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To: alt.satanism,alt.magick.tyagi,talk.religion.misc,alt.pagan From: tyagi@houseofkaos.abyss.com (nocTifer) Subject: (Z) Literary Satanism Date: 1 Mar 1998 19:28:43 -0500 49970702 aa2 Hail Satan! [this from private correspondence; please excuse the choppiness - n] ...literary Satanism is a vast subject and I'm only just beginning a study of it, having perused through an overview of the concept of 'the Devil' in Western literature as given by JBRussell (JBR) (this included some nice pointers to the literary tradition of which I will try to make note below; they also point to the *philosophical* tradition amongst what I would class as Satanists (materialism, and in particular atheism), and it was this upon which I'll been focussing after my indulgence in a collection of graphics). ********************************************************************** Literary Satanism in reading JBR's overview of Milton's treatment of Satan in both of the latter's works (Lost and Regained), I came away with the impression that Satan was not at all the hero and instead that Milton is sorely misunderstood by Western readers, inclusive and perhaps *especially* by Satanists. I think JBR's text is worth a scan as an argument in this light and that a thorough review of scholars of literature who have interest in the matter is valuable in pursuit of any resolution. I know when I tried to read Milton directly it was not at all easy for me to parse. not quite as daunting as King James English, but not too far beyond it in my fair nonmodern-English illiteracy. luckily the Abyss had Russell's _Mephistopheles..._ still checked out from the local library, so I reproduce relevant portions: The deep power of Milton's Satan raised a long-standing debate as to whether Satan was the real hero of _Paradise Lost_. The answer depends upon what one means by "hero." In a purely literary sense, the hero is the protagonist, the character who most moves the action along. Dryden and others in Milton's own time saw Satan as the hero in this sense. The action of the poem is the struggle between Satan on the one side and Adam, Christ, and the Father on the other. That three characters are needed -- two of them divine -- are needed on one side to balance one on the other indicates the dramatic power of the one. Further, since only one who changes can carry the action, the eternal and unchanging Father can scarcely be the hero, and even the Son is too remote and impervious. As protagonist, Adam has severe limitations: half the battle between God and Devil is already over before attention can focus on Adam, and he is too passive, too acted upon -- by God, Eve, and Devil -- to be the hero. (Some critics have argued that the dramatic hero is really Milton or the Reader.) ...Satan could be both opponent and hero; indeed, he needed to be in order to make Christ's triumph in the war in Heaven noble and magnificent.... ...Milton was able to depict Satan as heroic and at the same time cast doubts upon his heroism by taking an ironic distance and showing in action, dialogue, and asides that Satan's apparent heroism is sham. It is hard to retain a heroic picture of Satan when one is brought up against his incest with his daughter Sin, his ugliness..., his stench..., his filth..., and his grotesque parody of God.... Yet these are corrections to our first impulse to admire his rich, sensuous, lofty rhetoric and is determination to be true to himself, enduring every defeat and agony in his fierce his fierce adherence to his own identity in the face of a superior power determined to destroy him. Milton certainly knew what he was doing when he made the character of Satan powerfully attractive. He intended the reader to be caught up in admiration, to feel the tug of attraction to the terrible, self- indulgent prince of darkness, to feel the pull of that darkness of self turned forever narrowly down into itself instead of opened up courageously to the broad world of light and beauty. He intended us to identify with the Devil and then, as the poem develops, to identify the gradual revelation of his viciousness and his impotence with the understanding of our own sin and weakness. Milton applied the characteristics of the epic hero to Satan so that the reader could see the emptiness of loveless heroism in a world governed in reality by love. Though the poetic personality of Milton's Satan is so strong that those unfamiliar with Christianity can mistake him for a noble figure (as the nineteenth-century Romantics did...) *Paradise Lost* is best read in the spirit in which Milton intended it. {NOTE: Modern writers favoring the view that Satan is the real moral hero include W. Empson, *Milton's God*, 2d ed. Cambridge, 1981). Those defending Milton and Milton's own view include, above all, C. S. Lewis, *A Preface to Paradise Lost*, 2d ed. (London, 1960). See also D. R. Danielson, *Milton's Good God: A Study in Literary Theodicy* (Cambridge, 1982); R. Comstock, *The God of Paradise Lost* Berkeley, 1986).} ... As C. S. Lewis remarked, Satan is gradually reduced from bright angel to peeping, prying, lying thing that ends as a writhing snake. ------------------------------------------------ _Mephistopheles: the Devil in the Modern World_, by Jeffrey Burton Russell, Cornell University, 1986; pp. 97-9, 112. ________________________________________________ given the above I think it valuable to reconsider whether the English speaking came to know "the devil" in anything but a *Christian*, albeit majestic, sense within _Paradise Lost_. one has to, in effect, do what one does with popular Christian interpretations of Satan in order to come up with any kind of complimentary perspective on Satan from Milton. the apparent fact that Romantic poets were inspired in their MISinterpretation of Milton does not make Milton more the Satanic source. in my previous contemplation of all this, and subsequent anger at the fact that Milton and his Christian Satan have been so oft-portrayed as Satanic, I tried to point out the real alternative (but a spark or glimpse) in a small poem (this revisitation uncovered its absence!): http://www.abyss.com/text/satanism/theory/tnlostpds.txt whether Goethe (1808) provides a model of the modern Satanic hero depends on whether you include Goethe's second half of his Faust work, or whether you just treat the initial alone, I gather. I have not got hold of the second portion as yet, only seen an overview. the first part was quite strange and I didn't get the impression that Faust was in it so much for power as knowledge and as Goethe portrays it, is on a path of Christian salvation. it seems to me that omitting specific mention of the details of Geothe's _Faust_ may be best, instead providing an overview of the Faustian tradition (perhaps beginning with Rabelais) as an important element of Satanic inspiration ('pact with Satan'). after all, Goethe's is a work following on an extant depiction of the theme in literary and puppetry sources (apparently as a reflection of Marlowe). Faust agrees with Mephisto to be his servant in the next world if Mephisto is his during his life. the pact then transposes, as Russell puts it, into a second wager that Mephisto derail Faust from his striving and bid a moment of pleasure linger in exchange for exposure to Mephisto's occult knowledge. there is no selling of souls here for there is no acknowledgement of such an object (per my memory of Part One and seemingly also that of Russell). that is, Goethe's Faust is a scholar striving for occult knowledge, and Mephisto as Devil engages him directly for the purposes of ephemeral antagonism (as Russell points out, Mephisto's limitation prevents the first pact from ever coming to resolution with Faust's service, and the tale plainly turns into a Christian success story in Part Two by Russell's reckoning despite the lovelessness of Part One -- it appears that this quality of lovelessness is a commonality betwixt Milton and Goethe, and I suggest that it features precisely because they are Christian writers exalting Satan as its lack and Christ as its fulfillment). Russell I think correctly portrays Mephisto as not at all admirable: Essentially blind to reality, Mephistopheles tries to negate and destroy it. He denies the value of existence and declares that the purpose of creation is to be destroyed. He hates beauty, freedom, and life itself; he causes the deaths of individuals and advocates ruinous social policies that destroy multitudes. This nihilism is the essence of evil, and it comes directly from God.... Like the traditional Devil, Mephisto is a liar and a cheater, a master of illusion who repeatedly shifts his shape, appearing as a dog, a scholar, a knight, a fool, a magician, and a general. With sophistry, flattery, and gossip he sows doubt and distrust; he uses his magic to instill illusions, hallucinations, and dreams; as conselor of state he creates false wealth, and as a general he destroys armies by committing illusory troops to battle. The spirit of chaos and disorder in the natural world, he also promotes disorder in society by disrupting justice. He delights in cruelty and suffering. He tempts and threatens in his efforts to corrupt and is most pleased with the despair of the innocent. Incapable of grasping what love means, he promotes coarseness and brutality in sexual relations. He opposes social reforms and crushes a revolution against tyranny. He regrets his unfallen past but refuses to repent, falling into the sin of despair. Yet he speaks for Goethe in his ironic comments on philosophers, professors, fanatics, generals, clergymen, bureaucrats, politicians, and exploitative rulers. ------------------ Ibid., pp. 159-61. __________________ I don't see either of these as heroic in any meaningful and lasting sense. I would take what little I know of Shaw's Satan to be much more heroic in the sense of aesthetic refinement. Russell quotes correspondence with Flaubert and states that: more often, Baudelaire took Satan as the symbol of human evil and perhaps even as a personal entity. -------------- Ibid., p. 206. ______________ thus what modern Satanists consider to be 'Baudelaire's Satan' may in fact be a re-interpretation of Romantic or modern writers/readers. the goth culture may well, perhaps like the Romantics in the early 1800s, be re-interpreting and re-inventing Satan to suit their needs while drawing mistakenly from those who portrayed the Devil in substantially Christian ways. uncited: #>...For further reading see _The #>Devil's Mischief_ By Ed Marquand 1996, _The Devil in Legend and #>Literature_ by Maximilian Rudwin (latest reprint 1989 Open #>Court), _Literature and Evil_ by Georges Bataille 1957, and _The #>Devil's Race-Track: Mark Twain's Great Dark Writings_ 1966. The #>greatest quick introduction to Satanism remains Huck Finn's #>"Alright then I'll go to hell" speech when he decides to protect #>Jim from the law.... thanks for these references. Russell's attitude toward Satanism and in particular the Temple of Set is asinine, but my interest is more with his specialization in philosophy and literature rather than as an apparently distracted Christian religionist. my read of Goethe and other texts he reviews is supportive of his acuteness and depth of vision, and his preparatory remarks on evil and the notion of analyzing literature in the history of concepts strikes me as genius in its conciseness and insight into method. blessed beast! ________________________________________________________________________ nocTifer: tyagi@houseofkaos.abyss.com --- http://www.abyss.com/tokus TOKUS-COE Office: 408/2-666-SLUG --- Emergency Contraception:18005849911 ____________...oooOOO---zazas-l@hollyfeld.org---OOOooo..._____________ To unsubscribe send "unsubscribe" to zazas-l-request@hollyfeld.org To unsubscribe your@email.com send "unsubscribe your@email.com" To subscribe send "subscribe" to zazas-l-request@hollyfeld.org http://www.hollyfeld.org/heaven
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