When Satan says “Better to reign in Hell than serve in Heaven,” he becomes a true free will advocate. He went against what he saw as a tyrannical leader, lost, and reemerged as a classical tragic hero reminiscent of the likes of Odysseus. Sir Walter Raleigh compares Satan to Prometheus, adding, however, that his "dauntless 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 main character of the Epic. The appeal lies in her mesmerizing oratory skills and beauty, juxtaposed with an uncanny ability to awaken pathos in the reader. Satan's role as a character in Paradise Lost is the great ongoing debate. Is he a tragic hero? Is he an irredeemable villain? Is it a farce of political power? Book I seems to present him as a tragic hero, beginning in media res, invoking the Muse, and following the conventions of an epic poem. Book II, however, begins with a decidedly political setting, perhaps highlighting Milton's political stance, as he went into hiding to support a republican revolution even after the Restoration. Through a series of carefully crafted devices, Milton writes a sophisticated Machiavellian political speech, alluding to the flaws of monarchy. It should be noted, however, that Milton, as the narrator, skillfully dismantles his charisma, leaving the reader somewhat confused about his overall feelings. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an original essay The rhythm of the song is woven into a powerful political opening by playing with alliteration, assonance or enjambment, resulting in a thrusting movement and attracting listeners. Milton's alternation of assonance and alliteration creates an undulating motion, alternating energy levels in the passage. His use of "O" sounds, for example, has a lengthening and calming, almost hypnotic effect. “For no depth in its abyss can contain / Immortal vigor, though oppressed and fallen,” (II.11-12) , showcases this legacy and brings out a haunting quality in the text. This juxtaposition to the staccato alliteration is a stark contrast. When Milton writes "Satan exalted sat, by merit raised" (II.5), this is the first serious break in the rhythm of the passage, which has a slightly more jovial tone, perhaps suggesting a childish disposition. Narrative and blank verse forms are particularly appropriate for language models, as they translate naturally into oral recitation. The enjambements speed up the tempo, overflowing the iambic pentameter into the next line. “[…] From this descent / The Celestial Virtues will appear,” (II.14-15) do not stop after the first line, but go from the depths until these angels have fallen directly into a message of hope. the use of repetition centers on the idea of ​​"rising back" from the depths to which they have fallen, emphasizing Satan more as a demagogue, motivating his troops, rather than the previously established tragic hero. The narrator repeats some words in closed groups, underlining their thematic importance in the narrative. Before Satan's speech, the narrator uses the word “high” three times in ten opening lines. It is interesting to note that as he speaks “So high, elevated beyond hope, aspires/ Above so high, insatiable to pursue” (II.12-13), it seems impossible not to register a tone of profound irony. It reminds the reader of the reality of the situation, drawing attention to the fact that Satan does not seem shaken by his colossal defeat. He's making fun of Lucifer's childish attitude