Paradise Lost: Summary and Contents

Peter Paul Rubens (1577–1640), The Fall of Man (after Titian) (1628-29), oil on canvas, 238 x 184.5 cm, Museo Nacional del Prado, Madrid, Spain. Wikimedia Commons.

A summary, in Milton’s own words, of his epic Paradise Lost, with some of the finest paintings and illustrations, and links to each article in this series.

The Shepherd's Dream, from 'Paradise Lost' 1793 by Henry Fuseli 1741-1825
Henry Fuseli (1741–1825), The Shepherd’s Dream, from ‘Paradise Lost’ (1793), oil on canvas, 154.3 x 215.3 cm, The Tate Gallery (Purchased 1966), London. © The Tate Gallery and Photographic Rights © Tate (2016), CC-BY-NC-ND 3.0 (Unported),

Invitation to a new series

This First Book proposes, first in brief, the whole subject, Man’s disobedience, and the loss thereupon of Paradise wherein he was placed: then touches the prime cause of his fall, the Serpent, or rather Satan in the serpent; who revolting from God, and drawing to his side many legions of Angels, was by the command of God driven out of Heaven, with all his crew, into the great Deep.

Which action passed over, the poem hastens into the midst of things, presenting Satan with his Angels now fallen into Hell, described here, not in the Centre, (for heaven and earth may be supposed as yet not made, certainly not yet accursed,) but in a place of utter darkness, fitliest called Chaos: here Satan, with his Angels lying on the burning lake, thunder-struck and astonished, after a certain space recovers, as from confusion, calls up him who next in order and dignity lay by him; they confer of their miserable fall. Satan awakens all his legions, who lay till then in the same manner confounded; they rise, their numbers, array of battle, their chief leaders named, according to the idols known afterwards in Canaan and the countries adjoining.

To these Satan directs his speech, comforts them with hopes yet of regaining Heaven, but tells them lastly of a new world and new kind of creature to be created, according to an ancient prophecy or report in Heaven; for that Angels were long before this visible creation, was the opinion of many ancient Fathers. To find out the truth of this prophecy, and what to determine on, he refers to a full council. What his associates thence attempt. Pandemonium the palace of Satan rises, suddenly built out of the Deep; the infernal Peers there sit in council.

John Martin (1789-1854), Pandemonium (1823-27), oil on canvas, dimensions not known, Musée du Louvre, Paris. Image by Jean-Pierre Dalbéra, via Wikimedia Commons.

Book 1

The consultation begun, Satan debates whether another battle be to be hazarded for the recovery of Heaven; some advise it, others dissuade: a third proposal is preferred, mentioned before by Satan, to search the truth of that prophecy or tradition in Heaven concerning another world, and another kind of creature, equal or not much inferior to themselves, about this time to be created; their doubt who shall be sent on this difficult search; Satan their chief undertakes alone the voyage, is honoured and applauded.

The council thus ended, the rest betake them several ways, and to several employments, as their inclinations lead them, to entertain the time till Satan return. He passes on his journey to Hell-gates, finds them shut, and who sat there to guard them, by whom at length they are opened, and discover to him the great gulf between Hell and Heaven; with what difficulty he passes through, directed by Chaos, the power of that place, to the sight of this new World which he sought.

William Blake (1757–1827), Satan, Sin, and Death: Satan Comes to the Gates of Hell (Butts Set) (1808), paper, 50 x 39 cm, The Victoria and Albert Museum, London. Wikimedia Commons.

Book 2

God, sitting on his throne, sees Satan flying toward this World, then newly created: shews him to the Son, who sat at his right hand; foretells the success of Satan in perverting mankind; clears his own justice and wisdom from all imputation, having created man free and able enough to have withstood his tempter; yet declares his purpose of grace toward him, in regard he fell not of his own malice, as did Satan, but by him seduced.

The Son of God renders praises to his Father for the manifestation of his gracious purpose toward man; but God again declares, that grace cannot be extended toward man without the satisfaction of Divine justice; man hath offended the majesty of God by aspiring to Godhead, and therefore with all his progeny devoted to death must die, unless some one can be found sufficient to answer for his offence, and undergo his punishment. The Son of God freely offers himself a ransom for man: the Father accepts him, ordains his Incarnation, pronounces his exaltation above all names in Heaven and Earth; commands all the angels to adore him; they obey, and hymning to their harps in full quire, celebrate the Father and the Son.

Meanwhile Satan alights upon the bare convex of this World’s uttermost orb; where wandering he first finds a place, since called the Limbo of Vanity; what persons and things fly up thither; thence comes to the gate of Heaven, described ascending by stairs, and the waters above the firmament that flow about it: his passage thence to the orb of the sun; he finds there Uriel the regent of that orb, but first changes himself into the shape of a meaner angel; and pretending a zealous desire to behold the new creation, and Man whom God had placed here, inquires of him the place of his habitation, and is directed; alights first on mount Niphates.

Gustave Doré (1832–1883), Toward the Coast of Earth Beneath, Down From the Ecliptic, Sped with Hoped Success, Throws His Steep Flight in Many an Aëry Wheel (Book 3, 739-741) (1866), engraving for ‘Paradise Lost’, John Milton, Cassell, Petter and Galpin, further details not known. Wikimedia Commons.

Book 3

Satan now in prospect of Eden, and nigh the place where he must now attempt the bold enterprise which he undertook alone against God and Man, falls into many doubts with himself, and many passions, fear, envy, and despair; but at length confirms himself in evil, journeys on to Paradise, whose outward prospect and situation is described, overleaps the bounds, sits in the shape of a cormorant on the Tree of Life, as highest in the garden, to look about him.

The garden described; Satan’s first sight of Adam and Eve; his wonder at their excellent form and happy state, but with resolution to work their fall; overhears their discourse, thence gathers that the Tree of Knowledge was forbidden them to eat of under penalty of death; and thereon intends to found his temptation by seducing them to transgress: then leaves them awhile, to know further of their state by some other means.

Meanwhile Uriel descending on a sunbeam warns Gabriel, who had in charge the gate of Paradise, that some evil spirit had escaped the Deep, and passed at noon by his sphere in the shape of a good angel down to Paradise, discovered after by his furious gestures in the mount. Gabriel promises to find him ere morning. Night coming on, Adam and Eve discourse of going to their rest: their bower described; their evening worship. Gabriel drawing forth his bands of nightwatch to walk the round of Paradise, appoints two strong angels to Adam’s bower, less the Evil Spirit should be there doing some harm to Adam or Eve sleeping; there they find him at the ear of Eve, tempting her in a dream, and bring him, though unwilling, to Gabriel; by whom questioned, he scornfully answers, prepares resistance, but, hindered by a sign from Heaven, flies out of Paradise.

Henry Fuseli (1741–1825), Satan, Touched by Uriel’s Spear (1779), oil on canvas, 230.5 x 276.3 cm, Staatsgalerie Stuttgart, Stuttgart, Germany. Wikimedia Commons.

Book 4

Morning approached, Eve relates to Adam her troublesome dream; he likes it not, yet comforts her: they come forth to their day-labors; their morning hymn at the door of their bower. God to render Man inexcusable sends Raphael to admonish him of his obedience, of his free estate, of his enemy near at hand, who he is, and why his enemy, and whatever else may avail Adam to know.

Raphael comes down to Paradise, his appearance described, his coming discerned by Adam afar off, sitting at the door of his bower; he goes out to meet him, brings him to his lodge, entertains him with the choicest fruits of Paradise got together by Eve; their discourse at table: Raphael performs his message, minds Adam of his state and of his enemy; relates at Adam’s request who that enemy is, and how he came to be so, beginning from his first revolt in Heaven, and the occasion thereof; how he drew his legions after him to the parts of the North, and there incited them to rebel with him, persuading all but only Abdiel a Seraph, who in argument dissuades and opposes him, then forsakes him.

William Blake (1757–1827), Satan Spying on Adam and Eve’s Descent into Paradise (Thomas Set) (1807), paper, 25 x 21 cm, The Huntington Library, San Marino, CA. Wikimedia Commons.

Book 5

Raphael continues to relate how Michael and Gabriel were sent forth to battle against Satan and his Angels. The first fight described: Satan and his Powers retire under night: he calls a council, invents devilish engines, which in the second day’s fight put Michael and his Angels to some disorder: but they at length, pulling up mountains, overwhelmed both the force and machines of Satan: yet the tumult not so ending, God on the third day sends Messiah his Son, for whom he had reserved the glory of that victory: he, in the power of his Father, coming to the place, and causing all his legions to stand still on either side, with his chariot and thunder driving into the midst of his enemies, pursues them unable to resist toward the wall of Heaven; which opening, they leap down with horror and confusion into the place of punishment prepared for them in the Deep: Messiah returns with triumph to his Father.

William Blake (1757–1827), Raphael Warns Adam and Eve (Butts Set) (1808), paper, 50 x 39 cm, The Museum of Fine Arts Boston, Boston, MA. Wikimedia Commons.
William Blake (1757–1827), The Rout of the Rebel Angels (Butts Set) (1808), paper, 50 x 39 cm, The Museum of Fine Arts Boston, Boston, MA. Wikimedia Commons.

Book 6

Raphael, at the request of Adam, relates how and wherefore this World was first created; that God, after the expelling of Satan and his Angels out of Heaven, declared his pleasure to create another world, and other creatures to dwell therein; sends his Son with glory, and attendance of Angels, to perform the work of Creation in six days: the Angels celebrate with hymns the performance thereof, and his reascention into Heaven.

Gustave Doré (1832–1883), Meanwhile the Tepid Caves, and Fens, and Shores, Their Brood as Numerous Hatch (Book 7, 417-418) (1866), engraving for ‘Paradise Lost’, John Milton, Cassell, Petter and Galpin, further details not known. Wikimedia Commons.

Book 7

Adam inquires concerning celestial motions, is doubtfully answered, and exhorted to search rather things more worthy of knowledge: Adam assents, and still desirous to detain Raphael, relates to him what he remembered since his own creation, his placing in Paradise, his talk with God concerning solitude and fit society, his first meeting and nuptials with Eve, his discourse with the Angel thereupon; who after admonitions repeated departs.

William Blake (1757–1827), The Creation of Eve (Butts Set) (1808), paper, 50 x 39 cm, The Museum of Fine Arts Boston, Boston, MA. Wikimedia Commons.

Book 8

Satan having compassed the earth, with meditated guile returns as a midst by night into Paradise, enters unto the Serpent sleeping. Adam and Eve in the morning go forth to their labors, which Eve proposes to divide in several places, each laboring apart; Adam consents not, alleging the danger, lest that enemy, of whom they were forewarned, should attempt her found alone. Eve, loth to be thought not circumspect or firm enough, urges her, going apart, the rather desirous to make trial of her strength; Adam at last yields.

The Serpent finds her alone; his subtle approach, first gazing, then speaking, with much flattery extolling Eve above all other creatures. Eve, wondering to hear the Serpent speak, asks how he attained to human speech and such understanding not till now: the Serpent answers, that by tasting of a certain tree in the garden he attained both to speech and reason, till then void of both. Eve requires him to bring her to that tree, and finds it to be the Tree of Knowledge forbidden.

The Serpent now grown bolder, with many wiles and arguments induces her at length to eat; she, pleased with the taste, deliberates a while whether to impart thereof to Adam or not, at last brings him of the fruit, relates what persuaded her to eat thereof. Adam at first amazed, but perceiving her lost, resolves through vehemence of love to perish with her; and extenuating the trespass eats also of the fruit. The effects thereof in them both; they seek to cover their nakedness; then fall to variance and accusation of one another.

John Roddam Spencer Stanhope (1829–1908), The Temptation of Eve (c 1877), oil on canvas, dimensions not known, Private collection. Wikimedia Commons.

Book 9

Man’s transgression known, the guardian Angels forsake Paradise, and return up to Heaven to approve their vigilance, and are approved; God declaring that the entrance of Satan could not be by them prevented. He sends his Son to judge the transgressors, who descends and gives sentence accordingly: then in pity clothes them both, and reascends.

Sin and Death sitting till then at the gates of Hell, by wondrous sympathy feeling the success of Satan in this new world, and the sin by Man there committed, resolve to sit no longer confined in Hell, but to follow Satan their sire up to the place of Man: to make the way easier from Hell to this world to and fro, they pave a broad high-way or bridge over Chaos, according to the track that Satan first made; then preparing for Earth, they meet him proud of his success returning to Hell; their mutual gratulation.

Satan arrives at Pandemonium, in full assembly relates with boasting his success against Man; instead of applause is entertained with a general hiss by all his audience, transformed with himself also suddenly into serpents, according to his doom given in Paradise; then, deluded with a show of the forbidden tree springing up before them, they, greedily reaching to take of the fruit, chew dust and bitter ashes.

The proceedings of Sin and Death; God fortels the final victory of his Son over them, and the renewing of all things; but for the present commands his Angels to make several alterations in the heavens and elements. Adam more and more perceiving his fallen condition heavily bewails, rejects the condolement of Eve; she persists, and at length appeases him: then, to evade the curse likely to fall on their offspring, proposes to adopt violent ways, which he approves not; but conceiving better hope, puts her in mind of the late promise made them, that her seed should be revenged on the Serpent, and exhorts her with him to seek peace of the offended Deity, by repentance and supplication.

Gustave Doré (1832–1883), Dreadful was the Din of Hissing Through the Hall, Thick Swarming Now With Complicated Monsters, Head and Tail (Book 10, 521-523) (1866), engraving for ‘Paradise Lost’, John Milton, Cassell, Petter and Galpin, further details not known. Wikimedia Commons.

Book 10

The Son of God presents to his Father the prayers of our first parents now repenting, and intercedes for them. God accepts them, but declares that they must no longer abide in Paradise: sends Michael with a band of Cherubim to dispossess them; but first to reveal to Adam future things: Michael’s coming down. Adam shews to Eve certain ominous signs; he discerns Michael’s approach; goes out to meet him; the Angel denounces their departure. Eve’s lamentation. Adam pleads, but submits: The Angel leads him up to a high hill; sets before him in vision what shall happen till the Flood.

The House of Death 1795-c. 1805 by William Blake 1757-1827
William Blake (1757–1827), The House of Death (1795–c 1805), colour print, ink and watercolour on paper, 48.5 x 61 cm, The Tate Gallery (Presented by W. Graham Robertson 1939), London. © The Tate Gallery and Photographic Rights © Tate (2016), CC-BY-NC-ND 3.0 (Unported),

Book 11

The Angel Michael continues, from the Flood, to relate what shall succeed; then, in the mention of Abraham, comes by decrees to explain who that Seed of the Woman shall be, which was promised Adam and Eve in the Fall; his incarnation, death, resurrection, and ascension; the state of the Church till his second coming.

Adam, greatly satisfied and recomforted by these relations and promises, descends the hill with Michael; wakens Eve, who all this while had slept, but with gentle dreams composed to quietness of mind and submission. Michael in either hand leads them out of Paradise, the fiery sword waving behind them, and the Cherubim taking their stations to guard the place.

Benjamin West (1738–1820), The Expulsion of Adam and Eve from Paradise (1791), oil on canvas, 186.8 x 278.1 cm, The National Gallery of Art (Avalon Fund and Patrons’ Permanent Fund), Washington, DC. Courtesy of The National Gallery of Art.

Book 12

Source of text: Wikisource.


Wikipedia on John Milton
Wikipedia on Paradise Lost
Wikimedia text of Paradise Lost

Dartmouth’s superb annotated version in its John Milton Reading Room.

Pablo Auladell (2017) Paradise Lost, by John Milton, a graphic novel, Pegasus Books. ISBN 978 1 68177 362 9.

John Leonard (ed) (2000) Paradise Lost, John Milton, Penguin Classics. ISBN 978 0 140 42439 3.
Gordon Teskey (ed) (2005) Paradise Lost, John Milton, Norton Critical Editions. ISBN 978 0 393 92428 2.
Louis Schwartz (ed) (2014) The Cambridge Companion to Paradise Lost, Cambridge UP. ISBN 978 1 107 02946 0.