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Miltons view of satan
Satan in John Milton’s Paradise Lost essay
Satan in John Milton’s Paradise Lost essay
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Response Paper #5: Prometheus Unbound
In his work Prometheus, Percy Bysshe Shelley seeks to show how the sufferings of Prometheus are like those of Satan in Milton’s Paradise Lost, and how the tyranny of Jupiter is like what he sees as the tyranny of Milton’s God. In doing this, Shelly ends up making a Christ of Satan and a Satan of God.
The intriguing character of Prometheus performs a change throughout the play. At the beginning of the play, Prometheus described as in great suffering and pain forever. Shelly seeks to make Prometheus a character like unto Milton’s Satan, but with more nobility. Prometheus is torched in a terrible hell for daring to defy the tyranny of Heaven. He is willing to bear the furies and torments of hell rather than to bend his knee to the ruler in heaven. Both Satan and Prometheus hate the God of heaven.
The hatred of Prometheus against Jupiter had made Prometheus curse Jupiter for and wish him pain and suffering for inflicting pain upon him. However, Shelly’s description of Prometheus soon changes as he begins to have pity on and repent his hatred of Jupiter. “It doth repent me: words are quick and vain; Grief for awhile is blind, and so was mine. I wish no living thing to suffer pain.” This repentance continues even as the furies of Jupiter’s wrath torment Prometheus. He has resigned himself to suffering, “Pain is my element as hate is thine” (pg.810)
In describing Prometheus like suffering Satan with more virtues, Shelly creates a Prometheus, into a character who is more like that of Milton’s Christ, than Milton’s Satan is. Like the Son of God in Book 4 of Paradise Lost, Prometheus is willing to suffer to free man from the cruelties of hatred and the bondage of Jupiter. Prometheus knows...
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...ished, and replaced by a new heavens and new earth with love, peace, and liberty.
Both Jupiter and Prometheus are not perfect replications of the figures they represent. For example, Prometheus does not have the perfect righteousness of Christ. His sin is part of the cause of his current suffering. The peace and redemption he gives has the possibility of being undone if hate returns, and there is no eternal punishment for man, only for gods. In addition, unlike Satan who knows there is God over him who has omnipotence, Jupiter believes himself truly omnipotent. These differences show us how there is no substitute for the substitution of Christ for us. We may try to bear the hate and torture of others and the guilt of our sin by ourselves, but we must caste all our burdens on the Lord, and he will free us from it, and give us peace and true hope, joy, and love.
Whether atop the baffling Mount Olympus or below in the blank slate of a city being Ingolstadt, a mythological god and a man seek power on their trek to greatness. Both Zeus of the Greek gods in “The Story of Prometheus” and the simple man Victor Frankenstein of the literature work Frankenstein by Mary Shelley, can be viewed as leaders who lost their purpose in their quest for power. Victor possesses more morality in his actions, while Zeus rules with an iron fist and does not care what happens to the ones around him. To understand the beneficial traits and flaws of these characters, one must delve into the stories of their lives. These characters throughout literature show signs of great potential, but also of substantial corruption. Disregarding the feelings of others, along with a
The first question which must be addressed is, "Why have these men been made to suffer?" To simply say that Zeus or God is displeased is not enough, and to say that Prometheus and Job have sinned is confusing. Most Western readers approach these works with a pre-conceived notion of sin which has been born out of the Judeo-Christian theological tradition a tradition which dictates that there are specific moral rules which must be followed, and to transgress them is to sin. While this interpretation of sin may be functional for a reading of Job, it is useless for understanding Prometheus Bound.
In Prometheus's society, being an individual is considered a "sin", but as events occur Prometheus begins to comprehend that being an individual is the way men are supposed to think. In the beginning of the book, he has a name like everyone else, and like everyone else he is living in a world that thrives off fear. Everyone is afraid to think, act, or be different from the rest, because as society has taught them being different and an individual is a "sin". As he began to grow up, he noticed that he was somewhat different from the rest of the people. He disliked many things such as the way society made people mate because he thought this was despicable and grotesque. The more he began to grow up he was becoming more of an individual and this scared him, he even began to see himself as an evil person. When he started to play around with science and began inventing things like the light bulb, this scared him but then he reasoned that maybe even though he was acting as an individual the council would let it go because it was such a remarkable invention.
Mary Shelley’s novel, Frankenstein, illustrates the Romantic idea of the sublime naturalworld as an emotional experience for the characters of the novel. Within the text, Shelleyutilizes an allusion to the John Milton’s biblical story, Paradise Lost, to make a parallel betweenthe characters. Within the passage, the monster compares himself, as well as his creator, Victor,to the characters Adam and Satan. He comes to realize that he is more similar to Satan;ultimately, leading him to his reign of terror and the revenge he wishes to impose on Victor. Themonster realizes that he is similar to Adam in Paradise Lost in that they both do not want to bealone. The monster also realizes that there is good in the world that is deeply contrasted with
The characters in Frankenstein are a collection of those in Paradise Lost. Frankenstein parallels Eve in the Garden of Eden in that they would do whatever it takes to gain the knowledge of all things. While, the Creature corresponds to Satan because they both wanted to break free from their creators and receive a chance at their own decisions. In Chapter 15 of Frankenstein, Shelley alludes to Paradise Lost in order to establish a connection between the Creature and Adam, when the Creature tries to 'sympathize with [his] feelings and cheer [his] gloom.' However, he then realizes that it was all a 'dream, no Eve soothed [his] sorrows, nor shared [his] thoughts, [he] was alone.' The creature meets with the fact that Frankenstein abandoned him, and ?in the bitterness of [his] heart [he] cursed him.' Yet, earlier in Chapter 10, Shelley suggests an affiliation between the Creature and Satan. He feels like a 'fallen angel, whom thou drivest from misjoy.' Both Satan and the Creature make a vow to destroy something good. In Book I, Satan vows to 'seek to bring forth evil' out of good. Similarly, the Creature declares that 'if [he] cannot inspire love, [he] will cause fear. This network of characters aids the reader in identifying the intertextuality of the two pieces.
Hildegard’s Devil appears seductive more than anything else and he demonstrates the allure of sin. The singing in Hildegard’s vision before the play begins warns of the “most foul deceiver” (382). In the play, the Soul at first appears content among the Virtues, before feeling burdened by its body and the desire to explore the world. The Devil appears at this moment of weakness to appeal to the Soul’s feelings and exploit its vulnerabilities. Despite being the opponent of Virtues, to the Soul he appears as empowering, not threatening. He tells the Soul, “Serve the world, and it will embrace you with great honor” (384). When Humility cites scripture to inspire the other Virtues, the Devil responds in turn with an argument based in scripture. The action of the play occurs rapidly, but the draw of the Devil is clear. When the Soul repents for her actions she describes how “a fiery sweetness swallowed [her] up in sin” (386). Hildegard’s Devil is a flat character. He does not cause the audience to feel strong emotions the way later portrayals would, but Hildegard succeeds in demonstrating that the Soul, repres...
On the other hand, Zeus is a strong, albeit authoritarian leader for both the other gods and mortals. Zeus is required to rule, sometimes absolutely, and when someone under his rule commits an act of treason, he is required to address the issue. When Zeus the leader acts forcefully, the rest of those under his reign will get the message. Prometheus’s act of handing o...
...on of Iapetos provides fire to man, Hesiod’s tale of Prometheus provides a deeper comprehension of the attitudes of Zeus, king of the gods, and an acceptable cause for the evils that plague mankind. Prometheus has no value in himself; even his rescue by Herakles was achieved for the “glory of Theban-born Herakles.” (Hesiod 532). Prometheus’s identity is entirely dependent on Zeus’s wrath and the punishment delivered to mankind as a result and in turn, the explanation of these two things is entirely dependent on Prometheus.
Milton’s Satan in Paradise Lost is a complex character meant to be the evil figure in the epic poem. Whenever possible Satan attempts to undermine God and the Son of God who is the true hero of the story. Throughout the story Milton tells the readers that Satan is an evil character, he is meant not to have any redeeming qualities, and to be shown completely as an unsympathetic figure. Satan’s greatest sins are pride and vanity in thinking he can overthrow God, and in the early part of the poem he is portrayed as selfish while in Heaven where all of God’s angels are loved and happy. Satan’s journey starts out as a fallen angel with great stature, has the ability to reason and argue, but by Book X the anguish and pain he goes through is more reason for him to follow an evil path instead. Even so, Milton uses literal and figurative imagery in the description of Satan’s character to manipulate the reader’s response to the possibility that Satan may actually be a heroic figure. As the plot of the story unfolds there are moments where the reader can identify with Satan’s desires and relate to his disappointments.
To find out what Prometheus’ “sin” was, it is necessary to know more about the main character and the society around him.
His primary affection was for man. Now mankind had to make animal sacrifices to the gods, but a certain portion of the animal was to be given to the gods and a certain portion to man. Zeus had to decide. So Prometheus made two piles. He wrapped the bones in juicy fat and he hid the meat under the ugly hide. Zeus chose the bones wrapped in fat, much to his anger. In retaliation Zeus deprived man of fire, but Prometheus was not to be stopped. He went up to heaven and lighted his torch at the sun and carried it back to earth. Zeus was livid and filled with rage when he saw that man had fire. He ordered that Hephaestus create a mortal of stunning beauty, and when Hephaestus had done so the gods gave this new creature many gifts. But Hermes gave it speech, a deceptive heart, and a lying tongue. This was the first woman, Pandora, and a worse calamity never befell man. Prometheus had warned his brother Epimetheus about accepting gifts from Zeus. Yet when Epimetheus saw this radiant creature Pandora he could not resist her. She had brought with her a box that she was forbidden to open. But being a woman, her curiosity won out. As she opened the lid a multitude of evils flew out and scattered over the world to afflict man. Still, there remained in the box one consolation for man — Hope. With all the misery Pandora had unleashed hope was the only thing that could keep mankind
The identity of the true protagonist in Paradise Lost is a mystery. One would gather that Milton, a Puritan, would have no problem casting God as the hero, and Satan as the antagonist. However, looking back in history, Milton saw that most epic heroes had conflicts that prevented them from accomplishing their goals. God and his Son have no conflict, and Adam’s story does not really begin until the Fall of Man. Therefore, Milton was forced to select Satan as the hero of Paradise Lost because he adheres to the guidelines of epic poetry set by Homer, Virgil and others. There are many examples of how Milton uses and edits the tradition of these previous epics in the formation of the Devil as a hero. One of the most basic examples of heroism in epic poetry is the exhortation of the leader to his followers. In The Odyssey, Homer lets Odysseus give a speech that would convince anyone they could survive the journey to the Strait of Messina, "Then we die with our eyes open, if we are going to die, or know what death we baffle if we can. (Ln.1243-1245)" After passing the Sirens, the ship approaches the Strait, and the crew sees the twin terrors of Scylla and Charybdis, they are mortified. Odysseus again lifts their spirits with this speech, "Friends, have we ever been in danger before this? More fearsome, is it now, than when the Cyclops penned us in his cave? What power he had! Did I not keep my nerve, and use my wits to find a way out for us?
Werblowsky, Zwi R. J. Lucifer and Prometheus: A Study of Milton’s Satan. London:… 1952. Print.
In order to attempt to discern if Satan is a tragic hero, his character must fit a certain profile. According to Aristotle's theory, the tragic hero has the potential to be great, but is doomed to fail. The tragic hero, although fallen, still wins a moral victory. The general characteristics follow that the tragic hero is a noble, is responsible for their fate, contains a tragic flaw, and is doomed to make a severe error in judgment. Eventually, the tragic hero falls from a high status, realizes the mistake that was made, faces and accepts their death, and finally ends in a tragic death. It is important to state that, in all tragic heroes, the audience is affected by fear and/or pity. In Paradise Lost, the reader is easily able to relate to Satan, even pity him at some points...
Paradise Lost is one of the finest examples of the epic tradition in all of literature. In composing this extraordinary work, John Milton was, for the most part, following in the manner of epic poets of past centuries: Barbara Lewalski notes that Paradise Lost is an "epic whose closest structural affinities are to Virgil's Aeneid . . . "; she continues, however, to state that we now recognize as well the influence of epic traditions and the presence of epic features other than Virgilian. Among the poem's Homeric elements are its Iliadic subject, the death and woe resulting from an act of disobedience; the portrayal of Satan as an Archillean hero motivated by a sense of injured merit and also as an Odyssean hero of wiles and craft; the description of Satan's perilous Odyssey to find a new homeland; and the battle scenes in heaven. . . . The poem also incorporates a Hesiodic gigantomachy; numerous Ovidian metamorphoses; an Ariostan Paradise of Fools; [and] Spenserian allegorical figures (Sin and Death) . . . . (3)