John Milton’s Paradise Lost and Lee Sang’s Paradise Lost both vividly portray the profound loss of paradise within a ruined civilization, one overwhelmed by the relentless forces of reason and science. In these worlds, where humanity is deeply corrupt and love is conspicuously absent, mythological symbols are employed to convey the overarching themes. These texts powerfully symbolize the profound sense of paradise lost in the respective historical and cultural contexts of John Milton and Lee Sang. The sophisticated theological concepts drawn from Karl Barth’s Church Dogmatics were meticulously applied to interpret the central ideas and themes within both John Milton’s and Lee Sang’s compositions. A close analysis from Barth’s theological perspective clearly demonstrates a deep and striking thematic correlation between the two works. Both John Milton and Lee Sang pointedly caution against the dangerous arrogance of pursuing knowledge without limit, devoid of love in the name of mercy, with the intent to dominate the world. Paradoxically, their poignant warnings may be interpreted as a compelling call for the restoration of love, which is deemed necessary to reclaim the lost paradise. The most fundamental difference between the two compositions lies in their conclusions: while John Milton’s work culminates in a hopeful tenor, offering a promise of eventual salvation after the tragic loss of paradise, Lee Sang’s work concludes in a deeply tragic manner, with no promise of salvation whatsoever. In conclusion, both John Milton and Lee Sang emphatically stress that in our relentless pursuit of knowledge, we must never overlook the essential importance of love, particularly as an expression of mercy toward all humanity.