Academia.edu no longer supports Internet Explorer.
To browse Academia.edu and the wider internet faster and more securely, please take a few seconds to upgrade your browser.
Here we will discuss the possibility that God is the villain of John Milton's "Paradise Lost". How would he fit this characterization, how do the decisions of Satan and Eve change in light of God's new status, and how does God reconcile his omnipotence with his seemingly suicidal nature?
This dissertation seeks to analyse the dual nature of Satan in John Milton’s Paradise Lost. The Introduction will first establish the standpoint of the dissertation, which views Satan as the tragic hero-villain of the epic, and it will then move to an analysis of an inherent duality evident in parts of the epic that involve features other than Satan’s character. The first chapter will analyse theories of doubling from different disciplines: philosophy, ethics, and psychology, and will apply the theories to the poem using illustrations from different parts of Milton’s epic. The first part of this chapter will focus on the Apollonian-Dionysian duality as proposed by Nietzsche in The Birth of Tragedy, the second part will debate whether or not Satan and God’s parts in the heavenly war could be justified using the Just War Theory, and the final part will analyse doubling in Freudian terms, referring to The Uncanny and The Ego and the Id. The second chapter is the core of the dissertation. It will analyse Satan’s duality in three parts. The first part will analyse Satan’s duality in terms of heroism; classical versus epic heroism, and whether he is more of a hero than a fool. It will then move to an application of Aristotle’s Poetics, to justify the term “tragic” given to him in the introduction. The second part will analyse other features of duality in Satan, namely, appearance and reality and the interior split within him. The final part is a close reading of ‘Book IV’, using this reading as an in-depth analysis of the character. This will lead to the conclusion, which uses all that has been said to determine why there may be a split in readers between love and hate for this character, thus answering the final part of the title posed by this dissertation
Anthropoetics: The Journal of Generative Anthropology
"By merit more than birthright": Election and the Logic of Modernity in Paradise Lost2018 •
The problem of Renaissance aesthetics, at the most fundamental level, is iconoclasm. The Mosaic revelation fosters a new and critical attitude toward the figures of the sacred center, a skepticism which leads eventually to a recognition of the sacrality of the internal scene of representation, a sacred to which no one has a more privileged relationship than another. With Christianity, in its Protestant development, the personal relationship with God is the locus of the sacred, while the public, ritual scene becomes vulnerable to accusations of idolatry. The Protestant Reformation gives full expression to the iconoclastic potential of the New Testament. To some extent, this is the story of Milton’s Satan, who iconoclastically rejects God on the basis of his internal sense of divinity, although still within a hierarchical framework. Satan believes their worship of God is mere idolatry. But it is also the story of the reader’s relationship to epic protagonists during the Renaissance. Modern readers feel themselves, in principle, equal in significance to the literary protagonist. For a successful narrative, their potential resentment must be ameliorated, which can be accomplished in various ways. The narrative authorization of the protagonist becomes a major subject matter for literature. This is not just a narrow literary problem but connected to the larger issue of how authority figures are legitimated within a society in which divine hierarchy is in the process of disintegration. By staging the scene of representation within the work, the author distinguishes the protagonist by his fictional audience and from his readers. Furthermore, by means of his self-consciousness, the protagonist, in effect, serves as his own audience. The election of the central figure serves to authorize the protagonist, an election which often involves trials, temptations, and suffering; which humble him and demonstrate his commonality with readers. The protagonist’s internal conflicts, the so-called internalization of the crucifixion, serve to authorize a character just as with the military conflicts in epic. The characters in Paradise Lost who best fulfill the requirements of the modern protagonist are Eve and Adam. Their story, however, by itself, did not have the epic scope that Milton needed to compete with Homer and Virgil. It was Milton’s pride and ambition that made for the flaws of Paradise Lost as well as its greatness. The heavenly rivalry between Satan and the Son (before the creation of the world) is not a biblical topic, but rather a revision of the Christian narrative under pagan influence. Milton did not invent their rivalry, but his development of this topos is still startlingly original. The Archangel Michael, narrating to Adam the final defeat of Satan by the Son in his earthly career, warns Adam not to think of their battle in military terms, but rather in terms of Christ’s obedience to God’s law and his suffering on the cross (12.386-435). But Milton, despite his own warning, does exactly this in books Five and Six of his epic: describing their conflict in epic and military terms. Because Satan is portrayed in epic and tragic terms, Milton needed to counterweight his appeal with the representation of the Son, who enjoys two extended scenes of election, first in Book Three, and then again in Book Five. The Book Three election is based on the Son’s volunteering to suffer the penalty for human sin, and God declares that he is “by merit more than birthright Son of God.” But the mere fact of being willing to suffer is not the same as actually enduring the Crucifixion, so that his election seems more or less gratuitous. He doesn’t suffer the humiliations and internal conflicts that are represented in depth by the New Testament, and his election fails in its intended purpose. The Son’s Book Five election is justified by nothing more than God’s freedom as the monotheistic God, but the fact that the Son is a created being means that he is comparable to Satan and thus subject to competition and heavenly conflict. The epic battle in heaven between the loyal and the rebel angels is made possible on the premise that the angels don’t recognize God as God, so that their conflict takes place in a de facto pagan cosmos. Milton’s predicament, then, is that he needs a pagan cosmos to make possible the great epic drama of Satan’s rebellion, but he also needs the premise of monotheism in accordance with his biblical source. Milton tries to finesse this problem by limiting the knowledge available to creatures at crucial junctions. But without that knowledge, God’s judgment of them becomes questionable.
The aim of this study is to determine whether and to what extent the English poet John Milton may have been influenced in the composition of Paradise Lost by the Old English poem known as Genesis B. The paper will examine similarities and differences in the characterisation of Satan and of the temptation of Adam and Eve in both poems. The comparison between two of the illuminations of the Junius 11 ms. and the corresponding passages in Paradise Lost will be part of the analysis.
The paper aims to explore how the opposing thrones between God and Satan spread out in dreams in
Cultural Astronomy & Ancient Skywatching – Proceedings of the 28th Annual Meeting of the European Society for Astronomy in Culture (SEAC), 6-10 September 2021, Stara Zagora, Bulgaria, edited by Penka Maglova and Alexey Stoev
The Perennial Cycles of the Universe as Symbolized in Hittite Yazılıkaya2023 •
In 2019 it was proposed that the rock sanctuary of Yazılıkaya, which is considered one of the holiest places in the Hittite kingdom, had a calendrical function (Zangger & Gautschy, 2019). The 64 preserved rock-cut reliefs of deities in Chamber A can be arranged in groups to mark the days, synodic months and solar years. This arrangement was made in order to keep track of synodic months and solar years and/or to display an accurate date during monthly and annually recurring festivals (Demirel 2017). Here we aim to elaborate on three questions not addressed at the outset: Firstly, why do the figures used for counting the days (Reliefs 13-41) differ in character, whereas those for counting months (Reliefs 1-12) and years (Relief 46a-63) are virtually identical with each other? Secondly, what is the meaning (technically or metaphorically) of the main panel (Reliefs 42-46)? Thirdly, how can the symbolism of Chamber B be interpreted?
2015 •
2024 •
BÜYÜK TAARRUZ’DAN MUDANYA MÜTAREKESİ'NE: MİLLİ MÜCADELENİN 100.YILI ARMAĞANI (1922-2022)
Mudanya Mütarekesi’nin Ardından Trakya’dan Bulgaristan’a Göç Eden Ermeniler ve Bulgaristan’daki Durumları...2023 •
Philosophy and Canon Law
Googlism – Man’s New “Religion” in the Digital Age2023 •
The International Journal of Biochemistry & Cell Biology
Interaction of ibogaine with human α3β4-nicotinic acetylcholine receptors in different conformational states2010 •
JOIN (Jurnal Online Informatika)
Performance Analysis of ACO and FA Algorithms on Parameter Variation Scenarios in Determining Alternative Routes for Cars as a Solution to Traffic Jams2022 •
Bali Medical Journal
Prevalence of giardiasis and its associated factors among livestock and rivers in Mlati, Sleman, Yogyakarta, Indonesia2020 •
2024 •
QUEERULIEREN. Störmomente in Kunst, Medien und Wissenschaft, Oliver Klaassen / Andrea Seier (Hrsg.), Berlin: Neofelis
que(e)rulierend kuratieren2023 •
FUDMA JOURNAL OF SCIENCES
Modification of Separate Ratio Type Exponential Estimator: A Post-Stratification Approach2021 •