...Allan H. Gilbert Copyright © 1948 by Duke University Press 1948 CRITICS OF MR. C. S. LEWIS ON MILTON S SATAN ALLAN H. GILBERT MR. C. S. LEWIS, having been a modern pagan, recently turned back to orthodoxy. After his conversion he wrote a little book called A Preface to Paradise Lost (1942...

...James W. Gargano Copyright © 1975 by Duke University Press 1975 Pudd nhead Wilson: Mark Twain as Genial Satan James W. Gargano In spite of (or in addition to) its seriousness, Mark Twain s Pudd nhead Wilson is an impressive comic triumph. The famous aphor­ isms of the misunderstood hero...

... and recalling that brilliant biographical evocation and another winner of the prize, Tyler Dennett s volume of twenty-five years ago on John Hay. INDIANA UNIVERSITY ROBERT H. FERRELL God, Man, and Satan: Patterns of Christian Thought and Life in Paradise Lost, Pilgrim s Progress, and the Great Theologians...

... in state penitentiaries, the intensified decoration of gang members’ bodies with tattoos of devils, clowns, and satanic symbols thrust the grammar of protest in Honduran politics to a limit where the architecture of confinement became a laboratory for criminal affects and political horizons projecting...

...John N. Swift Copyright © 1980 by Duke University Press 1980 Similes of Disguise and the Reader of Paradise Lost John N. Swift For Milton, the act of shape-shifting lies somewhere near the heart of Satanic evil; Satan s creative competition with God is epitomized by his self-transformations...

... may be numbered. Some of us perhaps go a step further and suppose that there is no God to justify. But the act of imagination that Paradise Lost requires consists simply of retreat­ ing from that extreme position. To read Milton s poem one need only persuade oneself that God and Satan exist...

... Chivalry, While with perfidious hatred they pursu d The sojourners of Goshen, who beheld From the safe shore thir floating Carcasses And broken Chariot Wheels, so thick bestrown Abject and lost lay these, covering the Flood. .. . {Paradise Lost I, 299-312) Each section of this simile relates to Satan s...

... with a curious, surrealistic quality that persists and is intensified in his later writing. In A Connecticut Yankee in King Ar­ thur s Court, the whole nineteenth century, with its heavy machinery and agnostic, pluralistic notions, is magically moved into the early Middle Ages. In The Chronicle of Young Satan...

...Thornton S. Graves The Devil in the Playhouse Thornton S. Graves Trinity College. The playhouse, declared Tertullian, is the Devil s Tem­ ple ; Satan, according to Saint Chrysostom, was the first builder of theatres. The Chappel of Satan, The Schoolhouse of Satan, Sathanes Synagogue...

... Milton s Satan with his own interpretation of Prom­ etheus, for Yeats has told us that in his youth Shelley s cosmic drama was my sacred book. 8 And when, like Milton s, Yeats s nationalistic ideals were frustrated, he created neither a national­ istic nor a cosmic epic, but instead the cosmic system...

... it. The matter of his narrative does not lengthen the chain of Adam s activity, but rather of Satan s, as though to justify the mistaken notion that made Satan the hero, or that requires any single hero for Paradise Lost, when considered a Renaissance epic. Satan s struggle in Heaven is the parallel on a grand...

..., that Satan is chained to the burning lake but soon walks away. These inconsistencies reveal Milton s inability to think analytically and discursively. Thus, says The New Criticism of Paradise Lost 503 Leavis, scholars who try to interpret Paradise Lost as if it had a consistent theological intention...

... Lost quotations, the lines are numbered as in John Milton, Complete Poems and Major Prose, ed. Merritt Y. Hughes (New York, 1957). Blake s Tiriel: Snakes, Curses, and a Blessing 165 him. He then proceeds to gradations. Since man will fall not by his own suggestion, like Satan, but by Satan s deception...

... constitute a formal principle. Everything is excluded but what touches on his inner life. The trials he underwent and their meaning and nothing else are the matter of his book. Bunyan was a battlefield. For him, of course, the dangers of the conflict that raged there were spiritual: Satan and he did so tug...

..., or on the mystico-scientific theory of creative genius now seem both commonplace and largely irrele­ vant. The most persistent theme of the book is Milton s inverted identity with Satan. Satan is the early Johannes Furens, the regicide pamphle­ teer whose idealism crumbled, but who threw off the Satan of his...

..., or on the mystico-scientific theory of creative genius now seem both commonplace and largely irrele­ vant. The most persistent theme of the book is Milton s inverted identity with Satan. Satan is the early Johannes Furens, the regicide pamphle­ teer whose idealism crumbled, but who threw off the Satan of his...

..., beginning with Los, hammering away to create the Ages of the universe. He sings of Satan, a bright, regular, untiring crea- ture, mechanically inclined, whose home turns out to be up above rather than down below, in charge...

... in iambic pen­ tameter and heroic couplets but is against the conventional in life. Lowell in his poetry wars against Satan in all his works, modern Boston, and the decay of the New England tradition. Allen Tate, in his introduction to Lowell s first collection of poems, Land of Unlikeness, said...

... and moral character of its chief actor Satan. Do not imagine, however, that Milton has slavishly copied his characters or his cosmology from his predecessor. Whatever he borrowed he refashioned and burnished and hall­ marked with the seal of his own individuality and ownership. Dante and His Influence 241...

... When Rushdie published his Satanic Verses, reinforcing this representation of them and of their religion, they balked. The Rushdie Affair and its after- math are now well known and the book has generated several rounds of debate...