Critical Note on the Significance of Sin and Death in “Paradise Lost Book II”.

Milton found inspiration for the figures of Sin and Death in a Biblical passage. He gives us a horrible description of both Sin and Death. The allegorical figures of Sin and Death occur when Satan reaches the gates of Hell which he finds guarded by these two monstrous figure. Milton develops his elaborate allegory personifying Sin and Death with a wealth of detail.

Significance of Sin and Death:

Sin is part woman, part serpent with a number of barking dogs. Death is a shadowy monarch who wields a dreadful dart. Milton has painted both of them with lurid colours, specially their origin.

Sin describes how she sprang fully grown from the brow of Satan at the moment of his rebellion in Heaven. Satan has an incestuous relationship with her. She is mistress as well as daughter and from this union is born Death.

The incestuous relationship continues with Death becoming the love of his parent. His progeny are the yelling monsters that continuously torment their mother. Through the allegory of Sin and Death, poet emphasize the manner in which evil turns back on itself, endlessly repeating the same sterile and self-destructive acts.

Satan's encounter with Sin and Death at the hell-gate is necessary in order to evaluate its significance in the poem. When Satan and the monster Death stand facing each other, ready to fight, Sin intervenes with a hideous outcry. She stops both of them from at tacking each other, telling Satan that he is the father of the shape. She also says to Death that he is the son of Satan. She tells Death that God who sits above in Heaven must be laughing at the folly of Death in trying to attack his own father. It is in this way that Sin succeeds in averting the deadly combat which was about to take place between Satan and the monster Death.

The encounter of Satan with Sin and Death stands out as the most frightful in the whole of book II of Paradise Lost. Hell is the permanent abode of the angels. The presence of Sin and Death of the gates of Hell makes this region even more frightening.

The figure of Sin as drawn by Milton is noted for the poetic power to describe ugliness and hideousness with great effectiveness. Sin is hideous enough. The poet has created a female character to represent Sin one can rightly call it Million's masterpiece of filth.

Sin and Death are among the most important participants in the central action of Paradise Lost. It presents man's first sin which is believed to have brought Death into the world. The incestuous relationship and the fantastic outcome are morally most repulsive and repugnant. The whole episode has a very strong and unmistakable moral purpose.

Milton found inspiration for the figures of Sin and Death in a Biblical passage. He gives us a horrible description of both Sin and Death. The allegorical figures of Sin and Death occur when Satan reaches the gates of Hell which he finds guarded by these two monstrous figure. Milton develops his elaborate allegory personifying Sin and Death with a wealth of detail.

Significance of Sin and Death:

Sin is part woman, part serpent with a number of barking dogs. Death is a shadowy monarch who wields a dreadful dart. Milton has painted both of them with lurid colours, specially their origin.

Sin describes how she sprang fully grown from the brow of Satan at the moment of his rebellion in Heaven. Satan has an incestuous relationship with her. She is mistress as well as daughter and from this union is born Death.

The incestuous relationship continues with Death becoming the love of his parent. His progeny are the yelling monsters that continuously torment their mother. Through the allegory of Sin and Death, poet emphasize the manner in which evil turns back on itself, endlessly repeating the same sterile and self-destructive acts.

Satan's encounter with Sin and Death at the hell-gate is necessary in order to evaluate its significance in the poem. When Satan and the monster Death stand facing each other, ready to fight, Sin intervenes with a hideous outcry. She stops both of them from at tacking each other, telling Satan that he is the father of the shape. She also says to Death that he is the son of Satan. She tells Death that God who sits above in Heaven must be laughing at the folly of Death in trying to attack his own father. It is in this way that Sin succeeds in averting the deadly combat which was about to take place between Satan and the monster Death.

The encounter of Satan with Sin and Death stands out as the most frightful in the whole of book II of Paradise Lost. Hell is the permanent abode of the angels. The presence of Sin and Death of the gates of Hell makes this region even more frightening.

The figure of Sin as drawn by Milton is noted for the poetic power to describe ugliness and hideousness with great effectiveness. Sin is hideous enough. The poet has created a female character to represent Sin one can rightly call it Million's masterpiece of filth.

Sin and Death are among the most important participants in the central action of Paradise Lost. It presents man's first sin which is believed to have brought Death into the world. The incestuous relationship and the fantastic outcome are morally most repulsive and repugnant. The whole episode has a very strong and unmistakable moral purpose.