"Milton was of the devil's party but didn't know it" - Rated 
As Blake so rightly says, Milton's Satan is the true hero of PL - however unwittingly and however horrified Milton might have been to think it. Rebellious, over-reaching, full of pride and arrogance, he yet leaps off the page at us with his intelligence and his rhetoric and his plots.
In a way it's not that surprising: taking classical epic as his model, Milton creates an anti-hero in the mould of Achilles, also driven by pride and the urge to impose himself on his world. One of the many pleasures of Milton's great narrative poem is precisely the identifications of classical epic conventions and the innovative uses to which he puts them.
It seems it's not fashionable to read poetry these days, especially not narrative poetry (as opposed to `personal' lyric) but it's a huge shame to miss out on writing as thrilling as Milton's. With his great rolling sentences and complex diction it might take a little while to get into his rhythm but the effort is well worth it. From the opening scene where Satan and his minions are thrown out of heaven, to the quiet ending as Adam and Eve walk hand in hand away from Eden, Paradise Lost truly is a reading experience to savour.
Excellent work, average edition - Rated 
Although "Paradise Lost" is one of the great works of the English language and should be read by every serious literary mind, I found the Penguin edition somewhat lacking. The notes are often brief and unhelpful, and the introduction, while well-written, misses certain key points of cultural history and context which are found in other editions. Overall, while this is a decent copy of the work for a first-time reader, I would recommend that the serious Milton fan find a more well-thought-out and better organised edition for further study and enjoyment.
An Excellent Edition - Rated
A work almost without parallel in terms of length and epic nature, the blind Milton beautifully captures what he believes in relation to the creation story. Using a blend of Greek myth from his extensive knowledge of classical literature, polemic verse which is at times intoxicating (particularly in the presentation of the quasi-hero Satan), and his own religious convictions, Milton presents at once a complex and enthralling tale. It also seems to reveal his inner difficulties with the subject matter, as the many fascinating contradictions regarding pre destination and Adam and Eve¡¦s position as free beings suggest. William Blake pointed out that the ease which Milton found talking about Satan instead of God suggested that he was like many other poets, ¡¥of the devils party without knowing it.¡¦ To read it is a pleasure devotedly to be wished (the best version is probably the Penguin Classics), but expect to be challenged and provoked in equal measure. This edition is without a doubt the best you can buy, with an outstanding introduction, ¡¥Table of Dates,¡¦ ¡¥Further Reading¡¦ section, and a ¡¥Note on the text.¡¦ The Notes at the back of the book are nearly always insightful and useful, and try as much as possible to be accurate about the possibly source for each of Milton¡¦s numerous literary references, most of them to the Classical authors and to Greek mythology. Highly Recommended.
Classic work - Rated
Of Man's first disobedience and the fruit
Of that forbidden tree whose mortal taste
Brought death into the world and all our woe,
With loss of Eden, till on greater Man
Restore us and regain the blissful seat
Sing, Heavenly Muse...
Not a lot people know that 'Paradise Lost' has as a much lesser known companion piece 'Paradise Regained'; of course, it was true during Milton's time as it is today that the more harrowing and juicy the story, the better it will likely be remembered and received. This is not to cast any aspersion on this great poem, however. It has been called, with some justification, the greatest English epic poem. The line above, the first lines of the first book of the poem, is typical of the style throughout the epic, in vocabulary and syntax, in allusiveness. The word order tends toward the Latinate, with the object coming first and the verb coming after. Milton follows many classical examples by personifying characters such as Death, Chaos, Mammon, and Sin. These characters interact with the more traditional Christian characters of Adam, Eve, Satan, various angels, and God. He takes as his basis the basic biblical text of the creation and fall of humanity (thus, 'Paradise Lost'), which has taken such hold in the English-speaking world that many images have attained in the popular mind an almost biblical truth to them (in much the same way that popular images of Hell owe much to Dante's Inferno). The text of Genesis was very much in vogue in the mid-1600s (much as it is today) and Paradise Lost attained an almost instant acclaim. John Milton was an English cleric, a protestant who nonetheless had a great affinity for catholic Italy, and this duality of interests shows in much of his creative writing as well as his religious tracts. Milton was nicknamed 'the divorcer' in his early career for writing a pamphlet that supported various civil liberties, including the right to obtain a civil divorce on the grounds of incompatibility, a very unpopular view for the day. Milton held a diplomatic post under the Commonwealth, and wrote defenses of the governments action, including the right of people to depose and dispose of a bad king. Paradise Lost has a certain oral-epic quality to it, and for good reason. Milton lost his eyesight in 1652, and thus had to dictate the poem to several different assistants. Though influenced heavily by the likes of Virgil, Homer, and Dante, he differentiated himself in style and substance by concentrating on more humanist elements. Say first -- for Heaven hides nothing from thy view,
Nor the deep tract of Hell -- say first what cause
Moved our grand Parents, in that happy state,
Favoured of Heaven so highly, to fall off
From their Creator and transgress his will,
For one restraint, lords of the world besides? Milton drops us from the beginning into the midst of the action, for the story is well known already, and proceeds during the course of the books (Milton's original had 10, but the traditional epic had 12 books, so some editions broke books VII and X into two books each) to both push the action forward and to give developing background -- how Satan came to be in Hell, after the war in heaven a description that includes perhaps the currently-most-famous line: Here we may reign secure, and in my choice
To reign is worth ambition though in hell:
Better to reign in hell, that serve in heav'n. (Impress your friends by knowing that this comes from Book I, lines 261-263 of Paradise Lost, rather than a Star Trek episode!) The imagery of warfare and ambition in the angels, God's wisdom and power and wrath, the very human characterisations of Adam and Eve, and the development beyond Eden make a very compelling story, done with such grace of language that makes this a true classic for the ages. The magnificence of creation, the darkness and empty despair of hell, the manipulativeness of evil and the corruptible innocence of humanity all come through as classic themes. The final books of the epic recount a history of humanity, now sinful, as Paradise has been lost, a history in tune with typical Renaissance renderings, which also, in Milton's religious convictions, will lead to the eventual destruction of this world and a new creation. A great work that takes some effort to comprehend, but yields great rewards for those who stay the course.
just incredible - Rated
I rank Milton's talents which are at their very best in Paradise Lost with the all time greats of English and world literature. For centuries poets spoke of their admiration for Milton and Shakespeare as the English classics, a position he unfairly lost and to whom we can thank the feeble likes of Leavis. The epic follows the events surrounding the biblical story in genesis of the fall of man. For his epic Milton introduces the war in Heaven between the faithful and the follows of Satan; the latters entering the Serpent and seducing Eve and the couple eventual expulsion from Eden. A dry summary of what is written in the most elevated verse. Theological issues are fleshed out through the story and it is so pliable to interpretation. Shelley who was an Atheist(and annoying) thought it highlighted the incongruities in the Orthodox Christian God, Blake thought Milton was of the Devil's party without knowing it and C.S.Lewis found it a pillar of Orthodox Christendom. Im with Blake. No figure comes of especially well from the melee. Satan wallows in his own spite and God seems like an unimpassioned lawyer, whereas Adam and Eve feel like victims of two sides and ultimately God. Please dont be put off feeling its some kind of anti-religious propaganda -you can still believe in an impersonal God, read Jung,realise Hindu's see evil as part of the Ultimate Deity Brahman's nature and hosts of other ideologies didnt develop the Western fixation of making God just a big superman with a benevolent beard, I prefer a God with a dark side- I write all this because I dont want anyone to pass up the chance of reading this. As well as theology Milton tackles politics. It isn't difficult to see how someone who supported the regicide of Charles I, had an office in Cromwell's republic could have depicted the tension and difficulties between the King of Heaven and his Rebel opponent who is a mixture of admirable and reprehensible qualities.
All in all I think Milton is a writer of epics who sits comfortably on my shelf by Dante, Homer, Virgil and an English dramatist whose name escapes me.
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