The prologue to Book VII is especially interesting on two counts. First, the Muse Milton invokes is again Urania, the classical Muse of Astronomy, who is appropriate since the focus of this book is on the creation of Earth and the heavens, and Book VIII will deal with planetary motions. But, once again, just as he did in Book I, Milton disassociates Urania from the classical tradition and equates her with Christian inspiration, literally (in Book I) with the Holy Spirit. This treatment of Urania epitomizes one of Milton's goals in Paradise Lost — to compose a Christian epic. He brings together the pagan classical tradition with Christian doctrine; the invocation and transmutation of Urania provides an emblematic image of this goal.
The second point of interest in this prologue is Milton's personal references. He once again alludes to his blindness with the word "darkness" in line 27, but he goes on to mention "dangers" (28) and earlier referred to "evil days." These references appear to be to the political situation in England at the time Milton wrote Paradise Lost. Milton had been an official in Cromwell's government and had been imprisoned briefly after the Restoration. The supporters of Charles II, as well as Charles himself, were not an especially bloodthirsty lot, but Puritans and former supporters of Cromwell had good reasons to be concerned. Milton, because of his notoriety, outspokenness, and blindness, was especially vulnerable. Moreover, his composition, a Christian epic, was not likely to be popular among the Cavaliers, who had more worldly matters on their minds. Consequently, the personal aspects of this prologue reveal Milton's sense of isolation, vulnerability, and perhaps fear at a time when, had circumstances not changed so dramatically, he might have been one of the most celebrated figures in the kingdom.
