Heroism, Devilism and Anti-Heroism of Satan in Paradise Lost

Hong Kong Shue Yan University[pic 1]

Department of English Language & Literature

2nd term, 2015-16

ENG 386 Renaissance Literature and the English Society

Deconstructing and Reconfiguring Heroism and Devilism of Satan in Book I of Paradise Lost:

 Satan as a Devil with the Prototype of the New-formed “Anti-heroism”

O Wai Kwan

Hong Kong Shue Yan University

Programme Name: Bachelor of Arts (Honours) – English

Course Code and Title: ENG 386 Renaissance Literature and the English Society

Course Coordinator: Ms. Maria CHAN, Chiu-Fung

Section Number: 1

Student Name: Ben O, Wai Kwan

Student Number: 132062

Date of Submission: 26 May. 2016 (Thursday)

Deconstructing and Reconfiguring Heroism and Devilism of Satan in Book I of Paradise Lost:

Satan as a Devil with the Prototype of the New-formed “Anti-heroism”

Introduction

        Paradise Lost, an epic poem written by John Milton in 1674, narrates the biblical story amongst God, Adam and Eve, Satan and other fallen angels with the central themes of the downfall of men and eternal damnation of fallen angels. Specifically, the role of Satan, who was once the most beautiful angel amongst all in the heaven, is of prominent significance and prevalence in Book I for the implication of betrayal, banishment and rebellion of fallen angels against God. Nonetheless, on account of the changefulness and mutability of his nature, controversy has been sparked off over the field of literary studies and criticism in Milton’s works, for instance Shelley (1954), Allen (1956), Fish (1967), Foley (1970), Rebhorn (1973), Steadman (1976), Zunder (1999), Ridden (2004), Lewis (2009), Patterson (2009), arguing the nature and role of Satan as an epic tragic hero or a real devil. In view of such complication and debate, this paper serves as an approach to explore the nature and role of Satan, specifically the heroism and devilism of Satan, and reconfigure the Satanic representation embedded in Book I of Paradise Lost. Despite extensive and substantial arguments of numerous scholars claiming both contrasting views in heroism and devilism in the Satanic figure, my central argument, however, would be, Satan can be considered as a devil with the prototype of the new-formed “antiheroism”, through the representation of positive “poetic” qualities in tragic heroic leadership rooted in heroic eidolon of Satanic mentality and subconscious negative, or absent, nature of morality and evilness. Primary close reading will be given in focus of the epic voice of Milton in the representation of Satan and the Satanic rhetoric for textual analysis, whereas multifarious viewpoints and notions from literary studies in relation to the nature and role of Satan in Paradise Lost in book I will be incorporated into discussion and analysis.

Literature Review

Representation of Satan in Paradise Lost

        Satan, a beast “whom the Fables name of monstrous size”(I.197) with notoriety described by the Epic Voice, was once the most beautiful and elevated angel of “Throned powers” (I.128) with the fame of “Lucifer” in the heaven. Specifically, “Lucifer” is originated in Latin with reference to the symbol of “light-bringer” in resonance with the imagery of “bright angel” in English literature. Nevertheless, upon the rebellion that sought to “usurp the place of the Almighty”, Lucifer was thrown from “happy Realms of light”(I.85) to “expulsion into the Hell” and turned to be “Satan” in physicality, mentality and spirituality (Frye, 1976: 233). On the contrary, “Satan” is the signifier of “the adversary” in Hebrew, who is introduced in the poem as “the Arch-Enemy, And thence in Heav’m call’d Satan”(I.81) as an antithesis to “Lucifer” in opposition of relationship with God. In the representation of Satan in book I of Paradise Lost, Milton, on little occasions, presents him with reference to his former beauty and glorious status like “All her Original brightness, nor appear’d Less then Arch Angel ruind, and th’ excess Of Glory obscur’d”(I.592-594); yet, depicts him in substantial descriptions upon his “monstruous size and beast-like figure” in comparison with mythological images of giants and monsters, such as “Titanian”, “Earth-born”, “Jove”, “Briarios” and “Typhon” in physicality. More noticeably, successive changes in character and identity from “Lucifer” to “Satan” are not only confined to physicality delineated in the Epic Voice, but, more noteworthily, also the spirituality and mentality embedded in his rhetoric, in which the “poetic tragic heroism”, “devilism” and, “Satanic mentality” discussed by Foley (1970) will be further discussed.

Heroism, Tragic Heroism and Satan

        The idea of heroism in association with Satan is exhaustively addressed by Steadman (1976), in which he describes the term “hero” as “equivocal” in meaning, stating that its diversified meanings varying from the Homeric critic to the Christian theologian, specifically for Milton as a Renaissance religious poet. In view of such ambiguity, basic issues of “Santanist controversy” are raised in the field of literary studies due to divergent senses of heroism and heroic virtue (Steadman, 1976: 254). With the aforesaid argument though, Steadman (1976) attempts to relate the Satanic image to typical heroic qualities and virtues, including “contempt of danger, fortitude of mind and body, prudence as adventurer and as leader”, which are morally neutral and “can be exercised for both good evil ends”, notwithstanding the ambiguity of the devilish nature of Satan (255).

In a more specific sense, Satan is linked to the notion of “tragic heroism”, in which Aristotle describes its nature as “evoking pity and terror” regardless of their goodness and badness, or the mixture of both (as cited in Abrams and Harpham, 2013: 405). Such tragic effect will be triggered in a stronger sense if the hero is “better or stronger than ordinary men” in spiritual power, like the embodiment of faith, free will and determination in the contest with fate and destiny in the Satanic rhetoric (Abrams and Harpham, 2013: 405). More crucially, such tragic hero is exhibited by McCollom and William (1957) as suffering a change and defeat caused by “hamartia”, which is the“error”, “mistake of judgment” or “tragic flaw”. Such “harmartia” can be linked to the Satanic figure of hubris, pride and overweening self-confidence to disregard warning, natural order and moral law by the divinity, as described in the Epic Voice in the grand announcement.