Milton's Paradise Lost: A Critical Analysis of Satan’s Sympathetic Portrayal and the Role of the Church

In the context of Paradise Lost, John Milton’s epic poem published in 1667, the portrayal of Satan as a sympathetic character and as the protagonist remains a subject of intense debate. Critics have proposed that despite the poem's villanization of Satan and its adherence to the Genesis narrative, Milton's depiction of Satan is indeed a subtle and complex depiction, leading to the potential for sympathetic readings. However, this does not mean the Church attempted to suppress the poem; rather, it operated within a different and more permissive literary context.

The Versatile Villain: From History to Literature

The English fondness for engaging with dazzling, sometimes sympathetic villains in literature such as Claudius, Iago, Richard III, Edmund, and Macbeth can be traced to a longer tradition of portraying controversial and complex characters. These literary figures were used as mirrors to reflect societal concepts, moral dilemmas, and the complexities of human nature, making them both fascinating and disturbing. While Milton's Satan is transformative in the poetic tradition, his portrayal still adheres to common literary tropes, much like the characters mentioned above.

The Complex Role of the Church

By the “Church” in this context, I refer to the Papal Church. It is essential to recognize that the same Church, which is often demonized or overly pious, was born in the early 4th century from the vision of Emperor Constantine. This Church, while not without its flaws, understood the duality of human nature and the complexities of moral narratives better than modern critics suggest.

Contrary to the common perception, the Church had no intention of suppressing anything it deemed evil. On the contrary, it adapted to a changing world, sometimes embracing and sometimes rejecting various forms of art and literature. The Church, though often accused of suppression, was also responsible for patronizing many of the artists and writers of the time, including Milton. The period of the early 17th century, when Paradise Lost was published, was not a time of strict censorship under the sway of the Church; Gt. Britain was not a theocracy, and the Church did not possess the legal power to censure authors and poets.

The Romantic Misunderstanding

The idea that Milton presented Satan sympathetically is a critical error, largely stemming from 19th-century Romantic literature, particularly the influence of William Blake. Blake's interpretation of Milton as being "of the devil’s party" without knowing it reflects a Romantic sentiment rather than a literal reading of the text. The poem’s intent was not to present Satan as a sympathetic character but rather to illustrate the moral and theological complexities of the human condition, as seen in the War in Heaven and the expulsion of Satan and his followers to Hell.

Rhetorical Strategy and Moral Sense

Milton employs a subtle rhetorical strategy to trick the reader into sympathizing with Satan, only to reveal the true nature of his character. When Satan declares, "Better to reign in Hell than serve in Heaven," this statement initially seems appealing, but it ultimately reveals Satan's radical pride and rebellion against God. Any reader with a sense of moral integrity cannot sympathize with Satan's goals of degrading Adam and Eve, highlighting the complexity and depth of Milton’s message.

Comus, Milton’s masque, uses a similar rhetorical strategy in a more overt manner. In this work, the character Comus uses seductive rhetoric, much like Satan in Paradise Lost, to deceive the Lady. The character Comus acts as a precursor to Satan, showcasing the author’s astute understanding of human behavior and moral dilemmas.

Critical Theories and Modern Interpretations

Modern literary criticism, including concepts like enantiodromia and Freudian subtexts, often suggest that all texts can be interpreted in opposite ways or that hidden meanings may lie beneath the surface. While these theories offer unique perspectives, they often come across as overly philosophical and can be misapplied, especially to a writer as deliberate and moral as Milton. The complexities of Paradise Lost lie within its surface narrative rather than in subtextual readings.

In conclusion, while Paradise Lost does contain subtle elements that can lead to sympathetic readings of Satan, these should not overshadow the poem's clear message and intent. The Church's role in this context is not one of censorship but of adapting to a changing literary and philosophical environment. Milton’s work remains a testament to his acute moral sense and his ability to provoke deep thought and reflection on the human condition.