Tragic Structure . . . 20)Steadman goes on to defend Milton's changes in the form of the epic, saying that "such revaluations are not unusual in the epic tradition; they were in fact inevitable" (20). It is important, before continuing with an examination of Paradise Lost and its epic characteristics and conventions (specifically, those in Book I), to review for a moment exactly what an "epic" is. Again, according to Lewalski, "Renaissance critics generally thought of epics as long poems treating heroic actions or other weighty matters in a high style, thereby evoking awe or wonder" (12). Today's definition does not differ; the following summary of characteristics and conventions of the epic is taken from Thrall and Hibbard's A Handbook to Literature, wherein they write that an epic is "a long narrative POEM in elevated STYLE presenting characters of high position in a series of adventures which form an organic whole through their relation to a central figure of heroic proportions and through their development of EPISODES important to the history of a nation or race." Common characteristics include The hero is a figure of heroic stature, of national or international importance, and of great historical or legendary significance; (2) The setting is vast in scope, covering great nations, the world, or the universe; (3) The action consists of deeds of great valor or requiring superhuman courage; (4) Supernatural forces--gods, angels, demons--interest themselves in the action and intervene from time to time; (5) a STYLE of sustained elevation and grand simplicity is used; and (6) the epic poet recounts the deeds of his heroes with objectivity. (174-76) There are also a number of common devices or CONVENTIONS used by most epic poets: ". . . the poet opens by stating his theme, invokes a Muse to inspire and instruct him, and opens his narrative 'in medias res'--in the middle of things--giving the necessary EXPOSITION in later portions of the ...
