Does Milton Show Sympathy for the Devil?

Author: Martin Munyao Muinde
Email: ephantusmartin@gmail.com

Introduction

John Milton’s Paradise Lost remains one of the most debated works in English literature because of its complex treatment of Satan, who is not only the antagonist of the epic but also one of its most compelling figures. The question of whether Milton shows sympathy for the devil has fueled centuries of literary criticism, with scholars such as William Blake and Percy Bysshe Shelley claiming that Milton unconsciously sided with Satan even while seeking to “justify the ways of God to men” (Milton, 2005, I.26). At the heart of this debate lies the tension between Milton’s theological purpose and the poetic craft that renders Satan charismatic, eloquent, and in some respects heroic. While Milton presents Satan as the embodiment of pride, rebellion, and false heroism, he also imbues him with qualities of courage, determination, and tragic suffering that resonate with readers. This essay will explore how Milton’s portrayal oscillates between condemnation and fascination, thereby raising the question of whether sympathy for the devil is an intentional literary strategy or an inevitable consequence of artistic representation.

The Epic Framework and Theological Purpose

Milton’s Paradise Lost is fundamentally an epic that aligns itself with Christian theology, designed to demonstrate divine justice and to affirm the moral order of the universe. Within this framework, Satan is unambiguously condemned as the fallen angel whose rebellion against God embodies disobedience and pride. Theologically, Milton adheres to the Augustinian tradition in which evil is defined not as a substance but as the perversion of good, meaning that Satan’s grandeur is nothing more than the corruption of angelic excellence (Lewalski, 2000). This doctrinal backdrop suggests that sympathy for Satan is not Milton’s intention but rather a misreading that ignores the larger moral context. Satan’s speeches, no matter how eloquent, are meant to illustrate the self-delusion of pride and the futility of rebellion against omnipotence. Thus, from a structural and theological standpoint, Milton positions Satan as the antagonist whose trajectory exemplifies the tragic consequences of disobedience.

Yet, despite this moral clarity, the epic framework also gives space to Satan’s extended monologues, elaborate justifications, and dramatic struggles. Milton devotes far more lines to Satan’s psychology than to any other character in the poem, including Adam and Eve. This narrative choice complicates the straightforward theological condemnation, since readers are drawn into the world of Satan’s thoughts, his suffering, and his aspirations. While theology condemns him, poetry humanizes him. In this sense, Milton’s epic framework creates the paradox that allows Satan to appear both villainous and tragically compelling.

Satan as a Heroic Figure in Book I

In Book I of Paradise Lost, Milton introduces Satan in a manner that evokes classical heroic archetypes. After being cast into Hell, Satan rallies his fallen angels with defiant speeches that emphasize resilience, freedom, and courage. His famous declaration, “Better to reign in Hell than serve in Heaven” (Milton, 2005, I.263), resonates with the spirit of independence and rebellion that often defines epic heroes. To a reader steeped in the traditions of Homeric or Virgilian epic, Satan may appear as a leader who embodies heroic perseverance in the face of overwhelming defeat.

This portrayal led Blake to remark that Milton was “of the Devil’s party without knowing it” (Blake, 1979). Indeed, Satan’s refusal to submit and his rhetoric of liberty appeal to values that Western readers often associate with heroism. His courage in confronting eternal damnation and his determination to forge a new destiny in Hell echo the defiant spirit of tragic heroes who stand against insurmountable odds. In this respect, Milton seems to grant Satan qualities that evoke admiration, which could be interpreted as sympathy.

However, Milton also embeds irony in these portrayals. Satan’s so-called heroism is fundamentally flawed because it arises not from noble sacrifice but from pride and envy. His claim to prefer reigning in Hell is self-deceptive, since Hell is a prison rather than a kingdom. Thus, what might appear as Milton’s sympathy can also be understood as a poetic device that exposes the hollow grandeur of rebellion. Readers may initially be seduced by Satan’s rhetoric, but as the epic progresses, his heroism unravels into deceit and degradation.

The Psychological Depth of Satan

Another reason readers perceive Milton as sympathetic to Satan lies in the profound psychological depth with which he portrays the fallen angel. Unlike Adam and Eve, whose innocence often limits their complexity, Satan is depicted with inner conflict, self-awareness, and emotional turmoil. In Book IV, he delivers a soliloquy in which he acknowledges the futility of his rebellion and the torment of his conscience: “Which way I fly is Hell; myself am Hell” (Milton, 2005, IV.75). This moment of tragic recognition highlights the profound despair of a being who cannot escape the consequences of his pride.

Milton’s decision to provide Satan with such psychological richness aligns him with the tragic figures of Shakespearean drama, such as Macbeth or Hamlet, who captivate audiences through their inner conflicts. By granting Satan soliloquies that reveal guilt, regret, and longing, Milton allows readers to empathize with his suffering, even while recognizing the justice of his punishment. This complexity suggests that sympathy for Satan is not a theological endorsement but a literary strategy designed to dramatize the nature of sin and its psychological consequences.

Moreover, Milton’s own political and personal struggles may have shaped this portrayal. Having lived through the English Civil War, Milton was deeply engaged with questions of authority, liberty, and rebellion. Some critics argue that Satan reflects Milton’s own ambivalence toward rebellion, particularly after the failure of the Puritan revolution (Hill, 1997). By projecting this tension onto Satan, Milton infused the character with a depth that transcends mere villainy, making him a tragic emblem of both political and spiritual rebellion.

The Degradation of Satan and the Withdrawal of Sympathy

While the early books of Paradise Lost present Satan with heroic and tragic qualities, the later books chart his progressive degradation. By the time Satan successfully tempts Eve, his grandeur has eroded into pettiness and malice. In Book IX, he is described as entering Eden in the form of a serpent, a symbol of deceit and cunning rather than noble defiance. His rhetoric shifts from lofty appeals to freedom to manipulative flattery designed to exploit Eve’s vulnerability. The transformation from angelic grandeur to reptilian deceit underscores the moral trajectory of rebellion: it begins with pride but ends in corruption.

This process culminates in Book X, where Satan returns to Hell and boasts of his victory, only to find himself and his followers transformed into serpents, hissing in humiliation. This scene strips Satan of any lingering heroism, revealing the emptiness of his rebellion and the futility of his ambition. By dramatizing this degradation, Milton makes it clear that any initial sympathy for Satan must give way to recognition of his ultimate villainy. Thus, while Milton may allow readers to empathize with Satan’s struggles, he ensures that the moral outcome aligns with divine justice.

Readerly Sympathy and Milton’s Intentions

The enduring debate over Milton’s sympathy for the devil arises not only from Satan’s compelling portrayal but also from the way readers respond to literary artistry. Sympathy, in this context, does not necessarily imply approval but rather emotional engagement. Milton’s rich language, epic similes, and psychological depth naturally draw readers into Satan’s perspective, at least temporarily. This engagement is part of the epic’s didactic function: by experiencing the seductive power of Satan’s rhetoric, readers better understand the dangers of temptation and pride.

Milton himself was aware of the risks of poetic representation. In his prefatory material, he emphasized that his purpose was to uphold God’s justice and to warn humanity of sin. If readers feel sympathy for Satan, it may be because Milton successfully dramatized the very allure of evil that leads to the fall. In this sense, the sympathy is not a betrayal of theology but a pedagogical device that mirrors the experience of temptation. As Fish (1967) argues, Milton’s readers are “meant to be seduced, only to be disillusioned,” thereby reenacting the fall within the act of reading.

Conclusion

The question of whether Milton shows sympathy for the devil cannot be answered simply with a “yes” or “no.” Rather, the tension between theological condemnation and poetic fascination lies at the heart of Paradise Lost. Milton portrays Satan with qualities of heroism, eloquence, and psychological depth that elicit sympathy, yet he also ensures that Satan’s trajectory leads to degradation and defeat. Sympathy, in this case, functions as a literary device that heightens the reader’s understanding of temptation and sin. Far from being of the devil’s party, Milton demonstrates the seductive power of evil precisely so that its ultimate futility becomes clear. Thus, while Milton’s Satan is one of the most compelling figures in literature, his allure serves to reinforce, rather than undermine, the epic’s theological purpose.

References

Blake, W. (1979). The Marriage of Heaven and Hell. Oxford University Press.

Fish, S. (1967). Surprised by Sin: The Reader in Paradise Lost. University of California Press.

Hill, C. (1997). Milton and the English Revolution. Penguin.

Lewalski, B. K. (2000). The Life of John Milton: A Critical Biography. Blackwell.

Milton, J. (2005). Paradise Lost. Edited by Gordon Teskey. Hackett Publishing.