In the Christian tradition, Satan is commonly accepted as a hideous and monstrous being in direct contrast to God’s graceful mercy, often a shadowy figure with little depth. Yet there exists another very gothic view of this figure, as demonstrated by Milton in Paradise Lost, of a long suffering villain who appears more tragic artist than ultimate deceiver. The Monk, by Matthew Lewis, makes use of more tragic and mythical elements to make something altogether different, a Dionysian figure. Lewis uses such descriptive speech, symbols, and themes all connected to Greek myth to present a chaos creating character who transgresses not only God, but societal boundaries. While transgressions have been profusely researched in Gothic literature, the Dionysian myth connected to the Daemon spirit have been overlooked. I will reveal how much the scene of Ambrosio’s first meeting with Satan draws upon myths, symbols, and perceptions of the Greek God, and furthermore why these connections exist and reinforce the gothic genre.
Before unraveling the scene of Ambrosio and the fallen angle it is necessary to give a short general history of Dionysus, as it relates to this passage. Dionysus was born to a human mother Semele, who burns after seeing Zeus in his true form (Hamilton 65). Zeus saves the child and places him to be raised among nymphs, associated with “the stars which bring rain when they near the horizon” (65) and in this way Dionysus was “born of fire and nursed by rain” (65). Imagery of the vine also helps perpetuate the God’s yearly death, causing him to be torn apart every winter, as well as influencing the Maenads, a group of frenzied woman who run tearing apart anything in their path. While wine can bring joy, these sinister aspects ...
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...rprising that queerness exists, showing fears of non-normative sexuality, which like Dionysus is uncivilized. The beauty of gothic literature is that a monster-villain is never just a monster-villain, but something deeper psychologically. In this case, Satan is the queer Greek Dionysus, and in the future this connection between Dionysus and other monsters in Gothic literature should be researched, as the only way to see status and power is to look at who lacks or subverts it.
Works Cited
Abrams, M.H. "Gothic Novel." A Glossary of Literary Terms. 9th ed. Boston: Wadsworth Cengage Learning, 2009. 137-8. Print.
Aristophanes. The Frogs. Public Domain, 2005. Kindle.
Hamilton, Edith. "The Two Great Gods of Earth: Dionysus or Bacchus." Mythology. Boston: Little, Brown and Company, 1942. 64-76. Print.
Lewis, Matthew. The Monk: A Romance. London: Penguin, 1998. Print.
Everyone remembers the nasty villains that terrorize the happy people in fairy tales. Indeed, many of these fairy tales are defined by their clearly defined good and bad archetypes, using clichéd physical stereotypes. What is noteworthy is that these fairy tales are predominately either old themselves or based on stories of antiquity. Modern stories and epics do not offer these clear definitions; they force the reader to continually redefine the definitions of morality to the hero that is not fully good and the villain that is not so despicable. From Dante’s Inferno, through the winding mental visions in Shakespeare’s Hamlet, spiraling through the labyrinth in Kafka’s The Trial, and culminating in Joyce’s abstract realization of morality in “The Dead,” authors grapple with this development. In the literary progression to the modern world, the increasing abstraction of evil from its classic archetype to a foreign, supernatural entity without bounds or cure is strongly suggestive of the pugnacious assault on individualism in the face of literature’s dualistic, thematically oligopolistic heritage.
Dionysus, god of wine, in ancient Greek and Roman mythology is argued to have come late to the divinity family. Scholars continue to debate the idea. Myth scholars, fascinated by his stature and appearance believe that Dionysus was perceived as a god, and yet there are images of Dionysus that depict him as a goddess as well. The divine family tree of Dionysus begins with Dionysus as a gender specific male. I merely argue that, perhaps it is not a question of gender, but of perception. In order to receive the full understanding of Dionysus, one must start at the very beginning of Dionysus's "divine story."
Milton’s Satan in Paradise Lost is a complex character meant to be the evil figure in the epic poem. Whenever possible Satan attempts to undermine God and the Son of God who is the true hero of the story. Throughout the story Milton tells the readers that Satan is an evil character, he is meant not to have any redeeming qualities, and to be shown completely as an unsympathetic figure. Satan’s greatest sins are pride and vanity in thinking he can overthrow God, and in the early part of the poem he is portrayed as selfish while in Heaven where all of God’s angels are loved and happy. Satan’s journey starts out as a fallen angel with great stature, has the ability to reason and argue, but by Book X the anguish and pain he goes through is more reason for him to follow an evil path instead. Even so, Milton uses literal and figurative imagery in the description of Satan’s character to manipulate the reader’s response to the possibility that Satan may actually be a heroic figure. As the plot of the story unfolds there are moments where the reader can identify with Satan’s desires and relate to his disappointments.
Dintenfass, Mark. "Heart of Darkness: A Lawrence University Freshman Studies Lecture." 14 Mar. 1996. *http://www.acsu.buffalo.edu/~csicseri/dintenfass.htm* (2 Feb. 2000).
From deals with the devil, corrupt churches, and the decaying body of a lifeless baby, Matthew Lewis’s The Monk is the paradigm of the gothic novel. The main setting of the novel is the church, a place of barbaric and inhumane practices. Deep in the dungeons are prison cells for deviating nuns who are starved and tormented by the head nuns. The Monk, title role of the novel, belongs to the main character who is perhaps the most malevolent and cruel. The novel is the ideal example of a gothic novel because it encompasses all the themes that typify the gothic novel. The main tenets of gothic literature include, terror, violence, threatening of a women’s virtue and women being in constant danger. This can be seen in the case of Antonia
Wicked, dishonorable, corrupt, villainous, malicious, and vicious all have one thing in common: they define evil. A person or a group of people that display these qualities are often to be defined as evil beings or creatures. Two people that have many of these characteristics developed within them are Iago from Shakespeare’s Othello and Lucifer from the Bible. Both Iago and Lucifer are developed with many “evil” qualities woven intricately into their character development. The representation of each “evil” characteristic gives them something they have in common allowing the description and portrayal of both Iago and Lucifer in literature show the audience they share common “evil” characteristics and that they lead to chaos and downfall.
Shakespeare’s Macbeth and Milton’s Satan of Paradise Lost bear many similarities to each other. Both characters possess diabolical ambitions to overthrow the natural order of their circumstances for the lust for power. Both committed atrocious acts that led to others’ downfalls-Macbeth committed multiple acts of murder, and Satan vowed to corrupt humankind and did so with deceit. Both are portrayed as complex characters with, in some cases, conflicted feelings about their evil doings. Aside from these similarities, there are significant differences as well. For one thing, the incitation of both characters’ evil doings differ. Macbeth, it could be argued, is a victim of fate, whereas Satan is portrayed in Paradise Lost as very willful in his rebellion. While Macbeth and Satan are similar in their ambitions, their lust for power, and their conflicted emotions, they differ greatly in what initially led them to their evil paths and pushed them on to their ultimate destruction.
The question of whether Satan is the hero or the villain of John Milton’s Paradise Lost has been largely debated by scholars over the centuries. The ones who believe Satan is the villain of the epic, more commonly known as the Anti-Satanists, tend to argue that Satan is too foolish to be considered a hero, as his “hostility to Almighty power” is ultimately a futile endeavour (as God’s power is omnipotent) (Carey, 135). C.W. Lewis, also an anti-Satanist, goes as far as to claim that to “admire Satan, then, is to give one’s vote not only for a world of misery, but also for a world of lies and propaganda, of wishful thinking” (Lewis, 203). The ones who claim Satan is the hero of the epic, the Satanists, perceive him as the rebellious angel who rises up and defies God’s monarchy and “the tyranny of Heav’n” (174).They choose to focus on Satan’s “nobler qualities, his loyalty in leadership, fortitude in adversity, unflinching courage and splendid recklessness” (Satan/Promo, 3). While these two positions are both valid, this paper will be focusing on a third position; the individuals who believe that Satan is neither the hero nor the villain of the epic. Helen Gardner addresses this notion, claiming how “Satan is, of course, a character in an epic, and he is no sense the hero of the epic as a whole. But he is a figure of heroic magnitude and heroic energy, and he is developed by Milton with dramatic emphasis and dramatic intensity” (Baker/Helen, 208). Satan is without a doubt the antichrist, or “villain” in the biblical scriptures, however one must take into consideration his alternative and more ambiguous portrayal in Paradise Lost. In this paper, I will analyze Satan’s actions, physical portrayal and speeches in Book I of Paradise Los...
Living in a period of important religious and cultural flux, John Milton's poetry reflects the many influences he found both in history and in the contemporary world. With a vast knowledge of literature from the classical world of Greek and Roman culture, Milton often looked back to more ancient times as a means of enriching his works. At other times, however, he relies on his strong Christian beliefs for creating spiritually compelling themes and deeply religious imagery. Despite the seemingly conflicting nature of these two polarized sources of inspiration, Milton somehow found a way of bridging the gap between a pagan and a Christian world, often weaving them together into one overpowering story. The pastoral elegy Lycidas, written after the death of a fellow student at Cambridge, exemplifies this mastery over ancient and contemporary traditions in its transition from a pagan to a Christian context. Opening the poem in a setting rich with mythological figures and scenery, then deliberately moving into a distinctly Christian setting, Milton touches upon two personally relevant issues: poetry and Christian redemption. In this way, Lycidas both addresses the subject of being a poet in a life doomed by death and at the same time shows the triumphant glory of a Christian life, one in which even the demise of the poet himself holds brighter promises of eternal heavenly joy.
In this essay the critical approach on (Mythological and Archetypal Approach) played a big role in forming my opinion of the signet classic book, "Doctor Faustus" It is to my knowledge that mythology does not meet our current standards of factual reality, but unlike the 16th century which this play was presented, men like Faustus saw myth as fundamental and a dramatic representation of the deepest instinctual life in the universe.
Although the epic poem centers around the story of the fall of man, it is interesting that Milton intertwines in this story the fall of Satan from heaven and the consequences it has not only for Satan himself, but for Adam, Eve, and the world as a whole. Milton allows the reader to see the fall from the point of view of Satan, God, as well as Adam and Eve. Because Milton gives insight into these characters feelings regarding the fall, it is no surprise that he uses “eternal providence” in conjunction with the stories of Satan, Adam, and Eve. The providence being described here is the knowledge of good and evil. However, ev...
In Milton's Paradise Lost, he writes the story of the fall of Satan, his followers, and mankind. Many critics often view Satan as the unlikely or tragic hero of the epic poem. Satan is, obviously, the main character throughout most of the poem, but not necessarily the hero. Satan's main purpose is to fight G-d, and try to be on the same level as Him. The important thing is to realize that Satan is sin, and being humans, who are all born into sin, we can easily relate to a sinful character. G-d is holy and perfect. This is something which we, being fallible humans, cannot begin to comprehend. Satan does, at the beginning, follow many of the attributes which coincide with Aristotle's definition of a tragic hero; however, after the first few Books, Satan looses his status as a tragic hero rather rapidly. Along with this, Satan's thoughts parallel the idea of "Evil, be thou my good," (p76, line 110) which is the opposite of what G-d intends.
MacCaffrey, Isabel. "Satan’s Voyage". Modern Critical Views: John Milton . Bloom, Harold, ed. Chelsea House Publishers: New York, 1986.
Samson Agonistes is Milton’s final work, and as such is remarkable for its lack of finality. The poem is maddeningly oblique; Milton gives no answers, and barely poses any questions. However, Milton succeeds in writing Christian tragedy in Samson Agonistes by presenting the ease with which a Christian can be guided away from a real interaction with his own faith. Samson’s blindness is the blindness of all Christians who seek the path of salvation without divine guidance, and his tragedy is the tragedy of all those who convince themselves they have found it on their own. While Milton is very much working under the circumscription of Greek tragedy, his choices of interlocutors for Sampson speak to his fascination with a major paradox of Christianity: that man cannot work out his faith alone, and yet he must. By removing all direct divine presence from the poem, Milton explores the consequences of following Christian law without striving for Christian faith.