When reading an epic poem, one is continuously examining the work as the reader progresses through each book and as new characters are encountered. Although Satan is controversial character in this epic, Satan can be considered as a figure of heroism in Paradise Lost. One may be under the impression that Milton makes Satan appear heroic and appealing early in the epic to gain the reader’s sympathy. Milton manipulates empathy in his reader to convince the reader’s how seductive evil is and to teach the reader become more vigilant. In Paradise Lost, Milton uses Satan’s strength, ambition, leadership, and pride as his tragic flaw to establish his status of an epic hero. In Paradise Lost, the reader is given an idea of Satan’s physical
Satan feels compelled to please the demons and stand up for what he believes is right. Not only does Satan show leadership within his society, but within himself. Satan has not hindered he knew he would be eternally damned to hell and approached by chaos and death. Steadman said this about leadership, “The process of moral self- determination—the driving urge toward self- definition that we normally recognize in the heroes of Homeric epic—is equally operative in Milton’s Satan, yet this very preoccupation with self, along with the craving for domination and the hunger for glory, forms the cornerstone of the infernal city. The Satanic image, as Milton presents it, is the devil’s own creation.” (Steadman) Every epic hero has a tragic flaw, in Satan circumstances his tragic flaw was pride. Throughout the end of the epic Satan steadily loses his heroic qualities; Satan’s heroic deeds were rooted in sin. Hughes makes the valid point by referring to the Greek was thinking proving Satan heroic pride, “If we look at Satan from Hellenic point of view, he is heroic, and, I take it, it is from this point of view that the Romantics looked at him.” (Hughes) One of the main rationale for Satan’s pride is he believes he possess more power than God. Satan assumes that his army is superior to Heaven’s. Satan’s army is half the size of what is in Heaven and that they can take over
Satan assumes that an army as brawny as his should have never fallen to God’s army. Satan’s pride blinds him to the point that he does not realize that God can easily defeat such an army, even though they "stood" like “gods.” “How such united force of gods, how such As stood like these, could ever know repulse?” (1.629-30). Satan’s army is half the size of what is in Heaven and they believe that they can take over heaven. Satan is under the impression that he knows what is best for all the angels. Satan believes that he is superior to God. When Satan was in Eden in the form of a toad whispering a dream in Eve’s ear; Satan believes that God is not knowledgable of what he is doing. The same circumstances apply to when Satan is in Eden talking to Eve at the tree of knowledge of good and
His determination is shown by the quote ‘He circled, four times crossed the car of night’. This makes it obvious to the reader that Satan’s desire for revenge is much more than a simple whim it is lust. In Book 2 of Paradise Lost, Satan’s determination is introduced as he leaves the other fallen angels in Pandemonium to wreak havoc on Earth and orchestrate their revenge. It is now, in book 9, that his efforts come to fruition, as Eve eats from the Tree of Knowledge and convinces Adam to do the same, consequently, man falls. Despite this, Satan does not receive his full punishment until Book 10
Furthermore, within these two main models of heroism critics mostly attempt to define the characters of Satan, Adam and the Son of God, depending on their characteristics throughout the poem. Historically, it has been the character of Satan who is defined as the hero of Milton's epic, one who was defined by the Romantics as a 'tragic-hero'. At the beginning of the poem he is presented as one with an iron fast will, who will overcome his challenges in order to gain a victory, like the heroes of the classical epics. Upon waking up, cast out of Heaven by God, Satan's first action is to attempt to rally his troops, defiantly proclaiming that they can “make a heaven of hell, a hell of heaven. ”4 (PL, I: 255, p.156) Milton manages to create a Satan so vivid and compelling it is little wonder that so many were drawn to this figure,
Satan frequently characterizes “the tyranny of heaven” and employs negative diction in his depictions of both heaven and God (I.124). His negative portrayals of God and his kingdom highlight his utter dissatisfaction with being subservient to God and, from that, his desire for autonomy. In the exposition of the text, Satan’s emotions toward God make themselves apparent when Satan “throws his baleful eyes / That witnessed huge affliction and dismay / Mixed with obdúrate pride and steadfast hate” (I.56-58). Satan reveals himself to be furious with his continued subjugation to God as well as his inability to truly revenge himself against his subsequent punishment. According to Satan, God’s dissimulation of his power tempted Satan and others to rise
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.
In the beginning of John Milton’s “Paradise Lost”, Satan was banished from heaven for rebelling against god himself because of his beliefs that he would be a better ruler of Heaven then god. He refused to accept God’s son as ruler because he felt like he was bound in chains by tyranny. This is a good argument for anyone to rebel, and any man put under the rule of a tyrant, feels that it is his job to make a change. Throughout the story while Satan is in hell you can feel his pain, suffering, and hopelessness from being kicked out of paradise. Satan feels like god shouldn’t be able to control the people because they’re not the same, and the people cannot relate to God. So from this point of view taking over heaven seems like the best idea and in this way the reader can sympathize with Satan.
Milton's introduction of Satan shows the reader how significant Satan is to Paradise Lost. He uses Satan's heroic qualities to his followers, and his ability to corrupt to show the thin line between good and evil. Satan was one of the highest angels in Heaven and was know as Lucifer, meaning, light bearer. This shows he was once a good angel. Milton makes the reader see him as a leader and a strong influence to all in his presence. He best describes Satan's ways when stating, "His pride/ had cast him out from Heaven, with all his host. / Of rebel angels, by whose aspiring/ To set himself in glory above his peers" (Milton Book I). Satan's pride was the main reason that God banned him from heaven. Satan always tried to be number one and a leader, instead of following in God's shadow. He would of lived a life in Paradise forever, but he had to follow his feelings as he states, "Better to reign in Hell than serve in Heaven" (Milton 31). This shows how strongly he felt about not being above everybody else.
Ask anyone to draw Satan and you 'll get a red snake-like figure with horns and a pitchfork. Satan, as introduced in the Hebrew bible is an unworthy adversary of God. His longing to be like God is quickly recognized and dealt with. God banishes him from Heaven and sends him to Hell. That 's the last we see of him until he talks with God about his faithful servant Job. In each interaction we see Satan in, we get only a glimpse of who he really is. Satan 's motive is not developed and we assume he does evil simply because he is evil
Before any of this happens, Satan is kicked out of heaven. Satan betrays God by raising up an army against Him and Satan is gone. This is an indication of Satan’s bad temper, jealousy, and envy. Satan had been put in charge of so much, but he was always coveting the top position. It was the position with all the power and he wanted it. The day that Satan was kicked out of heaven was the true beginning of the fall that would ruin God’s creation forever. Satan revolted from God and created his own army of ...
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?
Helen Gardner addresses this notion, claiming how “Satan is, of course, a character in an epic, and he is in no sense the hero of the epic as a whole. But he is a figure of heroic magnitude and heroic energy, and he is developed by Milton with dramatic emphasis and dramatic intensity” (Baker/Helen, 208). Satan is without a doubt the antichrist, or “villain” in the biblical scriptures, however one must take into consideration his alternative and more ambiguous portrayal in Paradise Lost. In this paper, I will analyze Satan’s actions, physical portrayal and speeches in Book I of Paradise Lost, and argue that from the textual evidence, these aspects of Satan are ultimately ambivalent, thus Satan cannot be categorized as either the extreme hero or the extreme villain, but rather as a dramatic figure with both heroic and villainous characteristics. The preliminary depiction of Satan’s actions in Paradise Lost appears after Milton describes God, his kingdom of heaven, and his children Adam and Eve.... ...
After reading Book 1 of Paradise Lost, which was about Satan starting to plot against God, I was impressed by Satan’s determination to make an attempt to take over Heaven once again, even though he and his followers were chained to the flaming lake, tortured, as their punishment from God. I admired the fallen angels’ determination to defeat God by warping his good creations to evil, since they all know that God is too powerful for them. Although Satan is banished from Heaven, and cast down to Hell by God, Satan’s evil character has not changed.
Satan proves his leadership by managing to cause the fall of other angels as well. He has a legion of rebel angels that he has somehow convinced to join him in his revolt against God. The angels mistakenly believe him to be just as powerful as God (line 40). Perhaps his futile attempts to win are what attract the sympathy and understanding of human beings, for mankind is constantly trying to change things they will never be able to change.... ...
Satan is the core of Milton’s master piece and no matter how he is interpreted; the overall complexity of his character cannot be overlooked.
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)