Paradise Lost Satan Quotes

Awake, arise or be for ever fall’n.

Never can true reconcilement grow where wounds of deadly hate have pierced so deep...

Thou art my father, thou my author, thou my being gav'st me; whom should I obey but thee, whom follow?

They changed their minds, Flew off, and into strange vagaries fell.

But first whom shall we send In search of this new world, whom shall we find Sufficient? Who shall tempt, with wand'ring feet The dark unbottomed infinite abyss And through the palpable obscure find out His uncouth way, or spread his aery flight Upborne with indefatigable wings Over the vast abrupt, ere he arrive The happy isle?

th' unconquerable will,/ And study of revenge, immortal hate,/ And courage never to submit or yield/ And what is else not to be overcome?

Pandemonium, the palace of Satan rises, suddenly built of the deep: the infernal peers there sit in council.

Blake said Milton was a true poet and of the Devil's party without knowing it. I am of the Devil's party and know it.

but the sword Of MICHAEL from the Armorie of God Was giv'n him temperd so, that neither keen Nor solid might resist that edge: it met The sword of SATAN with steep force to smite Descending, and in half cut sheere, nor staid, But with swift wheele reverse, deep entring shar'd All his right side; then SATAN first knew pain

In blissful solitude; he then survey’d Hell and the Gulf between, and Satan there Coasting the wall of Heav’n on this side Night In the dun Air sublime,

So spake the enemy of mankind, enclosed In serpent, inmate bad! and toward Eve Addressed his way: not with indented wave, Prone on the ground, as since; but on his rear, Circular base of rising folds, that towered Fold above fold, a surging maze! his head Crested aloft, and carbuncle his eyes; With burnished neck of verdant gold, erect Amidst his circling spires, that on the grass Floated redundant: pleasing was his shape And lovely; never since of serpent-kind Lovelier…

What though the field be lost? All is not lost; the unconquerable will, And study of revenge, immortal hate, And courage never to submit or yield: And what is else not to be overcome? That glory never shall his wrath or might Extort from me. To bow and sue for grace With suppliant knee, and deify his power Who from the terror of this arm so late Doubted his empire, that were low indeed, that were an ignominy and shame beneath This downfall; since by fate the strength of gods And this empyreal substance cannot fail, Since through experience of this great event In arms not worse, in foresight much advanced, We may with more successful hope resolve To wage by force or guile eternal war Irreconcilable, to our grand Foe, Who now triumphs, and in th' excess of joy Sole reigning holds the tyranny of Heav'n.

one thing that I realized early on in thinking about this book, when I found, to my consternation, that I was writing a fantasy. I hadn't expected ever to write a fantasy, because I am not a great fantasy fan. But I realized that I could use the apparatus of fantasy to say things that I thought were true. Which was exactly what, I then realized, Milton had been doing with Paradise Lost. Paradise Lost is not a story of people and some other people who've got wings. It's not one of those banal fantasies that just rely on somebody having magic and someone dropping a ring down a volcano. Paradise Lost is a great psychological novel that happens to be cast in the form of a fantasy, because the devils and the angels are, of course, embodiments of psychological states. The portrait of Satan, especially in the Temptation scene (I think it's in Book 9), is a magnificent piece of psychological storytelling. So it was possible to do, I realized, and with Milton as my encouragement, I launched into this book -- which I reluctantly accept has to be called a fantasy. Finding physical embodiments for things that were not themselves physical was one of the ways I approached what I wanted to say. But then, that's what we do with metaphor all the time. That's the way metaphor works. The way metaphor works is not the way allegory works. Allegory works because the author says, "This means so-and-so, that means such-and-such, and this can only be understood in such-and-such a way. If you don't understand it like this, the book won't work." It seems to me that some critics of mine, from the religious point of view, are treating my novel as if it were an allegory and they had the key to it. It is not an allegory, and they don't have the key to it, because there is no key apart from the sympathetic and open-minded understanding of the reader.

We owe pandemonium to Milton’s Paradise Lost (where it is ‘the high Capital of Satan and his Peers’), diplomacy to Edmund Burke, and pessimism to Samuel Taylor Coleridge.

Vale más reinar en el Infierno que servir en el Cielo.

till at last Satan, whom now transcendent glory rais'd Above his fellows, with Monarchal pride Conscious of highest worth, unmov'd thus spake.

He did. He researched her. Someone told him that she had a special interest in John Milton. It did not take long to discover the century to which this man belonged. A third-year literature student in Beard’s college who owed him a favor (for procuring tickets to a Cream concert) gave him an hour on Milton, what to read, what to think. He read “Comus” and was astounded by its silliness. He read through “Lycidas,” “Samson Agonistes,” and “Il Penseroso”— stilted and rather prissy in parts, he thought. He fared better with “Paradise Lost” and, like many before him, preferred Satan’s party to God’s. He, Beard, that is, memorized passages that appeared to him intelligent and especially sonorous. He read a biography, and four essays that he had been told were pivotal. The reading took him one long week. He came close to being thrown out of an antiquarian bookshop in the Turl when he casually asked for a first edition of “Paradise Lost.” He tracked down a kindly tutor who knew about buying old books and confided to him that he wanted to impress a girl with a certain kind of present, and was directed to a bookshop in Covent Garden where he spent half a term’s money on an eighteenth-century edition of “Areopagitica.” When he speed-read it on the train back to Oxford, one of the pages cracked in two. He repaired it with Sellotape.

but the sword   Of MICHAEL from the Armorie of God   Was giv'n him temperd so, that neither keen   Nor solid might resist that edge: it met   The sword of SATAN with steep force to smite   Descending, and in half cut sheere, nor staid,   But with swift wheele reverse, deep entring shar'd   All his right side; then SATAN first knew pain,

Book X ... Satan arrives at Pandemonium; in full assembly relates, with boasting, his success against Man; instead of applause is entertained with a general hiss by all his audience, transformed, with himself also, suddenly into serpents, according to his doom given in paradise; then, deluded with a show of the forbidden tree springing up before them, they, greedily reaching to take of the fruit, chew dust and bitter ashes...

So spake our mother Eve, and Adam heard Well pleased, but answered not; for now too nigh Th' Archangel stood, and from the other hill To their fixed station, all in bright array The Cherubim descended; on the ground Gliding meteorous, as ev'ning mist Ris'n from a river o'er the marish glides, And gathers ground fast at the labourer's heel Homeward returning. High in front advanced, The brandished sword of God before them blazed Fierce as a comet; which with torrid heat, And vapour as the Libyan air adust, Began to parch that temperate clime; whereat In either and the hast'ning angel caught Our ling'ring parents, and to th' eastern gate Led them direct, and down the cliff as fast To the subjected plain; then disappeared. They looking back, all th' eastern side beheld Of Paradise, so late their happy seat, Waved over by that flaming brand, the gate With dreadful faces thronged and fiery arms: Some natural tears they dropped, but wiped them soon; The world was all before them, where to choose Their place of rest, and Providence their guide: They hand in hand with wand'ring steps and slow, Through Eden took their solitary way.

There are hints of child sacrifice in Genesis and Exodus, including Abraham’s willingness to sacrifice Isaac. Human sacrifice was long associated with Canaanite and Phoenician ritual. Much later, Roman and Greek historians ascribed this dastardly practice to the Carthaginians, those descendants of the Phoenicians. Yet very little evidence was discovered until the early 1920s, when two French colonial officials in Tunisia found a tophet, with buried urns and inscriptions in a field. They bore the letters MLK (as in molok, offering) and contained the burned bones of children and the telling message of a victim’s father reading: “It was to Baal that Bomilcar vowed this son of his own flesh. Bless him!” These finds may have coincided with the time of Manasseh, implying that the biblical stories were plausible. Molok (offering) was distorted into the biblical “moloch,” the definition of the cruel idolatrous god and, later in Western literature, particularly in John Milton’s Paradise Lost, one of Satan’s fallen angels. Gehenna in Jerusalem became not just hell, but the place where Judas invested his ill-gotten silver pieces and during the Middle Ages the site of mass charnel-houses. CHAPTER 5

Milton argued, in 1649, after the execution of Charles I, that a people 'free by nature' had a right to overthrow a tyrant; a subject that recalls vividly the questions examined by Shakespeare in his major tragedies about fifty years before. Milton continued to defend his ideals of freedom and republicanism. But at the Restoration, by which time he was blind, he was arrested. Various powerful contacts allowed him to be released after paying a fine, and his remaining years were devoted to the composition - orally, in the form of dictation to his third wife - of his epic poem on the fall of humanity, Paradise Lost, which was published in 1667. It is interesting that - like Spenser and Malory before him, and like Tennyson two centuries later - Milton was attracted to the Arthurian legends as the subject for his great epic. But the theme of the Fall goes far beyond a national epic, and gave the poet scope to analyse the whole question of freedom, free will, and individual choice. He wished, he said, to 'assert eternal providence,/And justify the ways of God to men'. This has been seen as confirmation of Milton's arrogance, but it also signals the last great attempt to rationalise the spirit of the Renaissance: mankind would not exist outside Paradise if Satan had not engineered the temptation and fall of Adam and Eve. For many critics, including the poets Blake and Shelley, Satan, the figure of the Devil, is the hero of the poem.

The curse of life The story of Man’s10 abrupt expulsion from Eden – be it fiction, metaphor or literal fact – has become etched too deeply on the collective unconscious to ignore, for it has set in stone Judaeo-Christian attitudes to men, women, original sin (and therefore children), the Creator and his opposition, Lucifer/Satan/the Devil. This all-powerful myth has imbued us all at some level of perception with a belief that life is a curse, that death is the end – a collapsing back of the body into its constituent dust, no more – that women are inherently on intimate terms with evil, that men have carte blanche to do as they please with not only all the animals in the world but also their womenfolk, and that God, above all, is to be feared. Snakes come out of it rather badly, too, as the embodiment of evil, the medium through which Satan tempts we pathetic humans. The Devil, on the other hand, is the only being in the tale to show some intelligence, perhaps even humour, in taking the form of a wriggling, presumably charming, phallic symbol through which to tempt a woman. As both Judaism and Christianity depend so intimately on the basic premises of Genesis, this lost paradise of the soul is evoked several times throughout both Old and New Testaments. The crucified Jesus promised the thief hanging on the cross next to him ‘Today you will be with me in Paradise’,11 although it is unclear how those listening may have interpreted this term. Did they see it as synonymous with ‘heaven’, a state of bliss that must remain unknowable to the living (and remain for ever unknown to the wicked)? Or did it somehow encompass the old idea of the luxuriant garden?

He had full opportunity to learn the falsity of the maxim that the Prince of Darkness is a gentleman. Again and again he felt that a suave and subtle Mephistopheles with red cloak and rapier and a feather in his cap, or even a sombre tragic Satan out of Paradise Lost, would have been a welcome release from the thing he was actually doomed to watch. It was not like dealing with a wicked politician at all: it was much more like being set to guard an imbecile or a monkey or a very nasty child. What had staggered and disgusted him when it first began saying, ‘Ransom … Ransom …’ continued to disgust him every day and every hour. It showed plenty of subtlety and intelligence when talking to the Lady; but Ransom soon perceived that it regarded intelligence simply and solely as a weapon, which it had no more wish to employ in its off-duty hours than a soldier has to do bayonet practice when he is on leave. Thought was for it a device necessary to certain ends, but thought in itself did not interest it.

The industrial revolution has held in contempt not only the 'obsolete skills' of those classes, but the concern for quality, for responsible workmanship and good work, that supported their skills. For the principle of good work it substituted a secularized version of the heroic tradition: the ambition to be a 'pioneer' of science or technology, to make a 'breakthrough' that will 'save the world' from some 'crisis' (which now is usually the result of some previous 'breakthrough'). The best example we have of this kind of hero, I am afraid, is the fallen Satan of Paradise Lost--Milton having undoubtedly having observed in his time the prototypes of industrial heroism. This is a hero who instigates and influences the actions of others, but does not act himself. His heroism is of the mind only--escaped as far as possible, not only from divine rule, from its place in the order of creation or the Chain of Being, but also from the influence of material creation: A mind not to be chang'd by Place or Time. The mind is its own place, and in itself Can make a Heav'n of Hell, a Hell of Heav'n This would-be heroism is guilty of two evils that are prerequisite to its very identity: hubris and abstraction. The industrial hero supposes that 'mine own mind hath saved me'--and moreover that it may save the world. Implicit in this is the assumption that one's mind is one's own, and that it may choose its own place in the order of things; one usurps divine authority, and thus, in classic style, becomes the author of results that one can neither foresee nor control.

Admonished by his ear, and straight was known The Arch-Angel Uriel, one of the seven Who in God’s presence, nearest to his throne, Stand ready at command, and are his eyes That run through all the Heavens, or down to the Earth Bear his swift errands over moist and dry, O’er sea and land: him Satan thus accosts. “Uriel, for thou of those seven Spirits that stand In sight of God’s high throne, gloriously bright, The first art wont his great authentic will Interpreter through highest Heaven to bring, Where all his sons thy embassy attend; And here art likeliest by supreme decree Like honour to obtain, and as his eye To visit oft this new creation round; Unspeakable desire to see, and know All these his wonderous works, but chiefly Man, His chief delight and favour, him for whom All these his works so wonderous he ordained, Hath brought me from the quires of Cherubim Alone thus wandering. Brightest Seraph, tell In which of all these shining orbs hath Man His fixed seat, or fixed seat hath none, But all these shining orbs his choice to dwell; That I may find him, and with secret gaze Or open admiration him behold, On whom the great Creator hath bestowed Worlds, and on whom hath all these graces poured; That both in him and all things, as is meet, The universal Maker we may praise; Who justly hath driven out his rebel foes To deepest Hell, and, to repair that loss, Created this new happy race of Men To serve him better: Wise are all his ways.” So spake the false dissembler unperceived; For neither Man nor Angel can discern Hypocrisy, the only evil that walks Invisible, except to God alone,

His Sons, the fairest of her Daughters Eve. Under a tuft of shade that on a green Stood whispering soft, by a fresh Fountain side They sat them down, and after no more toil Of thir sweet Gardning labour then suffic’d To recommend coole Zephyr, and made ease More easie, wholsom thirst and appetite More grateful, to thir Supper Fruits they fell, Nectarine Fruits which the compliant boughes Yeilded them, side-long as they sat recline On the soft downie Bank damaskt with flours: The savourie pulp they chew, and in the rinde Still as they thirsted scoop the brimming stream; Nor gentle purpose, nor endearing smiles Wanted, nor youthful dalliance as beseems Fair couple, linkt in happie nuptial League, Alone as they. About them frisking playd All Beasts of th’ Earth, since wilde, and of all chase In Wood or Wilderness, Forrest or Den; Sporting the Lion rampd, and in his paw Dandl’d the Kid; Bears, Tygers, Ounces, Pards Gambold before them, th’ unwieldy Elephant To make them mirth us’d all his might, & wreathd His Lithe Proboscis; close the Serpent sly Insinuating, wove with Gordian twine His breaded train, and of his fatal guile Gave proof unheeded; others on the grass Coucht, and now fild with pasture gazing sat, Or Bedward ruminating: for the Sun Declin’d was hasting now with prone carreer To th’ Ocean Iles, and in th’ ascending Scale Of Heav’n the Starrs that usher Evening rose: When Satan still in gaze, as first he stood, Scarce thus at length faild speech recoverd sad. O Hell! what doe mine eyes with grief behold, Into our room of bliss thus high advanc’t Creatures of other mould, earth-born perhaps, Not

God, Satan, Paradise, and Hell all vanished one day in my fifteenth year, when I quite abruptly lost my faith. I recall it quite vividly.I was at school in England by then. The moment of awakening happened, in fact, during a Latin lessson, and afterwards, to prove my new-found atheism, I bought myself a rather tasteless ham sandwich, and so partook for the first time of the forbidden flesh of the swine. No thunderbolt arrived to strike me down. I remember feeling that my survival confirmed the correctness of new position. I did slightly regret the loss of Paradise, though.

Satan is the rock that hides our fears, insecurities, prejudices and violent tendency. Satan is humanity’s closet—the dark place we stuff the things that don’t fit in our living rooms, the things we don’t want to display. He is our collective blindspot—the space that doesn’t matter, the place that can’t be talked about. It’s the label we use to deny, denigrate, strip and punish. Nietzsche warned us of this danger in Beyond Good and Evil: One who fights with monsters should beware, lest he himself become thereby a monster. And if you peer long into an abyss, the abyss peers back into you.

If you look for Evil and believe in it, you accept the diabolical as natural and hence unchallengeable; and open yourself to becoming Evil yourself in the quest to defeat what you fear. Satan is the personified place-holder, the boogie monster, the conscious manipulator who is using this or that evil thing to wreak disaster and havoc on humanity. Thus “rock and roll” is Satanic, as is dancing, gay marriage, and in more conservative countries, revealed skin, holding hands, educated women—but these definitions are fluid. What definition applies completely to Satan himself; what is is evil by itself? What made Satan evil?

in seeking to free Christians from what Church reformers claimed was rigid and corrupt, the Protestants opened themselves up to the possibility that all laws, rules and constraints might be replaced by faith.”2 Should there be any limits at all to rebellion against established doctrine and ecclesiastical authority? The early Protestant reformers were not so sure, and neither was Milton. The Satan of Paradise Lost, after all, longs for the Heaven he has rejected even as he refuses to be ruled by God.

There is only one sin. That is weakness. When a boy I read Milton's Paradise Lost. The only good man I had arny respect only for was Satan. The saint is that soul that never weakens, faces everything and determines to die game.

That was when the myth of America started to take hold of Iran. Even those who wished its death were obsessed by it. America had become both the land of Satan and Paradise Lost.

When I was a boy, I read Milton’s Paradise Lost. The only good man I had any respect for was Satan. The only saint is that soul that never weakens, faces everything, and determines to die game. Stand up and die game! Do not add one lunacy to another. Do not add your weakness to the evil that is going to come. That is all I have to say to the world.