John Milton’s Paradise Lost is one of the most monumental and celebrated works in English literature. Often described as an “epic to end all epics”, it is renowned for its grandiose scale, unique manipulation of epic conventions, and the complexity of its narrative, characters, and language (Stallworthy et al. 1830). Among these distinctive features, one of them is quickly recognisable to the reader: its unconventional portrayal of Satan and the Fallen Angels. Departing from traditional Medieval and Renaissance conventions that tends emphasises monstrosity, with images of “blood-shot eyes, blood-dripping jaws, and mouths as big as [whirlpools]”, Milton creates characters who are distinctively human (Ruddick 50). Instead of a binary force of
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Working within the tradition of epics, Milton draws many epic conventions to the story – for example, the invocation of the Muse, the Fallen Angels’ supernatural powers to create and destroy, and the usage of epic similes (Stallworthy et al. 1830). Generally, such forms of epics are focus on portraying decisive action or historic moment that transforms and shape a country. They focus on the adventurous and heroic deeds by individuals that thrill and excite the reader or listener, valuing the projection of strength, power, pride, and individual ambitiousness (Ruddick 22-23). Yet, these characters are also characterised by negative qualities that are frequently overlooked by the narrative, such as a tendency towards violence and fraud, as well as actions that are morally deplorable (Steadman 254). Many critics, then, argue that while Milton portrays Satan and the Fallen Angels through the lens of “Parody Heroism”, inflating the morally ambiguous nature inherited within the conventions of the epic heroism and ultimately undermining alluring heroic qualities of the characters (Ruddick 27). While this tendency is rather easily recognisable within the narrative, bellow we will perform a closer analysis on one of the primary methods employed by Milton to constructs this framework: characterisation through speech and
Working within the tradition of epics, Milton draws many epic conventions to the story – for example, the invocation of the Muse, the Fallen Angels’ supernatural powers to create and destroy, and the usage of epic similes (Stallworthy et al. 1830). Generally, such forms of epics are focus on portraying decisive action or historic moment that transforms and shape a country. They focus on the adventurous and heroic deeds by individuals that thrill and excite the reader or listener, valuing the projection of strength, power, pride, and individual ambitiousness (Ruddick 22-23). Yet, these characters are also characterised by negative qualities that are frequently overlooked by the narrative, such as a tendency towards violence and fraud, as well as actions that are morally deplorable (Steadman 254). Many critics, then, argue that while Milton portrays Satan and the Fallen Angels through the lens of “Parody Heroism”, inflating the morally ambiguous nature inherited within the conventions of the epic heroism and ultimately undermining alluring heroic qualities of the characters (Ruddick 27). While this tendency is rather easily recognisable within the narrative, bellow we will perform a closer analysis on one of the primary methods employed by Milton to constructs this framework: characterisation through speech and