In opposition to the Holy Trinity (God the Father, God the Son, and God the Holy Spirit), Paradise Lost explores the mysterious relationship between Satan, sin, and death. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an Original Essay Milton's retelling of the "infernal trinity" in Book X casts a dark shadow over humanity's recently established sense of hope. The dark representation of Death, in particular, indicates how serious the mistake committed by Adam and Eve is. But in contrast to the explicitly “grotesque” depiction of Sin and Death in Book II, Milton here tries to create a much more disturbing atmosphere through the flattery that Sin showers on Satan. Furthermore, the fact that Satan presents himself as a "heroic" figure to induce the fall of man gives the poem a decidedly disturbing aspect. The punishments that Adam and Eve receive for their disobedience to God are certainly not trivial. Eve is forced to always submit to her husband and endure the pains of childbirth, while Adam is told that he must "eat the grass of the field" and tirelessly work the land. But in a typically Christian way, the Son then shows some compassion for the unfortunate spouses. He assumes the role of their “servant” and dresses both their “outer” and “inner” nakedness using animal skins and his metaphorical “garment of justice.” Milton draws a clear parallel here with Jesus washing the feet of his disciples in the Bible; the Son is portrayed as never too proud to serve those under him. Evans notes how this act of kindness is reinforced when Adam and Eve are described as “enemies” of the Son because they effectively “made his suffering necessary.” A momentary impression of calm therefore prevails with the Son who has "appeased/Everything" through his "sweet intercession". It seems difficult to deny, however, that Milton's juxtaposition of this scene with a return to the “gates of hell” leaves the reader uneasy. Evans reflects on sin and death sitting “In countervision” as representative of the imagery of “conflict” that will now dominate the poem. The depiction of a “dreadful flame erupting” from the mouth of hell is almost needlessly ferocious. Yet, in his speech to Death, Sin's tone becomes subtly disconcerting rather than overtly ferocious. His description of Satan as a “great author” announces him as their parent and creator. This reverses the traditional understanding of God as the one great “Creator” of the entire universe. Furthermore, her use of the phrase “dear son” in relation to herself and Death not only highlights how twisted a “family” they are (Sin is also Death's mother), but to what extent their self-perception themselves is distorted. Sin is convinced that Satan's absence can only be due to his continued "success" in Eden, so she feels "strength in his ascent" and "wings growing." Evans reflects that “throughout the poem flight is a symbol of aspiration,” but in a post-lapsarian world Sin's awareness of his “mastery” is not simply a desire, rather it is a reality. This is accentuated when he refers to the “infernal trinity” as a “Mighty connatural force”; their strength is apparently innate and rooted. He therefore believes he shares a sort of telepathy with Satan and feels with him. His bond with Death is of a different nature but equally "Inseparable". This contrasts with their tenuous relationship in Book II, where Death wants to eat sin, but she warns him that "it would prove a bitter pill and his ruin." Nothing in this passage borders on the same “grotesque” behavior. However, the growingsense of triumph in Sin's speech probably has more serious implications for Adam and Eve. He insists that they attempt "adventure work" and build a bridge to connect Hell with Earth. Since Eden became a monument to original sin, this bridge will later become "a monument/of merit" for their success: the use of the word "merit" here is deliberately perverted. She expects a constant procession of traffic along this route; an undoubtedly chilling image. Satan is portrayed as a magnet that attracts and directs her "instinct", leaving her no choice but to submit. In light of this proposition, Milton's way of representing Death inevitably becomes gruesome and he is reduced to a barbaric monster. Satan has completed the task of bringing about the fall of humanity and Sin will now undertake the construction of a bridge between Hell and Earth. But Death is still entirely dissatisfied and only now does his role within the “infernal trinity” truly begin to come into play. His senses are alerted and he draws "perfume" from the "carnage" and "countless prey", even if the Earth remains relatively depopulated. He insists he could never “err”. The way” because he greatly appreciates the opportunity to “taste the taste of death”. Milton underlines the immense expectation of Death with the oxymoron "living carcasses"; every creature is perceived as purely flesh and blood. They are, in fact, destined to die and that is why Death's appetite has been so awakened. His hungry excitement is almost an inversion of Eve's desire to eat the apple from the tree of knowledge. Thus, he and Sin venture into the “chaos,” while his wide nostrils are still “turned up” toward the “murky air.” Armed with a “petrified mace” he takes on the role of a ruthless warrior entering battle. But Milton's earlier illustration of Death as a “dim shadow” of Sin draws attention to its transparency and disturbing presence. It is inextricably linked to Sin both metaphorically and theologically. Satan's return to Hell and his subsequent dialogue with Sin do not embody the "grotesque" imagery that has so far been largely characteristic of the "infernal trinity". As in the opening speech of Sin alla Morte in Book X, a disturbing idea of ​​joy and triumph in Satan's heroism emerges. Furthermore, the parallels that Sin decides to draw between the structures of Heaven and Hell give the impression of foretelling evil. Yet Milton also wishes to highlight Satan's relief at his return home; for he was ultimately afraid of God's wrath while still in the Garden of Eden. The enjambment in “The Son of God to judge them terrified. He Fleed” makes it ambiguous that Satan was as “terrified” as Adam and Eve. But his fear of “guilt” is alleged to have led to his quick exit. This reaffirms the idea that God will always have the final say despite Satan's successful attacks on Creation. Through the eyes of Satan, Milton warns us of the “wonderful bridge” that has now been built between Hell and Earth. As he turns to meet “his beautiful/enchanting daughter” there is a grave sense of irony in the fact that we know Sin is a severely deformed creature. He praises the “magnificent deeds” he orchestrated and the “trophies” he won might even refer to Adam and Eve. He gives him all the credit for achieving their “freedom” and giving them the power to build the “wonderful bridge.” Evans highlights the skill with which Sin delivers his speech, including much "high-sounding diction" that appears to mask its inherently sinister content. The repetition of “your virtue” and “your wisdom” suggests that there is no end to Satan's talents. So far.”