撒旦意象赏析
《失乐园》中撒旦形象的复杂性论析
《失乐园》中撒旦形象的复杂性论析作者：董亚楠来源：《青年文学家》2019年第23期摘; 要：弥尔顿的作品《失乐园》完成在十七世纪的英国，那时的英国宗教信仰色彩非常浓厚，人们都信奉上帝是完美的、不容置疑的。
《失乐园》中撒旦的形象却是要与上帝斗争到底的一个神灵，在失败之后不反省自己，还继续与上帝抗争，最后把灾难带去人间。
但是对于撒旦形象的认识很多人的观点都不一致，有称赞其抗争精神的，也有反对其对抗上帝行为的，因此撒旦的形象是很复杂的，很难有统一的定论。
本文就《失乐园》中撒旦形象的复杂性进行论析。
关键词：《失乐园》;撒旦;形象;复杂[中图分类号]：I106; [文献标识码]：A[文章编号]：1002-2139（2019）-23-0-02弥尔顿，英国的政治家和学者，著有史诗《失乐园》，和荷马的《荷马史诗》、但丁的《神曲》并列称为西方的三大诗歌。
弥尔顿生长在一个生活富足的家庭里，父母也都是清教徒。
这样的成长环境为弥尔顿的文学作品提供了很多灵感，让他对文学充满热爱，对宗教文学更是迷恋，他的文学作品里都包含着宗教的成分。
在他的史诗作品《失乐园》里面主要描述了撒旦先是聚集一部分天使来对抗上帝，失败后被逐出天堂。
随后又通过各种手段潜入伊甸园，通过诱骗，成功使得亚当与夏娃偷吃了伊甸园里知识树上面的禁果，导致亚当和夏娃被上帝责罚赶出伊甸园的故事。
还有撒旦与上帝强烈的对抗行为也是《失乐园》中的精彩部分，最后撒旦的结局就是和其同伙一起被变成了蛇，受到了应有的惩罚。
在作品里，撒旦的形象塑造是非常复杂与多面性的，我们要全面分析才能更好地来解读这一人物形象。
一、弥尔顿《失乐园》中的撒旦形象撒旦在《失乐园》里的形象不能从一个角度进行单一的定论，不同的人就有不同的理解角度，有人持肯定态度，有人持否定态度，也有人保持中立。
从肯定的角度来看，撒旦身上散发着一种贵族气概，有一定的领袖精神，带领着众人开启革命的道路，也许不一定会有收获，但是也能够笼络人心，有着很强的斗争反抗的精神，可以描述为一个英雄的形象。
失乐园中撒旦形象
试析《失乐园》中撒旦的形象车家玲（安阳师范学院人文管理学院，河南安阳 455000）摘要：撒旦是《失乐园》中颇具有争议性的人物，他既是一位为了平等和自由敢于向最高权威进行不屈不饶抗争的反叛英雄，又是一个权欲熏心、骄矜狂妄的堕落者同时他还是祢尔顿关于自由意志与理性原则并存的思想观念的艺术载体，即人为了自由和理想而奋斗，但同时人的行为得受到真理的约束。
关键字：撒旦；双重人格；自由与理性一、引言约翰·弥尔顿(1608-1674)是十七世纪英国著名的诗人、思想家、政治家和政论家。
他出身于伦敦一个公证人家庭,青少年时代起思想进步,厌恶封建思想,痛恨教会腐败。
革命爆发后他积极投身革命,参加了革命政府的工作,并撰写政论,先后发表了《论出版自由》、《论国王和官吏的权力》等文章而轰动整个欧洲。
王朝复辟后他虽然遭监禁，著作被焚烧，但仍然坚持革命立场，在双目失明，经济拮据的情况下完成了三大史诗《失乐园》、《复乐园》、《力士参孙》。
1674年诗人与世长辞。
弥尔顿的长篇史诗《失乐园》( Paradise Lost, 1667)深邃、高贵、整饬、优美,一直被誉为“英语中最伟大的诗作”,是英国文学史上不可多得的鸿篇巨制,在世界文学史上可与《神曲》和《浮士德》相媲美。
弥尔顿的长篇史诗《失乐园》，以《圣经·旧约·创世记》第二、三章关于人类始祖亚当、夏娃在撒旦引诱下偷食禁果犯下原罪，被上帝逐出伊甸园的故事为蓝本，成功地将诗人—作为一个清教徒，所相信的人类重返上帝的乐园的回归之路极为完整、生动地展现在读者面前。
这条路发端于人类始祖的原罪，转折于耶稣基督道成肉身的救赎，作结于自由意志选择下的灵魂的忏悔和回归。
诗人满怀豪情的诗意书写，所展现的是诗人的人生理想、人生信念。
就全诗而论，从太初谈起，开天辟地，创造世界，创造人类；借《圣经》故事，虽涉及全人类原罪赎罪的悲剧，但实质上说的是人类求知求生，追求自由人权，反对盲目迷信，反对封建专制，建立人类社会理想的大同世界。
有关撒旦的诗
有关撒旦的诗暗夜幽魔影，撒旦舞乱风。
邪眸凝世恶，血翼蔽星空。
一、衍生注释：“暗夜幽魔影”描绘撒旦常在黑暗之中，如同魔影般神秘恐怖。
“撒旦舞乱风”表示撒旦行动时仿佛能搅乱风势，显示出他的强大与邪恶。
“邪眸凝世恶”说的是他邪恶的目光中凝聚着世间的罪恶，“血翼蔽星空”形容他那血红色的翅膀遮天蔽日。
二、赏析：这首诗短短四句就勾勒出撒旦邪恶恐怖的形象。
从环境描写“暗夜”入手，一下子就营造出一种阴森的氛围。
然后将撒旦的动作“舞乱风”写出，动感十足。
接着刻画他的眼神和翅膀，“邪眸”和“血翼”这两个意象非常具有冲击力，让人直观地感受到撒旦的邪恶与强大，仿佛他就是罪恶的化身，能给整个世界带来黑暗。
三、作者介绍：我叫林小羽，是一个对神秘事物充满好奇的人。
平时就喜欢阅读各种神话故事，所以有感而发创作了这首关于撒旦的诗。
四、运用片段：有一次和朋友聊起那些神秘又恐怖的角色，我就念起了这首诗。
我说：“你看啊，撒旦就像那黑暗中的幽灵，他只要一出现，整个世界都得颤抖。
就像诗里写的‘血翼蔽星空’，那得多恐怖啊！他的邪恶简直能把所有的光明都吞噬掉，你能想象吗？”撒旦临尘处，阴云卷地汹。
魂惊三界内，魔焰噬千重。
一、衍生注释：“撒旦临尘处”指撒旦来到人间或者某个地方的时候。
“阴云卷地汹”描绘伴随着他的到来，阴云汹涌地席卷大地，暗示他带来的不祥。
“魂惊三界内”表示他的出现让三界（天界、人界、地界）之内的灵魂都感到惊恐。
“魔焰噬千重”是说他邪恶的火焰能够吞噬无数的东西。
二、赏析：此诗着重于表现撒旦带来的恐怖影响力。
首句点明撒旦的出现，第二句通过阴云的状态侧面烘托这种恐怖气氛。
“魂惊三界内”则进一步强调他的威慑力之广，不只是人界，连天界和地界都受到影响。
最后一句“魔焰噬千重”把这种恐怖具象化，魔焰的吞噬力量让人感受到撒旦的强大与邪恶是不可阻挡的。
三、作者介绍：我是陈宇，是个热爱文学创作的人。
我觉得撒旦这个形象很有创作的空间，于是就创作了这首诗。
弥尔顿失乐园中撒旦的形象分析
Th’ inferal serpent; he it was whose guile, Stirred up with envy and revenge, deceived The mother of mankind, what time his pride Had cast him out from Heaven, with all his host Of rebel Angels, by whose aid, aspiring To set himself in glory above his peers, He trusted to have equal’d the Most High, If he opposed, and with ambitious aim Against the throne and monarchy of God, Raised impious war in Heaven and battle proud With vain attempt.
宗教词汇解析~关于魔鬼之名
撒旦(Satan)，圣经中的恶魔（或称魔鬼撒旦），反叛耶和华的堕落天使（Fallen Angels）。
他曾经是上帝座前的六翼天使,负责在人间放置诱惑,后来他堕落成为魔鬼,被看作与光明力量相对的邪恶、黑暗之源。
(1)“撒旦”，于西伯来文中，乃敌对者、剧毒的光辉使者……等之意。
(2)“撒旦”之名，并非一个实名，仅为号称。
(3)“撒旦”一词，意味著“最恶的”之意，乃形容词化身的名词。
魔鬼撒旦，是一个普及的错误观念，与基督教等的刻意误导。
整体说起来，“撒旦”一词从来都不是一个存在的名字，仅仅为一个“恶”的代名词与形容词，意味著“行恶事的人”、“背道而驰的敌人”等等。
当“撒旦”二字成了史诗中那有名的堕落者的代名词后，其实也只仅仅代表了他是“最恶的”、“恶极的”──从来都不是该者在堕落后的名字。
称作“撒旦”的人选一般被大家称为“撒旦”的人选有四：1.“晨星”路西法（Lucifer）2.“古蛇”萨麦尔（Samael）3.地狱六君王4.撒旦叶在谈路西法或萨麦尔之前，有必要在天界的历史线点出很重要的一点──那就是天堂中，出现过两次类似的叛变：第一次，是在神造世界之时，亚当和夏娃诞生于伊甸园。
第二次，则是神子耶稣于天上诞生前，大可说是约近代“西元”的零年。
Satan：撒旦，堕落之王。
圣经中没有明指撒旦就是路西法（LUCIFER）。
圣经上的记载是说撒旦原先为天使中最高位的大天使长，后来率领天界三分之一的天使叛变，“不幸”战败，被打入永劫的无底洞Abyss中，其他所有跟随他的天使则都蜕变成丑恶的形象。
据说只有Lucifer仍然保有天使光辉的六翼形象，但是圣经中并没有明显的记载指Satan就是Lucifer，在启示录第十二章(The Book of Revelation Chapter 12) 中叙述了Satan与天界的战争，但是并没有提及Lucifer这个名字。
后来种种纷争和混淆的说法，多半是与后代的文学创作者有关（如《失乐园》）。
浅析《失乐园》中撒旦的形象塑造
【摘要】弥尔顿的《失乐园》是一部享有世界级声誉的文学作品。
作品中的撒旦作为与上帝的对抗者是历来受到争议最多的形象之一。
撒旦经历了一个从藐视到反抗到最终无奈的过程，也正是在这个过程中，我们可以分析出撒旦作为反抗者所展示的勇气和魄力，但撒旦毕竟是邪恶的，他一次次挑起了战争。
撒旦可以被看作是英雄，但他又不简单的算英雄，他是一个结合体，一个立体化的魔鬼式英雄。
【关键词】撒旦，魔鬼，英雄，立体化一、引言一直有人认为：撒旦是人类失去乐园的祸根，因为撒旦的的诱惑，人类最终受到上帝的惩罚。
作为一个魔鬼，撒旦不是一个一击即溃、头脑简单的傻瓜，他身上有一种英雄的气魄，撒旦本来就是一位大天使。
撒旦是聪明的，也可以算是狡猾的，对付人类，撒旦一计不成又生一计，所以人类上了他的当，从天使到魔鬼，撒旦最终堕落了。
撒旦是失乐园故事的核心，他推动着整个故事的发展，也体现作者众多的资产阶级革命理念。
二、英雄撒旦弥尔顿笔下的撒旦首先是位伟大的英雄，代表着弥尔顿的资产阶级革命思想，这是毋庸置疑的。
撒旦的英雄气魄体现在他具有敢于向最高权威抗争的精神：为争取自由和平等，推翻上帝的独裁统治，他领导一部分反叛天使与上帝进行斗争。
这种反叛意识正好结合当时资产阶级革命思想的核心，追求社会平等与自由，打破神权和独裁。
在诗中，撒旦敢于首先怀疑毫无道理却非让人盲目服从不可的绝对命令，面对上帝的强大的权力，撒旦毫无畏惧，率部反抗，大闹天堂。
第一次反抗失败了，他不服气，也不认输，不气馁，发挥自己的聪明才智，很像中国传统小说中描绘的那些英雄，面对强大的对手，敢于亮剑，险些儿搞得天兵天将对阵中措手不及，万分狼狈，连上帝在天国也担心撒旦的反叛会成功。
当然，撒旦还是失败了，被打落地狱。
但是他崇尚自由，他让反对者闭口而去，地狱议会上他发扬民主风格，征求大家的意见。
历经千辛万苦在新创造的伊甸乐园中寻找到人类先祖双亲的是他，利用时机促成全诗主题的展现的也是他。
撒旦的英雄色彩正在于他的能力和勇气，他是不畏强权的。
撒旦的文学原型与象征
125文史纵横众所周知，古希腊文明深刻地影响了西方文艺的发生和发展，而另一支文明———古希伯莱文明对西方文化的影响同样不容低估。
作为希伯莱文明的集大成作品———《圣经》，它不仅仅是一部民族的宗教历史典籍，它还是一部艺术性和思想性极强的文学名著。
《圣经》中塑造的神和人的形象成为各种原型，不断地在日后的文艺作品中出现，构成丰富的人物画廊。
其中有一个形象非常独特且影响深远，甚至可以说在任何一部文学作品中都可以看到他的影子，这个形象就是魔鬼撒旦(Satan)。
据《圣经》记载，撒旦曾经是上帝座前的六翼天使,负责在人间放置诱惑,后来他堕落成为魔鬼,被看作与光明力量相对的邪恶、黑暗之源。
撒旦作为恶的原型，其形象和作为多次出现在《圣经》文本中：旧约创世记第三章的蛇，就是代表撒旦；约伯记第二章第一节特别提到，在神面前控告约伯的是撒旦；历代志上第二十一章第一节也提到，是撒旦令大卫数点以色列人的；撒迦利亚书第三章又说，撒旦在神面前与约书亚作对。
新约里也有不少经文都见证撒旦的存在：每一位新约作者都提到撒旦；基督自己就提过撒旦二十多次。
新约旧约都提到不少撒旦的名字，有时称为路西弗，有时称为基路伯，有时称为蛇等等，这些都是撒旦这个原型人物存在的证据。
撒旦不仅存在，还有独特个性。
《圣经》中的人物形象塑造普遍简约，撒旦的性格约有三方面比较突出：曾经的智与美的化身———以西结书第二十八章第十二到十五节描写未堕落前撒旦在神面前拥有崇高的地位，天上的美物环绕他，他称为“受膏遮掩约柜的”，他在神面前拥有至高的尊荣。
以赛亚书第十四章第十二节提到，他是至高的天使，称他为“明亮之星、早晨之子”；强烈的贪欲———以赛亚书第十四章第十三、十四节写道：你心里曾说“我要升到天上，我要高举我的宝座在神众星以上；我要坐在聚会的山上，在北方的极处；我要升到高云之上，我要与至上者同等”。
[1]五个“我要”极言其贪；诡诈———他定意要打败基督做“至高者”，在神的宝座上建立他的宝座，超过其他天使，所以挑拨离间人神关系，诱惑人类。
_失乐园_中的恶魔意象分析_兼论_爱的流刑地_傅紫琼
WENJIAOZILIAO2012年7月号中旬刊一、约翰·弥尔顿与《失乐园》1.弥尔顿与其爱情观约翰·弥尔顿1608年12月9日出生于伦敦一个富裕的清教徒家庭。
父亲爱好文学，受其影响，弥尔顿从小喜爱读书，尤其喜爱文学。
1625年16岁时入剑桥大学，并开始写诗，1632年取得硕士学位。
因目睹当时国教日趋反动，他放弃了当教会牧师的念头，闭门攻读文学6年，一心想写出能传世的伟大诗篇。
在这段时期弥尔顿写作了《酒神之假面舞会》等一些作品。
1660年，王朝复辟，弥尔顿被捕入狱，不久又被释放。
从此他专心写诗，为实现伟大的文学抱负而艰苦努力。
在亲友的协助下，共写出3首长诗：《失乐园》（1667），《复乐园》（1671）和《力士参孙》（1671）。
1674年11月8日卒于伦敦。
弥尔顿一生追求纯洁的爱情，对爱情充满热情和期待：“跟你谈心，我把时光全忘了，/忘了季节，和季节的变化，/也想不起了；清晨的气息最甜，多甜啊，/……/露珠闪闪；还是阵雨过后的泥土香，/那黄昏，温存，让人感恩；静悄悄黑夜，/她的夜鸟；以及月光下的散步，/或是那闪烁的星光，如果没有了你，/不会是甜的、是美的。
”（《夏娃的爱情》）由此可以看出，弥尔顿渴望纯粹的爱情，这种纯粹的爱情体现出他对婚姻和爱情的理解：忠贞、患难与共、不离不弃是幸福婚姻和甜蜜爱情的基础。
这一点在《失乐园》里亚当和夏娃的婚姻爱情生活的描写中有所体现。
面对夏娃，充满阳刚之气，自控能力特强的亚当也表现出了其独特的温柔，他对夏娃说：“你是这一切快乐的唯一分享者，你自己本身就是比一切都可爱的。
”他在得知夏娃被撒旦引诱，偷食伊甸园里的禁果时，也毫不犹豫地食下禁果，心甘情愿陪夏娃一同受罚。
从此，亚当和夏娃的平静生活被打破。
“只管带我走吧，/我不会拖延的；与你同行，/等于同住此地；无你而住此地，/身虽无奈而心仍前行……”他们受到了上帝的惩罚，但他们依然坚持纯粹的爱情。
2.《失乐园》中恶魔的意象《失乐园》中，撒旦的形象具体而又可信。
撒旦艺术赏析
约翰·弥尔顿( 1608- 1674) 是十七世纪英国著名的诗人、思想家、政治家和政论家。
他出身于伦敦一个公证人家庭, 青少年时代起思想进步, 厌恶封建思想, 痛恨教会腐败。
革命爆发后他积极投身革命,参加了革命政府的工作, 并撰写政论, 先后发表了《论出版自由》、《论国王和官吏的权力》和《为英国人民申辩》等文章, 轰动整个欧洲。
王权复辟后, 弥尔顿的著作被焚毁, 个人遭监禁, 但他仍然坚持革命立场, 在双目失明, 经济拮据的困境中坚持完成了三大诗作《失乐园》( 1667) 、《复乐园》( 1671) 和《力士参孙》( 1671) 。
1674 年诗人与世长辞。
《失乐园》是弥尔顿最伟大的作品。
它借用圣经故事, 用史诗的形式表现了人类最初的演变和人类历史上反复出现的变革斗争。
全书共十二卷, 描述了撒旦反抗上帝, 战败后设计复仇, 偷入上帝创造的伊甸园, 引诱夏娃偷食禁果, 以致人类始祖被逐出伊甸乐园, 开始沉沦的故事。
诗篇大量运用圣经人物意象, 将撒旦和亚当、夏娃刻画得栩栩如生, 从而也将主题表现得淋漓尽致。
但是对于撒旦这个形象的理解历来众说纷纭, 中国读者传统上大都把他看作一个反抗强权的革命英雄。
这一方面是受我国文学政治化倾向的影响, 结合弥尔顿的生平和创作这部作品时的处境, 很自然地得出这样的结论。
另一方面也是西方浪漫派诗人的影响所至。
浪漫主义诗人布莱克、拜伦、雪莱等对这个形象所体现的崇高的英雄气概推崇备至。
他们相信撒旦在史诗中被作者塑造成了真正的英雄。
虽然撒旦的形象错综复杂, 充满矛盾, 但在层层迷雾之下, 我们依然可以看清弥尔顿笔下的撒旦始终是魔鬼的化身, 教唆人类堕落的元凶。
作为一位虔诚的清教徒, 弥尔顿始终认为上帝是公平、正义、仁爱的, 他决不容许自己对上帝有不敬的言行。
同时, 17 世纪的英国人长期受基督教文化的耳濡目染, 民族悠久的传统文化、传统道德给人们的行为规范、思维方式造成的深层的心理定势, 使他们对亵渎上帝的行为难以接受的。
论人格意象中邪灵(撒旦)的显现
论人格意象中邪灵（撒旦）的显现绪论：在意象对话技术中，再没有比子人格意象更能令人吃惊地凸现人内心处的东西了，它不仅带出了个体无意识，更重要的是，一些超乎了种族、地域、文化的界限，而出现的带有人类共同性的意象，如“智慧老人”、“仙女”、“神女”、“女巫”，甚或“妖怪”、“吸血鬼”和西方基督教传说中的“撒旦”，在一些并无宗教信仰的中国人心灵中也得到显现，这些意象只能用“人类共有一个灵魂”的集体无意识理论来解释。
在通常情况下，带有神灵特征的意象会在子人格意象对话中最后出现，它往往代表了个体重要的内心力量来源，标明着主体对此力量在无意识层面给予了命名。
关于集体无意识意象的命题十分精深，笔者期望穷一生之力探索之，在此仅限于讨论以西方文化中代表邪恶力量的意象——撒旦，并试图探索它的性质、形成原因和处理方法等方面的问题。
子人格意象对话技术介绍：在某种浅催眠状态中，由治疗师先给予来访者以特定的初始意象，然后引导来访者讲出在他心灵之火的周围，依次出现的生命体，包括动物、人和各种神灵鬼怪。
一般来讲，人物是惯常出现的，动物出现的频率也比较高，只有一部分人（大约三分之一）会出现神灵意象。
在治疗师的指导下，当事人会给自己的意象进行命名。
象笔者提到的女巫、仙女、撒旦，都是由当事人自己对所看到的意象进行的命名。
这些意象通常被认为是主体人格的一个组成部分（一般人所说的人格侧面），被称为“子人格”。
这种方法被认为是分析个体人格组成的特殊方法。
撒旦（魔鬼）简介：撒旦是基督教文明中指代邪恶力量的意象，即魔鬼。
它本为上帝所造，又称作黑天使，是耶稣基督前仅次于上帝的力量，非常强大。
上帝制造黑天使的本意，是要它在人间制造“试探”，考验人类是否能够正确运用上帝赋予人类的高贵权力——自由。
不被自身的阴影——懒惰、自私、贪婪、骄傲、嫉妒等所控制。
结果，黑天使在这个实施试探的过程中不断控制人类以强大自己，并丧心病狂地迷恋上了“权力”这一强权力量。
《失乐园》中撒旦形象的双重性分析_英语毕业设计论文
南阳理工学院毕业设计（论文）题目：《失乐园》中撒旦形象的双重性分析An Analysis of the Dual Character ofSatan’s Image in Paradise Lost《失乐园》中撒旦形象的双重性分析[摘要]在约翰.弥尔顿所有的著作中，《失乐园》是最复杂，最难理解的一部作品，并为他赢得了永久的荣誉。
在《失乐园》中，撒旦的形象是最生动，逼真的，他的巨大影响力和矛盾的情感，以及其复杂性，掩盖了其他所有的形象包括上帝。
作为《失乐园》中最重要的形象，撒旦显然是令人钦佩的，而且有着巨大的影响，这种矛盾的情感吸引了众多批评家的目光，引起了几个世纪的争论。
这篇论文将要把撒旦的双重形象分成三种类型进行分析：第一种类型是把撒旦作为革命者的形象；第二类是把撒旦作为魔鬼的形象进行分析；第三类是以评论家的观点，保持中立，认为撒旦的形象，除了是由人们构想的，是抽象的以外，撒旦带给我们更多的是好与坏的混合体。
而且本论文还将要查明影响撒旦双重性格形象的因素，从分析正文看作者的写作意图；从十七世纪的社会背景看弥尔顿个人的经历和信仰。
更多的是那些潜在的读者的背景和他们独特的欣赏力，也被作者考虑在内。
所有的这些分析得出的观点是，撒旦是一个仅有的英雄和一个真正的恶魔，从他所有的看法和情感得到一个多方面的性格。
他的矛盾情感鲜明的遍及整个诗篇。
[关键词] 《失乐园》撒旦革命者魔鬼清教徒An Analysis of the Dual Character of Satan’s Image inParadise Lost[Abstract]All of John Milton’s great works. Paradise Lose is the most complicated and most profound one, which wins him endless honor. The image of Satan in Paradise Lost is supreme vivid, powerful, ambivalent and complex, overshadowing all the other characters including God.As the main character of Paradise Lost, Satan is obviously impressive and powerful, whose ambivalence catches all critics’ eyes and leads to centuries’ disputes. This dissertation will analyze the dual character of Satan’s image into three groups: The first group that the image of Satan as a revolutionist, the second group that the image of Satan as a devil, while the third group of critics, stand in the middle, seeing both sides of Satan. They identify Satan either as an abstract conception or else, more immediately, as someone who is an evil mixed with good. On the other hand, check the factors that influence his dual character of image, from the analysis of the text to the author’s intention, from the 17th century social background to Milton’s personal experiences and belief. What’s more, the potential readers’ background and individual taste will also be taken into consideration. And all these analysis lead to the point that it is too simple and arbitrary to say Satan is a mere hero or a pure devil, since he is a round character full of thoughts and emotions. His ambivalence is obviously throughout the whole poem.[Key Words]Paradise Lose Satan revolutionist devil puritanContentsIntroductionChapter 1 The Bual Character of Satan’s Image1.1 The Image of Satan as a Revolutionist1.1.1 Sadan owns the spirit of hero as a revolutionist1.1.2 Sadan’s wisdom and emotion1.2 The Image of Satan as a Devil1.2.1 Sadan is vicious and furious1.2.2 Sadan’s other wrong deedsChapter 2 Historical Factors Contributing to the Dual Character of Satan’s Image2.1 The Influence of the puritan movement2.2 The Influence of the restorationChapter 3Potential Readers’Influence on the Formation of the Dual Characterof Satan’s Image3.1 Puritans’ view of Satan3.2 Revolutionists’ idea of Satan3.3 Neutral modernists’ interpretation of SatanConclusionAcknowledgementReferencesAn Analysis of the Dual Character of Satan’s Image inParadise LostName：Li Yanyan Number：51406182 Class：065142IntroductionJohn Milton, one of the greatest poets of the English language, is a political commenter of the English Bourgeois Revolution, whose importance is acknowledged all over the world. His powerful, rhetoric prose and the eloquence of his poetry had an immense influence especially on the 18th century verse. He is the last rearguard of the Renaissance and the primary promoter of Enlightenment and he is the love of every form of human culture and the steadfast devotion to duty as the highest object in human life have shaped his entire career.Of all his great works, Paradise Lost is the most complicated and most profound one, which wins him endless honor. It is indeed the only generally recognized epic in English literature since Beowulf and a heroic poem in Renaissance style. It recounts the story of Satan's rebellion against God, and of the disobedience and fall of Adam and Eve. It deals with revolt from God, with sin and fall, and with the possible salvation. It presents the author’s views in an allegoric religious form, and readers will easily discern its basic idea—exposure of the ways of Satan and justification of the ways of God to men. It is a reflection of the reactionary forces of Milton’s time and the passionate appeal for freedom.As the main character of Paradise Lost, Satan is obviously impressive and powerful, whose ambivalence catches all critics’ eyes and leads to centuries’ disputes. Those critics can be classified into three groups. The first group mainly consists of revolutionists.They traditionally read this epic with strong political inclination,thinking Satan as the protagonist and considering him a symbol of revolution (Fowler 45). They are generally called pro-Satanists. They think Satan is infinitely superior to man, entirely different from the devil of the miracle plays, and completely overshadowing the hero both in interest and in manliness (Danielson 134). The second group is formed by the anti-Satanists. They follow the theme of sense and regard Satan’s hubris without sense as the cause of his own tragedy. They view Satan as an absolute devil, the root of our immense pain from generation to generation. Though his lingering traces of angelic nature and his assertion of implacable defiance at the beginning of the poem disguise him as a righteous liberator, it can’t change Satan’s evil nature (Huang Delin 52). He is doomed to destruction by the flaw of self-love and over-ambition. Both pro-Satanists and anti-Satanists have evidence to support their statements, but neither of them can prove their points of view with sufficient details. While the third group of critics, such as John Carey, stand in the middle, seeing both sides of Satan. They are apt to believe that Satan’s ambivalence is intended by Milton to achieve depth (Danielson 160). They identify Satan either as an abstract conception or else, more immediately, as someone who is an evil mixed with good.Based on the critics’points of view, this dissertation will analyze the dual character of Satan’s image and check the factors that influence his dual character of image, from the analysis of the text to the author’s intention, from the 17th century social background to Milton’s personal experiences and belief. What’s more, the potential readers’background and individual taste will also be taken into consideration. And all these analysis lead to the point that it is too simple and arbitrary to say Satan is a mere hero or a pure devil, since he is a round character full of thoughts and emotions. His ambivalence is obviously throughout the whole poem.Chapter 1 The dual character of Satan’s imageHistorically and traditionally, Satan is considered the symbol of evil, however, in John Milton’s epic—Paradise Lost, we can find a completely new image of him. Here he is no longer a simple-minded devil. He is a round character full of thoughts and emotions. Although in his spirit some evil genes still exist, he is gifted with more heroic characteristics. That is, Satan is a tragic villain hero driven by ambition.1.1 The image of Satan as a revolutionistRevolutionists are always courageous to fight against the uncoordinated factors of the society; they aren’t reconciled to being dictated to the mighty power. They make good use of their courage and wisdom to strike for the equality and freedom, which stand for a sound and positive society. They are confident that the victory belongs to them. In Paradise Lost, Satan demonstrates these personalities of a revolutionist in his strong desire for freedom, equality and his wisdom to fight against the tyranny of the God.1.1.1 Sadan owns the spirit of hero as a revolutionistSatan, originally called Lucifer，was one of the greatest angelic beings who serve God in Heaven. He is the most beautiful angels and God’s first-hand man, steadfast angel and the sublime grandeur of a graceful but tremendous spirit. Nevertheless, he is tired of flattering God and takes arms to fight for freedom. When being faced with God’s tyranny and mighty power, Satan doesn’t act as a coward. On the contrary, he appears even braver. He is not afraid of losing everything. Failure will only strengthen his will and his confidence.“All is not lost; the unconquerable will, /And study of revenge, immortal hate, /And courage never to submit or yield (Jin Fashen 10)” he declares, “Since through experience of this great event, /In arms not worse, in foresight much advanced, /We may with more successful hope resolve /To wage by force or guile eternal war /Irreconcilable to our grand Foe. (Jin Fashen 10)”There isundoubtedly something thrilling as he summons up his defeated powers, collects together the scatter legions of the lost angels, addresses them with words of defiance of God “Clashed on their sounding shields the din of war, /Hurling defiance towards the vault of heaven” (Zhang Boxiang 384). The sense of being lost, far from causing him to slump, propels him with furious energy. This is how fear and despair are turned into courage. Clearly, such a turning of hell to fortitude is admirable. It is no cheapening of the heroism to say that it consists in making energetic resistance out of despair. It is not that the heroism of Satan’s defiance is bogus. On the narrative level, we cannot but admire Satan’s courage in venturing into the unknown, which shows the transcendent glory by his superior courage and abilities.If we listen to Satan as he wishes to be heard, his speech asserts equality, freedom, and nobility of soul. He appears to demand a kind of heavenly democracy; hence, he sees that God disturbs freedom as the first step toward slavery. Compared with Satan, God’s feature seems much duller. He is the ruler of heaven but “holds the tyranny (Jin Fashen 12)”by saying “what I will is Fate (Jin Fashen 86)”. He has the mighty power but still doubts it while facing Satan’s defiance. He is the creator but prevents human beings from reaching the Tree of Knowledge. He is selfish. He wants to control all the creatures under fatuity and backwardness so that he could maintain his sole reign. He leaves the fallen angels to go on falling forever and has no mercy on his people. He hates everything that would challenge his power. Belial counsels acceptance of God’s will, but his acceptance is informed by fear and sloth, not by love. Their consciousness of worth and intolerance of servitude are seen when the fallen angels claim, “rather seek /Our own good from ourselves, and from our own /Live to ourselves, though in this vast recess, /Free, and to none accountable, preferring /Hard liberty before the easy yoke” (Jin Fashen 20).It is no exaggeration to say that everything in heaven has a hellish travesty. However, Satan is just the opposite there. He looks forward to equality, to freedom and to knowledge. He poses,“…Knowledge forbidden? /Suspicious, reasonless! /Why should their Lord Envy them that? /Can it be sin to know, can it be death? /And do they only stand /By ignorance? (Jin Fashen 52)” Thus, in some way, Satan has become a speaker of the human beings. What hedoes is to help people to gain wisdom and to find their true happiness. In this sense, Satan, under Milton’s description, is no longer the symbol of evil but stands for the justness, liberty and equality. He stands as republican and atheist in heaven, appealing to an aristocratic notion of established status and constitutional rights. It is the liberty for which Satan is contending and which the Father’s imposing of a new king threatens, not least by his implying that all dignities and titles are owed to the sovereign and so may be resumed or altered by him at will. From all these words, we can see the essence and virtue of a hero in Satan.1.1.2 Sadan’s wisdom and emotionAnother aspect worthy noting is Satan’s wisdom. A good example is his tempting Adam and Eve to eat fruit from the Tree of Knowledge against God’s instructions. Satan disguises himself in the shape of snake and approaches Eve (not Adam, who is more sensible) at the very time she works alone. He starts the conversation with praise for Eve’s beauty, which is woman’s favorite, then comes to the target topic, and makes the emotional Eve loss her last line of defense and cannot wait to eat the fruit and touch her bright future. Another evidence sparking is when the God announces, “Your head I him appoint; /And by myself have sworn to him shall bow /All knees in Heaven, and shall confess him Lord. (Jin Fashen 66)”, Satan’s brilliant feedback: “Who can in reason then or right assume /Monarchy over such as live by right /His equals, if in power and splendor less, /In freedom equal (Jin Fashen 68)? /our puissance is our own (Jin Fashen 70)”.This is not only a challenge to God, but also a summon for right and liberty, which is rather inspiring. What’s more, Satan is also emotional and human. For instance, when he sees Adam and Eve in love, he is moved first to admiration and love and then to pity. And at the sight of the suffering of his fellows, he bursts into “Tears such as angels weep (Danielson 168)”.Sympathy is aroused immediately by such kind of sensibility. Satan also has the determination to enjoy the happiness and share the tears together with his dear followers by promising, “Joined with me once, now misery hath joined (Jin Fashen 8)”. We do continue to admire him, not just for his bravura performance, but because we see ourselves in Satan. And rather than consider ourselves devils, we consider him human.1.2 The image of Satan as a devilAlthough Satan shows the positive character of his image, he still has some intrinsically evil genes. A leopard cannot change his spots. As the curtain rises, he is already literally and symbolically fallen: evil exists in opposition to good.“With ambitious aim”, he is “Against the throne and monarchy of God, /Raised impious war in /Heaven and battle proud with vain attempt. (Jin Fashen 4)”1.2.1 sadan is vicious and furiousPride, we are told, leads Lucifer to envy, envy to revolt, and revolt to expulsion from heaven. Looking into the following example, the motive for this slight of tongue is pride: “Our being ordain’d to govern, not to serve”, since if all are chiefs, who are the Indians (Miller 87)?If an ordination takes place, who, among equals, does the ordaining? It shows that Satan has violated the law by which he lives; his ensuing career is tragic study in the negative will bound in its own error. He tells us of feelings of pride and envy, which make Satan unable to bear the Son’s exaltation. Lifted up high, he wishes to take a higher step. However, trying to step higher from his bright eminence in heaven makes him lose his perch and the things he have had. “Lost of happiness and lasting pain torments him; /round he throws his baleful eyes, /that witnessed huge affliction and dismay mixed /with obdurate pride and steadfast hate. (Jin Fashen 6)” It is the case of self-suggested temptation and fall.The slogan of Satan’s rebellion is freedom and independence, but freedom and independence lie in obedience, not in self-assertive rebellion. We can no longer admire Satan, because he is a fool seeing his free will only in terms of self-assertion. In the unfallen world, the rule is that creation returns thanks to the creator, and this return is made freely by good will at once indebted and discharged, as Satan did before his rebellion. However, to bad will, debt becomes extortion, and the return of gratitude sticks in Satan’s throat, “in a moment quit / The debt immense of endless gratitude, /So burdensome still paying, /still to owe (Jin Fashen 42)”. In his loss, Satan speaks with a moral understanding of both the freedom of gratitude and the unfreedom of resentment. So Satan converts what is a source of gratitude and freedom into a source of resentment and constraint. In this circumstance, whatever we think ofheaven’s free love, through Satan’s eyes its goodness seems compelling; this attitude makes him more and more evil. So the study of Satan’s evil is the corruption of good. Satan has violated the conditions for true liberty. The rigid authoritarianism is Satan’s and freedom lies in faithful obedience to God. To be free is precisely the same thing as to be pious. Satan’s eagerness to justify his position as leader has ineptly undermined his stand as libertarian. Satan makes a false heroic idea. The idea of him destroys his innate goodness and makes his hero comes to seem childish.1.2.2sadan’s other wrong deedsHe is tragic, however, not just through the resonance of his anguish, but because he makes a choice that destroys him. As God is made up of all virtues, Satan is composed of contending fragments of evil. Those fragmented aspects of the devil are represented in medieval art by the seven deadly sins: wrath, pride, lust, envy, sloth, avarice, and gluttony. Correspondingly, in Paradise Lost, Belial symbolizes sloth; Mammon, avarice; Moloch, hated. The concluding episode of book2 compresses those many evils into three personalities: Satan, Sin, and Death. Respectively, they represent cause, act, and effect, and their chaotic family tree is an obvious perversion of God’s own begetting of the Son. Sin is Satan’s daughter-mistress and his act of disobedience, while Death is the outcome of their incest. The trinity—Satan, Sin, and Death—shown to the reader is the demonic one. Death sits within hell’s gate. When Satan first sees Sin and Death, he fails to recognize his daughter and to acknowledge his son. To Sin, he says he has never yet seen “Sight more detestable than him and thee” (Miller 97).Readers share his reaction as he recognizes the dim, primordial monsters as obscenities locked from the light of civilization. In recognizing Sin and Death, Satan admits to his own perverse deformity. When Satan leaps into chaos, he thinks that he has left Sin, Death, and hell behind. Only later does he realize that he himself is hell: Satan as cause contains both act (Sin) and result (Death) in his every fiber. Sin is the way to be damned, but also that a reprobate like Satan, who tries to avoid submission and punishment, can only do so through further sin, incurring further damnation and punishment, “for within him Hell /He brings, of worse deeds worse sufferings must ensue! (Jin Fashen 40)”and “Which way he fly is Hell (JinFashen 44)”. There is no room for sympathy since Satan has made the bed in which he lies.In short, Satan’s image is of dual character. By seeing from the textual level, Satan’s wickedness and heroism are crossed. On the one hand, he poses as a revolutionist fighting bravely for liberty and equality with his wisdom and emotion. On the other hand, he exposes his ambition and pride, holding a false idea of freedom and right, begetting Sin and Death, spreading evil and seducing human creatures. Satan is an archangelic being with perfect intelligence, but doomed to operate imperfectly.Chapter 2 Historical factors contributing to the dual characterof Satan’s imageA work cannot be interpreted correctly regardless of its related environment. Similarly, the vague image of Satan has its root in the turmoil of the time during which Paradise Lost was written. This part will check the factors that influence the image of Satan. It consists of examining the 17th century social background and the author’s experiences and belief for a better understanding of Satan’s image.2.1 The influence of the puritan movementThe Puritan movement, in its broadest sense, may be regarded as a second or greater Renaissance, a rebirth of the moral nature of man. The very Renaissance had been essentially pagan and sensuous, accompanied by a moral awakening especially in England, that greatest moral and political reform which ever swept over a nation in the short space of half a century. It had two chief objects: personal righteousness and civil and religious liberty, which is quite similar to the purposes of heavenly rebellion led by Satan.That was a transitional society, full of violence, revolution, tyranny and many unstable factors. People doubted about their future and their value. Some of them submitted and only lived for life’s sake, just like some angels yielding to God’s authority and flattering him to maintain their glories. But still many of them stood outand devoted all their life to the course of freedom and happiness, the same as Satan and his followers do. Milton was one of the revolutionists. He supports his motherland’s revolution against king’s tyranny for human liberty with his wisdom and sharpened pen. He works so hard against the European reactionaries in order to vindicate the action of beheading the king CharlesⅠthat he losses his sight, but even in such kind of condition, he still sticks to his struggle. He creates lots of great masterpieces to present the truth and reality with his imaginations, to encourage English people. This kind of perseverance can find its reflection in the image of Satan, since even when he has lost all the glories around him and been driven out of Heaven, he still holds on to his belief. According to the bigotry, bellicosity, obstinacy and radicalness reflected during the course of fighting for his personal pursuit, Satan is blind, but it is just in such defect where his lofty and self-respect lay (Ma Haijian). So was Milton. He is not only a pious puritan, but also a revolutionist eager to fight. He allows the revolutionary in himself to take root in Satan. The conflict between Satan and God is, in fact, the one that between the Parliaments which are on behalf of liberty---which Milton was advocating--- and the stubborn despotic royal force. The revolutionary spirit is quite obvious. Milton’s pursuance of freedom and equality is exactly that of Satan.At the beginning of the epic, Milton “assert Eternal Providence, /And justify the ways of God to man”(Jin Fashen 4), but the description of God and Heaven is totally different from the poet’s original intention. God is the symbol of authority while the angels are all obsequious without personality. Unsatisfied with God’s tyranny, Satan takes arms to challenge the authority and asserts civil right. That is quite in accordance with Milton’s attitude—people have their right either for the governor or against the governor, so long as they wish. Satan’s first challenge is to God. Though he know at the very beginning the margin between him and God, Satan is not afraid of performing the course he thought righteous. That makes his angelic image more glory and his deed more admirable. Even when Satan seduces our forefather, we do own thanks to him, for it is him who lets us become wit and experienced. The demanding of Adam “yet sinless, with desire to know /What nearer might concern him, how thisWorld /Of Heaven and Earth conspicuous first began (Jin Fashen 84)” makes us feel “wisdom at one entrance quite shut out. (Jin Fashen 30)” and doubt “is knowledge so despised? /Or envy, or what reserve forbids to taste? (Jin Fashen 58)” Satan’s great courage, rebellion spirit, perseverance and wisdom are highly praised here, which makes him the real central figure in this epic.But naturally, as a national movement, Puritan Movement had its extremes and excesses. And the intensity of the struggle against despotism made men narrow and hard. In the triumph of Puritanism under Cromwell, severe laws were passed, many simple pleasures were forbidden, and an austere standard of living was forced upon an unwilling people. Next, Cromwell conquered Ireland and Scottish, unifying the three counties. And the supreme authority was in his hands as his closest followers declared Parliament dismissed in December 1653. He thus assumed the title of Lord Protector. Another autarch had replaced the former one. The initial righteous rebellion turns to be an ambitious aggression. The Movement essentially failed, since no liberty and civil right are realized. Satan shares the same process with Cromwell. They are both preservers and destroyers. As he reins the Hell, Satan becomes more extreme and more destructive. The case is genuine heroism wrongly used in relation to himself and others. A leader of liberty is transformed to a ruler of despotism, and then is damned further.2.2 The influence of the restorationUnfortunately, in 1660, when CharlesⅡsuccessfully achieved the Restoration of the kingdom, all Milton’s labors and sacrifice for humanity were apparently wasted. He was immediately marked for persecution, and his books were burned by the public hangman. His daughter, upon whom he depended in his blindness, rebelled at the task of reading to him and recording his thoughts. All the policies that he had worked for so passionately had suddenly been abrogated. So he couldn’t help sighing with strong emotion: “If you beest he—but O how fallen! (Jin Fashen 8)” The Republic came to an end; the Restoration brought people another turbulence. The whole Britain suffered total reversal again. The failure urged Milton to soul-searching. And it was the time when God’s authority resumed, and Satan was transformed to a serpent.In literature, the Age was definitely the one of confusion. The spiritual gloom, which sooner or later fastened upon all the writers of the age, was due to the breaking up of accepted standards of government and religion. That led the literary men of the time to look backward for their golden age unconsciously. This could also be a clue to understand Satan, since Milton mixed reason in Puritanism with morality and constituted Puritan Humanism, and the thought was reflected in his Paradise Lost. As the last rearguard of the Renaissance and the primary promoter of Enlightenment, he endowed his introspection to humanism on his greatest image of Satan portrayed in this poem. Although Milton’s study of the will focused on the inner world of temptation, guilt and repentance, he treated these things not just as they borne on one’s relation to oneself or to God, but to others also. Satan’s fall corrupted others as well as himself, so no grace would be extended to him. Milton’s was a disciplined, rational, responsible moral freedom beyond the reach of most political activists. (Fowler 43)His individual emphasis is on the freedom of the disciplined life: obedience is freedom; independence is slavery. In heaven, political loyalty is religious loyalty, and Satan’s republicanism violates both. So Satan’s rebellion for freedom turns to be a path to slavery. Will is free, determined neither by divine predestination nor by subliminal psychodynamics. Satan has the free will to stand but he chooses to fall. And in Milton’s view, virtue is not cloistered innocence untroubled by passions, but rather the difficult experience of rationality, of perpetual rational choices between seductively deceptive alternatives (Fowler 37). So, no matter how just the excuses are, Satan does spread evils and bring torment to human beings. Satan’s formidable intellectual powers are engaged in what is self-deception before it turns to deception of others. The process of negation takes him from heroic denial of the order of heaven to a perverse and mean form of resistance, and ruses of concealment and self-deception re-enter in ignoble, self-corrupting forms. Here is a committed revolutionary, a supporter of regicide, who nevertheless makes his rebel angels devils.So far, Milton was lost into great ambivalence. On the one hand, instead of withdrawing from society, Milton remained social, no longer participating directly in politics, but continuing to host foreign visitors and work closely with friends andacquaintances as he produced some of his greatest writings. On the other hand, because of the force of the society, whatever he tried, he was doomed to receive more strikes and despair. He suspected of the meaning of his endeavor. So in this way we can realize why the feature of Satan is ambivalent. The author has infused his own spirits and passion into Satan’s character. Satan’s fights with God are just like Milton’s fights with the society. Satan becomes a prolocutor of the author. They both are eager for freedom and both can’t escape from the unavoidable failure. That’s the tragedy—a hero’s tragedy. To Milton, it is the reality that he hates. He has worked so hard and enthusiastically for the society. However, at the end, it was still full of hypocrisy, dishonesty and inequality. It is a great sarcasm against his efforts and his ideality. So he would miss the past glorious time and hesitate to divorce the society. That also caused the ambivalence of the author as well as that of Satan.Finally, since man is the product of the society, he is inevitably limited by it all the time. So in a society that is full of tyranny and blood-violent, the author’s good dreams are sure to be mercilessly murdered. While Satan is the embodiment of the author, he must incarnate human being’s character, which is confined to his environment. Then Satan’s evil thoughts and actions are somewhat in accordance with Milton’s psychological activities under that kind of circumstance. Neither Satan nor Milton should be damned for that, for it’s the time and ill society that caused the rebellion in man’s mind. Though Milton thought of himself as a Christian, his inner sympathies with rebellion, anger and revolution often color the poem. Milton is of the devil’s party without knowing it. Satan’s defiance of the Divine Will is indispensable to the continuance of his identity, a predicament that raises him to tragic status. All these aspects are the refraction of Milton, who is quite ambivalent both as a frustrated revolutionist and a puritan under such kind of circumstance.Chapter 3 Potential Readers’Influence on the Formation ofthe Dual Character of Satan’s Image When reading a literary work, people always read it from the study of。
弥尔顿的失乐园
弥尔顿的《失乐园》中撒旦形象分析约翰·弥尔顿是17世纪英国最著名的诗人、思想家、政治家和政论家，是欧洲17世纪进步文化的基石。
他从小受人文主义的教育，反对封建礼教，反对不彻底的英国宗教改革，同时他又鼓吹自由、平等、博爱，强调弑君无罪论，被称为启蒙思想的先驱者。
在新旧思想的搏斗中，在困苦艰难中写出诗作《失乐园》。
全部诗长达万行，分十二卷，是一部以圣经为题材的史诗。
通过《失乐园》一诗作者从作品思想内容出发，赋予这个古老的故事以新的内容。
艺术再现了英国资产阶级革命的进程。
同时弥尔顿通过对主宰宇宙的上帝、魔鬼撒旦和人类始祖亚当、夏娃等不同人物的塑造以及对他们的褒贬毁誉，体现了诗人创造史诗的深邃寓意。
值得我们从各个角度去研究、去讨论。
有关《失乐园》的长期争论几乎都集中在对于撒旦这一人物的看法上。
因此，对于撒旦这个人物的正确理解是如何欣赏弥尔顿这部史诗的关键。
现在我们就探索一下撒旦这个人物性格的不同侧面。
人们一直以来从不同的角度对撒旦的艺术形象进行阐释，认为撒旦是一个非常复杂的人物形象。
所以关于撒旦的形象研究在西方有“撒旦主义派”、“正统派”和“调和派”。
他们有的研究撒旦形象的革命性，有的研究撒旦形象的宗教性。
首先，撒旦是魔鬼的化身，教唆人类堕落的元凶。
因为在诗中撒旦是神的对立者，他嫉妒神子在天上的地位，要求凌驾于一切法律和权利之上，享受绝对自由，于是率同叛逆的天使反抗上帝，战败被打入地狱之后仍设计报复。
当他意识到自己不是上帝的对手后，转而偷入上帝创造的伊甸园百般引诱亚当、夏娃违背神的旨意，偷食禁果使其开始沉沦，把人类作为报复的工具。
阴谋得逞之后得意而去，留下灾难和痛苦让人类的先祖独自承受，他为了自私的目的毁灭了他人。
在弥尔顿看来谁侵犯了他人的自由，那个人便首先失去自由，变成一个奴隶。
撒旦正是这样的人，因此他将是自己罪恶的奴隶，必定要坠入罪恶的深渊。
从这个意义上说，撒旦的失败与堕落体现的不是上帝的万能，而是弥尔顿的思想。
《失乐园》中撒旦形象分析
2021-06文艺生活LITERATURE LIFE世界文艺《失乐园》中撒旦形象分析王宁（河南师范大学，河南新乡453007）摘要:作为一部宏伟史诗，弥尔顿的《失乐园》主要是对恶魔撒旦堕落史的讲述，其所描写的就是堕天使带领反叛天使来对抗上帝，希望能够获取自由。
这一部史诗所表现的是激进革命者与清教徒之间的一种冲突，其本身也是表达了对于独裁统治的厌恶，对于自由平等的一种渴望，以此来产生无限启迪与思考，其本身的研究价值非常可观。
本文主要就《失乐园》中的撒旦形象进行分析，希望能进一步加深对《失乐园》的理解和认识。
关键词:《失乐园》；撒旦；形象中图分类号：I561.072文献标识码：Ａ文章编号：1005-5312（2021）18-0052-02DOI：10.12228/j.issn.1005-5312.2021.18.026一、前言阅读弥尔顿《失乐园》时发现撒旦这一人物形象仿佛与之前人们对于撒旦形象的认知有一定差异，主要是因为对于撒旦的感情存在一定的变化。
所以，本文重点分析撒旦的形象，从英雄与恶魔两个层面阐述，对弥尔顿笔下的撒旦形成更清晰的认识。
二、《失乐园》和撒旦不管是在学术界还是在读者心目中，弥尔顿的《失乐园》的地位是其他作品无法超越的，无论是刻画人物方面，还是对于情节的具体安排，都是让后人难以企及的。
整部作品之中对于上帝、撒旦、亚当夏娃等人物的塑造，让人们对此产生了浓郁的兴趣。
在这几个人物之中，对撒旦的争议是最大的。
撒旦的文学形象主要包含了两个方面：一个是评价的悲剧英雄，另一个是评价的恶魔形象①。
《失乐园》最后的结局是亚当夏娃失去了伊甸园，很多人都认为这属于一个喜剧结局，主要是因为虽然他们失去了伊甸园，但是心中却已经发到了自己希望的伊甸园。
如果基于撒旦的角度来进行分析，那么可以将其看成悲剧，原本一个单纯的、善良的天使，因为各种因素的影响，最终变成了恶魔，导致最后被上帝直接贬为一条蛇。
作为一个悲剧人物，撒旦的经历与结局是让读者同情的，这也使得撒旦形象具有悲剧英雄的色彩。
《失乐园》中撒旦的艺术形象分析
《失乐园》中撒旦的艺术形象分析【摘要】《失乐园》中塑造的复杂的撒旦的形象，一直被人们从不同的视角来解读，一般的观点认为撒旦是反抗专制统治和暴政的英雄形象，本文通过对弥尔顿的《失乐园》进行深层的探讨与分析，对撒旦的堕落过程进行思考与分析，揭露了其“恶”的本质。
【关键词】失乐园;撒旦;英雄;原因前言弥尔顿是英国十七世纪著名的作家、政治家和思想家。
其诗作《失乐园》因其对主角撒旦的复杂形象的成功塑造一直被人们津津乐道，可以与《伊利亚特》、《神曲》相提并论，其深刻的思想内容和复杂的人物形象的塑造使其长期以来成为了评论界评论的焦点。
一、《失乐园》内容概述《失乐园》全书共有十二卷，主要是来自于圣经故事，运用史诗的形式来表现人类最初始的演变过程以及人类的历史上不断地进行的革命斗争。
全书的内容可以用两条线索来概括：一条是亚当和夏娃的故事，他们抵挡不住被撒旦操控的蛇的诱惑，悄悄地偷吃了分辨善恶树上的禁果，结果将地上乐园即伊甸园白白的失去的故事;另外一条线索是以撒旦为首，聚众来反抗上帝，被逐出天上乐园，打入地狱的故事，但是他们并没有放弃而是经受住了炼狱般的磨练，他们不忘初衷，反抗的欲望更加的强烈。
《失乐园》中引用了许多圣经中的人物，并且将其刻画的更加的生动鲜明，将诗歌的主题表达的淋漓尽致。
在众多的人物中，撒旦的形象刻画的最为成功，这就使的撒旦在文学的殿堂上被久久的铭记，这也是《失乐园》受欢迎的主要原因。
二、撒旦的艺术形象及其成因1、具有叛逆精神的英雄形象前两卷撒旦是受人敬仰的大天使，他仪表伟岸，声音高亢，意志顽强，富有冒险精神和谋略，有帝王般的尊严，他在地狱发表演讲时，整个地狱都能响起回声。
因此在史诗的前两卷撒旦是具有反叛精神的英雄。
他在反叛上帝失败之后，深陷地狱之中，他的王者风范仍然令人生畏。
撒旦不服输的意志和不屈的精神正常长期以来支持诗人度过了风风雨雨的革命生涯以及能够经受住晚年凄惨命运的精神力量，同时也是出于革命低迷时期时的革命者应具备的基本素质，因而可以使诗人充分发挥抒情的诗才，把撒旦刻画的活灵活现。
《失乐园》中撒旦形象的复杂性分析
《失乐园》中撒旦形象的复杂性分析作者：李咏梅来源：《青年文学家》2014年第05期摘要：《失乐园》是英国诗人、思想家、政论家弥尔顿于1667年创作的，被认为是英国文学史上的一座丰碑，其中的撒旦形象一直是人们关注的焦点，他的形象的复杂性促使人们从不同的角度去阐释。
很多人认为撒旦是一个英雄、革命者，还有人认为撒旦是一个恶魔。
本文主要从弥尔顿的本意出发，分析《失乐园》中撒旦的真正形象。
关键词：《失乐园》；撒旦；形象；复杂性作者简介：李咏梅（1971-），女，四川师范大学成都学院外语系讲师，研究方向：英语语言文学。
[中图分类号]：I106 [文献标识码]：A[文章编号]：1002-2139（2014）-05-0-01弥尔顿是十七世纪英国著名的诗人、政论家、思想家。
他出生于一个清教徒家庭，青年时代就对封建思想、教会腐败表现出厌恶、痛恨，后来投身于革命，并撰写政论文章。
王权复辟后弥尔顿受到监禁，但他不屈服，仍坚持革命立场。
释放后在双目失明，经济极其困难的情况下完成了三大诗作《失乐园》、《复乐园》、《力士参孙》。
《失乐园》是弥尔顿最伟大的诗作，其故事取材于《圣经》，描述了骄矜自满的撒旦纠集一部分天使反抗上帝，战败后被逐出天堂、打入地狱受苦，于是他设计复仇，潜入上帝创造的伊甸园，引诱人类偷食禁果，致使人类被赶出伊甸园而沉沦的故事。
这篇诗作将撒旦、亚当、夏娃刻画的惟妙惟肖，深刻地表达出了主题。
自该诗作出版以来，人们对撒旦形象的解读存在很大不同。
我国评论界大都把他看作是一个反抗者、一个英雄，结合弥尔顿的经历很容易得出这样的结论。
其实，这是对弥尔顿本意的曲解。
弥尔顿塑造的撒旦始终是以反面的形象出现的。
经过层层分析，我们可以看清诗人笔下的撒旦是魔鬼的化身、是引诱人类犯罪的元凶。
本文从弥尔顿的创作目的和细读文本的基础上分析撒旦形象。
弥尔顿作为一个清教徒，一直认为上帝是公平、正义的化身，是绝不允许对上帝不敬的。
十七世纪的英国由于长期受基督教文化的影响，人们认为反抗上帝是很难接受的，这对诗人的创作带来了很大影响。
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撒旦意象赏析摘要：弥尔顿《失乐园》与荷马《荷马史诗》、但丁《神曲》，并称为西方“三大史诗”。
这部史诗的伟大之处在于以理性和美德为永恒主题。
本文以充满迷惑形象的“崇高的英雄”和本质形象的“悲剧的魔鬼”两部分浅拙的谈谈撒旦意象的多变性，并结合当时社会历史和诗人自身的深层原因，谈谈撒旦在诗人心灵深处所实现的沟通和共鸣。
关键词：撒旦崇高英雄悲剧魔鬼深层原因引言：弥尔顿《失乐园》约翰·弥尔顿（john milton，1608—1674），作为十六世纪文艺复兴和十八世纪启蒙运动的过渡性人物，是十七世纪英国最著名的诗人，思想家，政论家，更是一位勇敢的革命实践者。
《失乐园》借用《圣经》中《旧约·创世纪》第二、三章的内容，描述上帝创造了人类，把他们安置在伊甸园中，同时告诫人类，园中一棵能够分辨善恶的智慧树果实不可以摘食。
魔王撒旦得知这一消息时，出于对上帝的报复，化作蛇形成功诱骗人类，人类最终被逐出乐园。
三百多年来，撒旦形象一直是人们争论的焦点。
传统观念中的撒旦通常是《圣经》里那个不折不扣的魔鬼形象。
直到17世纪，伟大诗人弥尔顿《失乐园》的诞生，撒旦的历史彻底改变了，他被描绘成了一位有血有肉、理性与感性混杂的多元艺术形象。
有高度赞扬撒旦的，如雪莱在《诗辩》中说道：“《失乐园》中所表达的撒旦这一角色是旺盛精力和性格魅力无与伦比。
”[1]；也有坚持撒旦就是魔鬼的，如牛津学者刘易斯（c.s lewis）《a preface to paradise lost》：“从英雄到将领，从将领到政客，从政客到特务，接着潜入卧室或浴室的窗户，再变成一只蟾蜍，最后成为一条蛇，这就是撒旦的全过程”。
所以正确分析撒旦，对于理解和欣赏《失乐园》这部伟大的史诗有着重大作用。
1.迷惑形象：崇高形象的英雄a.崇高形象——坚毅刚强史诗开篇就将我们置于一个振奋人心的崇高背景之下：“我们损失了什么？并非什么都丢光不饶的意志、热切的复仇心、不灭的憎恨以及永不屈服、永不退让的勇气还有什么比这些更难战胜的呢？”（ⅰ105-109）这是魔王撒旦为了争取自由，挑战上帝权威而与伙伴们在天界大战，战败后跌落广漠的烈火深渊，清醒过来说的一番话。
这是一场可怕的战争，同样，这也是一个可怕的深渊，给人以无尽的绝望和凄凉。
但这一切并没有让撒旦失去信念，反而激起了他更大的斗志，撒旦做出了下面这个决定：“与其在天堂里做奴隶，倒不如在地狱里称王”（ⅰ264-265）b.英雄领袖——充满人性这么一个刚毅、充满勇气和希望的魔王无疑是崇高的，但也是这么一个英雄形象又有着我们凡人有血有肉的一面：他在看到同伴们即他的追随者们由于他而被剥夺了幸福和光荣后，在准备发言时，竟“三次要开口，三次泣不成声”（ⅰ621）之后，他们在“万魔殿”里召开了严肃的会议，讨论是否为了恢复天国，冒险再发动一场战争。
会议上，大家自由的讨论，气氛相当和谐与民主。
期间，有人赞成战争，有人反对战争，最后大家一致认为撒旦最具资格完成这项艰险的任务，而撒旦也再次表现出作为一个领袖者追求自由而视死如归的坚毅品质。
2、本质形象：悲剧意味的魔鬼“虽然撒旦被描绘成了一个积极行动的角色，但它在叙述手法上渐渐由主语转换成了宾语。
”[2]前面的分析，撒旦犹如一位身披圣衣铠甲的勇士，是个既会流血也会流泪的男儿，但决不会认输和屈服，为了理想而奋战不止。
这一切是相当具有迷惑性的。
但很快，他的虚弱本质就暴露了出来，由于致命性的缺点，使得他成为了一个彻彻底底的悲剧人物，且本质就是魔鬼的。
即一位富有悲剧意味的魔鬼。
毋庸置疑的是，撒旦仍是一位非凡的人物，他拥有着至高无上的力量和无与伦比的意志。
但这一切是可怕的，具有破坏力的，因此我们为其不禁感到深深的惋惜。
下面我们看看究竟是哪些致命性的缺点导致其悲剧的命运。
a骄矜和伪善——.神的对立者其实早在第一章，弥尔顿就揭示出了撒旦的本质；“行善绝不是我们的任务，作恶才是我们唯一的乐事”（ⅰ159-160 ）恶就是撒旦的本质。
他曾经是天上最亮的一颗北斗星，也是天上的天使长。
但由于美貌和崇高而变得自大，他开始借助“自由”、“平等”的标签，以达到他所谓为众天使谋求“自由平等”这个伪善的说辞。
然而他真实、唯一目的就是“治人，而不是治于人。
”（ⅴ802）.在撒旦这，所谓的“平等”、“自由”等同于“治人”，所以天使亚必迭一语中的，他对撒旦说道，“你自己并不自由，做了自身的奴隶。
”（ⅵ181）b.荒淫和邪恶——“罪”、“死”的制造者“罪孽”是从撒旦的脑袋里蹦出来的，撒旦在“罪孽”身上看到了自己完美的形象，而与之结合，生下了“死亡”。
“这三个人物角色够成了邪恶三位一体。
”[3]“罪孽”取出万祸的钥匙，打开了地狱的大门，整条道路畅通无阻，撒旦从此也踏上了一条不归路。
c.嫉妒和憎恨——人类的诱惑者《失乐园》第九卷的诱惑是整个故事的核心和高潮。
当撒旦来到伊甸园时，“他看到了全世界是如此美丽，便顿时妒心横生。
”（ⅲ 554）撒旦出于对上帝的憎恨和对人类的嫉妒，选择人类这个最为无辜的对象作为报复上帝的手段，这种行径本身就是可鄙的。
他为了诱骗夏娃吃下禁果，首先赞美夏娃的美丽，说了许多谄谀之词，接着歪曲上帝的禁令。
其实，在撒旦刚毅的外表下，他的力量是虚弱的、内心是怯弱的。
我们可以清楚的看到，在空中高悬的可以测量一切事件的天秤上，“恶魔仰头一望，见空中自己的秤盘偏高，便不再言语，口中喃喃而逃，”（ⅳ1014-1016）如果说，这还有些许悬念和幻想的话，那么在成功诱骗人类吃下禁果后的撒旦，便是彻底的毁灭。
回到万魔殿，等待他的不是掌声和赞美，而是全体化为怪物的群魔，更可怕的是，他自己也沦为群蛇中的一员，永世不得超生。
不过，撒旦形象的转变并不影响我们对它的审美判断，席勒在说明“审美判断和道德判断的矛盾”时，说到“由卑鄙行动使自己变得低劣的人，在一定程度上可以由罪恶提高自己的地位，从而在我们的审美评价中恢复地位。
”[4]3、撒旦形象多变的深层原因“从文学是人学的美学本质看，文学人物，就是以逼真的个性心理展示典型的社会性格和普遍的社会心态的假定性审美幻想。
”[5]十七世纪的英国是动荡不安的，弥尔顿对撒旦形象的刻画不可避免的受到当时社会历史背景和自身的影响，这是导致撒旦形象多变复杂的深层原因。
a.革命性——选择撒旦十七世纪的英国政局发生着剧烈变化，1642年内战爆发，弥尔顿立即投身其中，“在同胞们奋力争取自由的时候，我在国外悠然自得，这是很可耻的。
”[6]他写了很多政论的文章，如《论出版自由》（areopagitica）1649年，弥尔顿再次发表政论《为英国人民辩护》，阐述他的共和理念。
史诗中的撒旦就是诗人对待革命热情的象征。
b.清教徒——向人类阐明永恒的真理，昭示天道的公正德国政治、经济学家韦伯认为《失乐园》是清教徒精神最佳的代表。
[7]弥尔顿出生于清教徒家庭，他自己也是一名虔诚的清教徒。
在史诗第三卷里，弥尔顿高度赞扬了圣父和圣子的品质，整章几乎都是对其的赞歌以及描绘天堂美好的景象。
弥尔顿描述撒旦挑战上帝只是表达对皇权的不满，他认为撒旦的悲剧在于违反了上帝的意志，只有遵从上帝意志的自由才是许可的。
c.人文主义——通过理性和美德，寻求人类的精神乐园“只有那些片面的记载才纯洁，虽然不只按圣灵的精神来解读”（xii 513）弥尔顿“用人文主义观念重写了基督教新教的教义”[8]首先，亚当和夏娃之爱就是充满人性的。
“二人同心合意，只有神所嘉惠的诚心敬虔”（ⅳ 1254）接着他充分肯定了人的理性。
因为有了理性，所以当伟大的人类在回望曾经居住的乐园时：“他们滴下自然的眼泪，但很快就拭掉了……二人手携手，慢移流浪的脚步告别伊甸园，踏上他们孤寂的路途。
”（xii 1227-1231）这路途虽然是“孤寂”的，但却不再迷茫。
人类从此踏上新的旅程。
根据亚里士多德诗学原则，行动中的人才是适当的主题。
但真正伟大的史诗正是建立在理性、美德这一永久性的主题之上的。
《失乐园》便是这么一部永恒的伟大史诗。
结语：《失乐园》站在全人类的角度，既记录了外在的战争，也描述了内心的善恶。
回首撒旦形象：他可以是高高在上的万魔殿的领袖，也可以是匍匐于地面的大蛇；他可以是英勇坚毅挑战上帝权威的勇士，也可以是伪善的为了私欲而不堪一击的败将；他可以是巧舌如簧的满嘴自由平等的说教者；也可以是暗含妒忌、怨恨的凶残的魔鬼。
最终全诗以黑格尔“和解”式的结尾结束，即世界重新恢复平静，人类踏上新的旅程。
注释：[1]沈弘著：《弥尔顿的撒旦与英国文学传统》，北京大学出版社2010版，第2页[2]a preface to milton lois potter peking university press 2010 p128[3]沈弘著：《弥尔顿的撒旦与英国文学传统》，北京大学出版社2010版，第191页[4]朱光潜著：《朱光潜全集》第二卷，安徽教育出版社 1987版，第307页[5]陈文忠著：《文学美学与接受史研究》，安徽人民出版社 2008版，第170页[6]著者马克帕蒂森译者金发颜俊华：《弥尔顿略传》，三联书店 1992版，第2页[7]张隆溪著：《灵魂的史诗》，文化艺术出版社 2010版，第3页[8]张隆溪著：《灵魂的史诗》，文化艺术出版社 2010版，第58页参考文献：[1] 著者约翰·弥尔顿译者朱维之：《失乐园》，吉林：吉林出版集团有限责任公司，2007。
[2] 张隆溪著：《灵魂的史诗》，北京：文化艺术出版社，2010。
[3] 沈弘著：《弥尔顿的撒旦和英国传统文学》，北京：北京大学出版社，2010。
[4] 著者马克帕蒂森译者金发颜俊华：《弥尔顿传略》，北京：三联书店，1992。
[5] a preface to milton lois potter peking university press 2010。