What I'm setting my sights on next though is this:
This is scary for a few reasons:
- They didn't take my Loki/Satan paper the last time it was held in 2011.
- This is now where I'll be working on my PhD and I don't want to look like a fool
- This is a big deal
One of the difficulties faced when analyzing the character of Satan is the choice between the literary character or the folkloric character. Recent scholarship has addressed the idea that Milton’s characterization of Satan in Paradise Lost has become the modern concept of the devil (Knoppers and Semenza). Forsyth has in detail, addressed the origins of the character in both The Satanic Epic and The Old Enemy. However, one issue that I do not believe has received enough attention is how Milton’s characterization of Satan has more basis in folklore than in literature. One of the problems with this approach is that folklore often falls under the heading of anthropology, while the character of Satan has mainly been analyzed through literature. However, analysis of this issue quickly reveals that in Britain, the character of Satan is deeply rooted in folkloric material. Examining the folkloric roots of Milton's Satan serves to not only give us a clearer understanding of the character, and his importance in the work of Paradise Lost as a whole, but also gestures towards Milton's original intention of a national epic.
Here's the rough research plan:
- Genesis B: examination of how this characterization was based on Anglo-Saxon folklore, and how Milton appropriates it
- Medieval morality plays (Mankind, Everyman, Mary Magdalen) ---> Elizabethan Drama: how folkloric representation of Satan is forwarded mainly through dramatic representation , http://www.archive.org/stream/elizabethandram06schegoog/elizabethandram06schegoog_djvu.txt, http://scholarship.rollins.edu/cgi/viewcontent.cgi?article=1027&context=mls
- How polemics of the 1600s used the folkloric image of the devil to appeal to the people