The representation of women and religion in Milton’s contemporary fantasy adaptations Both C.S. Lewis and Phillip Pullman have discussed the works of John Milton, primarilyParadise Lost, throughout their own writing careers, and so it comes as no surprise that a high level of influence can be found in each writer’s most renowned work –The Lion, The Witch and the Wardrobeand theHis Dark Materialstrilogy respectively. The afterlife of John Milton lives throughout each of these texts in the allegorical references made to the narrative ofParadise Lost, but each writer has used their own religious views and opinions on gender to twist their allegory into a form completely unique to them. What must first be examined is the level to which each author has noted Milton as an influence over their work. One of C.S. Lewis’ most noted scholarly works is an extensive critique ofParadise Lost– entitledA Preface to Paradise Lost- in which Lewis defends the form of epic poetry, along with the poem’s content. However, what is most notable in Lewis’ critique ofParadise Lostis his examination of the character of Satan, a character that has largely been regarded by critics as having been portrayed in a heroic manner1 by Milton. Lewis accuses the suggestion that Satan is the hero ofParadise Lostas being “erroneous”2 . Highlighting the “misery which he [Satan] suffers and inflicts”3, Lewis claims that there is a laughable quality to Milton’s Satan, in the sense that No one had in fact done anything to Satan; he was no hungry, nor over-tasked, nor removed from his place, nor shunned, nor hated – he only thought himself impaired. In the midst of a world of light and love, of song and fest and dance, he could find nothing to think of more interesting than his own prestige. 4 In viewing Satan in this approach, Lewis highlights the absurdity of his actions, likening his behaviour to the stupidity of “sawing off the branch he is sitting on”5and therefore encouraging the reader to laugh at Satan, not with him, thus extinguishing all possible heroic implications attached to Satan’s character. Rather than feel sympathy for Satan being cast down to Hell, the reader ofA Preface to Paradise Lostis encouraged to examine his situation logically, and arrive at the conclusion Lewis presents, that Satan carries with him nothing but “a Hell of infinite boredom”6that motivates all of his action; there is nothing heroic about the cowardice 1Raymond Nighan and Donna Freitas,Romantic Comments on Milton's Satan(7th April 2010) <" target=_blank>> [accessed 3 December 2015]. 2C.S. Lewis,Preface To Paradise Lost, 15th edn (London: Oxfird University Press, 1967), p. 94. 3ibid., p 95 4ibid., p 96 5ibid., p 96 6ibid., p 102
Satan displays in attacking two creatures who have never done him harm “only to annoy the Enemy whom he cannot directly attack”7. Lewis’ refusal to view Satan as a heroic figure places emphasis on the view that Satan’s dedication to defeat Heaven is nothing more than misplaced monomania, and that above all things, “Christianity commits every Christian to believing that the Devil is (in the long run) an ass”8. Lewis’ trajectory of Satan’s decline from angel to serpent feels self-contentedly pious, and emphasises the punishment that awaits sinners when “self-intoxication encounters reality”9, ‘reality’ in this case being the power of the Christian
Want to read all 9 pages?
Previewing 3 of 9 pages Upload your study docs or become a member.
Want to read all 9 pages?
Previewing 3 of 9 pages Upload your study docs or become a member.
End of preview
Want to read all 9 pages? Upload your study docs or become a member.