The focus of the twentieth-century translators, who lived through the world wars, shifted from the form to the rich imagery of Milton’s poem, in particular his exploration of the themes of vanity, destruction, and exile. The discussion in Heaven is moving and theologically interesting, but the parts of the poem treating the evil. Wesley reports that in the competition for the title of world’s greatest poem, the preference has generally been given by impartial judges to Milton’s ‘Paradise Lost,’ but, he. It demonstrates that the eighteenth- and nineteenth-century translators of Milton, who worked at a time when Poland had lost its political sovereignty, focused specifically on the form of the poem, presenting models for a modern Polish epic poem that could help sustain Polish cultural identity. As the narrative of Paradise Lost shifts from its sustained focus on Hell and Satan and begins to present glimpses of Heaven and God, we may feel that the story loses some of the intense interest and appeal that it began with. A summary of the epic masterpiece in plain English for the lazy student or teacher in need. Danielson borrows the word inimitable from John Wesley, who in 1763 was already articulating the justification for a prose translation of the poem. The chapter explores the historical and political contexts in which Paradise Lost was translated into Polish, discusses the most important actors involved in its publication, and analyses the strategies employed by the translators. This chapter offers a historical account of the presence of Paradise Lost in translation and Polish literature, especially how the poem’s reception in Poland has been shaped by complex modes of linguistic and cultural transfer. The image of a dove comes from John 1:32, in which the Holy Spirit appeared as a dove.
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