In “ The Temptation of Eve “ , one of the many books of John Milton’s epic Paradise Lost, the author makes use of many literary techniques, such as, creative diction and irony which highlight the classic theme of deception.
Throughout “The Temptation of Eve” there is a tremendous usage of alliterative as well as anaphoric word placement. This is displayed most notably when, as the snake, Satan speaks. Milton makes use of jargon give off a more deceptive, slithering, snake-like image. This technique sets up the manipulative trouble Satan will impose, an adumbration of what is to come in the “Deception of Eve”.
Perhaps the most ironic technique used in Satan’s argument, which ultimately leads to Eve’s deception, is that of personification. Especially that of the Snake, which Milton attributes humans “gentle dumb expression” (line 215) to a snake that would ordinarily not be capable of such mannerisms. This technique, despite its ironic undertone, furthers Satan’s psychological assault on Eve. Even so, Eve is suspicious of the snakes unusual capabilities wondering “How cam’st thou speak/of mute?” (Line 251), contemplating why God would grant such a “[subtle] beast” (line 248) the gifts of speech. It is, presumably, through this personification of the snake that Eve is persuaded to eat the “alluring fruit” (line 276) from the Tree of Prohibition.
Still, it is conceivably Milton’s powerful utilization of Manipulation through rhetorical questioning that drive Eve to not only eat the fruit, but rationalize her betrayal to God as well as alter her perception of him.
The great debate whether Satan is the hero of Milton’s Epic Poem, Paradise Lost, has been speculated for hundreds of years. Milton, a writer devoted to theology and the appraisal of God, may not have intended for his portrayal of Satan to be marked as heroic. Yet, this argument is valid and shares just how remarkable the study of literature can be. Milton wrote his tale of the fall of man in the 1674. His masterpiece is an example of how ideas of a society change with time. This is because it wasn’t until the 1800’s during the Romantic era, that people no longer saw the hero of literary works as perfect in every way. It started to become more popular to develop the flawed character similar to the ones written in the classics. A literary criterion that is based on a protagonist, who undergoes conflict on the outside and from within and is prevented by a specific flaw to accomplish their main goal, creates an epic Hero. In Paradise Lost, God does not face conflict because he is perfect and all-knowing, and Adam’s conflict is not presented from the very start, Satan’s is. Because Satan is the main character of the work and possesses qualities that would deem him heroic, such as his determination against tough odds, his ability to lead, and his human-like nature to error, he can be seen has the Hero of the famous poem.
In Paradise Lost, one of the differences God is aware of the betrayal his creations unlike Frankenstein. There is a point where Adam desires a companion to share the world with, thus God creates Eve from one of Adam’s ribs. He is in a predicament now, due to there are now two beings to love now, but who deserves the more affection. He “can neither love himself adequately nor love Eve as himself unless have love God adequately – and so make his love for Eve, the unity of their shared self, an expression of that higher love” (Gross 95). This scene displays one of Adam’s limitations of his free will. Thus creating her in being the submissive which eventually became her downfall, Adam’s and the rest of humanity. Eve is flawed, she has the inclination of self-love, a quality she should not be capable of possessing or acting upon. The only love that she should be expressing is her love for Adam in a way also loving God. This becomes their weakness. Satan learns about this weakness and exploits it as his advantage to enact his scheme. He influences a susceptible Eve, by coercing her into eating the fruit from the tree of knowledge. He claims to Eve about the fruit “By the fruit? It gives you life To knowledge by the threat’ner? Look on me, Me, who have touched and tasted; yet both live” (Book 9 l. 686-688). Satan is able to persuade them to consume the fruit that provides them
This epic simile portrays shockingly disgusting imagery of war and death, which are both consequences of eating the fruit of knowledge. Sin and Death, Satan’s daughter and son (who is also his Grandson) take full advantage of the Fall of Man and construct a bridge between Hell and Earth through Chaos, constructed of anything ‘Solid or slimy’. This allowed death, sin and disease to enter the world, similar to the great Greek Myth of Pandora’s box, where a woman named Pandora unleashed all the negative emotions from their captivity inside a box. Thus, showing both Milton’s classical influences and education at Christs College, Cambridge and how attitudes to women have remained constant through many centuries, from the period of the Ancient Greeks to the 1600s. Man’s disobedience would be the sole point of blame for all the wrongs in the world to Milton’s audience, not only was this a story but the events transpired. This was an easy way for the Church to explain the mass destruction caused by the Great Plague from 1665
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.
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.
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...
In Book IX of Milton’s Paradise Lost, Eve makes a very important and revealing speech to the tree of knowledge. In it, she demonstrates the effect that the forbidden fruit has had on her. Eve’s language becomes as shameful as the nakedness that Adam and Eve would later try to cover up with fig leaves. After eating the forbidden apple, Eve’s speech is riddled with blasphemy, self-exaltation, and egocentrism.
The serpent even states to Eve that “For God knows that when you eat from it your eyes will be opened, and you will be like God, knowing good and evil” (NIV, Gen 3:5). The next few lines are completely different from what is shown by Milton. It says that when Eve saw that the fruit was good and she began to desire wisdom she took some and ate it. Then she game some to Adam who was with her. This is a very large contrast from Milton’s work because this shows that Adam was present the whole time of the serpent and Eve’s discussion. In the poem “Verses for Madonna of humility with the temptation of Eve” Lynn Powell takes a very graphic and almost nostalgic look at the story of Adam and Eve. Her poem states “Eve 's lying at eye level, propped up on an elbow./And never has abyss been so good to pink,/ the void a perfect foil for her foreground flesh./She fits into the black like a woman/ ready to be skewered in a vaudeville act./ You can tell the painter loves her, the way/ You can tell the painter loves her/ he 's touched her every place he can with paint./ And he 's noticed what she 's thinking:/ holding the pear, as Hamlet did the skull,/ while gazing up at someone who 's got everything to lose./ Eve 's about to make the choice Mary has to live with./
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.... ...
Reader’s reception of Satan’s character may be ambivalent as Satan degenerates from an endearing relatable character to gutless filth and now, a puppet of God. However, the question remains, does Satan truly become evil as most say? Reconsider God’s behavior. Much of his actions, or inaction, stands as incriminating evidence. Admittedly, Satan has transgressed throughout Paradise Lost, but he has also endured an excruciating, agonizing, and degrading journey. As I’ve said before, I may be enchanted by Satan and swindled into justifying him. Even so, if Satan is truly evil, then what is God, if the omnipotent orchestrated the entirety of the Fortunate Fall? Is Satan not the victim? Perhaps Milton is undertaking a mission to embolden believers of God to rethink their impression that He is good and all else
Criticism. The. New York: Norton, 1975. Fox, Robert C. "The Allegory of Sin and Death in Paradise Lost." Modern Language Quarterly 24 (1963): 354-64. ---.
Through the characters of Adam and Eve, Milton has illustrated what a perfect relationship is supposed to be like. From the beginning, the couple is represented as very happy, as they were, “so hand in hand they passed, the loveliest pair/ That ever since in love’s embraces met…(4.321-322). Reader’s come to the conclusion that Adam and Eve represent the perfect idyllic relationship. As the epic poem continues, Adam and Eve’s relationship begins to change as a result of the two’s questionable behavior along with the appearance of Satan in Paradise. Eve is created for Adam, "The likeness, thy fit help, thy other self, / Thy wish exactly to thy heart 's desire" (8.450-451). A Milton purpose chooses specific words such as likeness and fit to show that a hierarchy exists between Adam and Eve. The hierarchical system puts a strain on their relationship as Eve wishes to be just as equal as Adam. Her desire to be see as the same rank as Adam, leads to her temptation ultimately causing the
In Book IV, Eve recalls awakening to consciousness but she is uncertain of her identity and of her place in the Garden of Eden. Eve's first thoughts are of “where and what [she] was, whence thither brought, and how” (Paradise Lost, IV.451-52), and it is this curiosity about her identity that leads Eve to disobey God eventually. From the moment of her conception, Eve is already distant from God because she awakens in the shade and not in God’s light. Throughout Paradise Lost, Eve is identified with reflections, shadows, and dreams. Representing the “otherness” of Eden, Eve is an outcast and she seeks to find meaning in her life. At the moment of her awakening, Eve is engrossed by her reflection in the water, which she thinks is another being. This watery, wavering image of Eve extends throughout Milton’s poem, and this further puts Eve in a weak position, for Eve is merely a ref...
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)
Throughout Paradise Lost, Milton uses various tools of the epic to convey a traditional and very popular Biblical story. He adds his own touches to make it more of an epic and to set forth new insights into God's ways and the temptations we all face. Through his uses of love, war, heroism, and allusion, Milton crafted an epic; through his references to the Bible and his selection of Christ as the hero, he set forth a beautifully religious Renaissance work. He masterfully combined these two techniques to create a beautiful story capable of withstanding the test of time and touching its readers for centuries.