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Early British Survey

  • Early British Literature
  • Gender and Sexuality
    • Key Terms on Queer Themes in the Middle Ages
      • Queer Torture in the Middle Ages and Beowulf
      • Queer Acceptance in the Middle Ages and Sir Gawain and The Green Knight
    • Eve: More Than Just the First Woman
      • Eve: A Rebel in Paradise
      • Eve: The First Queer Woman
    • Gendered Betrayal in Medieval Arthurian Myths
      • Forbidden Love’s Betrayal
      • Punishments of Treason
    • Magic and Femininity
      • Magic and Femininity in Sir Gawain and the Green Knight
      • Magic and Femininity in The Faerie Queene
    • Magic and Gender in Arthurian Romance Poetry
      • Magic and Gender in “Lanval”
      • Magic and Gender in “Sir Gawain and the Green Knight”
    • 50 Shades of Courtly Love
      • Dominator in Love and Life
      • The Hue of Female Power
    • Adultery in the Middle Ages
      • Adultery in “Lanval”
      • Adultery in “Sir Gawain and the Green Knight”
    • Representations Of Femininity In Morality Plays
      • Femininity In Everyman
      • Femininity In Doctor Faustus
    • Monsters and Women
      • BEOWULF AND GRENDELS’ MOTHER
      • Satan and Sin
  • Politics, Power, and Economics
    • Shifting of Political and Economic Structures
      • Feudalism in Gawain and the Green Knight
      • Paradise Lost and Tracing the Fall of Feudalism
    • Knighthood in the Middle Ages
      • knighthood in “Lanval”
      • Knighthood in “Sir Gawain and the Green Knight”
    • The Divine Right to Rule: Past Perceptions of Monarchy
      • Sir Gawain and the Green Knight: A Condescending Commentary on the Monarchy?
      • The Faerie Queene: Spenser’s Ode To Queen Elizabeth I
    • Chivalry & Identity in Early Brit Lit
      • Chivalry in Sir Gawain and the Green Knight: the Establishing of a Literary British Identity
      • Chivalry in the Faerie Queen: Continuing to Establish British Identity
  • Religion
    • GOD: Humanity’s Most Influential Literary Figure
      • My Pain, Your Pain, His Gain: What God Means to Margery Kempe and Julian of Norwich
      • Respect My Authority: How God Rules Over Creation in Everyman & Paradise Lost
    • Imitatio Christi: How Doctor Faustus and Everyman Mimic Jesus through Suffering
      • Imitatio Christi: How Antagonists Mimic Christ
      • Imitatio Christi: Satan as a Jesus Figure
    • Depictions of the Devil in British Literature
      • Faustus: To Laugh Is To Be Against Evil
      • The Devil As Sympathetic: Human Qualities in Paradise Lost
    • Representations of Hell
      • Hell in Beowulf
      • Paradise Lost’s Liquid Hell
    • Medieval Mysticism: A Space For Women’s Authority
      • Julian of Norwich
      • Margery Kempe
    • God, Literature, and Religious Denomination in a Changing Christendom
      • Mysticism and Miracle in Catholic Europe
      • The Reformation and the “Intellectualization” of God
  • Nature and Culture
    • The Environment from the Middle Ages to Early Modern Period
      • Environment in Paradise Lost
      • Environment in Sir Gawain and Utopia
    • Kissing in Medieval Literature- Brooke Zimmerle
      • Kissing in Sir Gawain and the Green Knight
      • Kissing in Margery Kempe
    • Medieval and Early Modern Feasts
      • Feasts in Sir Gawain
      • “Meals in common”: Utopian Dining
    • Ars Moriendi and the Early Modern Period
      • Authors’ Views on Ars Moriendi
      • Ars Moriendi in Everyman
    • Games Medievalists Play
      • Beowulf’s Game: Battle
      • Sir Gawain’s Game: A Courtly Dare
  • Literary Concerns
    • A Brief History of Allegorical Literature
      • Allegory in the Middle Ages
      • 16th vs. 21st Century Allegory
    • Allegory in the Middle Ages and the 18th Century
      • Allegory in Everyman- pg3
      • Allegory Defined
    • Female Readership in the Middle Ages
      • Parenting Through Books
      • Julian of Norwich
    • Heroes of Epic British Literature
      • Beowulf as a Hero
      • Satan as a Hero – Paradise Lost
    • The Role of the Translator
      • Fixers and Their Roles in Translations of Medieval Texts
      • Translations and How They Change the Meaning of Medieval Texts
    • The Self in 15th and 16th Century Dramatic Literature
      • The Self in Everyman
      • The Self in Faustus

Paradise Lost and Tracing the Fall of Feudalism

     When reading Paradise Lost by John Milton, it is easy to feel that you have arrived at an entirely new era of political and economic systems. The shift from community based feudalism to the individualism of capitalism and democracy can be heavily seen in the author’s presence, without even looking at the content of the book yet. For one, at this time individual authors were getting recognized and even paid for their works, so individuality was certainly a big part of authorship in the 17th century. Because of this, Milton’s personality, ideas and persona are strongly reflected in his poetry.

Satan Addressing the Fallen Angels

     One of the most notable of Milton’s ideas seen in this poem is the inclusion of his political beliefs. Milton politically supported Cromwell, who was democratically elected, instead of given rule of Britain through bloodline. This is a notable step forward, as the author was in favor of democracy, and included it in his work. Some readings of Milton assert that Satan as portrayed in the poem is actually representing Cromwell. Upon closer examination, it seems pretty clear in the actions of Satan that he has democratic inclinations. One example of this is in Book 2, where he is addressing his fallen angels, and says that

who can advise may speak” (Milton 1515).

This is an important addition in the text, as it represents a shifting of prevailing ideas at the time. While democracy is not yet in full swing, the idea is at least being thought about and toyed with by Milton and others of the time.

Satan Rocking a Power Position

     Also, not only are the individual fallen angels given more personal freedoms and individuality, but Satan also exemplifies these newfound ideas in that he does things for himself instead of relying on those below him. This is quite a jump from Sir Gawain and the Green Knight, where King Arthur was able to sit back as Gawain took his place in the exchange with the Green Knight. Arthur has less personal individuality in this case, because he isn’t really excepted to act, while Satan does things for himself.

     That being said, there are a few aspects of the text that should be noted that don’t fully fit into the transition to capitalism and democracy. For one, the character of God and heaven as a whole is structured very unlike a democracy. God is the monarch, and when it comes time to save humankind, he sends Jesus to give up his life instead of himself. Even though Milton is critical in real life of royalty, it still is an important aspect that isn’t going anywhere anytime soon.

     Additionally, it could be argued that both Cromwell and Satan were not as democratic as they seemed. While Satan does ask the fallen angels for counsel, the plan that they settle on was

first devised By Satan, and in part proposed” (1522).

Despite Satan asking others for advice, he really just ends up going with his own plan anyway, which also indicates that while democracy is certainly on its way, it is far from being full realized. This was seen in real life too, with Cromwell turning away from democracy in his later years.

Go to Shifting of Political and Economic Structures

Go to Sir Gawain and the Green Knight Analysis

Works Cited

“File:ParadiseLButts1.jpg.” Wikimedia Commons, the free media repository. 4 Nov 2019, 11:57 UTC. 25 Nov 2019, 10:38 <https://commons.wikimedia.org/w/index.php?title=File:ParadiseLButts1.jpg&oldid=373413342>.

“File:Two Eminent Devils. Satan and Beelzebub.jpg.” Wikimedia Commons, the free media repository. 4 Jul 2018, 20:57 UTC. 25 Nov 2019, 10:41 <https://commons.wikimedia.org/w/index.php?title=File:Two_Eminent_Devils._Satan_and_Beelzebub.jpg&oldid=309596202>.

Milton, John. “Paradise Lost.” The Norton Anthology of English Literature, edited by Stephen Greenblatt, W.W. Norton, 2018, pp. 1514–1537.

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