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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

The Devil As Sympathetic: Human Qualities in Paradise Lost

Dore, Gustave. Illustration of John Milton’s “Paradise Lost”. http://gravures.ru/photo/gjustav_dore/milton_poterjannyj_raj/33-1-0-0-2

So if you meet me, Have some courtesy
Have some sympathy, and some taste
Use all your well-learned politesse
Or I’ll lay your soul to waste…” – “Sympathy For The Devil”, Rolling Stones

The Satan of Milton’s Paradise Lost is one that before it was written, had not been discussed or seen often, as a character of not only dimension but of human quality and emotion. Milton’s depiction of Satan is not just as a being that is little more than “all evil”, but now almost heroic in nature and that main character of the story.

         Milton’s Paradise Lost follows Satan post-fall from Heaven and then to the temptation of Adam and Eve, which causes them to be forced out of Eden, hence the name. Due to the fact that the story focuses on Satan and revolves around them as the central character, it becomes difficult for the reader not to sympathize with them. It presents a new, unique perspective of a time-old character; one that shows us that Satan may not be so unlike us. In fact, Satan presents multiple human qualities: human emotion, human-esque form, human downfalls. 

Dore, Gustave, 1866. Illustration of John Milton’s “Paradise Lost”. https://commons.wikimedia.org/wiki/File:Paradise_Lost_12.jpg
You’re A Charming Devil, You…

         Satan is shown to not just be an evil being who wishes for the demise and pain of everyone and everything, but rather a being of depth. Multiple times Satan is depicted as rather charismatic and charming, even giving speeches to their many followers (Milton Book 1, lines 81-83). Even more than this, Satan is depicted as having real emotions beyond just basic anger or greed, but rather more complex emotions such as “envy”, and the desire for glory (Book 1, line 35, 38-39). In this same manner, by giving Satan emotion, even those that are undesirable, it makes them more human and relatable. For in the same way that Satan is at fault, we too share these same pitfalls, being envious, angry, and the like. 

Tempting Beauty

Likewise, Satan is also seen as a rather beautiful figure, a depiction that differs from many previous and more well-known ones. Instead, we see Satan as beautiful and “…not yet lost…[its] original brightness” (Book 1, lines 591-592). It is no secret that we often hold more sympathy for things that are more attractive to us, but it also makes you wonder: how could a beautiful thing be so evil? It makes the reader stop and recall that Satan was, in fact, also made by God, by “perfect hands”, and that Satan was not made to be evil. Satan is often described as bright, giving way to their angelic origins, grabbing once again at our sympathy, because “his brightness was something that was not mistakenly given to him” (Cammareri 18). 

Moral of the Story

         Although Satan was depicted as human in nature and therefore rather palatable as compared to before, the message of doing so still remained the same: to warn readers to stay away from temptation and not to be fooled. It is easy to see Satan as a poor unfortunate soul placed in an unfortunate situation, as Milton describes, but this is just a warning, for sympathy can easily be taken advantage of. Satan, depicted as a rebel leader, could very easily gain the trust of the reader, seeing an unfortunate situation and giving up sympathy to the oppressed, however, it “sets a trap for humanity to fall into” (Hartman 134).

Citations:

Cammareri, Nicole, et al. The Evolution of Milton’s Satan through “Paradise Lost” and “Paradise Regained” and Milton’s Establishment of the Hero. ProQuest Dissertations Publishing, 2011, http://search.proquest.com/docview/878545449/.

Hartman, Michael, and Nunnally, Thomas. Laughing at the Devil: Satan as a Humorous Figure in Middle English Literature. ProQuest Dissertations Publishing, 1994, http://search.proquest.com/docview/304115436/.

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