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The Etymological Subtext of Daimon and Satan in John Milton’S THE ETYMOLOGICAL SUBTEXT OF DAIMON AND SATAN IN JOHN MILTON’S PARADISE LOST by Daniel Robinson A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of English Middle Tennessee State University August 2020 Thesis Committee: Dr. Philip Edward Phillips, Chair Dr. Marion Doreen Hollings Dr. Rhonda L. McDaniel To Laken, “We go together like Keats and Yeats, bowls and plates, days and dates” To Cora, in the hope that education changes your life, too To my mother, for your faith; to my brother, for your storytelling; to you both, for your love To Howard Bahr, for being there during a dark time ii ACKNOWLEDGEMENTS Catapulting from high school teaching into graduate work is not possible without help. I would like to thank several professors, active and retired, of MTSU’s English Department (in alphabetic order): Drs. Kevin Donovan, Marion Hollings, Rhonda McDaniel, Michael Neth, Philip Phillips, and Tom Strawman. All of you weaved throughout my life, encouraged me when I needed it, and, most importantly, gave me a chance. Thank you for changing my life—twice now. I would also like to thank Mr. Howard Bahr, who took the time to labor over a troubled young man at Motlow State Community College fifteen years ago. You got me here academically so that others could carry me farther, and that means the world to me. iii ABSTRACT In Paradise Lost, John Milton invokes the etymologies of both the Greek daimon (“demon”) and the Hebrew satan (“satan”) to bolster Satan’s narrative role of modeling one’s severance from God’s love. Milton’s multilingualism in the epic’s subtext enhances the English poetry. Daimon serves as a hypogram—an implied poetic word—that directs a reader toward Satan’s first, unseen moment of seductive narcissism. The moment, though “offstage,” can exist in the poem because Milton silently exploits the nuances of “demon” from Hesiodic, Platonic, Septuagintal, and New Testament literature. Satan replaces God’s love with love of himself as if in a marriage with an idolatress, as per Milton’s divorce tracts. To signify the symptomatology of this self-idolatry, Milton next deploys the word, satan, from the Hebrew Bible into his epic explicitly and implicitly to convey emotional trauma, divine prosecution, and militaristic opposition. If one “satans” (per the verbal root of the word), the universe “satans” one back—i.e., hatred and assault, instigated by abandonment of God, provoke a divine trial in Milton’s etymological subtext. With secondhand etymologies, the poetic subterrane of Paradise Lost answers discrepancies of Satan’s didactic purpose in the story. iv TABLE OF CONTENTS Page ABBREVIATIONS……………………………………………………………………vi INTRODUCTION……………………………………………………………………...7 CHAPTER I: A HIDDEN, ETYMOLOGICAL WORLD OF MEANING…………...20 CHAPTER II: THE CORRUPTED DAIMON.………………………………………..53 CHAPTER III: SATAN AS SYMPTOM………………………………………………92 EPILOGUE…………………………………………………………………………..126 BIBLIOGRAPHY……………………………………………………………………134 v ABBREVIATIONS OF TITLES OF MILTON’S WORKS Areop—Areopagitica CD—De Doctrina Christiana (The Christian Doctrine) CG—The Reason of Church Government Urged against Prelaty Def 1—Johannis Miltoni, Angli, pro populo Anglicano defensio contra Claudii Salmasii defensionem regiam (A Defense of the People of England … against Salmasius) DDD—The Doctrine and Discipline of Divorce Nat—On the Morning of Christ’s Nativity Patrem—Ad patrem (To His Father) PL—Paradise Lost PR—Paradise Regained Prol VII—Prolusiones oratoriae (Academic Exercises VII) QNov—In quintum Novembris (On the Fifth of November) Tetr—Tetrachordon ABBREVIATIONS OF TITLES OF LITERARY WORKS CITED IN THE NOTES NOTE: Biblical abbreviations are not included. Plt.—Plato, Statesman Symp.—Plato, Symposium Tim.—Plato, Timaeus vi 7 INTRODUCTION yet all his good prov’d ill in me, And wrought but malice —Milton, Paradise Lost A reader of Paradise Lost might relate with much of Satan’s self-confusion. Satan cannot understand his decision to separate himself from God, and consequently, he is miserable. A reader’s sympathy can muddle some of Satan’s subsequent deplorable acts because he resembles the reader. As C. S. Lewis explains, “Heaven understands Hell[,] and Hell does not understand Heaven, and all of us, in our measure, share the Satanic … blindness.”1 Evil and suffering are relatable to readers who struggle to picture perfect good. Kenneth Grossman describes the phenomenological experience of a pitying reader by expressing what a reader might feel: “I [the theoretical reader] like to think about Satan because Satan is the only character in the poem who thinks, or in whom I best recognize what it feels like to think (though this may only mean, of course, to think like Satan).”2 The critical issue for readers, though, is Satan’s sanity. His emotional torment arises from his irrationality. But the reader struggles with understanding Satan’s didactic role within the poem because of the fallen angel’s complexity, and a less-than-admirable God often overpowers one’s ability to decipher what is right or wrong. However, throughout his epic, Milton engages in etymological wordplay that is intended to render 1 C. S. Lewis, A Preface to Paradise Lost (London: Oxford University Press, 1961), 101. 2 Kenneth Grossman, “Satan and the Romantic Reader: A Notebook,” Re- membering Milton: Essays on the Texts and Traditions, ed. Mary Nyquist and Margaret W. Ferguson (New York: Methuen, 1988), 337. 8 Satan as an entity who chooses to seduce himself, abandon God, and consequently endure impairment. Satan’s words express his awareness that God’s good proves “ill” in him because either love of God or love of Satan must reign: there is no room for two. Spiritual malalignment, then, of Satan loving Satan, brews his “malice” because he is straying from God’s universal structure. Satan’s hatred is a symptom of his apostasy. Milton is able to amplify his characters with an etymological subtext because he wields an advanced multilingualism of ten, maybe eleven, languages. He actively distills the strengths from each to enhance his own English. On record, Milton knew English, Latin, Hebrew, Greek, Aramaic, Syriac, Italian, French, Spanish, Dutch (or German), and perhaps Old English.3 Milton grew up learning languages extensively, with a classic Renaissance-schoolboy’s regimen of Hebrew, Latin, and Greek during the “golden age of Hebrew studies in England.”4 All three languages, though, held importance in the seventeenth century due to exegetical tradition, as they were the primary languages of the Old Testament, New Testament, Vulgate, and Septuagint. Interest in etymologies flourished from the Middle Ages into the Renaissance where etymologization 3 See John K. Hale, Milton’s Languages: The Impact of Multilingualism on Style (Cambridge: Cambridge University, 2005), 1-9. For how we know of Milton’s Spanish and for his language-trading with Roger Williams for Dutch (or German), see Barbara Lewalski, The Life of John Milton: A Critical Biography and Revised Edition (Blackwell Publishing, 2003), 253, 285. For speculation on Milton’s knowledge of Old English, see Richard Marsden, The Cambridge Old English Reader, 2nd ed. (Cambridge University Press, 2018), 166-67. Besides instances of Old English wordplay, another eyebrow-raiser pertaining to Milton’s familiarity is that the Satan of Genesis B is reminiscent of the Satan of Paradise Lost. A contemporary of Milton’s, Franciscus Junius, owned the manuscript, but Milton’s associations with him are vague. For an impressive translation of Genesis B, see Old Testament Narratives, ed. and trans. Daniel Anlezark (Cambridge: Harvard University Press, 2011), 19-65. 4 A Milton Encyclopedia, s.v. “Hebraism, Milton’s.” 9 “straddle[d] incipient science and ancient magic.”5 Hebrew etymologies, in particular, held the key, according to some scholars, to Adam’s pure, God-gifted language.6 As a sixteen-year-old schoolboy studying at St. Paul’s, Milton already possessed high fluency in both Greek and Latin, and he was starting to learn Hebrew (though Thomas Young, a tutor, might have taught him earlier).7 Languages filled Milton. At Cambridge, students were whipped or persecuted for speaking anything other than Hebrew, Latin, or Greek, and the students practiced extensive translations of one into another as a way to study the classics.8 Milton exceeded the typical education, though, by adding Aramaic and Syriac to his repertoire.9 His father, John Milton, Sr., a scrivener by trade and musician by practice, is to thank. He inspired his son’s interest in the arts and financially supported him for a good part of his life. Appropriately, Milton himself praised his father for encouraging and supporting his acquisition of Latin, Greek, Hebrew, French, and Italian (Patrem 77-85).10 Thus, years 5 Davide Del Bello, Forgotten Paths: Etymology and the Allegorical Mindset (Washington D.C.: The Catholic University of America Press, 2007), 119. 6 See Bello, Forgotten Paths, 134, and John Leonard, Naming in Paradise: Milton and the Language of Adam and Eve (Oxford: Clarendon Press, 1990), 14-20. 7 See Gordon Campbell and Thomas N. Corns, John Milton: Life, Work, and Thought (Oxford: Oxford University Press, 2010), 21, 23, and The Milton Encyclopedia, ed. Thomas N. Corns (New Haven: Yale University Press, 2012), s.v., “Hebrew.” The Hebrew Bible that Young gave him is lost. 8 See Lewalski, Life of John Milton, 20, and Hale, Milton’s Languages, 10. 9 See Hale, 7, and The Milton Encyclopedia, s.v. “languages of Milton.” 10 All quotations from Milton’s works, unless otherwise indicated, are from John Milton, Complete Poems and Major Prose, ed. Merritt Y. Hughes (Indianapolis: Hackett 10 later, while working as Secretary of Foreign Tongues (or Latin Secretary) under Oliver Cromwell, Milton had thoroughly sharpened his multilingualism. By the time he began to write Paradise Lost, Milton’s Muse sang poetry bolstered by a lifetime of study. Not only did Milton seek to be an epic poet, but he also desired to be a vates, or poet-prophet, and to defend God by clarifying for others what he believed to be God’s word.
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