Satanic References in Literature Depictions of the ultimate force of evil have existed for thousands of years. In Christianity, the name Satan or Lucifer has been given to define this evil, depicting him as a half human and half goat. Lucifer is fabled to exist since the beginning of time. Due to Lucifer being the representation of the most ancient evil, he is presented in many different forms in dark literature. This is shown in “Where Are You Going, Where Have You Been?” by Joyce Carol Oates, a character, Arnold Friend, and his sidekick, Ellie, reference Lucifer in both imagery and secret code. Lucifer has many false personas. This is because if Lucifer openly revealed his true character, it would be obvious for all to stay away. A false persona is also extremely present in the short story’s antagonist, known as Arnold Friend, in “Where Are You Going, Where Have You Been?”. Arnold Friend’s entire appearance is fake. The text states, “His whole face was a mask, she thought wildly, tanned down to his throat but then running out as if he’d plastered makeup on his face but had forgotten about his throat,” (Oates 7). Not only is Arnold Friend plastered in makeup in attempt to cover up his true age, he also appears to have fake …show more content…
In the Book of Revelation, Lucifer has been described as, “The great dragon was hurled down—that ancient serpent called the devil, or Satan, who leads the whole world astray. He was hurled to the earth, and his angels with him” (Revelation 12:9). The Book of Revelation illustrated Lucifer as being a serpent creature. In “Where Are You Going, Where Have You Been?”, Joyce Carol Oates wrote in reference to Arnold Friend, “That slippery friendly smile of his,” as well as, “He grinned so broadly his eyes became slits” (Oates 5). The text conveys that Arnold Friend has qualities of a serpent. This imagery hints Arnold Friend and Lucifer are the same
Not only is he a stalker, but he also alters his appearance to make him perceived as younger. He is a deceptive character with manipulative tactics. One of the biggest tactics of Arnold Friend is his deception with clothing. We can infer that he uses his clothes to make himself appear younger.
“There will be a helicopter at the top of the parking garage waiting for me. I will get in and fly to the airport where I will then put a disguise on and take a car back to the trap house,” said Lucifer. 7 “But Lucifer what are you going to do about the police at the airport they are going to have every police officer in the state of Arizona looking for you?” asked Melvin. “ I will take care of it when that time comes.”
Ar no friend, the guy she ignored at the mall. An old fiend, would in fact be Arnold himself at the mall giving her fiendish looks. And arch fiend, the latter being another name for Satan. Symbolism is also found with Ellie Oscar.
Myles Hypse February 3rd, 2017 English 1B 3:30-4:40pm Two Psychopaths Both of these stories give the reader a good look into the eyes of two psychopaths, who both refuse to take no for an answer. One of them, Arnold Friend although at first appearing friendly, is nothing more than a malicious predator, similar in kind to The Misfit, who greets his victims in a much more sinister way. The two characters, when stood side by side, almost seemed as they become one, yet are polar opposites. When one compares the character Arnold Friend to that of The Misfit, more similarities come forward than differences.
Shakespeare brings into this soliloquy a brief allusion from the bible to show the deepened emotion of Wolsey. Initially, Wolsey states “and when he falls, he falls like Lucifer,” comparing his fall to Lucifer’s. Their fall is devastating that they both will “never… hope again.” Before Lucifer's downfall, he was a magnificent being whom helped out God.
Rita Felski’s view of tragedy being the failure “to master the self and the world” is at the heart of Nella Larsen’s Quicksand and Mary Shelley’s Frankenstein. Both texts are concerned with the incapacity of defining and accepting one’s identity and the characters’ attempts to resolve this identity crisis by isolating themselves. This essay will argue that the fundamental cause for this tragedy is the lack of emotional connection from one’s family, which in turn prohibits one to sympathize with anyone, including oneself. In Quicksand, Helga Crane’s inability to become truly happy stems from her feelings of being an outsider.
In Dante’s Inferno, he writes about his journey through hell for the purpose of recognizing his sins. He goes through this journey with Virgil, a voice of reason for Dante. Dante meets people through his journey of the many circles in the Inferno that lead him down into the center of hell, where Satan is. Satan is seen as being monster-like with three heads, representing a mocking of the Trinity and blowing his wings around the cocytus river. The final thing seen here is the fact that Dante’s description of Satan is a bit disappointing compared to the other descriptions he has written about the inferno.
The face on the left was black, the color of ignorance,” (34). Lucifer is pictured as a terrifying demon to give a better
In both “The Devil and Daniel Webster and “The Devil and Tom Walker, they both came face to face with the devil. They had different strategies on how to confront the devil. In the two short stories, the resolution, the depictions of the devil, and the role of religion or the saving grace are the similar and different things. The main idea of both stories is the resolution of what had happened to Daniel and Tom.
Brandon McCormick Ms. Headley English 2013 8 December 2014 Allusions to Paradise Lost in Frankenstein In the nineteenth century gothic novel Frankenstein, Mary Shelley uses numerous allusions within her novel that can easily be interpreted by the reader. These allusions make it easier for readers to understand the characters and compare their circumstances throughout the story. The most significant and most used was from John Milton’s epic Paradise Lost. It is known that, “…Paradise Lost stands alone in the eighteenth and nineteenth centuries atop the literary hierarchy, and Milton’s epic is clearly rooted in the history of Puritanism and in the bourgeois ideal of the individual, the ‘concept of the person as a relatively autonomous self-contained
In Dante’s Inferno the reader has different views and expectations on how Satan’s appearance might look like. Those would usually picture Satan with horns and having a huge pitch fork , Actually , in Dante’s Inferno Satan looks nothing like anyone could image. Dante describes Satan and Hell the opposite of people would expect. When Dante and Virgil arrived at Circle 9 Dante notice a huge windmill at a distance. When he got closer to it he saw it was not a windmill , but it was Lucifer.
In The Mysterious Stranger, a novel by Mark Twain, three European boys meet a friendly stranger in the woods who seems to possess otherworldly capabilities. The stranger begins to make innocent objects of the boys’ choices appear out of thin air. The stranger proceeds to reveal himself as Satan, the nephew and namesake of the famous fallen angel who now resides in Hell. Through his kind demeanor, Satan manages to convince the group that he is not like his uncle. He creates his own humans out of clay and allows the boys to make some of their own before giving the clay people life.
John Milton’s epic poem Paradise Lost chronicles the temptation of Adam and Eve by the fallen archangel Lucifer. Surrounded by the idyllic Garden of Eden, the couple are provided with all the necessities to sustain the perfect life. In order to maintain this utopia, God puts forth the condition that the pair refrain from eating fruit from the Tree of Knowledge. Referred to primarily as Satan, his insidious nature interferes in the daily life of Adam and Eve; his meddling plants seeds of disobedience in the couple’s mind, enticing them to defy the orders of God. Before this betrayal, Raphael emerges in Book 5, and with God’s blessing and instruction, seeks to inform the two humans of the potential consequences of defiance.
As Louis L. Martz dictates in his piece titled, “Paradise Lost: The Realms of Light,” Satan’s descent into Hell, following banishment from Heaven, catalyzes the entrance of light and dark imagery into the novel. Satan, now barred from the, “happy Realms of Light,” recognizes his separation from his former alliance with the divine essence (qtd in Martz 72.) In his brief period of grief, Satan finds himself struggling towards the light that radiates from Heaven, signaling the presence of innate light still within the fallen being. However, this light soon becomes squandered when Satan finds it, “better to reign in Hell, than serve in Heaven,” (1.263) In his decision, the prevalence of darkness within Hell increases and eventually seeps into the secular realms created by God.
To begin his mission, Milton devoted his first book of Paradise Lost to introduce Satan along with his falling angels in Hell attempting to plan a revenge on God. So, Satan is the central figure of book 1, a figure that Milton presents with plenty of epithets and with a magnificent energy and a personal pride. To what extent did Paradise Lost present Satan as a moral agent? Given the politics of the English revolution and restoration, how precisely should we interpret Satan’s language and policy in Hell? Did the spiritual poem reveal the 17th century religious beliefs or Milton’s ones?