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We’ve been warned about this; the very first lines of Paradise Lost are

Of Man’s first disobedience, and the fruit
Of that forbidden tree whose mortal taste
Brought death into the World.

The repetition of “dis”-words may seem cheap, but Milton is showing his masterful punning skills. Dis was also another name for Hell (such as the City of Dis in Dante’s Divine Comedy), so the repetition covertly draws a direct line between disobedience, Hell, and all sorts of DIStatesful things that happen after the fall when the world becomes effectively Satan’s.

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“Except much younger, and with better defined abs”

This is primary verse behind the concept of Imago Dei, which says that because all humans are made in the image of God, all humans have inherent value.

By way of contrast, in Islam the concept of Imago Dei does not exist, as God does not have a form.

To some readers, the plural pronouns in this line dispute the notion of monotheism just twenty-six verses into the book. A traditional Jewish reading is that God is referring to himself plus the host of angels, while a traditional Christian reading is of an early indication of the Trinity. This line can also be read as a usage of the “royal we”.

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Also called Sonnet XIX, depending on who’s counting

The hook samples Gospel of Matthew Chapter 25

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The Greek word for “stranger” (“xenos”) is often translated as “guest-friend” – back then, it was considered nice, not creepy, to invite strangers into one’s home (unless they were the wrong race or something).

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Some translations just say “brothers”, but feminist biblical historians relish the fact that the Greek word can be used for both genders

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Rappers like to brag about being drug kingpins, but the real high-drama of rap is the narrative of the desperate, small-time hustler, poetically exemplified in this second installment of “Losing Weight”

“Weight” usually means a large quantity of drugs; here, the meaning is stretched

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The camera is usually associated with the male gaze, with the purpose of objectifying the female body (see Mulvey, Laura, “Visual Pleasure and Narrative Cinema,” 1973)

Here, Lil Kim is still objectifying a female body (her own), but she not only recasts the gaze as feminine (her and her “girls”) but also challenges the authority of the male gaze: “he can’t see” the camera.

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Despite having twice referred to Lil Kim as “bitch”, Mr. Bristal expresses surprise that she should act like one, thus raising an important question: is bitch-ness an identity or a behavior? If a nigga can be a bitch, as there is ample evidence of throughout the corpus of rap, can a bitch just as easily be a nigga?

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Biggie blames his father’s abandonment for his lack of interest in sex as a young man (I bet the big paunch didn’t help either)

He also may have chosen robbery over pimping as a way of making cash because women annoy him

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For Biggie to call his father a “faggot” – implying that leaving his mother was born not of a testosterone-driven desire to sow seed but of feminine cowardice – is a striking choice; most rappers portray their fathers as violent, hyper-masculine figures (except Eminem and Tyler, the Creator).

“Taking the back way” is a metaphor for cowardice (slunk out the back door) as well as a reference to gay (i.e. “butt”) sex

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