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The Concept of Good Versus Evil Essay
The Concept of Good Versus Evil Essay
The Concept of Good Versus Evil Essay
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The words, good and evil, and right and wrong, have been interpreted with ambiguity over the course of generations by humanity, and the finer details of their ethics are still obscured to even the most intelligent of minds, leaving us to often stay with the few basic tenants that seek to preserve humankind’s further existence. Throughout John Milton’s Paradise Lost we encounter this constant struggle between good and evil, as the enigmatic and eternal Satan—a character who is perhaps the chief hero, and protagonist of the epic poem—wages vain war against God’s tyranny in heaven. Satan, like all angels, is acutely aware of the differences that separate the abstract philosophies of what is considered to be right and wrong. And much like the theologians before him, Milton suggests that mankind, much like the angels of heaven, has also always possessed the ability to discern good from evil. However, Milton’s humanity—unlike the angels of heaven—has been given the opportunity of disobedience through the cursory act of consuming the fruit grown from the forbidden Tree of Knowledge. This brings to question whether mankind’s choice of damnation was illusory, and that Eve was destined to eat the fruit of the tree, to be untouched by all but the divine hand of God, or that all beings under heaven must answer to God for the actions they took. While human views on fatalism are open to interpretation, Milton suggests throughout his work that all beings under God’s domain possess the ability to choose their fates, and govern their own destiny. This coincides with the views of the Rabbi Maimonides, and the dialogue of the angel Raphael.
Most religions of Jewish-origins elect that humanity was given access to the knowledge of good and evil by ea...
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...ill is a golden thread, running through the frozen matrix of fixed events (Heinlein). However, after applying the logic of free-will and choice as presented by John Milton and Maimonides, the words of the Turkish playwright Mehmet ildan seem more fitting. “We are not heavenly destined for a particular road; every road is our destiny; every path and every passage is our fate” (ildan). Ultimately, it is you who decides the life you live. Everything else is simply mockery.
Works Cited
Heinlein, Robert A. The Rolling Stones. New York City: Charles Scribner's Sons, 1952.
ildan, Mehmet Murat. Quotations. 21 October 2009. 1 March 2010 .
Maimonides, Moses. The Guide for the Perplexed. Trans. Michael Friedländer. New York City: Barnes & Noble, Inc., 2004.
Milton, John. Paradise Lost. 2nd. New York: Barnes & Noble Books, 2004.
Einstein, Stephen. & Kukoff, Lydia. (1989). Every Person's Guide to Judaism. New York: UAHC Press.
Hell is huge but it isn’t big enough. Within the text of Paradise Lost by John Milton, it is, A universe of death, which God by curse Created evil, for evil only good,Where all life dies, death lives, and nature breeds,Perverse, all monstrous, all prodigious things,Abominable, inutterable, and worse… (II.622-6)There is no satiety in Hell. Eden, by comparison, is a relatively small place in Milton’s epic poem, but it seems to be an environment replete with satisfaction. Or is it? We students of experiential literature owe Milton a debt of gratitude for helping us to experience our forebears’, that is Adam and Eve’s, lack of satiation within a paradisiacal environment. This paper will explore the topic of satiety within that environment; and, along the way, discuss the concept of singularity found in Cavendish’s Blazing World for comment upon that satiation.
The seat of faith resides in the will of the individual and not in the leaning to our own reasoning, for reasoning is the freedom of choosing what one accepts as one’s will. In considering the will was created and one cannot accuse the potter or the clay, Milton writes to this reasoning, as “thir own revolt,” whereas the clay of humankind is sufficient and justly pliable for use as a vessel of obedience or disobedience (3.117). The difficulty of this acceptance of obedience or disobedience is inherent in the natural unwillingness in acknowledging that we are at the disposal of another being, even God. One theme of Paradise Lost is humankind’s disobedience to a Creator, a Creator that claims control over its creation. When a single living thing which God has made escapes beyond the Creator’s control this is in essence an eradicating of the Creator God. A Creator who would create a creature who the Creator would or could not control its creation is not a sovereign God. For who would not hold someone responsible for manufacturing something that could not be controlled and consider it immoral to do so? To think that God created a universe that he has somehow abdicated to its own devices is to accredit immorality to the Creator. Since the nucleus of Milton’s epic poem is to “justifie the wayes of God” to his creation, these ‘arguments’ are set in theological Miltonesque terms in his words (1. 26). Milton’s terms and words in Paradise Lost relate the view of God to man and Milton’s view to the reader. Views viewed in theological terms that have blazed many wandering paths through the centuries to knot up imperfect men to explain perfect God.
Paradise Lost is an epic poem portraying John Milton’s theological standpoints. The theme is knowledge and the fall of man. Milton uses his poem to state some of his theological beliefs and his personal reflections. Milton wrote Paradise Lost in the 17th century but uses influence from classic poets. Milton’s epic is an extremely important piece of literature. The excerpt used in this commentary takes on the subjects of sin and the punishment with regards to the atonement from God’s point of view. Milton’s states many of his own theological opinions but wants the reader to know that God is justified in everything that he does, and also wants them to know that man has free will.
Robinson, B. A. (2008, March 30). Books of the Hebrew Scripture . Retrieved May 7, 2011, from Religious Tolerance: http://www.religioustolerance.org/chr_otb3.htm
In John Milton’s epic, Paradise Lost, the author establishes Satan as the most complex and thought-provoking character in the tale through his depiction of Satan’s competing desires. Throughout the first four books of Paradise Lost, Satan repeatedly reveals his yearning both for recognition from God and, simultaneously, independence from God. The paradox that prevents Satan from achieving his desires may be interpreted as a suggestion of Milton’s establishment of a sympathetic reading for this character, as he cannot truly find happiness. In actuality, the construction of Satan’s rivaling aspirations evince Satan’s repulsive depravity to Milton’s audience and encourage readers to condemn his character.
The basic Christian view of Milton's Paradise Lost is that a purely evil being, the anti-god if you will, Satan, is the cause of all of human downfall. Briefly the story goes like this, first God creates everything, but a rogue angel named Lucifer wants more out of existence so he attempt a coup d'etat of heaven. He fails, as he had no chance to begin with, as the Christian god is omnipotent. He is thrown into hell and is royally pissed off. Like a teenager with too much time, he finds a way to truly anger god by tempting and eventually corrupting God's precious, new, perfect world by introducing "sin", which is an action of some sort that angers this God. The humans are banned from perfection, grounded for the rest of eternity, and told to sit in a corner until their omnipotent God can find out some way to dispose of this "evil" being, which, thousands, if not millions, of years later, apparently still hasn't happened. The only problem with this interpretation is that it is made by humans with years upon years of religious brainwashing, and uses absolutely no logic at all. They know for a fact (blind faith) that God is good Satan is evil. But Is Satan really the most evil thing in existence? Is God perfect and loving? Was eating the apple really a bad thing?
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 Paradise Lost, the consequences of the fall and the change in relations between man and nature can best be discussed when we look at Milton's pre-fall descriptions of Eden and its inhabitants. Believing that fallen humans could never fully understand what life was like in Eden and the relationships purely innocent beings shared, Milton begins his depiction of Paradise and Adam and Eve through the fallen eyes of Satan:
Images and allusions to sex and death are intermingled throughout John Milton's Paradise Lost. The character of Satan serves as not only an embodiment of death and sin, but also insatiated sexual lust. The combination of sex and lust has significant philosophical implications, especially in relation to themes of creation, destruction, and the nature of existence. Milton, in Paradise Lost, establishes that with sex, as with religion, he is of no particular hierarchical establishment. However, Milton does not want to be confused with the stereotypical puritan. Milton the poet, seems to celebrate the ideal of sex; yet, he deplores concupiscence and warns against the evils of lust, insisting lust leads to sin, violence and death.
The question of whether Satan is the hero or the villain of John Milton’s Paradise Lost has been largely debated by scholars over the centuries. The ones who believe Satan is the villain of the epic, more commonly known as the Anti-Satanists, tend to argue that Satan is too foolish to be considered a hero, as his “hostility to Almighty power” is ultimately a futile endeavour (as God’s power is omnipotent) (Carey, 135). C. W. Lewis, also an anti-Satanist, goes as far as to claim that to “admire Satan, then, is to give one’s vote not only for a world of misery, but also for a world of lies and propaganda, of wishful thinking” (Lewis, 203). The ones who claim Satan is the hero of the epic, the Satanists, perceive him as the rebellious angel who rises up and defies God’s monarchy and “the tyranny of Heav’n” (174).They choose to focus on Satan’s “nobler qualities, his loyalty in leadership, fortitude in adversity, unflinching courage and splendid recklessness” (Satan/Promo, 3). While these two positions are both valid, this paper will be focusing on a third position: the individuals who believe that Satan is neither the hero nor the villain of the epic.
John Milton’s Paradise Lost is an epic poem that describes the fall of Satan and the expulsion of Adam and Eve from Paradise. Satan is the protagonist of Paradise Lost and has several characteristics in which readers may identify with him. Throughout the poem, Satan is not only a tragic hero but also the key character that drives the plot and portrays many flawed human qualities. As an angel fallen from the high esteem of God and a possessor of hubris that leads to his downfall, he represents a tragic hero but also a character in which readers may identify with. Following the standards of classic tragic heroes, Satan is a determined leader with an extreme amount of hubris.
Although the epic poem centers around the story of the fall of man, it is interesting that Milton intertwines in this story the fall of Satan from heaven and the consequences it has not only for Satan himself, but for Adam, Eve, and the world as a whole. Milton allows the reader to see the fall from the point of view of Satan, God, as well as Adam and Eve. Because Milton gives insight into these characters feelings regarding the fall, it is no surprise that he uses “eternal providence” in conjunction with the stories of Satan, Adam, and Eve. The providence being described here is the knowledge of good and evil. However, ev...
John Milton’s Paradise Lost continues the epic tradition developed by the ancient Greek and Roman poets. Composed in exact imitation of its predecessors, the work depicts all characteristics of a traditional epic poem—including the epic hero, a powerful embodiment of societal values. Milton presents his hero in a most unpredictable form: Satan. Despite the unorthodox oddity, the former archangel exhibits the conventions of an epic hero. Milton’s forced perception of Satan as the hero of the poem reflects his stated purpose for writing the piece. By placing Satan in a traditional heroic role, Milton illustrates his manipulative and cunning nature, which anyone can easily fall prey to, and resultingly fashions Satan into an antihero.
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)