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William Blake’s assertion that Milton was “of the Devil’s party without knowing it” is a cornerstone of Romantic criticism of *Paradise Lost*. Blake, a poet and artist deeply invested in the power of imagination and the rejection of rationalism, believed Milton’s identification with the heroic, rebellious spirit of Satan overshadowed his intended portrayal of a fallen angel. This critique stems from Blake’s own theological and artistic convictions, which emphasized the divinity of humanity and the limitations of traditional religious narratives. This essay will examine the representation of Satan in Books I, II, IV, and IX of *Paradise Lost*, analyzing whether Milton’s depiction, despite its theological intent, inadvertently grants Satan a compelling and sympathetic presence, thus lending credence to Blake’s provocative claim.
Satan’s Portrayal in *Paradise Lost*
Milton’s Satan is a complex figure whose presentation evolves throughout *Paradise Lost*. Initially, in Book I, he is depicted as a fallen but majestic leader, rousing his defeated army in Hell. His rhetoric is powerful and persuasive, showcasing his charisma and unwavering resolve. This initial portrayal, while acknowledging his fall, emphasizes his indomitable spirit and refusal to submit to God’s authority.
Book I: The Fallen Hero
- Satan’s speech is characterized by epic grandeur and defiance.
- He rallies his forces, presenting their defeat as a challenge rather than a finality.
- Milton employs heroic similes to describe Satan, associating him with figures of classical heroism.
Book II: Deliberation and Planning
In Book II, Satan’s character is further developed through his interactions with the fallen angels. The council in Pandemonium reveals his cunning intellect and strategic mind. While his motives are rooted in revenge, his ability to inspire and lead is undeniable. The debate among the fallen angels, though intended to highlight the futility of rebellion, also showcases Satan’s persuasive power and the loyalty he commands.
Book IV: The Temptation Begins
Book IV marks a turning point. Satan’s journey to Eden and his observation of Adam and Eve reveal a growing sense of envy and malice. However, even here, Milton imbues Satan with a certain tragic grandeur. His soliloquies express a profound sense of loss and alienation, eliciting a degree of sympathy from the reader. His initial hesitation to tempt Eve suggests a lingering sense of nobility, albeit corrupted.
Book IX: The Fall of Humanity
Book IX is crucial. Satan’s successful temptation of Eve is presented with a disturbing level of psychological realism. His manipulation is subtle and insidious, exploiting Eve’s vanity and curiosity. While his actions are undeniably evil, Milton’s detailed portrayal of his persuasive techniques and Eve’s vulnerability creates a complex dynamic. The success of the temptation is not simply a matter of demonic power but also of human weakness, a point that complicates the moral landscape of the poem.
Blake’s Argument and its Validity
Blake argued that Milton’s imagination was constrained by his adherence to orthodox Christian doctrine. He believed that Milton identified with Urizen, the figure of reason and law in his own mythology, and thus unconsciously projected his own repressed rebellious spirit onto Satan. Blake saw Satan as a figure of creative energy and liberation, unjustly condemned by a tyrannical God. He felt Milton’s portrayal, while ostensibly condemning Satan, actually celebrated his heroic defiance.
Counterarguments and Nuances
However, Blake’s interpretation is not without its critics. Many scholars argue that Milton’s primary intention was to demonstrate the dangers of pride and rebellion. They point to the increasingly grotesque and diminished portrayal of Satan in the later books as evidence of Milton’s ultimate condemnation. Satan’s physical transformation into a serpent in Book X, for example, signifies his complete degradation. Furthermore, Milton’s explicit moral commentary throughout the poem consistently reinforces the righteousness of God and the wickedness of Satan.
It’s also important to recognize that Milton’s portrayal of Satan is deliberately ambiguous. He grants Satan a degree of complexity and rhetorical power precisely to make his fall more tragic and his rebellion more dangerous. By presenting Satan as a formidable opponent, Milton underscores the magnitude of God’s victory and the importance of obedience.
The use of blank verse, particularly in Satan’s speeches, contributes to the sense of epic grandeur. This stylistic choice, while enhancing the dramatic impact, also inadvertently elevates Satan’s status. Milton’s masterful use of language, even when describing evil, can be interpreted as a form of aesthetic appreciation, potentially fueling Blake’s argument.
| Book | Satan’s Characterization | Blake’s Potential Interpretation |
|---|---|---|
| I | Majestic, defiant, charismatic leader | Heroic rebel against tyranny |
| II | Cunning, strategic, persuasive | Intellectual force challenging divine authority |
| IV | Envious, melancholic, hesitant | Tragic figure grappling with loss and alienation |
| IX | Manipulative, insidious, successful tempter | Agent of liberation, exposing human vulnerability |
Conclusion
While Milton’s explicit theological intent was to condemn Satan, Blake’s critique highlights the inherent ambiguity in his portrayal. The epic scale, powerful rhetoric, and psychological depth granted to Satan, particularly in the early books, undeniably contribute to a compelling and even sympathetic characterization. Whether Milton was “of the Devil’s party without knowing it” remains a matter of debate, but Blake’s observation serves as a powerful reminder of the complexities of *Paradise Lost* and the enduring power of its characters. Milton’s genius lies in creating a villain so captivating that he continues to provoke such profound and enduring critical discussion.
Answer Length
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