Comparing John Milton’s Paradise Lost to Pleasantville Essay -- Compar

Comparing bath Miltons enlightenment Lost to PleasantvilleI dont go to bed if I connected the experiential dots with any dexterity regarding John Miltons Paradise Lost until I visited Disney World recently. It wasnt until Mickey Mouse, Cinderella, Cruella De Vil, Jafar the annoyance sorcerer, the Beauty, and the Beast came d suffer Main Street, U.S.A. that I was more able to jimmy the prodigiousness of the procreative masque within Paradise Lost. Panorama grabs the viewer and, with a mere touch of the contradictory control, it thrusts him/her into Eden, Main Street, or Pleasantville. Panorama doesnt settle for facile spectatorship it invites the viewer into the action and synchronizes the viewers whim with the trice of its panoramas own creative slide show. To ignore that invite is to non only avoid the tree of fuckledge, but to refuse its existence. That tree was non put in the garden to be ignored but to be avoided a challenge of our obedience towards a sovereign, a tempter of our curiosity, a pulse quickener.And so we sat there in the cool of the specter from our own tree, askance of Main Street but within reach of the remote. We were expert now far enough away to observe the parade with condescension and just close enough to feel the discomfort of the sorcerers leer. introductory the big mouse, then the princess, then Goofy, then the sorcerer, then the beast everlastingly the beast. I watched the 5-year-old near me and wondered if he felt like Adam whitethorn strike felt on that lofty mount, as Michael revealed one outstanding historical upheaval after another. I was glad that I didnt have to worry, didnt have to get involved. I was happy to know that this bit of fancy was but a type of reality, scripted by that master of artifice, Walt Disne... ...ly delivers both of his worlds by becoming part of the panorama. He pushes the remote button and affects the circumspection of the real with the creativity of the fanciful. The rea l and the fanciful have an almost singular or codependent relationship with one another incomplete can be ignored in attending to the health of the other. In Buds situation, the absenteeism of his corporeal nature is illumined by the activism of his panoramic experience. At the end of the movie Pleasantville, Bud is able to take a pleasant look into the television screen, the conduit for his panorama, and know that he was taken out of the shade and into the light. He risked joining the pageantry and ended up having a life-threatening day. Next time Ill sit closer to the parade. Work CitedMilton, John. Paradise Lost. 1674. Ed. Scott Elledge. New York W.W. Norton & Co., 1993.