As the story of Creation unfolds in Milton’s Paradise Lost, several questions are raised about the role that women play in the downfall of Mankind. Although Eve is created as a companion for Adam in Genesis, she was also the one to cause him the utmost dilemma, proving her faultiness as the creation of Adam, rather than that of God, the Author of perfect beings. The stigma and imperfection of the Original Sin is exhaustively embedded in Eve’s character, as displayed in the parallel drawn between Eve and Sin, the spawn and lover of Satan. As Sin is the physical manifestation of Satan’s evil desires, Eve is alluded to be the literal embodiment of Adam’s faults, clearly separated from God, the Almighty Creator who gives rise to Man, Angels, and the Son. The respective situations of Eve and Sin are overwhelmingly similar.
These methods are very persuasive, and later lead to the downfall of Eve, Adam, and the future of mankind. Before a reader may look upon the confrontation between Eve and Adam, we must look into the reasoning of Satan as he approaches his foes. Satan recognized that both Adam and Eve were not of equal superiority, and learning that Eve was born of Adam's rib, quickly concluded that she was inferior to Adam, and easily the weakest religiously of the two. Since Eve was born from the body of Adam, she praises Adam as her own god, whereas Adam praises God as his. It is this reasoning that Satan was thankful, for upon entering Paradise in order to persuade the couple to commit the first sin; he hoped that he would encounter Eve alone, which would make it easier to benefit from her weakness and inferiority.
Satan’s Myth of Free Will in Paradise Lost Milton, through Satan's soliloquies in Book 4, shows that Satan's idea of free will is a facade, and God carefully manipulates him to fulfill his plan of Adam and Eve's fall. While speaking, Satan inadvertently places doubts in the reader's mind that his will is free. Satan proves through his actions that God created him to act in a very narrow range, even though he himself does not realize this. The combination of pride, ambition, abhorrence of subordination, and ignorance of his own state as a puppet lead to perpetually diminishing stature and divinity. Satan introspects in the first soliloquy (lines 32-113), searching for the motivation and reasoning behind his fall.
We are painfully reminded of our initial affiliation with Satan and his doomed aspirations when Rapheal recounts the war in heaven in book VI. It seems the first epic revolving around Satan was over before it was started, and now our would be underdog threatens us by threatening our new protagonist in Adam. The brief warnings of Raphael are not enough to preserve paradise and save Adam & Eve from the vengence of the Devil. It seems our hero is destined to ruin once again, but this time there is hope. Man turns out to be more repentant than Satan, and God turns out to be a little more leniant to man.
This paradox flirts with Milton’s language of evil: hate in Heaven; Hell and Heaven; Sin, Satan, Son, Serpent. By toying with alliteration, Milton’s construct of evil has taken on an entirely new demeanor, something playful and inoffensive, and extremely attractive to Eve. But hate is not a force that Satan alone subscribes to, for God and the Son are also capable of hate; the Son says to the Father at one point “ Whom thou hat’st, I hate” (Paradise Lost 6: 734). Adam responds to Raphael’s story like a child would to a fairytale. He is more concerned with how it all began, rather than heeding Raphael’s warning of the same enemy of God that will become a danger to them.
Firstly, the characters of the three Weird Sisters are symbolic of Satan, using knowledge to bring needless suffering into the world. Secondly, the character of Lady Macbeth, symbolic of Eve, becomes insane as a result of intrapersonal conflict. Finally, the character of Macbeth is symbolic of Adam, rejecting morality and God, embracing nihilism, and, ultimately, doomed to a Faustian death. Therefore, through the Witches’ prophecies, the collapse of Lady Macbeth, and the nihilistic rejection of life effectuated by Macbeth, Shakespeare demonstrates in his play Macbeth that knowledge is essentially Satanic: a firm moral foundation is required to restrict the ambition and immorality it enkindles. The three Weird Sisters, or as Tolman explains, the “Norns of Past, Present, and Future,” embody knowledge that is utilised to bring about man’s downfall (92).
In his exile Satan is regressed from a high Angel to a lowly mongrel, alienated from even the Demons who accompany him; his disobedience, and temptation of disobedience, help in connecting Milton’s work as a whole, and because of his envious quarrel with God, he unknowingly gives God a way to save Mankind-through the sacrifice of the Son. Once Mankind places itself aside, even in a deeply religious text, the revelation that others suffer suddenly appears; perhaps man is victim to his own arrogance, just as much as Satan was victim to his own
God is just doing what He has to by sending them out of the Garden. He is the high and almighty God, He made Adam and Eve, He made the world, He can do whatever He wants and if you disobey him you will get punished. It’s the same thing with Satan, Satan rebelled, and God had to do what he had to do and that was to send him out of heaven to hell. Satan, Adam, and Eve all lose the best things they had in there lives because they just couldn’t listen and follow what God wanted them to do. Satan rebelled against God when He chose His son, Jesus, to be the ruler of the world.
This network of characters aids the reader in identifying the intertextuality of the two pieces. In the beginning of Frankenstein, Victor was warned of the consequences of his gluttony, whereas Satan swooped under Eve?s radar and deceived her into a desire too strong to give up. Frankenstein exclaimed the even though so much has been done, scientifically, ?more, far more, will be achieved,? and he will ?explore unknown powers.? This aspiration devoured Victor to the point that he didn?t know when to quit.
These romanticized, humanistic qualities that conform the character of Satan include the Judeo-Christian image of the fallen angel as being manipulated and structured by sinfulness – also, this is portrayed i... ... middle of paper ... ...t. The ethos of the characters are seen through the structure of them paralleled by the idea of Hellish things, as “Satan had made a virtue of pride and ambition” . Satan encompasses the very worse of society, with sympathetic language to make him seem Bibliography: • Empson, William. Milton’s God. London: Chatto & Windus, 1965. • Tillyard, E.M.W., Milton.