105 History of English Literature

 105 History of English Literature 

Personal Information:

Name: Manasi Joshi 

Batch: M.A Sem (1)

Email Id: mansijoshi@gmail.com

Assignment Topic: 

                        Satan as the hero of Paradise Lost:

Introduction:

In the introduction to the 1674 edition of Paradise Lost, John Milton explains his decision to write the epic in unrhymed English heroic verse (blank verse). He criticizes the conventional use of rhyme in poetry, especially in longer works, as unnecessary and often restrictive. Milton argues that rhyme, while widely accepted by his contemporaries, can hinder a poet's ability to express ideas clearly and naturally. He believes that adhering too rigidly to rhyme can make poetry mechanical and reduce its creative freedom. By choosing to forego rhyme, Milton aligns his work with the classical epics of Homer and Virgil, emphasizing the importance of poetic liberty over adherence to traditional forms.

About Topic:

The discussion revolves around how literary critics and readers have approached Milton's portrayal of Satan in Paradise Lost. Over the years, some scholars have urged others to reconsider the way Satan is viewed, emphasizing the need to give "the Devil his due," or to fairly evaluate his character. This means acknowledging Satan's intelligence and persuasive power, even if we also recognize his flaws and ultimate villainy. Some critics worry that modern readers focus so much on Satan's ridiculousness or mistakes that they overlook his cunning and the way he influences others.

Milton wrote Paradise Lost to explain and defend God's justice, particularly regarding the rebellion of Satan and the fall of humanity. However, some readers have found his explanations unconvincing. They feel that Milton's answers rely too heavily on faith, scripture, or poetic authority, rather than logical reasoning. This has led some to believe that the questions Milton raises—such as why God allowed Satan to rebel and what justice truly means—are more compelling than the answers he provides.

Satan's role in the story also raises legal and moral questions. Milton's critics often analyze Satan's character using techniques from courtroom rhetoric, as if they were lawyers arguing a case. They examine whether Satan's actions and punishments are fair, how Milton portrays God's treatment of the fallen angels, and how these themes contribute to the overall aesthetic and moral structure of the epic. Ultimately, understanding Satan in Paradise Lost requires balancing literary, moral, and theological perspectives.

Scholars have long argued over how Milton depicts Satan—as a hero, a villain, or something in between—and how that reflects on Milton himself or his views on God. Over time, critics have approached this debate from many angles, such as the rules of literary genres, politics, theology, and rhetorical style.

The debate is constantly evolving, shifting perspectives and arguments, much like a shape-shifting figure. Critics often take sides—either defending Satan or condemning him—but sometimes they exaggerate, either praising Satan too much or criticizing him harshly. Some critics act like lawyers, either advocating for Satan (the "devil's advocate") or accusing him (the "devil's accuser"). Neither role is particularly appealing, as the first can seem irreverent or blasphemous, and the second can feel overly harsh.

This debate has become almost like a ritual, with critics treating it as a form of hero worship or a symbolic exorcism. The academic discussions often seem complicated and vast, like an endless ocean where time and direction are lost, and where critics passionately argue for their interpretations.

various academic and critical schools of thought that have analyzed Satan's character from different perspectives. Here's a simplified explanation:

The Scientific View: Experts in nuclear physics compare Satan's coherence to scientific principles like nuclear fusion or fission, perhaps emphasizing his paradoxical and unstable nature.

Historical View: Scholars compare Satan to historical figures like Xerxes, Charles I, or Oliver Cromwell, suggesting that Satan embodies traits of flawed leadership or rebellion.

Literary-Historical View: This school links Satan to epic heroes like Achilles or Odysseus, framing him as a tragic or defiant figure in line with classical mythology and literature.

Military-Historical View: Focuses on Satan's warfare tactics, likening his strategies to Renaissance battle plans, portraying him as a military tactician.

Biographical View: Some critics controversially equate Satan with Milton himself, seeing parallels between the author's personality and the character.

Psychoanalytic View: Using Freudian or Jungian theories, this approach diagnoses Satan's psyche, describing him as paranoid or symbolic of universal archetypes.

Legalistic View: Argues that Satan’s words should be taken literally unless proven false, reflecting a legalistic scrutiny of his rhetoric.

Skeptical (Pyrrhonist) View: Advocates doubting everything Satan says unless undeniably true, emphasizing a mistrust of his motives.

Devout/Religious View (Tom-o’-Bedlam): This group venerates Milton while defying Satan’s evil nature.

Sporting View: Treats Satan like an underdog, calling for fairness and even admiration for his efforts in his rebellion.

Theatrical (Sock-and-Buskin) View: Focuses on Satan's dramatic qualities, admiring him as a tragic hero or a comic villain.

Gnostic View: Sees Satan as a figure of hidden knowledge or enlightenment, endorsing his "discoveries."

Central Argument

The excerpt suggests that interpretations of Satan go far beyond a simple binary of support or opposition (Satanist vs. anti-Satanist). Instead, his character is analyzed through diverse, often contradictory lenses. The need for an arbiter emphasizes the complexity and nuance of understanding such a multi-dimensional figure.

The complex idea of heroism and how it applies to Milton's portrayal of Satan in Paradise Lost. The writer explains that the term "hero" has many meanings depending on the context—what a Homeric critic considers heroic is very different from what a Christian theologian or a cultural anthropologist might think. For example, the bravery and cunning of ancient Greek heroes like Achilles or Odysseus are quite different from the virtues celebrated in Christian heroes, like faith, patience, or charity.

The central question is how John Milton, a Renaissance poet deeply influenced by classical literature, reconciled these conflicting ideas of heroism. How could he use the models of ancient epic heroes, known for their strength and cleverness, in a story about Christian themes like sin and redemption? What does Satan's rebellion and quest for glory have in common with traditional heroism, and how does it differ?

The passage argues that Milton intentionally blends and contrasts these different ideas of heroism to create his character of Satan. On the surface, Satan seems heroic because he is determined, ambitious, and seeks to define himself independently—qualities we often admire in epic heroes. However, Milton also shows that these traits, when driven by selfishness, pride, and a desire for power, are the very qualities that lead to Satan’s downfall and make him an anti-hero or a false hero (a "pseudo-hero").

Milton’s Satan is partly heroic, but his heroism is flawed and ultimately destructive, reflecting the moral decay of his character. This duality makes Satan a complex figure and explains the long-standing debate about whether he is genuinely heroic or simply a tragic illusion of one.

Milton's portrayal of Satan in Paradise Lost challenges the traditional idea of what it means to be a hero. Satan appears heroic at first, showing traits like bravery, ambition, and leadership, which are qualities often celebrated in classical epic literature. However, Milton uses this portrayal to critique and question these traditional standards of heroism.

Satan’s heroic image is largely an illusion, one he consciously creates to deceive others and perhaps even himself. He takes on different disguises, such as a cherub, a bird, or a serpent, to manipulate and mislead. This reflects his nature as the "father of lies." While Satan might seem admirable according to the criteria of classical heroes like Achilles or Alexander the Great—figures often praised for their strength and success—Milton’s Christian perspective reveals these standards as flawed and even dangerous.

Milton wants readers to compare Satan's so-called heroism with the true heroism of Adam and, ultimately, Christ. Satan’s ambition and defiance might make him look impressive, but these traits are corrupted because they stem from pride and rebellion against God. By highlighting this, Milton shows that what might seem heroic in a fallen, worldly sense can actually be morally wrong and destructive.

Milton’s portrayal of Satan in Paradise Lost, particularly the ambiguous nature of his character and heroism. This ambiguity comes from how different traditions define heroism and virtue.

Different Views on Heroism:

Aristotle: Heroic virtue is an extraordinary level of moral excellence.

Neoplatonists: It is about the virtues of a purified soul.

Christian theologians: Virtue aligns with sainthood and obedience to God.

By these standards, Satan cannot be a true hero because he rebelled against God.

Satan’s Superiority: However, Satan still boasts superior qualities compared to traditional heroes. In Greek mythology, the heroes of Thebes and Troy (like Achilles or Capaneus) were often demigods who ranked below gods and demons. Satan, as a fallen angel, is far more powerful than these figures. Milton even suggests that fallen angels were the prototypes for pagan gods, which elevates their status.

Satan’s Connection to Classical Heroes:

Some classical heroes, like Capaneus (known for his pride and defiance of the gods), resemble Satan in their defiant and rebellious nature. This makes Satan a kind of heroic figure, though not in the moral sense.

Milton himself welcomed such debates, and the complexity of these arguments reflects the depth of his work. The passage uses quotations from Paradise Lost to highlight the grandeur and mystery of these ongoing scholarly disputes.

Conclusion:

Satan is a tyrant, not a hero or rebel. He is a pawn in God's plan to eventually save humanity, and his plan is to corrupt humanity and punish God for banishing him.

Reference:

Steadman, John M. “The Idea of Satan as the Hero of ‘Paradise Lost.’” Proceedings of the American Philosophical Society, vol. 120, no. 4, 1976, pp. 253–94. JSTOR, http://www.jstor.org/stable/986321. Accessed 18 Nov. 2024.