Title: How Does Milton Create Sympathy for Different Characters in Paradise Lost?
Author: MARTIN MUNYAO MUINDE
Email: ephantusmartin@gmail.com
Introduction
John Milton’s Paradise Lost (1667) is one of the most profound epics in English literature, exploring themes of obedience, free will, divine justice, and the human condition. Yet, one of its most striking literary achievements is Milton’s ability to evoke sympathy for multiple characters, even those associated with rebellion and sin. Through complex characterization, elevated language, and emotional depth, Milton transforms his epic into a moral and psychological exploration of virtue, pride, and redemption. Sympathy, in Paradise Lost, operates as both a narrative and theological device, allowing readers to understand the motivations and sufferings of celestial, infernal, and human figures alike.
Milton’s nuanced portrayal of Satan, Adam, Eve, and even the Son of God challenges the reader’s moral perspective. While the poem’s theology insists on divine justice, its artistry encourages empathy and reflection. This essay explores how Milton creates sympathy for different characters in Paradise Lost by examining his use of rhetoric, human emotion, moral ambiguity, and dramatic contrast. In doing so, it reveals how Milton engages readers’ compassion while upholding the moral framework of Christian epic poetry.
Sympathy and the Epic’s Moral Complexity
Milton’s moral universe in Paradise Lost is built on the tension between divine justice and human emotion. His use of sympathy as a literary strategy complicates the binary opposition between good and evil. According to C.S. Lewis (1942), Milton does not glorify rebellion but compels readers to empathize with its tragic causes. This approach transforms theological concepts into emotionally resonant experiences. By granting psychological realism to his characters, Milton humanizes both celestial and fallen beings, enabling readers to perceive the inner conflicts behind outward transgressions.
Sympathy in Paradise Lost is not merely sentimental—it serves a didactic purpose. By evoking compassion for sinners and sufferers, Milton demonstrates the pervasiveness of free will and the potential for grace. As Stanley Fish (1997) notes, the reader’s oscillation between sympathy and moral judgment is central to the poem’s pedagogical design: one learns through feeling the consequences of sin. Milton’s rhetoric thus aligns emotional engagement with spiritual understanding.
This interplay between sympathy and judgment also mirrors the structure of the poem itself. Each major episode—from Satan’s fall to Adam and Eve’s expulsion—invites readers to experience both pity and awe. Through this duality, Milton positions sympathy as an instrument of divine revelation, showing that even in rebellion, sorrow, or punishment, there exists a reflection of God’s justice and mercy.
The Creation of Sympathy for Satan
Milton’s portrayal of Satan in Paradise Lost has been one of the most debated aspects of the poem. From the opening books, the fallen archangel dominates the narrative with his grandeur, eloquence, and defiant spirit. His famous declaration, “Better to reign in Hell, than serve in Heaven” (Paradise Lost I.263), captures both his pride and his tragic isolation. Milton uses heroic rhetoric and psychological depth to evoke sympathy for Satan as a figure of immense ambition and suffering.
At the start, Satan appears as a tragic hero—once the highest of angels, now cast into the infernal abyss. His speeches reflect resilience and a desire for freedom, qualities that resonate with human readers. His physical and emotional pain—“He scarce had ceased when the superior fiend / Was moving toward the shore” (Paradise Lost I.192–193)—elicits compassion. Milton presents his torment as both self-inflicted and pitiable. As Northrop Frye (1963) observes, the reader’s sympathy arises from Satan’s resemblance to the human condition: pride, aspiration, and despair.
However, Milton’s sympathy for Satan is carefully controlled. As the poem progresses, Satan’s rhetoric becomes corrupted by deceit, malice, and self-delusion. His initial heroism degenerates into manipulation and envy. When he enters Eden and beholds Adam and Eve’s happiness, his anguish deepens: “Which way I fly is Hell; myself am Hell” (Paradise Lost IV.75). Here, Milton shifts the tone from admiration to pity. Satan’s confession transforms him from a rebel hero into a tragic emblem of moral ruin. Readers feel sympathy not for his defiance but for his lost greatness and eternal torment.
Thus, Milton’s sympathy for Satan functions as a moral paradox. He humanizes evil without justifying it, revealing that sin originates not in monstrosity but in misdirected desire. This complexity challenges readers to confront the emotional appeal of rebellion while recognizing its destructive consequences—a hallmark of Milton’s theological artistry.
Sympathy for Adam: The Tragic Human Hero
While Satan embodies defiant ambition, Adam represents human reason, love, and fallibility. Milton creates profound sympathy for Adam by portraying him as a noble yet flawed being whose transgression stems from affection rather than pride. From his first appearance, Adam is depicted as rational and affectionate, a reflection of divine image. His love for Eve is tender yet foreshadows his downfall. When he proclaims, “How can I live without thee? how forego / Thy sweet converse and love so dearly joined” (Paradise Lost IX.908–909), his devotion transforms into moral weakness.
Milton’s psychological insight into Adam’s decision evokes both admiration and pity. Unlike Satan, whose rebellion is rooted in ambition, Adam’s sin arises from loyalty and love. His fall is, therefore, tragic rather than villainous. As Barbara Lewalski (2000) argues, Milton constructs Adam’s disobedience as an act of misplaced virtue, illustrating the complexity of moral choice. Readers sympathize with his humanity—his struggle between obedience to God and fidelity to Eve mirrors the universal conflict between duty and emotion.
Furthermore, Milton heightens sympathy through Adam’s remorse and repentance. In Book X, Adam’s lament—“O miserable of happy! Is this the end / Of this new glorious world?” (Paradise Lost X.720–721)—reveals his deep awareness of loss. His anguish becomes redemptive when he accepts responsibility and seeks forgiveness. Unlike Satan, Adam’s remorse leads to spiritual growth, not despair. Milton’s presentation of Adam as a fallen yet redeemable hero reinforces Christian ideals of repentance and hope. The reader’s sympathy thus transforms into moral enlightenment, aligning emotion with divine justice.
Sympathy for Eve: Innocence, Curiosity, and Blame
Milton’s treatment of Eve is both delicate and revolutionary. While seventeenth-century theology often placed blame solely on Eve, Milton crafts her as a multidimensional figure whose innocence and curiosity elicit deep sympathy. Her first appearance in Paradise Lost emphasizes beauty, grace, and wonder: she awakens to existence with “the air perfumed” and her reflection “pleased her longing eyes” (Paradise Lost IV.449–455). This scene humanizes Eve by foregrounding her natural curiosity and self-awareness.
Eve’s temptation, too, is depicted with emotional complexity. When Satan flatters her, she is moved not by malice but by a desire for wisdom and independence. Her reasoning—“For inferior who is free?” (Paradise Lost IX.825)—reflects a yearning for equality and knowledge. Rather than condemning her outright, Milton allows readers to empathize with her intellectual longing. As Diane McColley (1983) notes, Eve’s temptation dramatizes the human struggle between aspiration and obedience, making her fall both tragic and understandable.
After the Fall, Eve’s remorse deepens the reader’s compassion. Her despair—“Both have sinned; but thou / Against God only; I against God and thee” (Paradise Lost X.930–931)—reveals self-awareness and humility. Her willingness to accept blame and reconcile with Adam illustrates moral strength and emotional depth. Milton uses this transformation to elevate Eve’s character from naïve transgressor to penitent heroine. Through her tears, readers perceive the possibility of redemption and grace.
By creating sympathy for Eve, Milton redefines traditional notions of guilt and virtue. She is not the cause of humanity’s ruin but the vessel of its renewal. Her emotional authenticity evokes empathy and underscores the poem’s central message: divine forgiveness is accessible to all who repent sincerely.
Sympathy for God and the Son: Justice Tempered with Mercy
While Milton’s sympathy for fallen beings is evident, he also constructs emotional resonance around divine characters. God and the Son are often perceived as distant or abstract, yet Milton’s portrayal imbues them with moral compassion and justice. God’s foreknowledge of the Fall, expressed in Book III, is accompanied not by wrath but sorrow. His declaration, “Man falls deceived by the other first: man therefore shall find grace” (Paradise Lost III.129–130), reveals divine mercy interwoven with justice.
Milton invites readers to sympathize with God’s position as the omniscient yet compassionate ruler. His justice does not contradict empathy; rather, it embodies the highest form of love. The Son’s voluntary sacrifice deepens this sympathy. His willingness to redeem humanity—“Behold me, for in me lives the propitiation” (Paradise Lost III.236–237)—presents divine love in human terms. Through this act, Milton unites cosmic order with emotional intimacy.
According to Helen Gardner (1965), the Son’s role humanizes divinity, transforming theological doctrine into personal compassion. Readers feel not awe alone but gratitude and empathy. The foreshadowing of Christ’s redemptive sacrifice counterbalances the tragedy of the Fall, ensuring that sympathy extends beyond suffering to encompass salvation.
Sympathy for the Angels and Other Beings
Milton’s universe in Paradise Lost is populated with celestial and infernal beings whose moral and emotional dimensions also elicit sympathy. The loyal angels, particularly Raphael and Michael, embody wisdom tempered by empathy. Raphael’s dialogue with Adam demonstrates patience and concern as he warns humanity of potential danger. His words—“Be strong, live happy, and love, but first of all / Him whom to love is to obey” (Paradise Lost V.527–528)—reflect divine compassion communicated through friendship.
Even among the fallen angels, Milton evokes pathos through shared suffering. Figures like Beelzebub and Belial exhibit moments of introspection and sorrow, reminding readers that rebellion results in collective loss. Beelzebub’s lament—“If then his providence / Out of our evil seek to bring forth good” (Paradise Lost I.162–163)—suggests regret and reluctant recognition of divine power. These moments reveal Milton’s moral complexity: even the damned possess traces of reflection and awareness, deserving of limited empathy.
By distributing sympathy across diverse beings, Milton constructs a moral cosmos where all creation reflects divine justice and emotion. No character is entirely devoid of humanity, nor entirely exempt from responsibility. This balance underscores the poem’s theological vision—sympathy must coexist with moral discernment.
The Role of Language and Imagery in Evoking Sympathy
Milton’s use of language, imagery, and tone plays a vital role in creating sympathy. His blank verse, rich in rhythm and emotional intensity, allows psychological realism to emerge within the epic form. Through similes and metaphors drawn from classical and biblical traditions, Milton transforms abstract moral struggles into vivid human experiences.
For instance, his description of Satan’s fall—“Him the Almighty Power / Hurled headlong flaming from the ethereal sky” (Paradise Lost I.44–45)—combines grandeur with pity. The sublime imagery of light and ruin mirrors both majesty and loss. Similarly, the depiction of Adam and Eve’s expulsion from Eden—“The world was all before them” (Paradise Lost XII.646)—balances sorrow with hope. Milton’s tone invites readers to share in the characters’ emotional journey rather than simply judge it.
Moreover, Milton’s use of dialogue enhances sympathy through introspection. Characters express doubt, fear, and remorse in language that mirrors human emotion. Their self-awareness bridges the gap between divine narrative and human experience. As Stanley Fish (1997) asserts, Milton’s rhetoric functions as a moral mirror—drawing readers into emotional identification that leads to ethical reflection.
Conclusion
Milton’s ability to create sympathy for different characters in Paradise Lost stands as one of the greatest triumphs of his poetic genius. Through psychological realism, rhetorical mastery, and theological insight, he transforms epic archetypes into emotionally complex beings. Sympathy for Satan arises from his tragic pride and lost grandeur; for Adam and Eve, from their love, fallibility, and repentance; and for God and the Son, from their divine compassion and justice.
In evoking sympathy, Milton does not blur moral distinctions but deepens them. By allowing readers to feel compassion even for the fallen, he reveals the moral universality of suffering and the possibility of redemption. Sympathy, in Paradise Lost, becomes a vehicle for understanding divine mercy and human frailty. It binds together the poem’s vast cosmic framework with the intimate emotions of guilt, love, and hope.
Ultimately, Milton’s exploration of sympathy transcends theological doctrine, affirming the shared capacity for empathy that defines both humanity and the divine. His poetic vision teaches that compassion is not the denial of justice but its fulfillment—a truth that continues to resonate across centuries of literary and moral reflection.
References
C.S. Lewis. (1942). A Preface to Paradise Lost. Oxford University Press.
Fish, S. (1997). Surprised by Sin: The Reader in Paradise Lost. Harvard University Press.
Frye, N. (1963). The Return of Eden: Five Essays on Milton’s Epics. University of Toronto Press.
Gardner, H. (1965). A Reading of Paradise Lost. Oxford University Press.
Lewalski, B. K. (2000). The Life of John Milton: A Critical Biography. Blackwell Publishers.
McColley, D. (1983). Milton’s Eve: Modern Critical Interpretations. Princeton University Press.
Milton, J. (1667). Paradise Lost. London: Samuel Simmons.