbol of chaos and irrationality, and then plot both to make a good out of evil and an evil out of good. Milton portrays the devils’ apparently democratic decision as ironic evidence of their failed capacity for reason: Satan refuses to accept God’s rational hierarchy—that the Son is superior to him—and settles on irrational disobedience. In an allegory reminding the poem’s readers of a conventional Christian understanding of the fall, Satan begets Sin who begets Death. He volunteers to corrupt God’s new and beloved human beings, and a bridge is built between Hell and Earth.

The rising action explores ideas about free will and a redemption in which God’s Son will willingly sacrifice himself, God’s plan for human salvation. The Son is the instrument through which God acts, and Milton shows how God and the Son work separately, yet are manifestations of the same entity, working as one. Free will is one of the major themes of the poem, and Milton suggests a paradoxical idea about it: a human being is free to choose, yet is only truly free when choosing the good. Events unfold as Adam is visited by the Archangel Raphael who recounts the story of creation, reveals the primary conflict between God and Satan, and describes the latter’s fall and the War in Heaven. The war stands as an extended spiritual metaphor in which disobedience leads to one’s blindness from the truth. Raphael warns Adam to be wary of Satan’s temptations; Adam’s choice will rest entirely in his own hands.

At the poem’s climax, Satan accomplishes his goal by convincing Adam and Eve to become disobedient. Plagued by envy and despair, Satan flatters Eve, convincing her to eat the forbidden fruit from the Tree of Knowledge. He presents knowledge as a means with which she might equate herself with God, using his perverted reasoning to demonstrate how knowledge can be used for evil. Eve, in turn, convinces Adam to join her in this act of disobedience, and he dooms himself, unable to bear the thought of losing her. Ultimately, he chooses loyalty to Eve over loyalty to God. As the pair’s heightened senses take over, their capacity for reason diminishes. The further Adam and Eve drift from God, the more reduced their powers of reasoning become.

In the falling action, Adam and Eve awaken to their banishment from Paradise. They find themselves in a world of shame and evil, blaming each other for their condition, and Sin and Death subsequently enter the world. The fall, however, paves the way for humanity’s redemption and salvation; thus, Milton claims that his epic surpasses the ancient classics, as it pertains to all of humankind, not to a single hero or nation. The archangel Michael grants Adam visions of a future in which his offspring commit murder, as well as scenes of people living for pleasure and the flesh. Unlike Satan, Adam and Eve repent by praying to God.

Michael, in the poem’s resolution, recounts the idea that a Messiah will eventually arrive to reunite Heaven and Earth, noting that there will be much suffering before that reconciliation. Milton suggests that Adam and Eve’s fall is the “felix culpa,” or happy fault or fortunate fall, for God’s mercy is shown. Individuals, he suggests, may hope to redeem themselves through devotion and obedience to God, forming an aspect of his ultimate plan. Comforted by these suggestions, Adam and Eve, in the poem’s final scene, exit into a new world. They have been led to understand that obedience to God and his love for his creation will lead humanity toward salvation, toward regaining a Paradise that has been lost.

[prettylittleproblem]

Giovanni di Paolo. Italian, (1403-1482). The Creation of the World and the Expulsion from Paradise, 1445. Tempera and gold on wood.

[dangermousie]

W Two Worlds is a rare drama that is even better on rewatch because now you know where it's going, you catch so much additional stuff.

Knowing YJ is the original creator of Kang Chul doesn't just answer the question of how she can be transported into that world but turns the narrative, as I mentioned, into a fight between two creators (YJ and Dad) about the direction of the story.

And in a way, it has a lot to say about fandoms and creators' interactions with it and attitudes in general - it is not insignificant that it's the middle-aged man who wants this story to be all bleak existential despair and end in "there is no meaning" and it's coooool for there to be an unexpected ending even if said ending makes no narrative sense - he wants to go art house!!!! And it's a young woman who wants this to be a story about justice triumphant and love found and hope and happy ending.

It's very much reflecting reality where the latter is often looked down on as inferior (and resented for being more popular) and just "nonsense young women like" (think of the degree of vitriol at worst and contemptuous disdain at best genres and works and things hugely popular with women get.)

And how much do I love that it's the young woman's vision that ultimately triumphs? Heck, one can view YJ as a self-insert/Mary Sue character and the fact that she ends up with the protagonist she created is honestly such a delightful nod to so many fandom things - and also that is perhaps why she triumphs. Because she loves the character she created, not resents him the way Dad does, and an author who loves the character (and by that I mean enjoys that world, that story, the characters - not necessarily like YJ fancies them) will always win over one for whom the act of creation is a resentful chore with no joy. (Side note - by choosing to live on that bridge, KC actually did a good deed for the Dad too - Dad himself admits this gave him hope in a really dark time; maybe that is why W universe rebels when he tries to kill KC - because repaying that with death is unjust.)

Also, as @aysekira and I talked about, it's really a religious parable too - because Kang Chul's mortal sins, sins his creator thinks he should die for are disobedience (ever since that moment on the bridge, he goes his own way more than once) and self-awareness - think of the expulsion from Paradise in the Book of Genesis - the sins worthy of that weren't murder or maiming or anything in modern society viewed as horrible but disobedience and desire to know things. You don't listen to God is n1 sin in that world and so it is in the world of W. The God of Genesis would probably experience some degree of sympathy for the Dad and his decision.

Ultimately, how much do I love this drama? It's a take on creative process, death of the author, and relationships with media we consume. It's a religious parable about free will and a discussion of parental relationships. And it's also a damn good story with chases and make-outs. It's basically a perfect rebuke to Dad's belief that a story cannot be deep unless it's dreary. W has so many interesting things to say but it's also a mad amount of fun!

[firstdeerwife]

C.15

Eve

The sun rose for the first time over a pristine and immaculate world, and Eve awakened for the first time.

Her existence began in the Garden of Eden, a paradise filled with wonders and indescribable beauty.

Created from Adam’s rib, Eve was not just a companion for him but an essence of his very life and love.

Her arrival into the world was an act of divine perfection, a blend of grace and purpose.

Eve walked along the garden’s paths, admiring the flora and fauna surrounding her.

Every flower, every tree seemed to be a reflection of the goodness and perfection that Creation had brought forth.

Together with Adam, she explored every corner of that dreamlike Eden, sharing laughter and discoveries, feeling that everything in their existence had deep meaning.

Life in Eden was a dream from which they did not want to awaken, but temptation and disobedience led them to a harsh reality.

The expulsion from Eden marked the beginning of a life filled with challenges and sacrifices.

Adam and Eve built a life together outside the garden, working hard to make their new home a place of peace and stability.

Their early years were difficult, but mutual love and dedication helped them overcome the obstacles.

In time, Eve became a mother, and the birth of Cain and Abel brought joy and hope to her life.

However, tragedies also touched their home, with the loss of Abel and Cain’s wayward path.

Eve felt the weight of these events in her heart, and her overprotection of Seth, her third son, reflected her desire to protect what she still had.

The years passed, and Eve’s life became a dance of love and suffering.

Adam, her constant companion, became a pillar of strength as she dealt with the loss of her sons and the difficulties of their new life.

Although the shadows of the past were always present, the love between them never faded.

The connection they shared was a beacon of hope amidst the storms.

Life in the countryside grew quieter as they aged, but the arrival of old age brought a new kind of challenge.

Adam, over time, began to deteriorate, and Eve watched as the man who had been her rock faded away.

Despite the pain and sadness, Eve stayed by his side, supporting and caring for him with the love and devotion she had always shown.

Finally, the day came when Adam, her lifelong companion, passed away.

Eve was devastated, but her love for him remained a flame that would not extinguish.

Life without Adam was a void that seemed impossible to fill.

Loneliness became a constant presence, but Eve found solace in memories and in the legacy of their shared love.

The days passed, and Eve, though aged and weary, maintained the dignity and grace that had always characterized her.

She sat in the garden, the place where her journey had begun, and reflected on her life.

The memories of her time in Eden, of her children, and of her beloved Adam filled her mind as she prepared for the final chapter of her existence.

Eve looked up at the starry sky and raised her face to the moon, as if seeking a sign of the peace she had longed for.

Her heart was filled with love and gratitude for the life she had lived, despite its sorrows.

Eve’s life had been one of love and sacrifice, a journey that had culminated in a deep understanding of beauty and pain.

Finally, Eve surrendered to eternal sleep, surrounded by the nature that had witnessed her entire life.

Her body rested in peace, and her spirit joined Adam in eternal rest.

The last leaf of the garden had fallen, but the love that had blossomed there would remain an eternal part of the fabric of life.

[artsandculture]

The Garden of Earthly Delights (1500-1505) 🎨 Hieronymus van Aken aka Bosch 🏛️ Museo del Prado 📍 Madrid, Spain

The Garden of Earthly Delights is Bosch’s most complex and enigmatic creation. For Falkenburg the overall theme of The Garden of Earthly Delights is the fate of humanity, as in The Haywain (P02052), although Bosch visualizes this concept very differently and in a much more explicit manner in the centre panel of that triptych than in The Garden of Earthly Delights. In order to analyse the work’s meaning the content of each panel must be identified. On the outer faces of the triptych Bosch depicted in grisaille the Third Day of the Creation of the World, when the waters were separated from the earth and the earthly Paradise (Eden) created. At the top left we see God the Father as the Creator, according to two Latin inscriptions, one on each panel: For he spake, and it was done and For he commanded, and they were created (Psalms 33:9 and 148:5). On the inner face of the triptych, painted in brilliant colours which contrast with the grisaille, Bosch painted three scenes that share the single common denominator of the concept of sin, which starts in Paradise or Eden on the left panel, with Adam and Eve, and is punished in Hell in the right panel. The centre panel depicts a Paradise that deceives the senses, a false Paradise given over to the sin of lust. This deception is encouraged by the fact that the centre panel is shown as a continuation of Eden through the use of a single, continuous landscape with a high horizon line that allows for a broad, panoramic composition arranged as three superimposed planes, in the panels of the earthly Paradise, the Garden of Earthly Delights and Hell.

While sin is the connecting link between the three scenes, the iconography in the Paradise panel requires further analysis in order fully to appreciate its meaning. As will be noted below in the analysis of the technical documentation, when he initially embarked on the work Bosch included the Creation of Eve on the left panel, but in a second phase he replaced it with God presenting Eve to Adam. This very uncommon subject was associated with the institution of marriage, as Falkenburg and Vandenbroeck discuss (Bosch, 2016). For the latter, the centre panel represents the false paradise of love, known as Grail in the fifteenth and sixteenth centuries, which implied a carnal interpretation of God’s mandate to Be fruitful and multiply, as instituted in marriage. The men and women that Bosch depicts in the Garden of Earthly Delights believe they are inhabiting a paradise for lovers, but this is false and their only fate is punishment in Hell. The extremely pessimistic message that the centre panel conveys is that of the fragility and ephemeral nature of happiness and delight in these sinful pleasures.

In the centre panel, from which the triptych derives its name, Bosch included a large number of naked human figures, with the exception of the pair at the lower right, who are usually identified as Adam and Eve after the Expulsion from Paradise. Men and women, both black and white, are generally seen in groups or pairs, maintaining amorous relations with a powerful erotic charge that refers to the panel’s pre-eminent theme, the sin of lust. The animals, both real and imaginary, are much larger than their proper scale. Among them, Bosch particularly emphasizes two different types of owl that evoke evil. Staring straight out, they direct their disturbing gazes at the viewer at the two lateral edges of the panel, slightly set back from the immediate foreground. Also present are plants and fruit, which are again much larger than their scale dimensions. The entire composition is dotted with pieces of red fruit that contrast with other large and small blue ones, these being the two principal colours in the scene. In contrast to the apparent confusion that prevails in the foreground, geometry imposes itself in the middle ground and background. In the former, Bosch depicted a pool full of naked women. Around it, in an anti-clockwise direction, rides a group of men on different mounts (some of them exotic or imaginary), who have been associated with different Cardinal Sins. In the background of the scene Bosch included five fantastical architectural constructions in the water, the central one similar to the fountain of the Four Rivers in the Paradise panel, although here broken to symbolize its fragility and the ephemeral nature of the delights being enjoyed by the men and women who fill this garden. And now the owl depicted inside the fountain in the Paradise panel is replaced here by human figures in sexually explicit poses.

The right panel depicts Hell and is Bosch’s most striking representation of this subject, on occasions referred to as the musical Hell owing to the significant presence of instruments used to torture sinners who have devoted their time to secular music. In his text in the present catalogue Larry Silver describes the punishments meted out to each sin. While lust prevails in the centre panel, in the scene of Hell all the Cardinal Sins are punished. A good example is the punishment of the avaricious, who are devoured and immediately expelled from the anus of a theriomorphic creature with a bird’s head (a variety of owl) seated on a type of child’s lavatory stool. Gluttons and the sin of gluttony are undoubtedly referred to in the tavern scene located inside the tree-man, in which semi-naked people seated at a table wait to be served toads and other unpleasant creatures by devils, while the envious are tortured by immersion in frozen water. Further punishments correspond to vices censured by society at the time, including board games, while particular social classes are also singled out, including the clergy, who were notably criticized at this period, as reflected in the pig wearing a nun’s veil embracing a naked man in the lower right corner.

Although the triptych in the Museo del Prado is not signed, its attribution to Bosch has never been doubted. Its dating, however, is the subject of considerable debate. The results of the dendrochronological analyses could allow it to be located within the early years of the artist’s activity, around 1480-85, as Vermet stated without any supporting evidence. However, the work’s stylistic proximity to the Adoration of the Magi Triptych in the Prado (P02048), which can be securely dated to 1494 following Duquenne’s identification in 2004 of the donors, Peeter Scheyfve and Agneese de Gramme from Antwerp, confirms that the present work must have been painted in the 1490s and not after 1505, as most authors preferred to believe prior to Duquenne’s discovery. It has recently been argued that it must have been painted in or after 1494 as the image of God the Father creating the world on the reverse of the triptych is inspired by a print by Michel Wolgemut of the same subject -including the same text from the Psalms as appears on the wings- which appeared in Hartman Schedelsche Weltchronik published in Nuremberg in 1493.

Research undertaken in 1967 by Gombrich and Steppe allowed The Garden of Earthly Delights to be associated with the Nassau family. An account by Antonio de Beatis, who accompanied Cardinal Luis de Aragon as his secretary on his trip to the Low Countries, states that on 30 July 1517 the triptych was in the Nassau palace of Coudenberg in Brussels, where De Beatis presumably saw it. Since in the late 1960s the painting was considered to be a late work by Bosch, executed after the death of Engelbert’s II of Nassau in 1504, it was therefore thought that the patron was Henry III of Nassau (1483-1538), Engelbert nephew and heir. In the present day and in the light of the information that locates the triptych in the 1490s, it can be confirmed that it was commissioned from Bosch by Engelbert, who must have intended it for the Coudenberg Palace.

[orthodoxadventure]

Finally comes the last day, usually called "Forgiveness Sunday," but whose other liturgical name must also be remembered: the "Expulsion of Adam from the Paradise of Bliss." This name summarizes indeed the entire preparation for Lent. By now we know that man was created for paradise, for knowledge of God and communion with Him. Man's sin has deprived him of that blessed life and his existence on earth is exile. Christ, the Savior of the world, opens the door of paradise to everyone who follows Him, and the Church, by revealing to us the beauty of the Kingdom, makes our life a pilgrimage toward our heavenly fatherland. Thus at the beginning of Lent, we are like Adam:

Adam was expelled from paradise through food; Sitting, therefore, in front of it he cried: 'Woe to me . . . One commandment of God have I transgressed, depriving myself of all that is good; Paradise holy! Planted for me, And now because of Eve closed to me; Pray to thy Creator and mine that I may be filled again by thy blossom.' Then answered the Savior to him: 'I wish not my creation to perish; I desire it to be saved and to know the Truth; For I will not turn away from him who comes to Me. . .'

Lent is the liberation of our enslavement to sin, from the prison of "this world." And the Gospel lesson of this last Sunday (Matt 6:14-21) sets the conditions for this liberation. The first one is fasting -- the refusal to accept the desires and urges of our fallen nature as normal, the effort to free ourselves from the dictatorship of flesh and matter over the spirit. To be effective, however, our fast must not be hypocritical, a "showing off." We must "appear not unto men to fast but to our Father who is in secret." The second condition is forgiveness -- "If you forgive men their trespasses, your Heavenly Father will also forgive you." The triumph of sin, the main sign of its rule over the world, is division, opposition, separation, hatred. Therefore, the first break through this fortress of sin is forgiveness: the return of unity, solidarity, love. To forgive is to put between me and my "enemy" the radiant forgiveness of God Himself. To forgive is to reject the hopeless "dead-ends" of human relations and to refer them to Christ. Forgiveness is truly a "breakthrough" of the Kingdom into this sinful and fallen world.

More under the Readmore

Lent actually begins at Vespers of that Sunday. The unique service, so deep and beautiful, is absent from so many of our churches! Yet nothing reveals better the "tonality" of Great Lent in the Orthodox Church; nowhere is better manifested its profound appeal to man.

The service begins as solemn Vespers with clergy in bright vestments. The hymns (stichira) which follow the Psalm "Lord, I have cried . . ." announce the coming of Lent and, beyond Lent, the approach of Pascha!

Let us begin the time of fasting in light! Preparing ourselves for the spiritual efforts. Let us purify our soul; let us purify our body. As from food, let us abstain from all passion and enjoy the virtues of the spirit, so that perfected in time by love We may all be made worthy to see the Passion of Christ and the Holy Pascha In spiritual joy!

Then comes, as usual, the Entrance with the evening hymn: "O Gladsome Radiance of the holy glory. . ." The celebrant then proceeds to the "high place" behind the altar for the proclamation of the evening Prokeimenon which alwyas announces the end of one and the beginning of another day. This day's Great Prokeimenon announces the beginning of Lent:

Turn not away Thy face from Thy servant for I am afflicted! Hear me speedily. Attend to my soul and deliver it!

Listen to the unique melody of this verse -- to this cry that suddenly fills the Church: ". . . for I am afflicted!" -- and you will understand this starting point of Lent: the mysterious mixture of despair and hope, of darkness and light. All preparation has now come to an end. I stand before God, before the glory and the beauty of His Kingdom. I realize that I belong to it, that I have no other home, no other joy, no other goal; I also realize that I am exiled from it into the darkness and sadness of sin, "for I am afflicted!" And finally, I realize that only God can help in that affliction, that only He can "attend to my soul." Repentance is, above everything else, a desperate call for that divine help.

Five time we repeat the Prokeimenon. And then, Lent is here! Bright vestments are put aside; lights are extinguished. When the celebrant intones the petitions for the evening litany, the choir responds in the lenten "key." For the first time the lenten prayer of St. Ephraim accompanied by prostrations is read. At the end of the service all the faithful approach the priest and one another asking for mutual forgiveness. But as they perform this rite of reconciliation, as Lent is inaugurated by this movement of love, reunion, and brotherhood, the choir sings the Paschal hymns. We will have to wander forty days through the desert of Lent. Yet at the end shines already the light of Easter, the light of the Kingdom.

--Rev Dr. Alexander Schmemann: Great Lent - Journey to Pascha

[blueheartbookclub]

"Epic Majesty: John Milton's 'Paradise Lost' and the Theological Tapestry of the Human Condition"

John Milton's "Paradise Lost" stands as an unparalleled epic that delves into the cosmic realms of theology, morality, and the human experience. Published in 1667, this monumental work continues to resonate across centuries, offering readers an expansive canvas upon which the grand tapestry of creation, rebellion, and redemption unfolds. The title itself evokes the poignant irony of a paradise lost and the intricate theological explorations that define Milton's magnum opus.

The narrative centers on the biblical tale of the Fall of Man, tracing the events from Satan's rebellion in Heaven to Adam and Eve's expulsion from the Garden of Eden. Milton's blank verse is a majestic river of language, a flowing current that navigates through the celestial and terrestrial landscapes with a divine eloquence. The poetic richness and rhythmic cadence of Milton's verses contribute to the epic grandeur of the work, elevating it to the status of one of the greatest literary achievements in the English language.

At the heart of "Paradise Lost" lies the enigmatic figure of Satan, a rebellious angel whose defiance of God sets in motion the cosmic drama. Milton's portrayal of Satan is complex and multifaceted, challenging readers to grapple with questions of free will, pride, and the nature of evil. The character of Satan becomes a tragic figure, a charismatic and flawed entity whose rebellion is fueled by a misguided sense of autonomy.

Milton's exploration of Adam and Eve, the first human couple, adds another layer to the theological discourse. Their innocence, fallibility, and subsequent expulsion from Eden become symbolic of the broader human experience—caught between the desire for knowledge and the consequences of disobedience. The interplay between free will, temptation, and the inevitability of divine judgment forms the thematic backbone of the narrative.

"Paradise Lost" also engages with profound theological questions, reflecting Milton's own Puritan convictions and his dissent against the hierarchical structure of the Church of England. The work contemplates the nature of God, the problem of evil, and the redemptive power of divine grace. Milton's theological stance, however, remains dynamic, allowing for diverse interpretations and sparking scholarly debates on the nuances of his religious beliefs.

The epic's enduring appeal lies not only in its theological depth but also in its universal themes that transcend religious boundaries. Milton's exploration of the human condition—its aspirations, flaws, and the perennial struggle between good and evil—resonates with readers across cultures and time periods. "Paradise Lost" serves as a testament to the enduring power of literature to grapple with fundamental questions of existence.

In conclusion, John Milton's "Paradise Lost" is a literary colossus that stands at the intersection of theology, philosophy, and literature. The title encapsulates the essence of the narrative—an epic portrayal of the cosmic struggle between divine order and human agency. Milton's poetic brilliance and profound exploration of theological themes ensure that "Paradise Lost" remains an ever-relevant masterpiece that invites readers to ponder the complexities of the human condition and the timeless quest for meaning in a world marked by both paradise and loss.

John Milton's "Paradise Lost" is available in Amazon in paperback 16.99$ and hardcover 24.99$ editions.

Number of pages: 469

Language: English

Rating: 9/10                                           

Link of the book!

Review By: King's Cat

[bm2ab]

Three's a Crowd . 30 November 2024 . The Creation of the World and Expulsion from Paradise . Giovanni di Paolo di Grazia Giovanni di Paolo, The Creation of the World and Expulsion from Paradise, c. 1445, tempera and gold on wood, 46, 4 x 52,1 cm, Metropolitan Museum of Art, New York Giovanni di Paolo di Grazia, one of the most important Italian painters of the 15th-century Sienese school. He is chiefly notable for carrying the brilliantly colourful vision of Sienese 14th-century paintings on into the Renaissance. His early works show the influence of previous Sienese masters, his landscapes and his figures still reverberate with echoes of Duccio's work, but his later style grew steadily more individualized, characterized by vigorous, harsh colors and elongated forms. His art most beautifully reflects the 15th-century artistic conservatism of a commercially declining city.

[usedcarheaven]

"The Creation of the World and the Expulsion from Paradise", 1445, Giovanni di Paolo, Metropolitan Museum of Art

Classic Record by Fritz Willis

[northemoonduringthenight]

But where is wisdom to be found, and where is the place of understanding? Behold the fear of the Lord, that is wisdom: and to depart from evil, is understanding.

Book of Job 28:12,28 Douay-Rheims Bible.

Artwork: Giovanni di Paolo (Italian, c. 1403–1482) The Creation of the World and the Expulsion from Paradise (1445).

[blueheartbooks]

"Epic Majesty: John Milton's 'Paradise Lost' and the Theological Tapestry of the Human Condition"

John Milton's "Paradise Lost" stands as an unparalleled epic that delves into the cosmic realms of theology, morality, and the human experience. Published in 1667, this monumental work continues to resonate across centuries, offering readers an expansive canvas upon which the grand tapestry of creation, rebellion, and redemption unfolds. The title itself evokes the poignant irony of a paradise lost and the intricate theological explorations that define Milton's magnum opus.

The narrative centers on the biblical tale of the Fall of Man, tracing the events from Satan's rebellion in Heaven to Adam and Eve's expulsion from the Garden of Eden. Milton's blank verse is a majestic river of language, a flowing current that navigates through the celestial and terrestrial landscapes with a divine eloquence. The poetic richness and rhythmic cadence of Milton's verses contribute to the epic grandeur of the work, elevating it to the status of one of the greatest literary achievements in the English language.

At the heart of "Paradise Lost" lies the enigmatic figure of Satan, a rebellious angel whose defiance of God sets in motion the cosmic drama. Milton's portrayal of Satan is complex and multifaceted, challenging readers to grapple with questions of free will, pride, and the nature of evil. The character of Satan becomes a tragic figure, a charismatic and flawed entity whose rebellion is fueled by a misguided sense of autonomy.

Milton's exploration of Adam and Eve, the first human couple, adds another layer to the theological discourse. Their innocence, fallibility, and subsequent expulsion from Eden become symbolic of the broader human experience—caught between the desire for knowledge and the consequences of disobedience. The interplay between free will, temptation, and the inevitability of divine judgment forms the thematic backbone of the narrative.

"Paradise Lost" also engages with profound theological questions, reflecting Milton's own Puritan convictions and his dissent against the hierarchical structure of the Church of England. The work contemplates the nature of God, the problem of evil, and the redemptive power of divine grace. Milton's theological stance, however, remains dynamic, allowing for diverse interpretations and sparking scholarly debates on the nuances of his religious beliefs.

The epic's enduring appeal lies not only in its theological depth but also in its universal themes that transcend religious boundaries. Milton's exploration of the human condition—its aspirations, flaws, and the perennial struggle between good and evil—resonates with readers across cultures and time periods. "Paradise Lost" serves as a testament to the enduring power of literature to grapple with fundamental questions of existence.

In conclusion, John Milton's "Paradise Lost" is a literary colossus that stands at the intersection of theology, philosophy, and literature. The title encapsulates the essence of the narrative—an epic portrayal of the cosmic struggle between divine order and human agency. Milton's poetic brilliance and profound exploration of theological themes ensure that "Paradise Lost" remains an ever-relevant masterpiece that invites readers to ponder the complexities of the human condition and the timeless quest for meaning in a world marked by both paradise and loss.

John Milton's "Paradise Lost" is available in Amazon in paperback 16.99$ and hardcover 24.99$ editions.

Number of pages: 469

Language: English

Rating: 9/10                                           

Link of the book!

Review By: King's Cat

[joeabdelsater1]

Blog post 4: Intertextuality and Transmedia

This is a blog post where I examine intertextuality and transmedia through some artistic interpretations that were derived from the Bible. I will also be explaining the constructive relationship that all the media objects share despite their differences.

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In order to carry out a thorough analysis, I will first begin by defining the keywords proposed. "The concept of intertextuality describes the relationship between media products where one text references another text by reusing some of its ideas and meanings" (https://media-studies.com, 2022). As for transmedia, it is the multimodal form of intertextuality. In other words, transmedia is the interaction between different forms of media objects, which leads to the merging of all their contents or their transfer from one form of media to another (https://www.futurelearn.com, n.d.). The media objects don't necessarily have to be of a similar nature as in traditional intertextuality.

Initially, the Bible has always been perceived as a single text which cannot be altered. However, the reality is that not only has the Bible seen multiple versions with translations and the divergence of Christianity, but it has formed a ground for storytelling and artistic creation in many cases as well. This dissipation of biblical concepts is an application of intertextuality in itself. But is it fair to say that this challenges the credibility of the Bible's content?

I believe that just like any other form of intertextuality, one media's representation does not negate another. In fact, all the different forms come together to create a common lexical group for the subject presented. To elaborate, each one of these representations adds to the other even if variations or negations exist between them. Each option pushes you the reader/viewer/audience to question all truths or signs offered and reinforce your belief in a specific representation of your choice. As a Christian believer myself, the concepts that were extracted from the bible (whether altered or not) and were used to produce other creations, serve as a platform for me to discuss, examine and understand the holy book even better.

it is in that same manner that all cases of intertextuality/transmedia form a holistic experience where the reader and his thoughts become the subject in focus, and the author fades away from the spotlight. It is the reader's subjective analysis and understanding of all versions presented that determines the real meaning or truth of a story and the world where it takes place.

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Here are some examples of biblical adaptations over the years:

Paradise Lost

One of the earliest examples of transmedia related to the Bible is "Paradise Lost", an epic poem or a long story told in verse form. The book was first published in London in 1667. The poem narrates the story of Adam and Eve from the Old Testament and explains the creation of Heaven and Earth and the story of the original sin. This interpretation stretches the original story told by the Bible and imagines the couple’s reactions to the multiple events that led to their expulsion from Paradise. The story also shows satan's internal thoughts and reflections, his desire to rule over the world whether it is hell or heaven, and his wish to make it his own empire (Loughborough University, n.d.). All of these details were added by John Milton who transformed the book of Genesis into a 12 books-long allusion (The Editors of Encyclopaedia Britannica, 2023). In this case, we can say that Milton's work is a self-conscious form of intertextuality since it represents a direct reference to the Bible and the initial story of Man, Earth, heaven, and hell. Whether it is accurate or not, his retelling of the biblical classic added more insights into the human condition and sin, and more depth and understanding of satan's rebellion, which makes the overall religious chronicle more believable.

Lucifer

A more recent series inspired by the Bible is Netflix’s Lucifer (2016). The tale follows the first fallen angel Lucifer who has grown tired of his life in hell. After retiring to Los Angeles and abandoning his throne Lucifer indulges in his favourite pastimes (women, wine, and singing). This continues until a murder happens outside of the nightclub he frequents, and for the first time in a billion years, Lucifer feels something frightening close to compassion and sympathy. He meets Chloe an appealing homicide detective who holds an inherent kindness in character, unlike what he is used to. This chain of events depicts Lucifer and his internal conflict and questioning of whether his soul has any hope for redemption (www.rottentomatoes.com, n.d.). It is very apparent that the creation of this story and its main character is highly influenced by the Bible, having satan as its main protagonist. Some of the key concepts used in the series are borrowed from the Holy Book, especially the portrayal of satan's desire for a peaceful life of entertainment away from hell. The constant reference to angels in the series and their personification as characters is also a strong indication that the storyline has direct correlations to the biblical narrative. In return, this once again proves the self-conscious nature of the intertextuality existing as a result. On the same note, we can characterise this case of intertextuality as transmedia, since the information moved from text to film, which are two different types of mediums.

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To conclude, a dynamic relationship is uncovered when exploring different forms of Media that are inspired by biblical stories. Diverse interpretations are thus revealed, which challenge the traditional perception of the Bible as an unchangeable single text. In fact, in transmedia, each version of the text adds to the collective understanding and the engagement of the reader. Additionally, intertextuality is the result of contemporary authors and filmmakers who continue to engage with the Bible in their works. On many occasions, themes and characters are directly reimagined in the context of modern storytelling as shown in Lucifer. In other instances, more subtle references to the concepts of angels and demons in media can be seen as indirect, unconscious cases of transmedia.

Sources

The Editors of Encyclopaedia Britannica, 2023. Paradise Lost | epic poem by Milton. Arts and Culture. [e-journal] Available at: https://www.britannica.com/topic/Paradise-Lost-epic-poem-by-Milton. [Accessed 18 Nov 2023]

www.lboro.ac.uk, (n.d.). Paradise Lost by John Milton. Loughborough University. London. [online] Available at: https://www.lboro.ac.uk/subjects/english/undergraduate/study-guides/paradise-lost/.[Accessed 18 Nov 2023]

Media Studies, 2022. Intertextuality | Definition and Examples. [online] Media Studies. Available at: https://media-studies.com/intertextuality/.[Accessed 18 Nov 2023]

‌FutureLearn. (n.d.). "What is transmedia?". Transmedia and Storytelling. Future Learn. [online] Available at: https://www.futurelearn.com/info/courses/transmedia-storytelling/0/steps/27333#:~:text=Transmedia%20Storytelling.[Accessed 18 Nov 2023]

www.rottentomatoes.com. (n.d.). Lucifer. [online] Available at: https://www.rottentomatoes.com/tv/lucifer. [Accessed 18 Nov 2023]

[pooma-bible]

BIBLE STUDIES - SUMMARY

1. GENESIS (Chapter 1-10)

▪️Chapter 1: [Overview Of The Creation. Creation of heaven, the earth, plants, animals and man in six days. Day 1- light; day and night. Day 2- expanse. Day 3- dry land and vegetation. Day 4- heavenly luminaries. Day 5- fish and birds. Day 6- land animals and humans]

Exegesis:

The biblical account of creation describes how God created the universe in six days. On the first day, God created light, and separated it from darkness, thus creating day and night.

On the second day, God created the expanse, separating the waters above from the waters below.

On the third day, God created dry land, which He called "earth", and the waters, which He called "seas". He then created all vegetation, including plants, trees, and fruits.

On the fourth day, God created the sun, moon, and stars, which would govern the day and night, and mark the seasons and years.

On the fifth day, God created all the creatures of the sea and the birds of the air.

On the sixth day, God created all the land animals, including livestock, beasts of the field, and wild animals. Finally, God created man in His own image, and gave him dominion over all the other creatures of the earth.

After each day of creation, God saw that what He had created was good. On the seventh day, God rested from His work, and blessed and sanctified the day as a day of rest and worship.

▪️Chapter 2: [The Seventh Day, God Rests. The Man and the woman in the garden of Eden. Some Details Of The Creation. The First Woman. Forbidden tree of knowledge].

Exegesis:

In the book of Genesis, on the seventh day of creation, God rested from His work of creating the universe. He saw that everything He had made was good, and He blessed and sanctified the seventh day as a day of rest and worship.

God created the first man, Adam, from the dust of the ground and breathed life into his nostrils. He placed Adam in the garden of Eden, where He had planted every tree that was pleasing to the eye and good for food, including the tree of life and the tree of the knowledge of good and evil.

God then created the first woman, Eve, from one of Adam's ribs, so that he would have a companion and helper. Adam and Eve were both created in God's image and were given dominion over all the other living creatures in the garden.

God gave Adam and Eve one commandment: to not eat from the tree of the knowledge of good and evil, for if they did, they would surely die. However, the serpent tempted Eve to eat from the tree, and she also gave some to Adam, and they both ate. As a result, they were ashamed and tried to hide from God.

God punished them for their disobedience by cursing the serpent and expelling Adam and Eve from the garden. He also made it difficult for them to earn their livelihood by the sweat of their brow and subjected them to pain and death. However, God also promised to send a Savior to redeem humanity from the consequences of sin.

▪️Chapter 3: [Origin Of Sin. The serpent enticed Adam and Eve to eat the forbidden tree. Paradise Lost: God's Judgment. The punishment of mankind. Their first clothing. Expulsion from Eden].

Exegesis:

The origin of sin comes from the story of Adam and Eve in the Garden of Eden. God had commanded them not to eat from the tree of the knowledge of good and evil, but the serpent deceived Eve into eating the fruit, and she convinced Adam to eat as well.

Their disobedience brought sin into the world, and they were filled with shame and guilt. When God came to the garden, they tried to hide from Him. But God knew what had happened and confronted them.

God then passed judgment on the serpent, Eve, and Adam. He cursed the serpent and declared that there would be enmity between the serpent's offspring and the woman's offspring. He also decreed that Eve would experience pain in childbirth, and that Adam would have to toil and struggle to earn a living.

God also made clothes for Adam and Eve out of animal skins, symbolizing their newfound awareness of their nakedness and sin. And then God expelled them from the Garden of Eden, to prevent them from eating from the tree of life and living forever in their sinful state.

The story of Adam and Eve serves as a cautionary tale about the consequences of disobedience and the dangers of temptation. It also teaches us about God's justice and mercy, as He punishes sin but also provides a way of salvation through His son Jesus Christ.

▪️Chapter 4: [Cain and Abel. First Murder. God curses Cain. Cain's descendants and family history. The birth of Seth and Enos]

Exegesis:

Cain and Abel were the sons of Adam and Eve. Cain was a farmer, while Abel was a shepherd. One day, they both made offerings to God, but God accepted Abel's offering and rejected Cain's. This made Cain angry, and he murdered Abel out of jealousy.

God confronted Cain and cursed him for his sin, making it difficult for him to cultivate the land and condemning him to wander the earth as a fugitive. Despite this, God placed a mark on Cain to protect him from those who might seek revenge against him.

Cain went on to have descendants and build a city, which he named after his son Enoch. His descendants were known for their skills in metalworking, music, and livestock breeding.

Meanwhile, Adam and Eve had another son named Seth, who was born after Abel's murder. Seth had a son named Enos, and from him came a line of descendants that would eventually lead to Noah, who built the ark to survive the great flood.

The story of Cain and Abel illustrates the destructive power of envy and the devastating consequences of sin. Cain's punishment serves as a warning to others that God will not tolerate murder and violence. The birth of Seth and his descendants shows that despite the fall of humanity, God continued to provide a way of salvation for those who would follow Him.

▪️Chapter 5 Genealogy From Adam To Noah. The godliness and translation of Enoch. Enoch walked with God.

Exegesis:

The genealogy from Adam to Noah is a biblical account found in the book of Genesis, which lists the descendants of Adam through his son Seth, leading up to Noah and the flood. This genealogy also includes the ages of each person when they had their first son and when they died.

One notable figure in this genealogy is Enoch, who is described as having walked with God and being taken up into heaven without experiencing death. This is seen as a sign of his extraordinary godliness and devotion to God.

The story of Enoch is also significant because it suggests that a human being can have a close relationship with God and attain a high level of spiritual purity. This idea is echoed in other religious traditions, which emphasize the importance of spiritual practices and devotion in achieving enlightenment or union with the divine.

▪️Chapter: 6 Building Of The Ark. Wickedness in the earth increased. God declares to destroy the world. Noah was commissioned to build an ark.

Exegesis:

In response to the increasing wickedness on Earth, God decided to destroy the world. However, He chose Noah as the one righteous man and instructed him to build an ark to ensure the survival of mankind and various animals. The ark was a massive vessel that would serve as a refuge during the impending flood.

Noah faithfully followed God's instructions and began constructing the ark. The task was immense, as the ark had to be large enough to accommodate Noah's family, pairs of every kind of animal, and enough provisions to sustain them during their time on the ark.

Noah faced skepticism and ridicule from the people around him, who did not understand or believe in God's plan. Despite the challenges and obstacles, Noah remained steadfast and continued building the ark, trusting in God's guidance.

As the construction progressed, Noah gathered the animals and brought them into the ark, ensuring the survival of various species. Eventually, the ark was completed, and Noah, along with his family, entered the vessel, ready to ride out the impending flood.

The floodwaters covered the entire earth, wiping out all living creatures outside the ark. However, Noah and the animals on board remained safe and secure. They spent many days and nights on the ark, weathering the storm and awaiting God's instructions.

After the floodwaters receded, the ark came to rest on dry land, and Noah and his family emerged, grateful for their survival. God made a covenant with Noah, promising never to destroy the world with a flood again and establishing the rainbow as a sign of this covenant.

Noah's obedience and faithfulness in building the ark and following God's instructions serve as a testament to the power of trust and righteousness. The story of the building of the ark highlights God's mercy, his desire to save those who are faithful, and the importance of heeding His instructions.

▪️Chapter 7:  Coming Of The Flood. Entering The Ark. The global Flood. All flesh is destroyed by it.

Exegesis:

The global Flood is a significant event described in the Bible where God brought a catastrophic flood to destroy all living creatures on Earth due to the widespread wickedness and corruption of humanity. This event is recorded in the story of Noah and the ark.

As the floodwaters began to rise, Noah, his family, and the animals that had been gathered entered the ark. God instructed Noah to bring two of every kind of animal, male and female, into the ark to ensure their survival. Noah obeyed God's command, and they were all safely inside the massive vessel.

The floodwaters continued to rise, covering the entire earth. The torrential rains and the bursting forth of water from the depths caused a global deluge that lasted for forty days and forty nights. During this time, all flesh outside of the ark, including humans and animals, perished in the flood.

The floodwaters prevailed on the earth for a hundred and fifty days. The ark, designed by God to withstand the mighty flood, floated on the water's surface, preserving the lives within it.

After the floodwaters receded, the ark came to rest on the mountains of Ararat. Noah, his family, and the animals emerged from the ark and witnessed the devastated world around them. They offered sacrifices to God in thanksgiving for their deliverance.

God then made a covenant with Noah, promising never to destroy the world with a flood again. He set the rainbow as a sign of this covenant, a reminder of His faithfulness and mercy.

The story of the global Flood highlights the consequences of human wickedness and the importance of obedience and righteousness. It serves as a reminder of God's judgment, His power to bring both destruction and salvation, and His desire to preserve those who are faithful.

▪️Chapter 8: Ending Of The Flood. The ark rests on Ararat. A Raven then a Dove sent out. The Lord's Promise.

Exegesis:

After the floodwaters subsided, the ark came to rest on the mountains of Ararat. The journey of Noah and the animals on the ark was nearing its end, and they eagerly awaited signs of dry land.

Noah first sent out a raven from the ark to see if the waters had receded. The raven flew back and forth, finding no place to rest, and indicating that the land was still covered by water.

Later, Noah sent out a dove, hoping it would find a place to perch and bring back an olive leaf, a sign that the land was becoming habitable again. However, the dove returned to the ark because it found no place to rest its feet, as the land was still submerged.

Noah waited for another week and sent out the dove again. This time, the dove returned with an olive leaf in its beak, signaling that the floodwaters had receded enough for vegetation to grow. It was a hopeful sign that the land was recovering from the devastation of the flood.

Noah waited for another week and sent out the dove once more. This time, the dove did not return, indicating that it had found a suitable place to live and flourish.

Witnessing these signs, Noah and his family knew that it was time to leave the ark. They disembarked and set foot on the dry land, grateful for their survival and the beginning of a new chapter in human history.

In response to Noah's faithfulness and the completion of the flood's judgment, God made a promise to never again curse the ground because of humanity's actions. He acknowledged that human hearts are inclined towards evil from an early age, but He declared that He would never again destroy every living creature as He had done with the flood.

God established this promise as an everlasting covenant with Noah, his descendants, and all the living creatures on the earth. As a sign of this covenant, God set the rainbow in the sky, serving as a reminder of His faithfulness and mercy.

The ending of the flood narrative demonstrates God's restoration, His commitment to preserving life, and His desire for humanity to live in harmony with Him. It signifies a fresh start for Noah and his family, and the beginning of a new era for the Earth.

▪️Chapter 9: Noah's Family. Instructions for all humankind. Rainbow covenant. Noah gets drunk; Noah dies.

Exegesis:

Noah's family played a significant role in the story of the flood and its aftermath. Alongside Noah, his wife, their three sons (Shem, Ham, and Japheth), and their wives were aboard the ark and were spared from the destruction of the flood. They witnessed the devastation and were tasked with repopulating the Earth.

After the flood, God gave specific instructions to Noah and his family, which included being fruitful and multiplying to fill the Earth. They were also granted permission to eat meat but were instructed not to consume blood.

As a sign of His covenant with Noah, God set the rainbow in the sky. The rainbow represented a promise from God that He would never again destroy the Earth by a flood. It served as a reminder of His faithfulness and mercy towards humanity.

However, the narrative takes a darker turn when Noah, after planting a vineyard, becomes intoxicated with wine and becomes drunk. In his inebriated state, he exposed himself in his tent. Ham, one of Noah's sons, saw his father's nakedness and told his brothers about it.

When Noah woke up and learned what had happened, he cursed Ham's son Canaan, prophesying that Canaan's descendants would serve the descendants of his other sons, Shem and Japheth.

Noah lived for many years after the flood but eventually passed away, completing his earthly journey. His death marked the end of an era and symbolized the passing of the generations that had experienced the cataclysmic flood.

While Noah's story includes moments of triumph, faithfulness, and divine covenant, it also highlights the flaws and imperfections of humanity. Noah's drunkenness and the subsequent incident serve as a reminder that even righteous individuals are capable of making mistakes.

Despite Noah's actions, his story ultimately underscores God's grace and willingness to work with imperfect individuals to fulfill His plans.

▪️Chapter 10:  Genealogy Of Noah's Sons. The family history of Shem, Ham and Japheth, the sons of Noah. Nimrod the first monarch, and the descendants of Canaan.

Exegesis:

The genealogy of Noah's sons provides insight into the family history and lineage of Shem, Ham, and Japheth, who were the three sons of Noah.

Shem was the oldest son of Noah and is considered the ancestor of the Semitic peoples. Shem's descendants include various notable figures in biblical history, such as Eber, whose name is associated with the Hebrews, and Peleg, whose name means "division" and is associated with the division of the Earth in the time of the Tower of Babel. Shem's line ultimately leads to Abram (later known as Abraham), who plays a pivotal role in the biblical narrative as the father of the Israelites and the recipient of God's covenant.

Ham was Noah's middle son. Ham's descendants are associated with various nations and regions, including Canaan, Cush, Mizraim (Egypt), and Put. One of the most well-known figures in Ham's line is Nimrod, who is described as a mighty hunter and is considered the founder of the first kingdom in human history. Nimrod is associated with the cities of Babel, Erech, Accad, and Calneh, and he exerted great influence and authority in the ancient world.

Canaan, the youngest son of Noah, is particularly mentioned as the ancestor of numerous Canaanite peoples who inhabited the land that would later become known as Canaan or the Promised Land. The descendants of Canaan include various tribes and nations, such as the Hittites, Jebusites, Amorites, Girgashites, Hivites, Arkites, Sinites, Arvadites, Zemarites, and Hamathites. These people would play a significant role in the biblical narrative as the Israelites later entered and conquered the land under Joshua.

The genealogy of Noah's sons demonstrates the diverse and expansive roots of many nations and peoples in the ancient world. It sets the stage for the unfolding of biblical history and the emergence of significant figures and nations throughout subsequent generations.