text:
Degrassi: Next Class (season 4)
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Degrassi: Next Class
(season 4)
Country of origin
Canada
No. of episodes
10
Release
Original network
Family (Canada)
Netflix (Internationally)
Original release
Canada: June 30, 2017 (Family Channel App)[1]
July 3, 2017 (F2N)[2]
Season chronology
← Previous
Season 3
List of Degrassi: Next Class episodes
The fourth season of Degrassi: Next Class was released on June 30, 2017 on the Family Channel App ahead of its television premiere on July 3, 2017 on Family Channel under the teen block F2N in Canada. It streamed internationally on July 7, 2017 through Netflix.[3][2][4][1] This season follows a group of high school juniors and seniors from Degrassi Community School, a fictional school in Toronto, Ontario, and depicts some of the typical issues and challenges common to a teenager's life. This season picks up during the second semester of the current school year. It will tell the stories of a new generation navigating high school drama with groundbreaking stories including mental health, gender identity, sexual identity, acceptance, faith, terrorism, disabilities, sex, hate crimes and more.[5] The show continues the running theme of targeting the new post-millennial teen cohort known as Generation Z.
Contents
[hide]
1 Cast
1.1 Series regulars
1.2 Guest stars
1.2.1 Alumni
1.2.2 Students
1.2.3 Other
1.2.4 Parents & Faculty
2 Production
3 Episodes
4 References
5 External links
Cast[edit]
Series regulars[edit]
The fourth season has twenty-one actors receiving star billing with all twenty-one of them returning from the previous season.[1]
Amanda Arcuri as Lola Pacini (10 episodes)
Amir Bageria as Baaz Nahir (7 episodes)
Soma Bhatia as Goldi Nahir (8 episodes)
Jamie Bloch as Yael Baron (7 episodes)
Stefan Brogren as Archie "Snake" Simpson (1 episode)
Chelsea Clark as Esme Song (9 episodes)
Reiya Downs as Shaylynn "Shay" Powers (6 episodes)
Ana Golja as Zoe Rivas (8 episodes)
Nikki Gould as Grace Cardinal (10 episodes)
Ricardo Hoyos as Zigmund "Zig" Novak (9 episodes)
Ehren Kassam as Jonah Haak (10 episodes)
Andre Kim as Winston "Chewy" Chu (7 episodes)
Lyle Lettau as Tristan Milligan (7 episodes)
Spencer MacPherson as Hunter Hollingsworth (9 episodes)
Eric Osborne as Miles Hollingsworth III (7 episodes)
Parham Rownaghi as Saad Al' Maliki (6 episodes)
Dante Scott as Vijay Maraj (7 episodes)
Olivia Scriven as Maya Matlin (7 episodes)
Sara Waisglass as Francesca "Frankie" Hollingsworth (9 episodes)
Richard Walters as Deon "Tiny" Bell (8 episodes)
Dalia Yegavian as Rasha Zuabi (8 episodes)
Guest stars[edit]
Alumni[edit]
Jake Epstein as Craig Manning
Chloe Rose as Katie Matlin
Students[edit]
Diya Kittur as Abra Al' Maliki
Other[edit]
Charlie Gillespie as Oliver
Parents & Faculty[edit]
Aisha Alfa as Ms. Grell
Michael Brown as Mr. Blake Mitchell
Ashely Comeau as Ms. Badger
Elle Downs as Mrs. Powers
Janick Hebert as Madame Jeanneaux
Nahanni Johnstone as Ms. Milligan
Michael Kinney as Mr. Darryl Armstrong
Cheri Maracle as Ms. Cardinal
Vijay Mehta as Mr. Nahir
Tom Melissis as Mr. Dom Perino
Stephanie Moore as Mrs. Diana Hollingsworth
John Ralston as Mr. Miles Hollingsworth II
Production[edit]
This season along with season three were renewed in April 2016.[6] Production on the season officially began a month prior when casting calls for two new leads were released. Filming commenced in May 2016 and finished in August of the same year. The season premiered on July 3, 2017 on Family Channel's 'F2N' teen block, and streamed internationally on Netflix on July 7, 2017.[2][4] On F2N, it will run for two weeks and use the telenovela format. Ahead of the premiere on F2N, Family Channel released all 10 episodes on June 30, 2017, on the Family Channel App at midnight.[1]
This season featured the first graduation for Degrassi: Next Class. Ten characters, the largest since Degrassi High, graduated in the finale of season four. These characters are: Tiny Bell (Richard Walters), Grace Cardinal (Nikki Gould), Winston Chu (Andre Kim), Jonah Haak (Ehren Kassam), Miles Hollingsworth III (Eric Osborne), Maya Matlin (Olivia Scriven), Tristan Milligan (Lyle Lettau), Goldi Nahir (Soma Bhatia), Zig Novak (Ricardo Hoyos) and Zoe Rivas (Ana Golja). The finale revealed that fellow senior Esme Song (Chelsea Clark) would not be graduating.[4]
Episodes[edit]
No. in
season
No. in
series
Title
Directed by
Written by
Original airdate
Netflix Release
Production
code
1
31 "#BackToReality"[2] Stefan Brogren Alejandro Alcoba June 30, 2017 (Family Channel App)[1]
July 3, 2017 (F2N) (June 30, 2017 (Family Channel App)[1]
July 3, 2017 (F2N))[2] July 7, 2017[4] 401
Grace and Jonah keep their relationship on the DL; Tristan starts back slowly at school; Esme is willing to do whatever it takes to keep her man.
2
32 "#GetMoney"[2] Stefan Brogren Courtney Jane Walker June 30, 2017 (Family Channel App)[1]
July 4, 2017 (F2N) (June 30, 2017 (Family Channel App)[1]
July 4, 2017 (F2N))[2] July 7, 2017[4] 402
Frankie is uploading some questionable posts on her socials so Esme encourages her to re-curate her online persona. Shay is determined to up her game to get scouted.
3
33 "#ILookLikeA"[3] Samir Rehem Ian MacIntyre June 30, 2017 (Family Channel App)[1]
July 5, 2017 (F2N) (June 30, 2017 (Family Channel App)[1]
July 5, 2017 (F2N))[2] July 7, 2017[4] 403
Goldi has been flirting with Winston and doesn't even know it. Miles questions a post-grad opportunity that seems too good to be true.
4
34 "#RollUpToTheClubLike"[3] Samir Rehem Matt Huether June 30, 2017 (Family Channel App)[1]
July 6, 2017 (F2N) (June 30, 2017 (Family Channel App)[1]
July 6, 2017 (F2N))[2] July 7, 2017[4] 404
After a terrorist attack in Brussels, the Muslim students at Degrassi find themselves in some very heated situations; Grace creates a bucket list.
5
35 "#Preach"[3] Samir Rehem Jennifer Kassabian June 30, 2017 (Family Channel App)[1]
July 7, 2017 (F2N) (June 30, 2017 (Family Channel App)[1]
July 7, 2017 (F2N))[2] July 7, 2017[4] 405
Saad is torn between his own beliefs and the students' collective show of solidarity for Brussels. Frankie wonders if hanging with Esme and Zig is really good for her.
6
36 "#FactsOnly"[3] Samir Rehem Courtney Jane Walker June 30, 2017 (Family Channel App)[1]
July 10, 2017 (F2N) (June 30, 2017 (Family Channel App)[1]
July 10, 2017 (F2N))[2] July 7, 2017[4] 406
Yael feels like an identity overhaul is needed and turns to Lola for help. Maya auditions for Zoe, Goldi and a special celebrity judge, Degrassi alumnus Craig Manning, for the charity talent show.
7
37 "#Fire"[3] Stefan Brogren Courtney Jane Walker June 30, 2017 (Family Channel App)[1]
July 11, 2017 (F2N) (June 30, 2017 (Family Channel App)[1]
July 11, 2017 (F2N))[2] July 7, 2017[4] 407
What starts out as a small grad camping getaway with Zig, Tiny, Jonah, Grace and Maya turns into a bigger ordeal when Frankie, Esme, Shay and Lola latch on.
8
38 "#GetYouAManThatCanDoBoth"[3] Stefan Brogren Matt Huether & Celeste Bronfman June 30, 2017 (Family Channel App)[1]
July 12, 2017 (F2N) (June 30, 2017 (Family Channel App)[1]
July 12, 2017 (F2N))[2] July 7, 2017[4] 408
Tristan and others wonder if his turbo-mode recovery is a good idea. After seeing others get "promposals," Shay is hoping that Tiny will do the same.
9
39 "#Obsessed"[3] Stefan Brogren Sarah Glinski June 30, 2017 (Family Channel App)[1]
July 13, 2017 (F2N) (June 30, 2017 (Family Channel App)[1]
July 13, 2017 (F2N))[2] July 7, 2017[4] 409
The senior prom is delayed due to a code red emergency. Esme is furious when prom doesn't go exactly as she'd hoped.
10
40 "#KThxBye"[3] Stefan Brogren Sarah Glinski June 30, 2017 (Family Channel App)[1]
July 14, 2017 (F2N) (June 30, 2017 (Family Channel App)[1]
July 14, 2017 (F2N))[2] July 7, 2017[4] 410
The gowns are on and the caps are about to be thrown. Degrassi holds its graduation for the Class of 2016. Zoe wonders how much support she'll get as she prepares to make her valedictory speech.
Note: This marks the final regular appearances of Richard Walters as Tiny Bell, Nikki Gould as Grace Cardinal, Andre Kim as Winston Chu, Ehren Kassam as Jonah Haak, Eric Osborne as Miles Hollingsworth III, Olivia Scriven as Maya Matlin, Lyle Lettau as Tristan Milligan, Soma Bhatia as Goldi Nahir, Ricardo Hoyos as Zig Novak and Ana Golja as Zoe Rivas.
References[edit]
^ Jump up to: a b c d e f g h i j k l m n "Family Channel celebrates Canada Day with Season 4 of Degrassi: Next Class". tv-eh.com. 13 June 2017. Retrieved 30 June 2017.
^ Jump up to: a b c d e f g h i j k l m n o "TV Listings Grid, TV Guide and TV Schedule, Where to Watch TV Shows - Screener". tvlistings.zap2it.com.
^ Jump up to: a b c d e f g h i "Degrassi: Next Class - TV Show, Episode Guide & Schedule". TWC Central.
^ Jump up to: a b c d e f g h i j k l m "Degrassi: Next Class Season 4 Release Date and Trailers". denofgeek.com. Retrieved 30 June 2017.
Jump up ^ "Sara, Spencer & Ehren Talk Degrassi On CP24 – Kary's Degrassi Blog". Degrassiblog.com. 2015-12-14. Retrieved 2016-05-24.
Jump up ^ Kickham, Dylan (2016-01-14). "Degrassi: Next Class renewed for seasons 3 and 4". EW.com. Retrieved 2016-12-09.
External links[edit]
Book: Seasons of Degrassi: Next Class
List of Degrassi: Next Class episodes at IMDB.
List of Degrassi: Next Class episodes at TV.com.
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text:
Paradise Lost
From Wikipedia, the free encyclopedia
Jump to: navigation, search
For other uses, see Paradise Lost (disambiguation).
This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (February 2016) (Learn how and when to remove this template message)
Paradise Lost
Title page of the first edition (1667)
Author
John Milton
Cover artist
J. B. de Medina and Henry Aldrich
Country
England
Language
English
Genre
Epic poetry, Christian theology
Publisher
Samuel Simmons (original)
Publication date
1667
Media type
Print
Followed by
Paradise Regained
Text
Paradise Lost at Wikisource
Paradise Lost is an epic poem in blank verse by the 17th-century English poet John Milton (1608–1674). The first version, published in 1667, consisted of ten books with over ten thousand lines of verse. A second edition followed in 1674, arranged into twelve books (in the manner of Virgil's Aeneid) with minor revisions throughout and a note on the versification.[1][2] It is considered by critics to be Milton's major work, and it helped solidify his reputation as one of the greatest English poets of his time.[3]
The poem concerns the biblical story of the Fall of Man: the temptation of Adam and Eve by the fallen angel Satan and their expulsion from the Garden of Eden. Milton's purpose, stated in Book I, is to "justify the ways of God to men".[6]
Contents
[hide]
1 Composition
2 Structure
3 Synopsis
4 Characters
4.1 Satan
4.2 Adam
4.3 Eve
4.4 The Son of God
4.5 God the Father
4.6 Raphael
4.7 Michael
5 Motifs
5.1 Marriage
5.2 Idolatry
6 Interpretation and criticism
7 Iconography
8 See also
9 Footnotes
10 References
11 Further reading
12 External links
12.1 Online text
12.2 Other information
Composition[edit]
Gustave Doré, The Heavenly Hosts, c. 1866, illustration to Paradise Lost.
In his introduction to the Penguin edition of Paradise Lost, the Milton scholar John Leonard notes, "John Milton was nearly sixty when he published Paradise Lost in 1667. [The writer] John Aubrey (1626–97) tells us that the poem was begun in about 1658 and finished in about 1663. But parts were almost certainly written earlier, and its roots lie in Milton's earliest youth."[7] Leonard speculates that the English Civil War interrupted Milton's earliest attempts to start his "epic [poem] that would encompass all space and time."[7]
Leonard also notes that Milton "did not at first plan to write a biblical epic."[7] Since epics were typically written about heroic kings and queens (and with pagan gods), Milton originally envisioned his epic to be based on a legendary Saxon or British king like the legend of King Arthur.[8][9] In the 1667 version of Paradise Lost, the poem was divided into ten books. However, in the 1672 edition, Paradise Lost contained twelve books.[10]
Having gone totally blind in 1652, Milton wrote Paradise Lost entirely through dictation with the help of amanuenses and friends. He also wrote the epic poem while he was often ill, suffering from gout, and despite the fact that he was suffering emotionally after the early death of his second wife, Katherine Woodcock, in 1658, and the death of their infant daughter. Milton remarried five years later in 1663.[11]
Structure[edit]
The poem is divided into "books" (ten originally, twelve in Milton's revised edition of 1674). The Arguments (brief summaries) at the head of each book were added in subsequent imprints of the first edition.[12]
Synopsis[edit]
This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (March 2016) (Learn how and when to remove this template message)
John Martin, Satan Presiding at the Infernal Council, c. 1823–1827
Gustave Doré, Depiction of Satan, the central character of John Milton's Paradise Lost c. 1866
The poem follows the epic tradition of starting in medias res (Latin for in the midst of things), the background story being recounted later.
Milton's story has two narrative arcs, one about Satan (Lucifer) and the other following Adam and Eve. It begins after Satan and the other rebel angels have been defeated and banished to Hell, or, as it is also called in the poem, Tartarus. In Pandæmonium, the capital city of Hell, Satan employs his rhetorical skill to organize his followers; he is aided by Mammon and Beelzebub. Belial and Moloch are also present. At the end of the debate, Satan volunteers to corrupt the newly created Earth and God's new and most favoured creation, Mankind. He braves the dangers of the Abyss alone in a manner reminiscent of Odysseus or Aeneas. After an arduous traversal of the Chaos outside Hell, he enters God's new material World, and later the Garden of Eden.
At several points in the poem, an Angelic War over Heaven is recounted from different perspectives. Satan's rebellion follows the epic convention of large-scale warfare. The battles between the faithful angels and Satan's forces take place over three days. At the final battle, the Son of God single-handedly defeats the entire legion of angelic rebels and banishes them from Heaven. Following this purge, God creates the World, culminating in his creation of Adam and Eve. While God gave Adam and Eve total freedom and power to rule over all creation, he gave them one explicit command: not to eat from the tree of the knowledge of good and evil on penalty of death.
The story of Adam and Eve's temptation and fall is a fundamentally different, new kind of epic: a domestic one. Adam and Eve are presented as having a romantic and sexual relationship while still being without sin. They have passions and distinct personalities. Satan, disguised in the form of a serpent, successfully tempts Eve to eat from the Tree by preying on her vanity and tricking her with rhetoric. Adam, learning that Eve has sinned, knowingly commits the same sin. He declares to Eve that since she was made from his flesh, they are bound to one another – if she dies, he must also die. In this manner, Milton portrays Adam as a heroic figure, but also as a greater sinner than Eve, as he is aware that what he is doing is wrong.
After eating the fruit, Adam and Eve have lustful sex. At first, Adam is convinced that Eve was right in thinking that eating the fruit would be beneficial. However, they soon fall asleep and have terrible nightmares, and after they awake, they experience guilt and shame for the first time. Realizing that they have committed a terrible act against God, they engage in mutual recrimination.
Meanwhile, Satan returns triumphantly to Hell, amidst the praise of his fellow fallen angels. He tells them about how their scheme worked and Mankind has fallen, giving them complete dominion over Paradise. As he finishes his speech, however, the fallen angels around him become hideous snakes, and soon enough, Satan himself turned into a snake, deprived of limbs and unable to talk. Thus, they share the same punishment, as they shared the same guilt.
Eve appeals to Adam for reconciliation of their actions. Her encouragement enables them to approach God, and sue for grace, bowing on suppliant knee, to receive forgiveness. In a vision shown to him by the angel Michael, Adam witnesses everything that will happen to Mankind until the Great Flood. Adam is very upset by this vision of the future, so Michael also tells him about Mankind's potential redemption from original sin through Jesus Christ (whom Michael calls "King Messiah").
Adam and Eve are cast out of Eden, and Michael says that Adam may find "a paradise within thee, happier far". Adam and Eve also now have a more distant relationship with God, who is omnipresent but invisible (unlike the tangible Father in the Garden of Eden).
Characters[edit]
Satan[edit]
Satan, formerly called Lucifer, is the first major character introduced in the poem. He was once the most beautiful of all angels, and is a tragic figure who famously declares: "Better to reign in Hell than serve in Heaven." Following his failed rebellion against God, he is cast out from Heaven and condemned to Hell. Satan's desire to rebel against his creator stems from his unwillingness to be subjugated by God and his Son, claiming that angels are "self-begot, self-raised,"[13] and thereby denying God's authority over them as their creator.
Satan is deeply arrogant, albeit powerful and charismatic.[citation needed] Satan's persuasive powers are evident throughout the book; not only is he cunning and deceptive, but he is also able to rally the fallen angels to continue in the rebellion after their agonizing defeat in the Angelic War. He argues that God rules as a tyrant and that all the angels ought to rule as gods.[14] Though commonly understood to be the antagonizing force in Paradise Lost, Satan may be best defined as a tragic or Hellenic hero. According to William McCollom, one quality of the classical tragic hero is that he is not perfectly good and that his defeat is caused by a tragic flaw, as Satan causes both the downfall of man and the eternal damnation of his fellow fallen angels despite his dedication to his comrades. In addition, Satan's Hellenic qualities, such as his immense courage and, perhaps, lack of completely defined morals compound his tragic nature.[15]
Satan's status as a protagonist in the epic poem is debated. Milton characterizes him as such, but Satan lacks several key traits that would otherwise make him the definitive protagonist in the work. One deciding factor that insinuates his role as the protagonist in the story is that most often a protagonist is heavily characterized and far better described than the other characters, and the way the character is written is meant to make him seem more interesting or special to the reader. [16] For that matter, Satan is both well described and is depicted as being quite versatile in that he is shown as having the capacity to do evil whilst retaining his characteristic sympathetic qualities and thus it is this complex and relatable nature that makes him a likely candidate for the story's overarching protagonist.[16]
By some definitions a protagonist must be able to exist in and of himself or herself and that the secondary characters in the work exist only to further the plot for the protagonist.[17] Because Satan does not exist solely for himself, as without God he would not have a role to play in the story, he may not be viewed as the protagonist because of the continual shifts in perspective and relative importance of characters in each book of the work. Satan's existence in the story involves his rebellion against God and his determination to corrupt the beings he creates in order to perpetuate evil so that there can be a discernable balance and justice for both himself and his fallen angels. Therefore, it is more probable that he exists in order to combat God, making his status as the definitive protagonist of the work relative to each book. Following this logic, Satan may very well be considered as an antagonist in the poem, whereas God could be considered as the protagonist instead.
Satan's status as a traditional hero in the work is similarly up to debate as the term "hero" evokes different meanings depending on the time and the person giving the definition and is thus a matter of contention within the text. According to Aristotle, a hero is someone who is "superhuman, godlike, and divine" but is also human.[18] A hero would have to either be a human with God-like powers or the offspring of God. While Milton gives reason to believe that Satan is superhuman, as he was originally an angel, he is anything but human. Therefore, according to Aristotle's definition of a hero alone, Satan is not a hero. Torquato Tasso and Francesco Piccolomini expanded on Aristotle's definition and declared that for someone to be considered heroic one has to be perfectly or overly virtuous.[19] Satan repeatedly demonstrates a lack of virtue throughout the story as he intends to tempt God's creations with evil in order to destroy the good God is trying to create. Satan goes against God's law and therefore becomes corrupt and lacking of virtue and, as Piccolomini warned, "vice may be mistaken for heroic virtue".[18] Satan is very devoted to his cause, although that cause is evil but he strives to spin his sinister aspirations to appear as good ones. Satan achieves this end multiple times throughout the text as he riles up his band of fallen angels during his speech by deliberately telling them to do evil to explain God's hypocrisy and again during his entreaty to Eve. He makes his intentions seem pure and positive even when they are rooted in evil and, according to Steadman, this is the chief reason that readers often mistake Satan as a hero.[19]
Although Satan's army inevitably loses the war against God, Satan achieves a position of power and begins his reign in Hell with his band of loyal followers, composed of fallen angels, which is described to be a "third of heaven". Satan's characterization as the leader of a failing cause folds into this as well and is best exemplified through his own quote, "to be weak is to be miserable; Doing or Suffering", as through shared solidarity espoused by empowering rhetoric, Satan riles up his comrades in arms and keeps them focused towards their shared goal.[20] Similar to Milton's republican sentiments of overthrowing the King of England for both better representation and parliamentary power, Satan argues that his shared rebellion with the fallen angels is an effort to "explain the hypocrisy of God", and in doing so, they will be treated with the respect and acknowledgement that they deserve. As scholar Wayne Rebhorn argues, "Satan insists that he and his fellow revolutionaries held their places by right and even leading him to claim that they were self-created and self-sustained" and thus Satan's position in the rebellion is much like that of his own real world creator.[21]
Adam[edit]
William Blake, The Temptation and Fall of Eve, 1808 (illustration of Milton's Paradise Lost)
Adam is the first human being created by God. Finding himself alone, Adam complains and requests a mate from God, who grants his request and creates Eve to be Adam's conjugal companion and helpmate. God appraises Adam and Eve most of all his creations, and appoints them to rule over all the creatures of the world and to reside in the Garden of Eden. Adam is more gregarious than Eve, and yearns for her company. His complete infatuation with Eve, while pure of itself, eventually contributes to his deciding to join her in disobedience to God.
Unlike the biblical Adam, before Milton's Adam leaves Paradise he is given a glimpse of the future of mankind by the Archangel Michael—including a synopsis of stories from the Old and New Testaments.
Eve[edit]
Eve is the second human created by God, who takes one of Adam's ribs and shapes it into a female form of Adam. Not the traditional model of a good wife, Milton's Eve is often unwilling to be submissive towards Adam. She is the more intelligent of the two and more curious about external ideas than her husband. Though happy, she longs for knowledge, specifically for self-knowledge. (Her first act in existence is to turn away from Adam to look at and ponder her own reflection.) Eve is beautiful and though she loves Adam she may feel suffocated by his constant presence. In Book IX, she convinces Adam to separate for a time and work in different parts of the Garden. In her solitude, she is tempted by Satan to sin against God by eating of the Tree of Knowledge. Soon thereafter, Adam follows Eve in support of her act.
The Son of God[edit]
The Son of God is the spirit who will become incarnate as Jesus Christ, though he is never named explicitly because he has not yet entered human form. Milton believed in a subordinationist doctrine of Christology that regarded the Son as secondary to the Father and as God's "great Vice-regent" (5.609). Milton's God in Paradise Lost refers to the Son as "My word, my wisdom, and effectual might" (3.170). The poem is not explicitly anti-trinitarian, but it is consistent with Milton's convictions. The Son is the ultimate hero of the epic and is infinitely powerful—he single-handedly defeats Satan and his followers and drives them into Hell. After their fall, the Son of God tells Adam and Eve about God's judgment: He, the Son, volunteers to journey into the World and become a man himself; then he redeems the Fall of Man through his own sacrificial death and resurrection. In the final scene, a vision of Salvation through the Son of God is revealed to Adam by Michael. Still, the name Jesus of Nazareth, and the details of Jesus' story are not depicted in the poem,[22] though they are alluded to when Michael explains that "Joshua, whom the Gentiles Jesus call," prefigures the Son of God, "his name and office bearing" to "quell / The adversarie Serpent, and bring back [...] long wander[e]d man / Safe to eternal Paradise of rest."[23]
God the Father[edit]
God the Father is the creator of Heaven, Hell, the world, of everyone and everything there is, through the agency of His Son. He is a jealous God and desires glory and praise from all his creations. Milton presents God as all-powerful and all-knowing, as an infinitely great being who cannot be overthrown by even the great army of angels Satan incites against him. Milton's stated purpose for the poem is to justify the ways of God to men, so he portrays God as often conversing about his plans and his motives for his actions with the Son of God. The poem shows God creating the world in the way Milton believed it was done, that is, God created Heaven, Earth, Hell, and all the creatures that inhabit these separate planes from part of Himself, not out of nothing.[24] Thus, according to Milton, the ultimate authority of God over all things that happen derives from his being the "author" of all creation. Satan tries to justify his rebellion by denying this aspect of God and claiming self-creation, but he admits to himself the truth otherwise, and that God "deserved no such return/ From me, whom He created what I was."[25][26]
Raphael[edit]
Raphael is the archangel whom God sends to warn Adam of Satan's infiltration of Eden and to warn that Satan will try to curse them (Adam and Eve). Raphael also discusses at length with the curious Adam some details about the creation and about events that transpired in Heaven.
Michael[edit]
Michael is a mighty archangel who fought for God in the Angelic War. In the first battle, he wounds Satan terribly with a powerful sword that God fashioned to cut through even the substance of angels. After Adam and Eve disobey God by eating from the Tree of Knowledge, God sends the angel Michael to visit them in the garden. Before he escorts them out of Paradise, Michael shows them visions of the future that disclose an outline of Bible stories from that of Cain and Abel in Genesis through the story of Jesus Christ in the New Testament.
Motifs[edit]
Marriage[edit]
Milton first presented Adam and Eve in Book IV with impartiality. The relationship between Adam and Eve is one of "mutual dependence, not a relation of domination or hierarchy." While the author placed Adam above Eve in his intellectual knowledge and, in turn, his relation to God, he granted Eve the benefit of knowledge through experience. Hermine Van Nuis clarifies, that although there is stringency specified for the roles of male and female, Adam and Eve unreservedly accept their designated roles.[27] Rather than viewing these roles as forced upon them, each uses their assignment as an asset in their relationship with each other. These distinctions can be interpreted as Milton's view on the importance of mutuality between husband and wife.
When examining the relationship between Adam and Eve, some critics apply either an Adam-centered or Eve-centered view of hierarchy and importance to God. David Mikics argues, by contrast, these positions "overstate the independence of the characters' stances, and therefore miss the way in which Adam and Eve are entwined with each other".[28] Milton's narrative depicts a relationship where the husband and wife (here, Adam and Eve) depend on each other and, through each other's differences, thrive.[28] Still, there are several instances where Adam communicates directly with God while Eve must go through Adam to God; thus, some have described Adam as her guide.[29]
Although Milton does not directly mention divorce, critics posit theories on Milton's view of divorce based upon their inferences from the poem and from his tracts on divorce written earlier in his life. Other works by Milton suggest he viewed marriage as an entity separate from the church. Discussing Paradise Lost, Biberman entertains the idea that "marriage is a contract made by both the man and the woman".[30] These ideas imply Milton may have favored that both man and woman have equal access to marriage and to divorce.
Idolatry[edit]
Milton's 17th-century contemporaries by and large criticised his ideas and considered him as a radical, mostly because of his Protestant views on politics and religion. One of Milton's most controversial arguments centred on his concept of what is idolatrous, which subject is deeply embedded in Paradise Lost.
Milton's first criticism of idolatry focused on the constructing of temples and other buildings to serve as places of worship. In Book XI of Paradise Lost, Adam tries to atone for his sins by offering to build altars to worship God. In response, the angel Michael explains that Adam does not need to build physical objects to experience the presence of God.[31] Joseph Lyle points to this example, explaining "When Milton objects to architecture, it is not a quality inherent in buildings themselves he finds offensive, but rather their tendency to act as convenient loci to which idolatry, over time, will inevitably adhere."[32] Even if the idea is pure in nature, Milton thought it would unavoidably lead to idolatry simply because of the nature of humans. That is, instead of directing their thoughts towards God, humans will turn to erected objects and falsely invest their faith there. While Adam attempts to build an altar to God, critics note Eve is similarly guilty of idolatry, but in a different manner. Harding believes Eve's narcissism and obsession with herself constitutes idolatry.[33] Specifically, Harding claims that "... under the serpent's influence, Eve's idolatry and self-deification foreshadow the errors into which her 'Sons' will stray."[33] Much like Adam, Eve falsely places her faith in herself, the Tree of Knowledge, and to some extent the Serpent, all of which do not compare to the ideal nature of God.
Milton made his views on idolatry more explicit with the creation of Pandæmonium and his allusion to Solomon's temple. In the beginning of Paradise Lost and throughout the poem, there are several references to the rise and eventual fall of Solomon's temple. Critics elucidate that "Solomon's temple provides an explicit demonstration of how an artefact moves from its genesis in devotional practice to an idolatrous end."[34] This example, out of the many presented, distinctly conveys Milton's views on the dangers of idolatry. Even if one builds a structure in the name of God, the best of intentions can become immoral in idolatry. Further, critics have drawn parallels between both Pandemonium and Saint Peter's Basilica,[citation needed] and the Pantheon. The majority of these similarities revolve around a structural likeness, but as Lyle explains, they play a greater role. By linking Saint Peter's Basilica and the Pantheon to Pandemonium—an ideally false structure—the two famous buildings take on a false meaning.[35] This comparison best represents Milton's Protestant views, as it rejects both the purely Catholic perspective and the Pagan perspective.
In addition to rejecting Catholicism, Milton revolted against the idea of a monarch ruling by divine right. He saw the practice as idolatrous. Barbara Lewalski concludes that the theme of idolatry in Paradise Lost "is an exaggerated version of the idolatry Milton had long associated with the Stuart ideology of divine kingship".[36] In the opinion of Milton, any object, human or non human, that receives special attention befitting of God, is considered idolatrous.
Interpretation and criticism[edit]
The Creation of Man, engraving from the 1688 edition, by John Baptist Medina.
The writer and critic Samuel Johnson wrote that Paradise Lost shows off "[Milton's] peculiar power to astonish" and that "[Milton] seems to have been well acquainted with his own genius, and to know what it was that Nature had bestowed upon him more bountifully than upon others: the power of displaying the vast, illuminating the splendid, enforcing the awful, darkening the gloomy, and aggravating the dreadful."[37]
Milton scholar John Leonard interpreted the "impious war" between Heaven and Hell as civil war :[38][page needed]
Paradise Lost is, among other things, a poem about civil war. Satan raises 'impious war in Heav'n' (i 43) by leading a third of the angels in revolt against God. The term 'impious war' implies that civil war is impious. But Milton applauded the English people for having the courage to depose and execute King Charles I. In his poem, however, he takes the side of 'Heav'n's awful Monarch' (iv 960). Critics have long wrestled with the question of why an antimonarchist and defender of regicide should have chosen a subject that obliged him to defend monarchical authority
The editors at the Poetry Foundation argue that Milton's criticism of the English monarchy was being directed specifically at the Stuart monarchy and not at the monarchy system in general.[39]
In a similar vein, critic and writer C.S. Lewis argued that there was no contradiction in Milton's position in the poem since "Milton believed that God was his 'natural superior' and that Charles Stuart was not." Lewis interpreted the poem as a genuine Christian morality tale.[40][page needed] Other critics, like William Empson, view it as a more ambiguous work, with Milton's complex characterization of Satan playing a large part in that perceived ambiguity.[40][page needed] Empson argued that "Milton deserves credit for making God wicked, since the God of Christianity is 'a wicked God.'" Leonard places Empson's interpretation "in the [Romantic interpretive] tradition of William Blake and Percy Bysshe Shelley."[38][page needed]
Blake famously wrote, "The reason Milton wrote in fetters when he wrote of Angels & God, and at liberty when of Devils & Hell, is because he was a true Poet and of the Devil's party without knowing it."[41] This quotation succinctly represents the way in which the 18th- and 19th-century English Romantic poets viewed Milton.
Empson's view is more complex. Leonard points out that "Empson never denies that Satan's plan is wicked. What he does deny is that God is innocent of its wickedness: 'Milton steadily drives home that the inmost counsel of God was the Fortunate Fall of man; however wicked Satan's plan may be, it is God's plan too [since God in Paradise Lost is depicted as being both omniscient and omnipotent].'"[38][page needed] Leonard calls Empson's view "a powerful argument", he notes that this interpretation was challenged by Dennis Danielson in his book Milton's Good God (1982).[38][page needed]
Iconography[edit]
See also: William Blake's illustrations of Paradise Lost
In Sin, Death and the Devil (1792), James Gillray caricatured the political battle between Pitt and Thurlow as a scene from Paradise Lost. Pitt is Death and Thurlow Satan, with Queen Charlotte as Sin in the middle.
The first illustrations to accompany the text of Paradise Lost were added to the fourth edition of 1688, with one engraving prefacing each book, of which up to eight of the twelve were by Sir John Baptist Medina, one by Bernard Lens II, and perhaps up to four (including Books I and XII, perhaps the most memorable) by another hand.[42] The engraver was Michael Burghers (not 'Burgesse' as given in the Christ's College website). By 1730 the same images had been re-engraved on a smaller scale by Paul Fourdrinier.
Some of the most notable illustrators of Paradise Lost included William Blake, Gustave Doré and Henry Fuseli. However, the epic's illustrators also include John Martin, Edward Francis Burney, Richard Westall, Francis Hayman, and many others.
Outside of book illustrations, the epic has also inspired other visual works by well-known painters like Salvador Dalí who executed a set of ten colour engravings in 1974.[43] Milton's achievement in writing Paradise Lost while blind (he dictated to helpers) inspired loosely biographical paintings by both Fuseli[44] and Eugène Delacroix.[45]
See also[edit]
Paradise Lost in popular culture
John Milton's poetic style
Paradise Regained
Visio Tnugdali
Prince of Darkness (Satan)
Footnotes[edit]
Jump up ^ Milton, John (1674). Paradise Lost; A Poem in Twelve Books (II ed.). London: S. Simmons. Retrieved 8 January 2017 – via Internet Archive.
Jump up ^ "Paradise Lost: Introduction". Dartmouth College. Retrieved 26 March 2010.
Jump up ^ "John Milton". Poetry Foundation. 19 April 2018.
Jump up ^ John Milton. Paradise Lost, Book I, l. 26. 1667. Hosted by Dartmouth. Accessed 13 December 2013.
Jump up ^ Milton 1674, 1:26.
Jump up ^ Milton's original line read "...justifie the wayes of God to men."[4][5]
^ Jump up to: a b c Leonard 2000, p. xii.
Jump up ^ Leonard 2000, p. xiii.
Jump up ^ Broadbent 1972, p. 54.
Jump up ^ Forsythe, Neil (2002). The Satanic Epic. Princeton University.
Jump up ^ Abrahm, M.H., Stephen Greenblatt, Eds. The Norton Anthology of English Literature. New York: Norton, 2000.
Jump up ^ Teskey, Gordon (2005). "Introduction". Paradise Lost: A Norton Critical Edition. New York: Norton. pp. xxvii–xxviii. ISBN 978-0393924282.
Jump up ^ Milton 1674, 5:860.
Jump up ^ Milton 1674, 5:794–802.
Jump up ^ McCollom, William G. ―The Downfall of the Tragic Hero.‖ College English 19.2 (1957): 51- 56.
^ Jump up to: a b (Taha, Ibrahim. "Heroism In Literature." The American Journal of Semiotics18.1/4 (2002): 107-26. Philosophy Document Center. Web. 12 Nov. 2014)
Jump up ^ Taha, Ibrahim. "Heroism In Literature." The American Journal of Semiotics18.1/4 (2002): 107-26. Philosophy Document Center. Web. 12 Nov. 2014
^ Jump up to: a b Steadman, John M. "Heroic Virtue and the Divine Image in Paradise Lost. "Journal of the Warburg and Courtauld Institutes 22.1/2 (1959): pp. 89
^ Jump up to: a b Steadman, John M. "Heroic Virtue and the Divine Image in Paradise Lost. "Journal of the Warburg and Courtauld Institutes 22.1/2 (1959): pp. 90
Jump up ^ Milton, John. Paradise Lost. The Norton Anthology of English Literature. 9th ed. Vol. B. New York ; London: W.W. Norton, 2012. 1950. Print.
Jump up ^ Rebhorn, Wayne A. "The Humanist Tradition and Milton's Satan: The Conservative as Revolutionary". Studies in English Literature, 1500-1900, Vol. 13, No. 1, The English Renaissance (Winter 1973), pp. 81-93. Print.
Jump up ^ Marshall 1961, p. 17
Jump up ^ Milton 1674, 12:310-314
Jump up ^ Lehnhof 2008, p. 15.
Jump up ^ Milton 1674, 4:42–43.
Jump up ^ Lehnhof 2008, p. 24.
Jump up ^ Van Nuis 2000, p. 50.
^ Jump up to: a b Mikics 2004, p. 22.
Jump up ^ Mikics, David (24 February 2004). "Miltonic Marriage and the Challenge to History in Paradise Lost". Texas Studies in Literature and Language. 46 (1): 20–48. doi:10.1353/tsl.2004.0005 – via Project MUSE.
Jump up ^ Biberman 1999, p. 137.
Jump up ^ Milton 1674, Book 11.
Jump up ^ Lyle 2000, p. 139.
^ Jump up to: a b Harding 2007, p. 163.
Jump up ^ Lyle 2000, p. 140.
Jump up ^ Lyle 2000, p. 147.
Jump up ^ Lewalski 2003, p. 223.
Jump up ^ Johnson, Samuel. Lives of the English Poets. New York: Octagon, 1967.
^ Jump up to: a b c d Leonard, John. "Introduction." Paradise Lost. New York: Penguin, 2000.
Jump up ^ "John Milton". Poetry Foundation. 19 April 2018.
^ Jump up to: a b Leonard, John. "Introduction". Paradise Lost. New York: Penguin, 2000.
Jump up ^ Blake, William. The Marriage of Heaven and Hell. 1793.
Jump up ^ Illustrating Paradise Lost Archived 1 February 2008 at the Wayback Machine. from Christ's College, Cambridge, has all twelve on line. See Medina's article for more on the authorship, and all the illustrations, which are also in Commons.
Jump up ^ Lockport Street Gallery. Retrieved on 2013-12-13.
Jump up ^ Art Institute of Chicago. Retrieved on 2013-12-13.
Jump up ^ WikiPaintings. Retrieved on 2013-12-13.
References[edit]
Anderson, G (January 2000), "The Fall of Satan in the Thought of St. Ephrem and John Milton", Hugoye: Journal of Syriac Studies, 3 (1), archived from the original on 26 February 2008
Biberman, M (January 1999), "Milton, Marriage, and a Woman's Right to Divorce", SEL: Studies in English Literature, 39 (1): 131–153, doi:10.2307/1556309, JSTOR 1556309
Black, J, ed. (March 2007), "Paradise Lost", The Broadview Anthology of British Literature, A (Concise ed.), Peterborough, Ontario: Broadview Press, pp. 998–1061, ISBN 978-1-55111-868-0, OCLC 75811389
Blake, W. (1793), The Marriage of Heaven and Hell, London .
Blayney, B, ed. (1769), The King James Bible, Oxford: Oxford University Press
Bradford, R (July 1992), Paradise Lost (1st ed.), Philadelphia: Open University Press, ISBN 978-0-335-09982-5, OCLC 25050319
Broadbent, John (1972), Paradise Lost: Introduction, Cambridge University Press, ISBN 9780521096393
Butler, G (February 1998), "Giants and Fallen Angels in Dante and Milton: The Commedia and the Gigantomachy in Paradise Lost", Modern Philosophy, 95 (3): 352–363
Carter, R. and McRae, J. (2001). The Routledge History of Literature in English: Britain and Ireland. 2 ed. Oxon: Routledge.
Carey, J; Fowler, A (1971), The Poems of John Milton, London
Doerksen, D (December 1997), "Let There Be Peace': Eve as Redemptive Peacemaker in Paradise Lost, Book X", Milton Quarterly, 32 (4): 124–130, doi:10.1111/j.1094-348X.1997.tb00499.x
Eliot, T.S. (1957), On Poetry and Poets, London: Faber and Faber
Eliot, T. S. (1932), "Dante", Selected Essays, New York: Faber and Faber, OCLC 70714546 .
Empson, W (1965), Milton's God (Revised ed.), London
John Milton: A Short Introduction (2002 ed., paperback by Roy C. Flannagan, Oxford: Wiley-Blackwell, ISBN 978-0-631-22620-8; 2008 ed., ebook by Roy Flannagan, Massachusetts: Wiley-Blackwell, ISBN 978-0-470-69287-5)
Forsyth, N (2003), The Satanic Epic, Princeton: Princeton University Press, ISBN 978-0-691-11339-5
Frye, N (1965), The Return of Eden: Five Essays on Milton's Epics, Toronto: University of Toronto Press
Harding, P (January 2007), "Milton's Serpent and the Pagan Birth of Error", SEL: Studies in English Literature, 47 (1): 161–177, doi:10.1353/sel.2007.0003
Hill, G (1905), Lynch, Jack, ed., Samuel Johnson: The Lives of the English Poets, 3 vols, Oxford: Clarendon, OCLC 69137084
Kermode, F, ed. (1960), The Living Milton: Essays by Various Hands, London: Routledge & Kegan Paul, ISBN 0-7100-1666-2, OCLC 17518893
Kerrigan, W, ed. (2007), The Complete Poetry and Essential Prose of John Milton, New York: Random House, ISBN 978-0-679-64253-4, OCLC 81940956
Lehnhof, K. (Summer 2004), "Paradise Lost and the Concept of Creation", South Central Review, 21 (2): 15–41, doi:10.1353/scr.2004.0021
Leonard, John (2000), "Introduction", in Milton, John, Paradise Lost, New York: Penguin, ISBN 9780140424393
Lewalski, B. (January 2003), "Milton and Idolatry", SEL: Studies in English Literature, 43 (1): 213–232, doi:10.1353/sel.2003.0008
Lewis, C.S. (1942), A Preface to Paradise Lost, London: Oxford University Press, OCLC 822692
Lyle, J (January 2000), "Architecture and Idolatry in Paradise Lost", SEL: Studies in English Literature, 40 (1): 139–155, doi:10.2307/1556158, JSTOR 1556158
Marshall, W. H. (January 1961), "Paradise Lost: Felix Culpa and the Problem of Structure", Modern Language Notes, 76 (1): 15–20, doi:10.2307/3040476, JSTOR 3040476
Mikics, D (2004), "Miltonic Marriage and the Challenge to History in Paradise Lost", Texas Studies in Literature and Language, 46 (1): 20–48, doi:10.1353/tsl.2004.0005
Miller, T.C., ed. (1997), The Critical Response to John Milton's "Paradise Lost", Westport: Greenwood Publishing Group, ISBN 978-0-313-28926-2, OCLC 35762631
Milton, J (1674), Paradise Lost (2nd ed.), London: S. Simmons
Rajan, B (1947), Paradise Lost and the Seventeenth Century Reader, London: Chatto & Windus, OCLC 62931344
Ricks, C.B. (1963), Milton's Grand Style, Oxford: Clarendon Press, OCLC 254429
Stone, J.W. (May 1997), ""Man's effeminate s(lack)ness:" Androgyny and the Divided Unity of Adam and Eve", Milton Quarterly, 31 (2): 33–42, doi:10.1111/j.1094-348X.1997.tb00491.x
Van Nuis, H (May 2000), "Animated Eve Confronting Her Animus: A Jungian Approach to the Division of Labor Debate in Paradise Lost", Milton Quarterly, 34 (2): 48–56, doi:10.1111/j.1094-348X.2000.tb00619.x
Walker, Julia M. (1998), Medusa's Mirrors: Spenser, Shakespeare, Milton, and the Metamorphosis of the Female Self, University of Delaware Press, ISBN 978-0-87413-625-8
Wheat, L (2008), Philip Pullman's His dark materials—a multiple allegory : attacking religious superstition in The lion, the witch, and the wardrobe and Paradise lost, Amherst, N.Y.: Prometheus Books, ISBN 978-1-59102-589-4, OCLC 152580912
Further reading[edit]
Patrides, C. A. Approaches to Paradise Lost: The York Tercentenary Lectures (University of Toronto, 1968) ISBN 0-8020-1577-8
Ryan J. Stark, "Paradise Lost as Incomplete Argument," 1650—1850: Aesthetics, Ideas, and Inquiries in the Early Modern Era (2011): 3–18.
External links[edit]
Find more aboutParadise Lostat Wikipedia's sister projects
Media from Wikimedia Commons
Quotations from Wikiquote
Texts from Wikisource
Data from Wikidata
Gustave Doré Paradise Lost Illustrations from the University at Buffalo Libraries
Major Online Resources on Paradise Lost
Paradise Lost public domain audiobook at LibriVox
Online text[edit]
Paradise Lost XHTML version at Dartmouth's Milton Reading Room
Project Gutenberg text version 1
Project Gutenberg text version 2
Paradise Lost PDF/Ebook version with layout and fonts inspired by 17th century publications.
paradiselost.org has the original poetry side-by-side with a translation to plain (prosaic) English
Other information[edit]
darkness visible – comprehensive site for students and others new to Milton: contexts, plot and character summaries, reading suggestions, critical history, gallery of illustrations of Paradise Lost, and much more. By students at Milton's Cambridge college, Christ's College.
Selected bibliography at the Milton Reading Room – includes background, biography, criticism.
Paradise Lost learning guide, quotes, close readings, thematic analyses, character analyses, teacher resources
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Boomhauer
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Jeff Boomhauer
King of the Hill character
First appearance
"Pilot"
Last appearance
"Just Another Manic Kahn-Day"
Created by
Mike Judge
Portrayed by
Mike Judge
Information
Gender
Male
Occupation
Texas Ranger
Family
Dr. Boomhauer (father)
Mrs. Boomhauer (mother)
Patch Boomhauer (brother)
Meemaw Boomhauer (paternal grandmother)
Patrick Boomhauer (nephew)
Nationality
American
Jeffrey Dexter "Jeff" Boomhauer III, commonly referred to as Boomhauer, is a fictional character in the Fox animated series King of the Hill. The character is voiced by series creator Mike Judge,[1][2] and is best known for his fast-paced voice and nearly incomprehensible speech.
Contents
[hide]
1 Character overview
1.1 Occupation
1.2 Trademark speech pattern
1.3 Family
1.4 Romantic life
2 References
3 External links
Character overview[edit]
Jeffrey Dexter "Jeff" Boomhauer III (born April 7, 1962) is the high school friend and neighbor of the characters Hank Hill, Bill Dauterive, and Dale Gribble. His first name was only spoken in the TV series during the season 13 episode, "Uh-oh, Canada", when the Canadian woman with whom he'd switched houses for the summer said, "Hello, Jeff. Oh my, it's the fifteenth already?". His driver's license as shown in the series finale reads simply "Boomhauer, Jeff".
The location of Boomhauer's house is inconsistent during the series. In the series finale, his address is shown on his driver's license as 73 Rainey Street, which would place him on the same side of the alley as Hank, Dale, and Kahn Souphanousinphone. However, in "Uh-oh, Canada", the rear of Boomhauer's house is shown to be across the alley from Dale's house, diagonally across to the right from Hank's back yard, which would place the front door of his house (and its address) on another street.
Boomhauer's primary pursuits are fast cars and women. He currently drives a 1969 Dodge Coronet Super Bee; in high school, he drove a late 60's Ford Mustang nicknamed "Ms. Sally" in which he had a lot of sex with strange women (the name being a reference to the classic Wilson Pickett song Mustang Sally) until the car was accidentally driven into the Arlen quarry by Dale, Hank and Bill while playing a prank on him (Dale did not know how to drive a manual car and confused the clutch for the brake pedal).
Boomhauer spends most of his spare time drinking Alamo Beer with Hank, Dale and Bill in the alley behind Hank's house. While he enjoys his friendship with Hank, he sometimes has limited patience with Dale (whom he sharply refers to as "Gribble") and considers Bill "boring" due to his inferiority complex. Boomhauer favors animal-print bikini briefs, which have been observed a few times in the show when he's appeared without his blue jeans; he tends to overuse cologne, bragging about his Calvin Klein CK1 attracting women "like catnip". Boomhauer is a strict non-smoker who carries a lighter, implicitly for emergencies or for lending.
In one episode where Hank, Bill, Dale, and Boomhauer are stuck in the water because they jumped off a boat, Boomhauer confesses that he dyes his hair ("Hank's on Board"). According to his Texas driver's license, which is seen in the series finale, Boomhauer is 5'11" (180 cm), and 171 lbs., and has hazel eyes. Boomhauer is missing his left pinky toe, due to an accident while he was in the Order of the Straight Arrow ("Straight as an Arrow").
Boomhauer is apparently highly astute and often gives advice to his friends. He is also a frequent voice of truth, owning up to the wrongdoings of the group despite not always acting appropriately himself. Although, since his speech pattern is not understood by most people, his confessions are usually ignored. In the episode "A Firefighting We Will Go", after Hank blames the deceased Chet Elderson for causing the fire station to burn down, Boomhauer points out that Dale was the one who plugged in the malfunctioning Alamo Beer sign. However, the fire chief does not seem to understand him and decides that the blame for the fire will be placed on electrical problems, in order to leave the integrity of Chet Elderson's name intact.
In another episode, he mentions that his mother wanted him to become an electrical engineer. Given the opportunity, Boomhauer will demonstrate that he is, in fact, quite cultured. In "Ceci N'Est Pas Une King of the Hill", Hank makes remarks about art that deride its modern state, provoking Boomhauer to call him ignorant, going so far as to cite Dadaism and the famed Marcel Duchamp work Fountain. He is the only character who initially understood the meaning behind Kahn's story at Buckley's funeral, and the symbolic meanings of the novel Dinner of Onions in Full Metal Dust Jacket.
Three of the main characters (Hank, Dale, and Boomhauer) graduated from high school together (Bill did not complete his senior year having enlisted in the United States Army). Boomhauer was the starting quarterback for the football team, while Hank was a running back and Bill was an offensive lineman and a fullback. Dale, not being as athletic as his friends, was the towel manager. Dale referred to basketball legend Wilt Chamberlain as Boomhauer's idol in the season 11 episode serPUNt. According to Hank, Boomhauer is allergic to macadamia nuts. Boomhauer is the most modern of the four friends, and as such was first to own a cell phone.
Occupation[edit]
Boomhauer's occupation was not made clear throughout the series. The season 13 episode "To Sirloin With Love" reveals that Boomhauer has a Texas Ranger badge in his wallet.[3] An early episode reveals that Boomhauer worked as an electrician until he was put on worker's compensation for unknown reasons, leaving open the possibility that his electrician work was a cover or predecessor to his law enforcement career. In "Three Coaches and a Bobby," Hank and the guys run into their old high school football coach. Coach Sauers asks Boomhauer how the family is, and Boomhauer says "Man they're doin' fine, man. Man lil' dang old down in old Florida man, like ol' lottery winner, man, like all, just no problems, man." Coach Sauers responds "I'm sorry to hear that." It's possible that Boomhauer has a rich benefactor.
Trademark speech pattern[edit]
Boomhauer's speech patterns are nearly incomprehensible to the untrained audience and serve as a recurring theme. He mumbles, usually quite fast, and invariably uses the words "dang ol'" as an all-purpose adjective, sometimes several times in a single sentence. He also uses the phrases "I tell ya what" and "man" frequently. His heavy Southern accent sometimes leads to misunderstandings about his mental capacity; it has been made clear that he is an intelligent person who expresses that in an inimitable way, such as a memorable occasion where the group's anger at Bill leads to Hank finding out he has the word "Bill" tattooed on his head, and Boomhauer chuckles as he says "life will throw you dang ol' curveball man, like dang ol' Sandy Koufax" (a reference to the legendary Hall of Fame pitcher who was known for the unhittable pitch Boomhauer described). In the fourth-season episode "Naked Ambition", he was admitted to a mental hospital in downtown Houston after he drifted in on the river in a tube and was found in his Speedo, sunburned, drunk, and dehydrated, while his speech pattern was misinterpreted by a police officer as incoherent babbling (in this same episode, he is seen painting a self-portrait in a highly accurate rendition of the style of Vincent van Gogh). All of the regular characters on the show understand most of what he says. In one such instance, when a furious Dale has become involved in a dangerous situation and Boomhauer begs him via megaphone to surrender, Dale snaps "Boomhauer, if I ever heard anyone reading a script, that was it."
There is a recurring joke in which Hank occasionally cannot understand Boomhauer due to extenuating circumstances such as the complexity of the vocabulary being used (i.e. "legalese mumbo jumbo"), a bad telephone connection, or an echo. Often, the closed caption texts of Boomhauer's mumblings are clearer than his spoken words. An example of a typical line of dialog:
Yeah man, I tell ya what, man, that dang ol' internet, man, you just go in on there and point and click, talk about w-w-dot-w-com, mean you got the naked chicks on there, man, just go click, click, click, click, click, it's real easy, man.
Boomhauer's speech is satirical of "rednecks" using phrases such as "dang ol'", "dad gum" and "yeah, man talkin' 'bout" and has the cadence and style of a Cajun accent. Nevertheless, he sings clearly, as evidenced by his rendition of "Blue Moon of Kentucky" in Episode 113 ("The Bluegrass Is Always Greener"); this same episode reveals that he also has a talent for the banjo and the accordion. The singing was done by country star Vince Gill. Mike Judge has stated that the inspiration for Boomhauer's voice came from a message left on his answering machine by an irate viewer of Beavis & Butt-Head as well as the voice patterns of an acquaintance in Dallas and an Oklahoma City resident reciting directions over the telephone.[4]
The season 1 episode "Hank's Got the Willies" shows Boomhauer and the famously incomprehensible Bob Dylan conversing with one another. In "A Fire Fighting We Will Go", when a story is presented from Boomhauer's point of view, he speaks clearly while the other characters have his usual speech pattern, indicating that Boomhauer sees his speech as normal and that of his associates as difficult to understand.
Early promotional spots for the series featured clips of Boomhauer speaking, intercut with text that presented the term "Boombonics" in the style of a dictionary entry, as a reference to "Ebonics" (AAVE). The word was broken down into syllables, with proper pronunciation and the definition (see gibberish).
Although he only mumbles when speaking English, he is fluent in both Spanish and French.
Family[edit]
Boomhauer has had four relatives that have appeared on the show: his "Meemaw" (a Southern term for grandmother); his father, Dr. Boomhauer; his mother, Mrs. Boomhauer; and his sleazy, womanizer brother, Patch, voiced by Brad Pitt in his only speaking appearance (he appeared again for a split second at Luanne and Lucky's wedding). They live in Florida. Mrs. Boomhauer, Patch, and Meemaw all have the same speaking pattern as Boomhauer. Dr. Boomhauer has not been shown speaking, only through other characters paraphrasing what he may have said. He is the uncle of Patch's son, Patrick Boomhauer.
Romantic life[edit]
Boomhauer's typical romantic life included one-night stands with several young women. Peggy Hill once mentions (likely in jest) his longest relationship was a three-day weekend. Occasionally, he had girlfriends that he dated for more than sex. When a woman breaks up with him, he is notably devastated. In the episode "Uh-Oh, Canada", Boomhauer moves to Guelph, Ontario and has a 3-month relationship with a French-Canadian woman.
References[edit]
Jump up ^ "King of the Hill". IMDb. Retrieved 2008-11-09.
Jump up ^ "Boomhauer". Fox Network. Archived from the original on October 15, 2008. Retrieved 2008-11-09.
Jump up ^ Alan Sepinwall 'King of the Hill' says goodbye NJ.com. Retrieved April 21, 2011.
Jump up ^ "Animator Mike Judge" (interview). Fresh Air, 2001-02-26 (rebroadcast 2003-08-15). Retrieved 2009-05-19.
External links[edit]
Wikiquote has quotations related to: Boomhauer
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