When Satan says “It is better to reign in hell than to serve in heaven,” he becomes a true defender of free will. He opposed what he saw as a tyrannical leader, lost, and reemerges as a classic tragic hero reminiscent of Odysseus. Sir Walter Raleigh compares Satan to Prometheus, while adding that his "fearless antagonism to Omnipotence makes him either a fool or a hero." With the proliferation of copies of Paradise Lost over the centuries, Satan emerges as the epic's key character. The fascination lies in her charming oratory skills and beauty, juxtaposed with an uncanny ability to awaken pathos in the reader. Satan's place as a character in Paradise Lost is the great debate going on. Is he a tragic hero? Is he an irredeemable villain? Is it a farce of political power? Book I seems to establish him as a tragic hero, with an in media res beginning, an invocation of the Muse and following the conventions of an epic poem. However, Book II begins in a decidedly political context, perhaps highlighting Milton's own political position, as he was in hiding for supporting a republican revolution even after the Restoration. Through a series of carefully designed devices, Milton writes a sophisticated Machiavellian political speech, alluding to the flaws of the monarchy. It is worth noting, however, that Milton, as narrator, skillfully dismantles his charisma, leaving the reader somewhat confused as to his overall feelings. Say no to plagiarism. Get a tailor-made essay on “Why Violent Video Games Should Not Be Banned”? Get an original essay The rhythm of the passage is woven into a powerful political opening by playing with alliteration, assonance, or enjambment, resulting in a pushing motion and drawing listeners in. Milton's alternation of assonance and alliteration creates a wave-like movement, alternating energy levels in the passage. His use of “O” sounds, for example, has an elongated and soothing effect, almost hypnotic. “For since none of the depths of its chasm can contain/An immortal vigor, though oppressed and fallen” (II.11-12), highlights this legato and brings out a strange quality in the text. This juxtaposition to the staccato alliteration makes for a striking contrast. When Milton writes "Satan exalted seated, lifted up by merit" (II.5), this is the first severe break in the rhythm of the passage, with a slightly more jovial tone, perhaps suggesting a childish disposition. Narrative form and blank verse are particularly appropriate for speech patterns, as they translate naturally into oral recitation. The enjambments accelerate the tempo, causing the iambic pentameter to overflow into the following verse. “[…] From this descent/The ascending celestial virtues will appear” (II.14-15) does not stop after the first verse, but goes from the depths to with these fallen angels directly in a message of hope. the use of repetition centers on the idea of ​​"rising" from the depths to which they have fallen, emphasizing Satan more as a demagogue, motivating his troops, rather than as a previously established tragic hero. The narrator repeats certain words in close groups, emphasizing their thematic importance in the story. Before Satan's speech, the narrator uses the word "high" three times in ten opening lines. It is interesting to note that when he speaks "So high beyond hope aspires / Beyond so high, insatiable to pursue" (II.12-13), it seems impossible not to register a tone deep irony. It reminds the reader of the reality of the situation, drawing attention to the fact that