paradise lost and epic simile

Satan is represented in epic terms throughout Paradise Lost, but in lesser and lesser ways. Beginning with the archenemy’s address to his closest companion, Beelzebub, (1.192-208), Satan is a titanic figure, yet even here he is mentioned, immediately afterwards, in a minor form as being born on Earth, a harbinger of its next decline. The text continues, calling Satan Leviathan, the size of a whale, that creature that God had made the largest that swam in the ocean current (1.202). He imagines it asleep on the foam of Norway, a reference to things of the north, which implies gigantic dimensions in the reader’s mind. Milton returns to this reference later in his description of the fallen cohorts. Continuing, Satan is so big that a sailor might take him for a small island, drop anchor overnight to escape the sea wind, and wait until morning. (1,205)

The implication of an ongoing fall continues, as if Satan’s plunge never ends. He is allowed to pursue his dark designs, but he does so only with the high permission of all the ruling heavens (1212). With heavenly permission granted, Satan sprouts wings, takes off into air that feels unusually weighty, and settles once more with his companion Beelzebub. Both have recovered slightly, escaping the Stygian deluge as gods, and not by suffering from the supreme power (1240-241). Satan’s determination to defeat his fate is on display as he awakens himself and his fellow fallen angel.

Later, (1283-302), Satan is shown in even more graphic, though still epic, forms as the higher demon. Beelzebub has just finished addressing Satan, which without the omnipotent no one could have thwarted, thus raising his profile. But Milton takes it down a notch again in a very subtle way, comparing his shield in epic terms to the moon (1287), whose object, as we all know, hangs suspended in Earth’s orbit and reflects not its own light, but the light from a larger object. , more powerful source. The author ends the simile by referring to Satan’s massive following of his fellow fallen angels. Once again, Milton chooses a rather pathetic analogy, saying that Satan’s legions are thick as autumn leaves (1,302), so they not only fall to the ground, but are also a symbol of death, low regard, and change of seasons. .

Satan reproaches his princes and potentates (1315), inciting them to counterattack. Those other fallen angels are then shown in epic terms, as they stirred to obey the voice of their general (1337). Their numbers were such that they resembled a plague of locusts, a reference to Moses raining down on Egypt with a horde of those Biblical insects, turning day into night. This reference is telling, as the fallen are once again described in terms of darkness versus light. The plague is not only dark, but is carried by an east wind, a symbol in Milton’s world of sinister change, as the east was a source of exotic and dangerous infidels. The geographical threat is magnified, when the angels are compared to hordes arriving, this time from the north, home to barbarian tribes that spread across Europe, under Gibraltar to the sands of Libya, (1355), thus engulfing the civilized world. .

Beelzebub is epically depicted in Book 2 of Paradise Lost. Beelzebub, Satan’s second in command, comes across as an almost epically sad figure, perhaps a mirror image of man in his inability to exercise free will, and thus suffers the fate of a stronger angel. His name, from a Canaanite reference meaning Lord of the Flies, presents an image of servitude, of someone willing to take what falls from the table. He stands tall, looking grave, like a pillar of state, (2,303). Here, Beelzebub seems to rise to the occasion, reclaiming his rightful place as Satan’s adviser, majestic if dilapidated. Proud but obsequious, he may be Satan’s alter ego. He is reluctant to lead, but eager to serve, to operate in the reflected light. This is epic hubris, as it represents hero worship and a refusal to exercise free will.

The epic simile continues, citing Beelzebub’s Atlantean shoulders fit to bear the weight of the mightiest monarchies (2.306). Is this strength and resilience, or a willingness to suffer under someone else’s dictates? Or is it perhaps Milton’s first mention of the need for human reverence and obedience to the Almighty? Regardless, Beelzebub is ready to serve. However, as Adam embraces his fate at the end of the poem, Beelzebub’s advice is taken. Learning of the arrival of a new creature, a new race called Man (2,348), Satan adopts Beelzebub’s wisdom and begins the epic competition.