Lindsey Jeanne Kennedy
Epic Essay
The extent to which the character of Satan in Milton’s Paradise Lost play the part of a Homeric Hero
Satan is notoriously known for his deceptive, dark nature. When combined with the influence of
Homer’s genius of ancient Greek epic identity, the product is Milton’s version of a controversial
character. His first sanctioned disciple, John Milton is the first to initially seek and ultimately cultivate a
sense of literary power through his epic work Paradise Lost. It is important to recognize that with
Milton’s decision to establish an epic also comes his conscious decision to identify himself as an epic
writer. Subsequently, this decision comes with assumed expectations, for himself and his readers,
associated with not only the epic genre, but also preconceived prejudices concerning characterizations.
That said, Milton’s figure of Satan inherently represents a controversial character surrounded by mixed
reservation. Satan contrasts with classical Homeric heroes, yet upholds certain specific epic conventions.
In Paradise Lost, Satan adheres to the classical epic hero, a character that can be compared with
other classical hero’s such as Homer’s Achilles. A direct comparison can be made between Satan and
Achilles in respect to their classical epic heroism, “He is a variant of Achilles, who equates honor with his
own status . . . and feels slighted by his
commander-in-chief, refuses his orders and believes himself
superior” (Forsyth 30). Although Satan’s status is not that of a Greek warrior, he nonetheless possesses
power. In addition, in Paradise Lost, God plays the role of Satan’s “commander-in-chief”, who rejects
his acceptance and thus forces him upon evil.
In respect to his function as a hero, “He is Odysseus and Jason
on their heroic voyages, leader
and chief warrior in battle during and after the War in Heaven, and through it all the most powerful
speaker, able to rally and organize his troops with the eloquence of his appeals to their own heroic
values” (Forsyth 30). Even though they are entirely dissimilar characters with unrelated roles, there are
parallels that can be drawn between well-known Homeric heroes and Satan.
While many of Satan’s roles in Paradise Lost do not justify his Homeric heroism, his earnest
nature is one that accurately depicts him as such. With more courage and perseverance than the average
mortal, Satan raises complex questions and concerns toward God. Although his inherent traits of
deception and rebellion ring true in the end, in result of his eternal exile, his initial curiosity about and
interest in the human life are legitimate. Even though he lacks the intelligence of Homeric heroes such as
Odysseus, his naïve nature is not cowardly.
On the other hand, Satan reflects a complex symbolic meaning that not only reveals Milton’s
individual viewpoint but also counteracts the validity of his Homeric cognizance. Milton’s initial,
positive portrayal of Satan in Book I as not only powerful, but also heroic is an unusual depiction of the
notoriously dark character. This unfamiliar representation of such an infamously powerless creature
creates an uncomfortable situation for the reader. Whichever interpretation is perceived, for the sake of
this analysis, it is important to recognize and identify the range of traits in which Satan does possess, both
characteristic of a Homeric hero and an entirely separate one.
Perhaps the most prominent contradiction to Satan’s heroic qualities is that he does not fit the
image of a hero in the traditional sense. This conflict allows one to consider that the traditional hero is in
fact far more complex than one may perceive. For many readers of epics or any other genre, a hero is
generally a male figure with good intentions who is faced with challenges. For instance, a classic
Lindsey Jeanne Kennedy
Epic Essay
example of a Homeric Hero can be found in the young heart of Achilles, the Iliadic warrior leader. In
almost every circumstance, heroes face specific challenges, which are successfully overcome time after
time. Moreover, if these challenges are not overcome, like in the case of Achilles, they are persistently
attempted until death defeats them. In Paradise Lost, Satan accomplishes his goal of corrupting
humankind. Because this accomplishment is not admirable, however, it therefore creates an initial
disturbance to a traditional expectation set for his heroic role.
A traditional role of Homeric heroes is the practice of code of honor. Similar to Achilles’
commitment to battle comes his strong self-discipline and dedication to his word. Although Satan fails to
consistently demonstrate honor throughout the entire poem, it is worth noting that his initial just-fallen
angel exemplifies honorable qualities. From the beginning of Book I, Satan shows his determination to
step up to God and face the challenges surrounding him. Although he is aggressive in nature, the
ambition and courage that he demonstrates are similar to a Homeric hero:
The Mother of Mankinde; what time his Pride
Had cast him out from Heav’n, with all his Host
Of Rebel Angels, by whose aid aspiring
To set himself in Glory above his Peers,
He trusted to have euald the most High,
If he oppos’d; and with ambitious aim
Against the Throne and Monarchy of God
Rais’d impious Warr in eav’n and Battel proud
With vain attempt (Milton I:36-44)
Later in Book I, even after just awakening himself, he feels obligated to awaken the others, thus
playing the role of a leader: “Aware, arise, or be for ever fall’n, / They heard, and were abasht, and up
they sprung / Upon the wing” (Milton I:330-32). Along with honor comes the role of a leader, a
traditional heroic trait widespread throughout epic poems, including the Iliad. Perhaps the best example
of Satan’s leadership is in Book I after the angels have fallen:
On the Beach
Of that inflamed Sea, he stood and calld
His Legions, Angel Forms, who lay instranst
Thick as Autumnal Leaves that strow the Brooks
In Vallombrosa” (Milton I:299-303)
In addition, this is reiterated in following lines, “He calld so loud, that all the hollow deeps /Of
Hell resounded” (Milton I:3I4-I5). His initial commencement and subjective role as a leader
characterizes him as a hero in the very beginning of the epic.
In order to then justify Satan’s heroism in this context, it is useful to consider Aristotle’s concept
of hamartia. This concept allows one to understand the complexities associated with a realistic hero, as
opposed to an ideal one (McManus). Satan has heroic thoughts, ideas and intentions, however his flaw is
that he gets distracted by his own pride far too easily. His heroism therefore lies in his devout dedication
in and determination to transform himself. Satan longs to change through the knowledge of not only his
Lindsey Jeanne Kennedy
Epic Essay
true nature, but also God’s. “The process of moral self-determination – the driving urge toward selfdefinition that we normally recognize in the heroes of Homeric epic – is equally operative in Milton’s
Satan, yet…this very preoccupation with self along with the craving for dominon and the hunger for
glory, forms the cornerstone of the infernal city” (Steadman 254). His persistence is a heroic quality that
drives him to challenge and question God. Although stereotypical intentions of Satan do shine through
after his exile, he demonstrates the will to change for the better.
Although Milton’s unique characterization of Satan does possess some qualities of a Homeric
hero, he also retains many dishonorable traits as well. There is no doubt that Satan initially desires to
return to Heaven. However, there is also no doubt that he has a tragic flaw in his pride and obsession of
power and control. In other words, as much as Satan wanted to return to Heaven, he would not be
satisfied there if he still remained to be below God. In that sense, his selfishness shines through, and
shows the reader a different side of the otherwise heroic character. For example, in Book I Satan says:
“Better to reign in Hell, then serve in Heav’n” (Milton I:263). This is a direct example of Satan’s all or
nothing mentality, portraying the sinister side of his competitive nature. Nonetheless, he serves the
function of a hero, but has a tragic flaw is much greater than that of which a Homeric hero can relate to.
It is clear then to recognize Satan’s tragic flaw. After falling from Heaven, he threatens and
challenges God for another chance. However, unsuccessful portrayal of weakness and vulnerability
eventually yield his revenge:
Farewel happy Fields
Where Joy for ever dwells: Hail horrours, hail
Infernal World, and thou profoundest Hell
Receive thy new Possessor: One who brings
A mind not to be chang’d by Place or Time.
The mind is its own place, and in it self
Can make a Heavn’n of Hell, a Hell of Heav’n (Milton I:249-55)
Such oratory not only re-characterizes Satan but also debunks his heroic nature. It is appropriate
then to conclude that although Satan does possess certain Homeric traits, overall he merely serves the
function of a fundamental hero in Paradise Lost, with an entirely different purpose than Homeric
heroes. It is obvious that although Satan has the same amount of power as Homeric heroes such as
Achilles, he utilizes it in different ways. In Book I, we are shown that he channels his inability to redeem
himself through alternative aggressive behavior: “Here at least / We shall be free / Here we may reign
secure, and in my choice / To reign is worth ambition though in Hell” (Milton I:258-59; 26I-62). This
change in Milton’s portrayal of Satan coincides with Satan’s inevitable acceptance of evil in Book IV:
“So farewell Hope, and with Hope farewell Fear, / Farewell Remorse: all Good to me is lost; / Evil be
thou my Good” (Milton IV:109-11). This infamous speech sanctions Satan’s inherent evil, and thus ends
his final attempts at reaching Heaven.
In conclusion, when judging Satan’s character, it is important to consider his entire role from
Book I to Book V. Milton’s first impressions of him as a just-fallen angel represent powerful leadership
and strong commitment. Whether Milton’s intention is for the reader to familiarize themselves with Satan
Lindsey Jeanne Kennedy
Epic Essay
early on or not, his early character traits certainly make one consider the shared human traits between one
and Satan.
Throughout Paradise Lost, however, this Satan loses his grasp on reality. Ironically, his
appearances change in accordance to his character as well. For example, when he is still mindful of
Heaven and God, he is in a just-fallen angel. However, by Book V his demented view of Earth and
Heaven coincide with his final appearance as a snake. This is worth noting because it is obviously not
traditional for a Homeric hero to both physically and mentally transform throughout the time frame of the
poem. Therefore, to the extent of his full character, with all considerations, Satan’s form does not
represent that of a traditional Homeric hero.
Lindsey Jeanne Kennedy
Epic Essay
Bibliographical References
Forsyth, Neil. The Satanic Epic. Princeton, NJ: Princeton UP, 2003.
McManus, Barbara F. Outline of Aristotle's Theory of Tragedy in the Poetics. Nov. 1999. Web.
23 Sept. 2010. <http://www2.cnr.edu/home/bmcmanus/poetics.html>.
Milton, John. Selected Works. Paradise Lost. 1667.
Steadman, John M. The Idea of Satan as the Hero of “Paradise Lost”. Proceedings of the
American Philosophical Society, Vol. 120, No. 4, Symposium on John Milton. (Aug. 13, 1976),
pp. 253-294.