Paradise lost

Book I, lines 27–722
Summary: Lines 27–722: Satan and Hell
Immediately after the prologue, Milton raises the question of how Adam and Eve’s disobedience occurred and explains that their actions were partly due to a serpent’s deception. This serpent is Satan, and the poem joins him and his followers in Hell, where they have just been cast after being defeated by God in Heaven.

Satan lies stunned beside his second-in-command, Beelzebub, in a lake of fire that gives off darkness instead of light. Breaking the awful silence, Satan bemoans their terrible position, but does not repent of his rebellion against God, suggesting that they might gather their forces for another attack. Beelzebub is doubtful; he now believes that God cannot be overpowered. Satan does not fully contradict this assessment, but suggests that they could at least pervert God’s good works to evil purposes. The two devils then rise up and, spreading their wings, fly over to the dry land next to the flaming lake. But they can undertake this action only because God has allowed them to loose their chains. All of the devils were formerly angels who chose to follow Satan in his rebellion, and God still intends to turn their evil deeds toward the good.
Once out of the lake, Satan becomes more optimistic about their situation. He calls the rest of the fallen angels, his legions, to join him on land. They immediately obey and, despite their wounds and suffering, fly up to gather on the plain. Milton lists some of the more notable of the angels whose names have been erased from the books of Heaven, noting that later, in the time of man, many of these devils come to be worshipped as gods.
Among these are Moloch, who is later known as a god requiring human sacrifices, and Belial, a lewd and lustful god. Still in war gear, these fallen angels have thousands of banners raised and their shields and spears in hand. Even in defeat, they are an awesome army to behold.
Satan’s unrepentant evil nature is unwavering. Even cast down in defeat, he does not consider changing his ways: he insists to his fellow devils that their delight will be in doing evil, not good. In particular, as he explains to Beelzebub, he wishes to pervert God’s will and find a way to make evil out of good. It is not easy for Satan to maintain this determination; the battle has just demonstrated God’s overwhelming power, and the devils could not even have lifted themselves off the lake of fire unless God had allowed it. God allows it precisely because he intends to turn their evil designs toward a greater good in the end. Satan’s envy of the Son’s chosen status led him to rebel and consequently to be condemned. His continued envy and search for freedom leads him to believe that he would rather be a king in Hell than a servant in Heaven. Satan’s pride has caused him to believe that his own free intellect is as great as God’s will. Satan remarks that the mind can make its own Hell out of Heaven, or in his case, its own Heaven out of Hell.
Satan addresses his comrades and acknowledges their shame in falling to the heavenly forces, but urges them to gather in order to consider whether another war is feasible. Instantly, the legions of devils dig into the bowels of the ground, unearthing gold and other minerals. With their inhuman powers they construct a great temple in a short time. It is called Pandemonium (which means “all the demons” in Latin), and the hundreds of thousands of demonic troops gather there to hold a summit. Being spirits, they can easily shrink from huge winged creatures to the smallest size. Compacting themselves, they enter Pandemonium, and the debate begins.
Analysis
Throughout the first two or three books of Paradise Lost, Satan seems as if he’s the hero of the poem. This is partly because the focus of the poem is all on him, but it is also because the first books establish his struggle—he finds himself defeated and banished from Heaven, and sets about establishing a new course for himself and those he leads. Typically, the hero or protagonist of any narrative, epic poem or otherwise, is a person who struggles to accomplish something. Milton plays against our expectations by spending the first quarter of his epic telling us about the antagonist rather than the protagonist, so that when we meet Adam and Eve, we will have a more profound sense of what they are up against. But even when the focus of the poem shifts to Adam and Eve, Satan remains the most active force in the story.
One important way in which the narrator develops our picture of Satan—and gives us the impression that he is a hero—is through epic similes, lengthy and developed comparisons that tell us how big and powerful Satan is. For example, when Satan is lying on the burning lake, Milton compares him to the titans who waged war upon Jove in Greek mythology. Then, at greater length, he compares him to a Leviathan, or whale, that is so huge that sailors mistake it for an island and fix their anchor to it. In other epics, these sorts of similes are used to establish the great size or strength of characters, and on the surface these similes seem to do the same thing. At the same time, however, the effect of these similes is to unsettle us, making us aware that we really do not know how big Satan is at all. No one knows how big the titans were, because they were defeated before the age of man. The image of the Leviathan does not give us a well-defined sense of his size, because the whole point of the image is that the Leviathan’s size generates deception and confusion.
More than anything, the similes used to describe Satan make us aware of the fact that size is relative, and that we don’t know how big anything in Hell is—the burning lake, the hill, Pandemonium, etc. Milton drives this fact home at the end of Book I with a tautology: while most of the devils shrink in size to enter Pandemonium, the important ones sit “far within / And in their own dimensions like themselves” (I.792–793). In other words, they were however big they were, but we have no way of knowing how big that was. Finally, it is important to note that the first description of Satan’s size is the biggest we will ever see him. From that point on, Satan assumes many shapes and is compared to numerous creatures, but his size and stature steadily diminishes. The uncertainty created by these similes creates a sense of irony—perhaps Satan isn’t so great after all.
The devils in Paradise Lost are introduced to the story here in Book I in almost a parody of how Homer introduces great warriors in the Iliad. The irony of these descriptions lies in the fact that while these devils seem heroic and noteworthy in certain ways, they just lost the war in Heaven. As frightening and vividly presented as these creatures are, they did not succeed in killing a single angel.
In Book I, Milton presents Satan primarily as a military hero, and the council of devils as a council of war. In doing so, he makes Paradise Lost resonate with earlier epics, which all center around military heroes and their exploits. At the same time, Milton presents an implicit critique of a literary culture that glorifies war and warriors. Satan displays all of the virtues of a great warrior such as Achilles or Odysseus. He is courageous, undaunted, refusing to yield in the face of impossible odds, and able to stir his followers to follow him in brave and violent exploits. Milton is clearly aware of what he’s doing in making Satan somewhat appealing in the early chapters. By drawing us into sympathizing with and admiring Satan, Milton forces us to question why we admire martial prowess and pride in literary characters. Ultimately he attempts to show that the Christian virtues of obedience, humility, and forbearance are more important.

Paradise lost

Book I, lines 1–26
Summary: Lines 1–26: The Prologue and Invocation
Milton opens Paradise Lost by formally declaring his poem’s subject: humankind’s first act of disobedience toward God, and the consequences that followed from it. The act is Adam and Eve’s eating of the forbidden fruit of the Tree of Knowledge, as told in Genesis, the first book of the Bible. In the first line, Milton refers to the outcome of Adam and Eve’s sin as the “fruit” of the forbidden tree, punning on the actual apple and the figurative fruits of their actions. Milton asserts that this original sin brought death to human beings for the first time, causing us to lose our home in paradise until Jesus comes to restore humankind to its former position of purity.

Milton’s speaker invokes the muse, a mystical source of poetic inspiration, to sing about these subjects through him, but he makes it clear that he refers to a different muse from the muses who traditionally inspired classical poets by specifying that his muse inspired Moses to receive the Ten Commandments and write Genesis. Milton’s muse is the Holy Spirit, which inspired the Christian Bible, not one of the nine classical muses who reside on Mount Helicon—the “Aonian mount” of I.15. He says that his poem, like his muse, will fly above those of the Classical poets and accomplish things never attempted before, because his source of inspiration is greater than theirs. Then he invokes the Holy Spirit, asking it to fill him with knowledge of the beginning of the world, because the Holy Spirit was the active force in creating the universe.
Milton’s speaker announces that he wants to be inspired with this sacred knowledge because he wants to show his fellow man that the fall of humankind into sin and death was part of God’s greater plan, and that God’s plan is justified.
Analysis
The beginning of Paradise Lost is similar in gravity and seriousness to the book from which Milton takes much of his story: the Book of Genesis, the first book of the Bible. The Bible begins with the story of the world’s creation, and Milton’s epic begins in a similar vein, alluding to the creation of the world by the Holy Spirit. The first two sentences, or twenty-six lines, of Paradise Lost are extremely compressed, containing a great deal of information about Milton’s reasons for writing his epic, his subject matter, and his attitudes toward his subject. In these two sentences, Milton invokes his muse, which is actually the Holy Spirit rather than one of the nine muses. By invoking a muse, but differentiating it from traditional muses, Milton manages to tell us quite a lot about how he sees his project. In the first place, an invocation of the muse at the beginning of an epic is conventional, so Milton is acknowledging his awareness of Homer, Virgil, and later poets, and signaling that he has mastered their format and wants to be part of their tradition. But by identifying his muse as the divine spirit that inspired the Bible and created the world, he shows that his ambitions go far beyond joining the club of Homer and Virgil. Milton’s epic will surpass theirs, drawing on a more fundamental source of truth and dealing with matters of more fundamental importance to human beings. At the same time, however, Milton’s invocation is extremely humble, expressing his utter dependence on God’s grace in speaking through him. Milton thus begins his poem with a mixture of towering ambition and humble self-effacement, simultaneously tipping his hat to his poetic forebears and promising to soar above them for God’s glorification.
Milton’s approach to the invocation of the muse, in which he takes a classical literary convention and reinvents it from a Christian perspective, sets the pattern for all of Paradise Lost. For example, when he catalogs the prominent devils in Hell and explains the various names they are known by and which cults worshipped them, he makes devils of many gods whom the Greeks, Ammonites, and other ancient peoples worshipped. In other words, the great gods of the classical world have become—according to Milton—fallen angels. His poem purports to tell of these gods’ original natures, before they infected humankind in the form of false gods. Through such comparisons with the classical epic poems, Milton is quick to demonstrate that the scope of his epic poem is much greater than those of the classical poets, and that his worldview and inspiration is more fundamentally true and all-encompassing than theirs. The setting, or world, of Milton’s epic is large enough to include those smaller, classical worlds. Milton also displays his world’s superiority while reducing those classical epics to the level of old, nearly forgotten stories. For example, the nine muses of classical epics still exist on Mount Helicon in the world of Paradise Lost, but Milton’s muse haunts other areas and has the ability to fly above those other, less-powerful classical Muses. Thus Milton both makes himself the authority on antiquity and subordinates it to his Christian worldview.
The Iliad and the Aeneid are the great epic poems of Greek and Latin, respectively, and Milton emulates them because he intends Paradise Lost to be the first English epic. Milton wants to make glorious art out of the English language the way the other epics had done for their languages. Not only must a great epic be long and poetically well-constructed, its subject must be significant and original, its form strict and serious, and its aims noble and heroic. In Milton’s view, the story he will tell is the most original story known to man, as it is the first story of the world and of the first human beings. Also, while Homer and Virgil only chronicled the journey of heroic men, like Achilles or Aeneas, Milton chronicles the tragic journey of all men—the result of humankind’s disobedience. Milton goes so far as to say that he hopes to “justify,” or explain, God’s mysterious plan for humankind. Homer and Virgil describe great wars between men, but Milton tells the story of the most epic battle possible: the battle between God and Satan, good and evil.

Paradise lost

Context
Milton’s Life
John Milton was born on December 9, 1608, in London. Milton’s father was a prosperous merchant, despite the fact that he had been disowned by his family when he converted from Catholicism to Protestantism. Milton excelled in school, and went on to study privately in his twenties and thirties. In 1638 he made a trip to Italy, studying in Florence, Siena, and Rome, but felt obliged to return home upon the outbreak of civil war in England, in 1639. Upon his return from Italy, he began planning an epic poem, the first ever written in English. These plans were delayed by his marriage to Mary Powell and her subsequent desertion of him. In reaction to these events, Milton wrote a series of pamphlets calling for more leniency in the church’s position on divorce. His argument brought him both greater publicity and angry criticism from the religious establishment in England. When the Second Civil War ended in 1648, with King Charles dethroned and executed, Milton welcomed the new parliament and wrote pamphlets in its support. After serving for a few years in a civil position, he retired briefly to his house in Westminster because his eyesight was failing. By 1652 he was completely blind.

Despite his disability, Milton reentered civil service under the protectorate of Oliver Cromwell, the military general who ruled the British Isles from 1653 to 1658. Two years after Cromwell’s death, Milton’s worst fears were realized—the Restoration brought Charles II back to the throne, and the poet had to go into hiding to escape execution. However, he had already begun work on the great English epic which he had planned so long before: Paradise Lost. Now he had the opportunity to work on it in earnest. It was published in 1667, a year after the Great Fire of London. The greatness of Milton’s epic was immediately recognized, and the admiring comments of the respected poets John Dryden and Andrew Marvell helped restore Milton to favor. He spent the ensuing years at his residence in Bunhill, still writing prolifically. Milton died at home on November 8, 1674. By all accounts, Milton led a studious and quiet life from his youth up until his death.

Education
Thanks to his father’s wealth, young Milton got the best education money could buy. He had a private tutor as a youngster. As a young teenager he attended the prestigious St. Paul’s Cathedral School. After he excelled at St. Paul’s he entered college at Christ’s College at Cambridge University. At the latter, he made quite a name for himself with his prodigious writing, publishing several essays and poems to high acclaim. After graduating with his master’s degree in 1632, Milton was once again accommodated by his father. He was allowed to take over the family’s estate near Windsor and pursue a quiet life of study. He spent 1632 to 1638—his mid to late twenties—reading the classics in Greek and Latin and learning new theories in mathematics and music.
Milton became fluent in many foreign and classical languages, including Italian, Greek, Latin, Aramaic, Hebrew, French, Spanish, Anglo-Saxon, and spoke some Dutch as well. His knowledge of most of these languages was immense and precocious. He wrote sonnets in Italian as a teenager. While a student at Cambridge, he was invited in his second year to address the first year students in a speech written entirely in Latin.
After Cambridge, Milton continued a quiet life of study well through his twenties. By the age of thirty, Milton had made himself into one of the most brilliant minds of England, and one of the most ambitious poets it had ever produced.
Early Works
In his twenties, Milton wrote five masterful long poems, each of them influential and important in its own separate way: “On the Morning of Christ’s Nativity,” “Comus,” “Lycidas,” “Il Penseroso,” and “L’Allegro.” Through these poems, Milton honed his skills at writing narrative, dramatic, elegiac, philosophical, and lyrical poetry. He had built a firm poetic foundation through his intense study of languages, philosophy, and politics, and fused it with his uncanny sense of tone and diction. Even in these early poems, Milton’s literary output was guided by his faith in God. Milton believed that all poetry served a social, philosophical, and religious purpose. He thought that poetry should glorify God, promote religious values, enlighten readers, and help people to become better Christians.
Aside from his poetic successes, Milton was also a prolific writer of essays and pamphlets. These prose writings did not bring Milton public acclaim. In fact, since his essays and pamphlets argued against the established views of most of England, Milton was even the object of threats. Nevertheless, he continued to form the basis for his political and theological beliefs in the form of essays and pamphlets.
Politics
Milton’s political ideals are expressed in the many pamphlets he wrote during his lifetime. He championed the absolute freedom of the individual—perhaps because he had been so often betrayed by the institutions in which he put his trust. His distrust of institutions was accompanied by his belief that power corrupts human beings. He distrusted anyone who could claim power over anyone else, and believed that rulers should have to prove their right to lead other people.
Milton was an activist in his middle years, fighting for human rights and against the rule of England’s leaders, whom he believed were inept. Knowing he was not a fighter, he demonstrated his activism by writing lengthy, rhetorical pamphlets that thoroughly and rigorously argue for his point of view. Although he championed liberty and fought against authority throughout his career, in theory he believed in a strict social and political hierarchy in which people would obey their leaders and leaders serve their people. He believed that leaders should be leaders because they are better and more fit to rule than their subjects. But despite these rigid views of authority, Milton believed that the social hierarchy that actually existed in his day was extremely corrupt, and he directly challenged the rule of Charles I, the king of England during much of Milton’s lifetime. Milton argued that Charles was not, in fact, fit to lead his subjects because he did not possess superior faculties or virtues.
Religion
Milton took public stances on a great number of issues, but most important to the reading of Paradise Lost are his positions on religion. In Milton’s time, the Anglican Church, or Church of England, had split into the high Anglican, moderate Anglican, and Puritan or Presbyterian sects. Milton was a Presbyterian. This denomination called for the abolishment of bishops, an office that exists as part of the Catholic and Anglican churches. Milton, however, gradually took his views further, ultimately calling for the removal of all priests, whom he referred to as “hirelings.” Milton despised the corruption he saw in the Catholic Church, repeatedly attacking it both in his poetry and prose. In “Lycidas,” he likens Catholics to hungry wolves leaping into a sheep’s pen, an image similar to his depiction of Satan leaping over the wall of Paradise in Paradise Lost, Book IV. He saw few problems with the division of Protestants into more and smaller denominations. Instead, he thought that the fragmentation of churches was a sign of healthy self-examination, and believed that each individual Christian should be his own church, without any establishment to encumber him. These beliefs, expressed in a great number of pamphlets, prompted his break with the Presbyterians before 1650. From that point on, Milton advocated the complete abolishment of all church establishments, and kept his own private religion, close to the Calvinism practiced by Presbyterians but differing in some ways. Milton’s highly individual view of Christianity makes Paradise Lost simultaneously personal and universal.
In his later years, Milton came to view all organized Christian churches, whether Anglican, Catholic or Presbyterian, as an obstacle to true faith. He felt that the individual and his conscience (or “right reason”) was a much more powerful tool in interpreting the Word of God than the example set by a church. Throughout Paradise Lost, Milton expresses the idea that Adam and Eve’s fall from grace was actually fortunate, because it gives individual human beings the opportunity to redeem themselves by true repentance and faith. The importance of remaining strong in one’s personal religious convictions, particularly in the face of widespread condemnation, is a major theme in the later Books of Paradise Lost, as Michael shows Adam the vision of Enoch and Noah, two followers of God who risk death to stand up for him.
Paradise Lost also presents a number of Protestant Christian positions: the union of the Old and New Testaments, the unworthiness of mankind, and the importance of Christ’s love in man’s salvation. Nonetheless, the poem does not present a unified, cohesive theory of Christian theology, nor does it attempt to identify disbelievers, redefine Christianity, or replace the Bible. Instead, Milton’s epic stands as a remarkable presentation of biblical stories meant to engage Christian readers and help them to be better Christians.
Women and Marriage
Much of Milton’s social commentary in Paradise Lost focuses on the proper role of women. In Book IV he makes clear that he does not think men and women are equals, alluding to biblical passages that identify man as the master of woman. Although Milton viewed women as inferior to men, believing that wives should be subservient to their husbands, he did not see himself as a woman-hater. In Paradise Lost, he distances himself from the misogyny popular in his time—the belief that women are utterly inferior to men, essentially evil, and generally to be avoided. Milton’s character Adam voices this harsh view of womankind, but only after the fall, as an expression of anger and frustration. Put simply, Milton’s early views in Paradise Lost may be misogynistic by today’s standards, but he nevertheless presents Eve’s wifely role as an important one, as Adam and Eve help one another to become better and more complete individuals.
Milton’s views on marriage are mainstream today, but they were viewed as shocking and heretical in his own time. Milton was a pioneer for the right of divorce in an age when divorce was prohibited by nearly all denominations. In fact, the only grounds for a lawful divorce in Milton’s time was usually sexual incompatibility due to unlawful relations with other parties. But in his Doctrine of Discipline and Divorce, Milton expresses his belief that any sort of incompatibility—sexual, mental, or otherwise—is justified grounds for a divorce. In the same essay, he argues that the main purpose of marriage is not necessarily procreation, as most people thought at that time, but to bring two people together in completion. He felt that conversation and mental companionship were supremely important in a marriage, and admits that his first marriage might have failed due to a lack in this regard. He also argued that the partners in a marriage must complement each other. His portrayal of Adam and Eve after the fall is a vivid example of his belief that two people can complement each other, smoothing out one anothers’ faults and enhancing each others’ strengths.
The Epic
At the early age of sixteen, Milton already aspired to write the great English epic. As he read the classical epics in school—Homer’s Odyssey and Iliad and Virgil’s Aeneid —he began to fantasize about bringing such artistic brilliance to the English language.
Milton considered many topics for his epic. Early on, he thought that the story of King Arthur and the Knights of the Round Table was a noble topic. Then, as he grew slightly older, he hoped to write an epic about Oliver Cromwell, who took control of England in 1653 after helping to dethrone and execute King Charles. Judging from these two topics, it is clear that Milton wanted to write his epic on a distinctly British topic that would inspire nationalist pride in his countrymen. Such a topic would also mimic Homer’s and Virgil’s nationalist epics of strong, virtuous warriors and noble battles. However, Milton abandoned both of these ideas, and for a time gave up the notion of writing an epic at all.
But in the mid-1650s, Milton returned to an idea he had previously had for a verse play: the story of Adam and Eve. He concluded that the story might fail as a drama but succeed as an epic. In 1656 the blind Milton began to recite verse each morning to one of his two daughters, who wrote his poem down for him. Milton continued to dictate Paradise Lost for several years, finishing in 1667 when it was first published in ten books. Milton soon returned to revise his epic, redividing it into twelve books (as the classical epics were divided), and publishing it in its authoritative second edition form in 1671.
Later in 1671 he published his final work: Paradise Regained, the sequel to his great epic. Due to his strong religious beliefs, Milton thought that this work surpassed Paradise Lost in both its art and its message, though most readers today would disagree.

Jurassic park

Fifth Iteration–Epilogue
Summary
Search
Muldoon and Gennaro go out to investigate the hadrosaur stampede. Arnold informs them that he has found Nedry. Once they reach him, they retrieve the rocket launcher and leave Nedry's carcass to the compys, which Gennaro notices have five-fingered hands. Grant and the kids float under the giant dome of the park's aviary.

Arnold monitors the motion sensors but is unable to locate either the t-rex or Grant and the kids. Malcolm claims that a part of his theory, the "Malcolm Effect," indicates that a catastrophic event will happen when it appears the system is working perfectly.
Inside the aviary, Grant and the kids are looking for motion detectors and are attacked by fiercely territorial cearadactyls, large fish-eating pterodactyls. One of them tries to pick up Lex, but Grant fights it off. They escape back to the raft. Unsure what to do when they are confronted by a group of poisonous dilophosaurs by the shore, Grant and company are saved when the t-rex reappears and distracts the dilophosaurs long enough to allow the raft to pass.
Tyrannosaur
Arnold finally locates the t-rex, and Muldoon and Gennaro go to catch it. Muldoon fires two rocket-launched doses of tranquilizer at the tyrannosaur but seems to miss, and they are forced to flee. The t-rex turns around and again chases Grant and the kids, who fall down a waterfall. Lex narrowly escapes the tyrannosaur, nearly drowning in the process. They run behind the waterfall to escape, and Grant finds a maintenance door and enters it, only to be trapped inside. He finds a flashlight, a baby male velociraptor, and an electric go- cart. Outside, the t-rex finds the kids behind the waterfall and starts dragging Tim out with its tongue. Suddenly, the dinosaur keels over.
Control
Arnold reports that the t-rex finally succumbed to its tranquilizer dose, as Muldoon had not missed after all. Just as Arnold is gloating that things are back in order, he notices that the park has been running on its auxiliary power, and that the power has suddenly run out. He realizes there was a mix-up when he shut the power off earlier. Meanwhile, the waterfall stops flowing and the maintenance door opens, releasing Grant.
Back at the control room, Wu reads a printout that indicates that the electric fences have been off for the last five hours. Arnold goes out to try to turn the generator back on, but is killed by a velociraptor. Muldoon and Gennaro narrowly escape the pack of raptors, but Gennaro is attacked by a raptor when he goes back to the generator to try to turn it on again.
Return
Grant and the kids take the go-cart back to the visitor center, which is in shambles. Wu, Harding, Muldoon, Sattler, Hammond, and Malcolm are all trapped in a room at the lodge, as three raptors on the roof of the room slowly bite through the bars of the skylight. Sattler goes outside to distract the raptors while Grant makes a run for the generator, leaving the kids alone in the cafeteria.
Sattler draws the attention of two more raptors, but it turns out that these two are merely distracting her while the raptors on the roof come to attack her from behind. Wu steps outside to warn Sattler what is happening. He is killed by a raptor that jumps from the roof, but Sattler escapes. Grant discovers Gennaro still alive and turns on the generator. A raptor sneaks into the cafeteria but Tim locks it in the freezer. He and Lex flee to the control room and find a radio. Muldoon tells Tim that he must turn on the electricity since none of the people who are still alive knows how to use computers.
The Grid
Tim fiddles with the computer controls, but he and Lex are forced to leave the room when three raptors appear on the balcony. In the hallway, the kids realize that Tim had somehow turned on the electronic door locks, locking them out of every room. They find a security card on a dead guard and use it to open the nearest door.
Lodge
The raptors follow the kids into the nursery. Tim throws the baby raptor at the attacking adults, who tear it to shreds. The kids run into the next room, meeting up with Grant and Gennaro. Grant distracts the raptors while Gennaro takes the kids and runs into the next room, but they are trapped there. Grant lures the raptors into the laboratory, where he kills two of them by feeding them dinosaur eggs that he has injected with poison. He injects the poison directly into the tail of the third raptor with a syringe. After it dies, he and the others run to the control room.
Control
Tim manages to turn the electricity on just in time, and the bars on the skylight now keep the raptors out. The group calls the supply ship that has the stowaway raptors aboard, instructing it to turn around just before it docks into Costa Rica.
Destroying the World
Hammond sighs, relieved that his dinosaurs have not gotten free to overrun the world. Malcolm calls Hammond an egomaniacal idiot for thinking that he could ever be directly responsible for destroying the entire planet. Man will never be able to destroy the planet, he contends.
Under Control
A helicopter and the Costa Rican National Guard are on the way. Grant, Sattler, Muldoon, and a reluctant Gennaro go to find the raptor nest to determine if any animals have gotten off the island. On the way, Grant explains how the dinosaurs were able to reproduce: certain species of frogs can spontaneously change their gender when they are in an environment in which all of the animals are the same sex. The dinosaurs with the frog DNA, therefore, must have retained that trait. Once they are at the raptor nest, Gennaro refuses to go down the nest hole, but Grant says he must own up to his responsibility.
Almost Paradigm
Hammond takes a walk and muses that, even if Gennaro shuts down his island, he still has frozen embryos safely stored in California. Tim and Lex fool around in the control room, playing a recorded tyrannosaur roar over the park's loudspeakers. Hammond hears the roar and, thinking he is about to be attacked, trips and falls down a ravine.
Descent
Grant and Sattler go down the hole of the raptor nest and Muldoon forces Gennaro to follow. The large manmade cavern is teeming with raptors of all ages. The three observe the animals as they seem to line up and suddenly all run down a concrete tunnel.
Hammond
Hammond is attacked and overwhelmed by a group of compys.
The Beach
Grant, Sattler, and Gennaro follow the raptors, emerging from the tunnel on the beach. The raptors again line up in a northeast-southwest formation and Grant assumes that they want to migrate.
Approaching Dark
Helicopters scare off the raptors while soldiers take Grant, Sattler, and Gennaro into a chopper where Muldoon and the kids are already on board. Muldoon informs them that Hammond and Malcolm are dead. The soldiers want to know who is in charge, but no one is.
Epilogue: San Joseé
The government retains everyone at a hotel for questioning. Guitierrez comes to visit and informs Grant that some animals had been eating local crops in a peculiar manner. They moved in a straight line from the coast into the mountain jungle, eating agama beans and soy—foods rich in lysine. The animals disappeared into the jungle, and now no one knows where they are.
Analysis
As the novel closes, we see that many characters meet fates that can been seen as appropriate or just deserts. Nedry, who endangers the entire island through his greed, is killed by dilophosaurs. Muldoon even notes the appropriateness of his demise after he finds Nedry's carcass: "Maybe there's justice in the world after all." Regis cowardly abandons the children, and in so doing seals his own fate. Although Hammond claims to have created the park for the children of the world, he modifies this statement and admits that only the world's richest kids would ever get to see his dinosaurs. Ultimately, all Hammond wants is to make a lot of money. Even after witnessing all the death and destruction his scheme causes on Isla Nublar, Hammond still intends to make another park with frozen embryos that he has in storage. The fact that his death comes about due to his own grandchildren, albeit accidentally and indirectly, adds irony to his fate.
Similarly, Arnold, so certain that he has everything under control, allows his confidence to lead to carelessness. It is fitting that he dies while trying to cover for his mistake, that he left the auxiliary power on. Dr. Wu never intends any harm, but conducts his manipulation of biology and genetics with such ignorance for the animals he is creating that it is no wonder he pays a price for messing with nature. Likewise, Gennaro, though always skeptical that Jurassic Park is not safe enough for visitors, still schemes about making a fortune from Hammond's idea. Though Gennaro manages to survive, Grant forces him to help scope out the raptor nest before he leaves the island— a duty that Gennaro initially refuses to accept. Grant is adamant, however, that take responsibility for his part in creating this park. In a sense, then, though Gennaro survives, he nonetheless pays his dues.
Meanwhile, the main protagonists and seemingly responsible characters—Grant, Sattler, Tim, and Lex—all survive virtually unscratched. Muldoon, who always has had reservations about the park's safety and Hammond's methods, and who tirelessly fights to keep the dinosaurs in check, also makes it out alive. Harding, the unassuming vet whom we never see committing any significant wrong, manages to survive as well.
The only confusing character is Malcolm, who has all along told Hammond not to build the park because it is a bad idea. It may seem somewhat odd, then, that he dies. Perhaps Malcolm's certainty that chaos theory and its fatal implications for the island will prove true actually wills his own death in a sense. Alternatively, it may be that Crichton is merely rewarding Malcolm's smug, swaggering arrogance with particularly harsh retribution.

Jurassic park