...John M. Steadman Copyright © 1960 by Duke University Press 1960 ARCHANGEL TO DEVIL THE BACKGROUND OF SATAN’S METAMORPHOSIS By JOHN M. STEADMAN To many critics, Milton’s “transformation scene”-the metamorpho- sis of the evil angels...

...David Quint Milton tightly structures book 3 of Paradise Lost around analogies and distinctions between divine and solar light, the invisible heaven beheld by the poet's blind faith in the book's first half and the visible universe and sun visited by Satan in its second, vision down and up...

..., and as philosophies of social consensus and psychologies of empathetic affect recollected it sentimentally and benevolently. Post-Miltonically, Satan has earned sympathy or pity: upon Sin’s attaching our world with a great chain of necessitarian and material causality. Copyright © 2017 by University of Washington...

...-expressive endeavor of bodies. Moreover, his use of Lucretian physics in Paradise Lost challenges established models of providential superintendence. From Satan to the poem’s speaker to Adam and Eve, this challenge presents itself most enduringly through the Lucretian concept of self-motion, of animate...

...Seo Hee Im Abstract Readers of Paradise Lost have argued that the epic registers England’s nascent imperialism negatively through its associations of trade with Satan. This essay rethinks Paradise Lost’ s relation to empire by tracing its involvement in the making of an early modern subjectivity...

...Robert R. Meyers Copyright © 1972 by Duke University Press 1972 WAS THERE A TOAD IN THE BOWER? By ROBERTR. MEYERS It is curious that Satan should pause in Book 9 of Paradise Lost to curse so bitterly his imbrutement as serpent-who...

... in the action is Satan’s attempt to discover Christ’s real identity.’ She has shown that Christ’s frustration of this attempt in speech after speech adds much to the dramatic tension of the debate. Moreover, the singu- lar treatment of the “triple equation” as well as Christ’s un-Christlike...

..., from “Cambalu, seat of Cathaian Can” to “yet unspoild / Guiana” (11.388, 409-10). Yet this is not what Adam “our ancestor” is to see; it is, rather, what “our second Adam,” tempted by Satan, could see: Again, the devil taketh him up into an exceeding high mountain, and sheweth...

... of man is the Son of God? Milton in- vents an elaborate dialogue between Christ and Satan in the wilderness, a discourse so rich in rhetorical subtlety and incidental temptation that the simple three-part structure of the Gospel account is all but lost. Why does Milton choose to present...

.... Rhetorically as a climax, the fall represents a high point of the poem’s action. Whether it is the climax of the poem, however, needs reconsideration, it seems to me, in view of its incongruity with the thesis. The climax of Hook IX is the high point of Satan’s activity. From the point of lowest...

... their observations to brief remarks upon the fact that Satan is presented as the disloyal retainer of a God who him- self appears to be a Germanic lord. Having paid their respects to the Germanic ancestors of the poem, however, scholars have been quick to focus their attention upon the Christian...

... it has loose strands that suggest an unfinished text, such as the failure to account for one of the three playmates, Seppi Wohlmeyer, at the end of the story. Satan’s appearances are consistent with the logic of the story, for he appears with Theodor Fischer, the narrator and dreamer, except...

... of the divine creator, he may be uncertain of his special favor. In addition, the language with which the poet attempts to mediate between God and man is inadequate. Satan has fattened the dictionary and has a way (as Marvel1 discovered) of weaving fame and interest into the most well-intentioned...

... discussion of the War in Heaven. John Peter would have Satan urge a different and more convincing grievance on his followers in goading them to rebe1lion.l J. B. Broadbent would have the whole of the epi- sode tuned to one or another felicitous line in which Milton showed how the tale could have...

... is incomplete, change clumsy, and irresolution historically and poetically generative. In Paradise Lost and Paradise Regained much revolving discloses Milton’s views of seventeenth-century understandings of revolution and introduces his representation of temporality as turning. It cues Satan’s...

... “who I was, or where, or from what cause” (270). Quickly distin- guishing between himself and nature, Adam feels separate and limited; unlike Satan, he knows that he has not been self-created, and within a few minutes after his birth infers a great creator God. A sense of limita- tion...

... it as a satanic conspiracy, which reaches first into the papacy and then to Robert Catesby and his fellow conspirators. No less a work than Para- dise Lost (1667) alludes to the plot; it has roots in another poem directly about the plot, Phineas Fletcher’s Locustae (1627), and reiterates motifs that first...

... all, who reassured Eve after her dream, inspired by Satan, by telling her that Evil into the mind of God or Man May come and go, so unapprov’d, and leave No spot or blame behind. (Paradise Lost, V, 117-19.) Although wisely...

... on in numberless sermons and theological and devo- tional works. What then was the novelty in Paradise Lost? I see it thus. In all the earlier narrative treatments the writers had told the story in chronological order. Milton does not. The War in Heaven is already over and Satan and his peers...

... Miltonic figure, likewise guilty of “pride,” of “vain boast,” of considering himself “equal to God,” of being “subtle.” That figure is, of course, Satan. Critical Allusions I begin my analysis of Paradise Lost with a famous instance of Satanic bragging. (It is fitting, given Seneca’s reputation...