This essay analyzes the character of Satan in John Milton's epic "Paradise Lost" and discusses the question whether he might be considered a classic hero.
Paradise Lost, John Milton’s religious epic, has astounded and fascinated readers throughout time and as such may be one of the most highly discussed examples of English literature within living memory. The controversy of Paradise Lost began with its publication in 1674 by John Milton during the time of the Interregnum in England, and even nowadays its subject remains an essential fixture in Western literary canon as well as an important source of inspiration for numerous scholars and artists. Therefore it is interesting to analyze the reasons why a literary work that has been written more than three centuries ago, continues to be the topic and the central cause for scholars’ debate and countless essays and interpretations.
One of the most significant reasons may be the different manners of interpretation, as several aspects may come into focus, while reading Paradise Lost. Determined the counterpart of God, Satan is commonly described as the embodiment of evil. Nevertheless, Milton presents the character depth of his protagonist, so that questions of Satan being a heroic figure arise. In consideration of Satan’s character traits, his downfall from an archangel of heaven to the prince of hell and lastly to the tempter of mankind as illustrated in Paradise Lost should be analyzed.
As the historical reading is a further way of interpreting Paradise Lost, parallels between Satan and historical personalities of the British Revolution, namely Oliver Cromwell and Charles I, are examined. Furthermore the importance of fate in contrast to the belief of free will considering Satan’s attitude is put into focus. In order to compare Satan’s characteristics with those of a classical hero, it is necessary to give a brief definition of the classical hero firstly. In terms of the concept of heroism, Aristotle’s concept of tragedy, especially his definition of hamartia which refers to the tragic flaw of ancient heroes and is hence connected with the idea of the classical hero, serves as an important source. Due to these aspects, a conclusion whether the literary Satan can be regarded as a classical hero can be drawn.
Table of Contents
1. Introduction
2. The character of Satan in John Milton's Paradise Lost
2.1. The Archangel of Heaven
2.2. The Prince of Hell
2.3. The Tempter of Mankind
2.4. Parallels between Satan and historical persons
3. The importance of fate considering Satan´s attitude
3.1. The definition of the classical hero
3.2. A Comparison between Satan and the classical hero
4. Conclusion
Objectives and Research Themes
The primary objective of this work is to analyze the character development of Satan in John Milton's Paradise Lost to determine if he can be categorized as a classical hero. By examining his various roles and the impact of fate versus free will, the paper investigates the depth and complexity of the protagonist beyond the traditional representation of evil.
- The transformation of Satan from Archangel to Prince of Hell and Tempter.
- The historical parallels between Satan and figures of the British Revolution.
- The philosophical tension between divine predestination and individual free will.
- The application of Aristotle’s concept of hamartia to Milton's protagonist.
Excerpt from the Book
3.2. A Comparison between Satan and the classical hero
With consideration of his character traits and actions, Milton’s Satan can be compared to some ancient heroes in classical epics, as stated by Forsyth: He [Satan] is a variant of Achilles, who equates honor with his own status and feels slighted by his commander-in-chief, refuses his orders and believes himself superior. Both epics turn on the connection between ‘a sense of injur’d merit’and the hero’s wrath. He is Odysseus and Jason on their heroic voyages, leader and chief warrior in battle during and after the War in Heaven, and through it all the most powerful speaker, able to rally and organize his troops with the eloquence of his appeals to their own heroic values. (Forsyth 30)
Contrary to biblical and mythical texts where Satan is consistently presented as the personified evil, these lines exemplify that it is not Milton’s intention to just draw an enemy stereotype, but someone who is capable of cultivating the human mind and spirit. The author of Paradise Lost rather plays with this tension that his protagonist provokes, hence forcing the reader to consider the possibility that Satan may be a hero or at least a character worth seeing in more complex light. As Satan is portrayed nearly human by Milton, the reader can identify with Satan’s emotions and motivations.
Simultaneously, the identification with Satan is emphasized by Milton presenting an omnipotent and distant God as Satan’ adversary. But the fact that Satan willingly acts evil seems to be irritating as the traditional image of a hero is that of a man, going on a quest in order to achieve some good end that benefits other people. Considering Paradise Lost, this hero archetype is challenged completely, not only by Satan, but also by God.
Summary of Chapters
1. Introduction: Presents the enduring fascination with Paradise Lost and establishes the paper’s intention to analyze Satan’s potential status as a classical hero.
2. The character of Satan in John Milton's Paradise Lost: Examines Satan’s physical and psychological development through his three distinct roles: the Archangel, the Prince of Hell, and the Tempter.
2.1. The Archangel of Heaven: Analyzes Satan’s initial state, emphasizing his intelligence, rhetoric, and ambition before his fall.
2.2. The Prince of Hell: Discusses Satan’s shift into a leader and warrior, highlighting his perseverance and the impact of his new environment on his behavior.
2.3. The Tempter of Mankind: Explores the final phase of Satan’s transformation, focusing on his remorse, internal suffering, and decision to deceive humankind.
2.4. Parallels between Satan and historical persons: Draws connections between Milton’s Satan and political figures of the British Revolution, specifically Charles I and Oliver Cromwell.
3. The importance of fate considering Satan´s attitude: Investigates the tension between free will and destiny in the poem, arguing that Satan's rebellion is both a conscious choice and a result of divine predestination.
3.1. The definition of the classical hero: Establishes a theoretical framework for heroism based on classical mythology and literature.
3.2. A Comparison between Satan and the classical hero: Synthesizes the analysis to argue that Satan, through his complexity and tragic flaws, fulfills the criteria of a classical hero.
4. Conclusion: Summarizes the findings, asserting that Satan is a figure of profound depth who challenges traditional archetypes of evil.
Keywords
Paradise Lost, John Milton, Satan, classical hero, hamartia, character development, epic poetry, free will, fate, Oliver Cromwell, Charles I, heroism, tragedy, theological discourse, literary criticism.
Frequently Asked Questions
What is the core subject of this publication?
This work explores the characterization of Satan in John Milton's epic Paradise Lost, moving beyond the simplistic binary of good and evil to analyze him as a complex, multifaceted protagonist.
What are the primary thematic pillars of the work?
The central themes include the psychological transformation of the protagonist, the interplay between individual agency and destiny, the nature of heroism, and the political dimensions of Milton’s writing.
What is the overarching research goal?
The study aims to determine whether Milton's Satan can be accurately reinterpreted as a "classical hero" when evaluated against ancient literary archetypes.
Which scientific or analytical method is applied?
The author uses literary analysis combined with historical context and classical theory, specifically applying Aristotle’s concept of hamartia (the tragic flaw) to evaluate the protagonist’s actions.
What content does the main body cover?
The main body breaks down Satan’s identity into three roles—Archangel, Prince of Hell, and Tempter—compares him to historical leaders of the British Revolution, and evaluates his moral choices through the lens of free will.
Which keywords best characterize the work?
Key terms include Paradise Lost, Satan, classical hero, hamartia, literary criticism, free will, and character development.
How does the author relate Satan to historical political figures?
The work draws parallels between Satan’s leadership, ambition, and rebellion and the political actions of Charles I and Oliver Cromwell, suggesting that Milton infused his character with contemporary political urgency.
Why does the author consider Satan a "trimorph"?
Referring to Kastor, the author characterizes Satan as a "trimorph" to highlight that despite his three shifting roles and various names throughout the epic, he remains a single consciousness with consistent internal complexity.
- Citation du texte
- Sarah Leenen (Auteur), 2013, John Milton's "Paradise Lost". Can the Literary Satan be considered a Classic Hero?, Munich, GRIN Verlag, https://www.grin.com/document/308880
