Drop of Lucifer

Milton’s Paradise Lost is known for his unique depiction of Lucifer, a character who has so many more dimensions than simply the evil tempter. The most obvious characteristic that Milton gives his Lucifer is hubris. Lucifer is an Archangel that feels so strongly that he is God’s equal that he is kicked out of Heaven. As Lucifer himself explains, “(God) whom reason hath equaled, force hath made supreme above his equals” (Milton 248-249). In other words, Lucifer feels that he, and many others, are just as intelligent as God, and the only reason that God rules over everyone else is because he has more brute force. I don’t know that one could get more conceded than literally thinking that he is as smart (if not smarter than) God. Something that does come close, though, is Milton’s belief that he is wise enough to explain the ways of God to everyone, which adds to the assertion that Milton actually identifies with Lucifer rather than God.

Another layer of Lucifer that Milton adds is his humanistic attitudes. Unlike most Christians and followers of God, Lucifer relies on his own reason and his own mind to make himself happy. He sees himself as the maker of his own destiny, to the point in which he asserts that “the mind is its own place, and in itself can make a Heaven of Hell, a Hell of Heaven” (Milton 254-255). This sentiment goes hand-in-hand with Lucifer’s hubris, in that he believes that he does not need God to be happy, in fact, he can make himself happier in Hell than God ever could in Heaven.

Through Milton’s introduction of Lucifer’s opinions, though, we as readers can view the fall of Lucifer from his perspective, and possibly even have sympathy for him. This perspective switch has deeply affected the way good and especially evil are portrayed, adding the different shades of gray to literature. One example of this perspective switch is with the anti-hero, Heathcliff, in Wuthering Heights. Heathcliff is domineering and aggressive, but the reader finds herself rooting for Heathcliff more than anyone else because we see his back story full of abandonment, childhood abuse, and a broken heart. There are many other examples of this perspective switch, such as Grendel’s retelling of Beowulf, all of which were influenced by the path that Milton paved with Lucifer’s conceded yet relatable Lucifer.

Works Cited

Milton, John. Paradise Lost. Ed. Scott Elledge. 2nd ed. New York: Norton, 1975.

The Tempest Reaction Post

            Many critics debate over the category of romance for Shakespeare’s plays; however, it is clear to me as I read the parameters set for romance plays that the Tempest is a prime example of one of Shakespeare’s romances. Not only does The Tempest not quite fit into the parameters of comedy or tragedy, but it also has clear elements that link it to the other plays deemed as romances.

            Take his commonly known comedies, for example. Many of us have read some of these plays, such as Twelfth Night and Midsummer’s Night Dream, and can attest to the fact that they fit into the comic parameters of a lighthearted and comic plot, along with developed characters who all magically get a happy ending (not necessarily literal magic, more like deus ex machina). The Tempest does include some of these elements, such as Prospero’s quick change of heart leading to everyone’s happiness, even Caliban’s. However, there are many elements of The Tempest that disqualify it from the category of comedy, most notably its serious plot. Almost all of the characters in the Tempest deal with serious issues such as family betrayal and the threat of death throughout the entire play, which is uncharacteristic of a comedy.

            On the other hand, The Tempest does not fit into the category of tragedy either, most notably because no one dies at the end. As Schwartz describes, “While tragedy emphasizes evil, and comedy minimizes it, romance acknowledges evil -- the reality of human suffering” (Schwartz). Unlike comedies, the Tempest does not minimize evil with a comic and light-hearted plot, as we can see through the several accounts of brotherly betrayal, such as when Antonio suggests to Sebastian that they kill Alonso and “lay (him) to bed forever,” so that Sebastian can become King of Naples (Shakespeare, 90). However, The Tempest does not emphasize evil either, because not only do Sebastian and Antonio not kill Alonso, but Prospero also decides to throw away his magic and spare everyone in exchange for regaining his Dukedom. Evil is definitely present in this play, and plays a large part in many of the main character’s motives and even small actions, such as Prospero’s poor treatment of Caliban, but the evil does not consume all, so The Tempest really does not fit into the category of Tragedy either.

            Even more importantly, though, The Tempest fits perfectly into the parameters for a Shakespearean romance. Even by simply looking at Schwartz’s six main characteristics of Shakespearean romances, we can see that the Tempest is a perfect fit. First of all, the play begins with a back-story of brotherly betrayal, dating back for almost the entirety of Miranda’s life, which cause the current scenes to unfold. As the play continues, we see more and more Shakespearean romance elements, such as the dichotomy between the civilized characters and the uncivilized Caliban, the improbably magical Ariel, and the virtuous love between Ferdinand and Miranda. Finally, the play culminates with a happy ending and theme of redemption through Prospero forgiving his brother and taking back his Dukedom.

Works Cited:

Schwartz, Debora B. "Shakespeare's Four Final Plays: The Romances." 2005.Web. 14 January

2015.

Shakespeare, William. The Tempest. New York: Barron’s Educational Series, 1985. Print.