With eloquent and tuneful verse, Adam and Eve offer prayers to God at daybreak.
Since this passage offers a variety of protractible themes, (eg. Milton's cosmology and the elemental view of nature) I chose to investigate a select few that are either central to the plot or can be cross-referenced elsewhere in the poem.
The central issue is derived from the opening section (5.153-9) and involves the relationship between God and the first humans - particularly in the domain of knowledge. Adam and Eve's immediacy in pointing to God's "glorious works" (5.153) seems to gloss over a subtextual detachment from God in a rational, or even 'spiritual' sense - a personally surprising revelation because it contrasts with my own presupposition that the prelapsarian state involved a close affinity between the reason and will of humanity and God (cf. Augustine, Confessions, XIII.22 ì). Holding this point in focus will allow us to explore two separate avenues of analysis.
Using E.M.W. Tillyard's powerful study, The Elizabethan World Picture, as a reference, it appears Milton ensured his Adam and Eve knew the Angels' place in the Chain of Being as well as their own. Instead of asking God for a fuller revelation as Moses did (cf. Ex. 33:18), the humans seem contented enough to simply speak of God as an "invisible", "unspeakable" being (5.156-7). It is left to the Angels to honor and behold divinity in the sublime (5.160-1); the reader should hearken to their heavenly cries in Book III (3.372-415) for a diametrical viewpoint to Adam and Eve's. The couple's self-awareness in this matter is exhibited thusly: within a few breaths, features of the universe so rousingly touted as "glorious" are diminished to the status of God's "lowest works" (5.158) before being systematically measured from the heavenly Throne (5.163) down the Chain to the lowliest creeping things (5.201). (Inserting Aristotle's elements, Heraclitus' principle of perpetual change and Pythagoras' cosmic harmony deftly fuses a variety of classical accounts with the Biblical creation story - not to mention the myriad orbs and spheres involved!) Holding that the same created world may appear lowly to God and Angels but glorious to those beings with limited faculties, is this change in tone simply a matter of perspective? Of no little consequence, if this spatial and intellectual gulf between God and Man is so immense, than what is this "Divine resemblance" (4.364) so bemoaned by Satan and exhorted by the speaker (4.291-2)? A similitude of mere appearance, though suggested by certain texts, does insufficient justice to the reading of image as "Truth, Wisdom, [and] Sanctitude" (4.293) - unless these rational qualities are only intended for practical rather than speculative endeavours. Owing to this pragmatic intuition, Man and Woman can only interpret reality as ordered change, yet they choose to view this state for its positive possibilities: "let your ceaseless change / Vary to our great Maker still new praise (5.183-4). Though Adam and Eve do have some conception of God's higher attributes - mainly his temporal transcendence and creative powers - their general standpoint is one of conjecture: "thine this universal frame, / Thus wondrous fair; thyself how wondrous then!"" (154-55).
My second hypothesis is that Adam and Eve's outward turn is a deliberately written psychological reaction to their troubling introspection only a few 'minutes' prior in Paradise. Adam judges that because his partner succumbed to temptation in a dream, her "taste" (5.86) of the forbidden fruit left "no spot or blame behind" (5.119). Yet there remains a lingering problem. It is clear from Adam's less-than-fully-informed monologue that he intuits Reason cannot be trusted to guard the imagination from Fancy - at least this is the case in slumber (5.108-115). Satan has not yet caused a moral failing, but he deviously succeeds in breaking Adam and Eve's confidence in their personal interior experiences by disrupting the Soul's ideal chain of command (5.100-8). Therefore, sensual input of God's remains the sole conduit of admittedly partial truth - an external revelation notwithstanding. Their assurance that the "universal Lord" has dispersed any nocturnal evil (5.206-8)leads to a Firm peace (5.210), but this quietude's principal effect is to hastily propel the couple outward to work in the Garden, leaving no place for further contemplation. Arbeit macht frei?