In opposition to the Holy Trinity (God the Father, God the Son and God the Holy Spirit), Paradise Lost explores the strange relationship between Satan, sin and death. .Say no to plagiarism. Get a tailor-made essay on “Why Violent Video Games Should Not Be Banned”? Get the original essay Milton's revisitation of the "infernal trinity" in Book X casts a dark shadow over the recently established sense of hope for humanity. The sinister depiction of Death, in particular, indicates the seriousness of the error committed by Adam and Eve. But unlike the explicitly "grotesque" depiction of sin and death in Book II, Milton here seeks to create a much more disturbing atmosphere through the adulations that sin inflicts on Satan. Furthermore, the fact that Satan presents himself as a “heroic” figure for having caused the fall of man gives the poem a distinctly disturbing side. The punishments Adam and Eve received for their disobedience to God were certainly not insignificant. Eve is obliged to always submit to her husband and endure the pains of childbirth, while Adam must “eat the grass of the field” and work the land tirelessly. But in a typically Christian way, the Son then shows some compassion for the unfortunate couple. He assumes the role of their “servant” and clothes their “outer” and “inner” nakedness using animal skins and his metaphorical “robe of righteousness.” Milton draws a clear parallel here with Jesus washing his disciples' feet in the Bible; the Son is described as never too proud to serve those beneath him. Evans notes how this act of kindness is reinforced when Adam and Eve are described as the Son's "enemies" because, in fact, they "made his suffering necessary." A momentary impression of calm therefore prevails, the Son having “soothed/All” by his “gentle intercession”. It seems hard 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 cross-view" as representative of the imagery of "conflict" that will henceforth dominate the poem. The depiction of a “scandalous flame” issuing from the mouth of hell is almost needlessly fierce. Yet in his speech to Death, Sin's tone becomes subtly disconcerting rather than overtly fierce. His description of Satan as a “great author” presents him as their parent and creator. This reverses the traditional understanding of God as the great “Creator” of the entire universe. Additionally, her use of the phrase "dear offspring" in relation to herself and Death not only highlights how twisted they are as a "family" (Sin is also Death's mother), but also how distorted their perception of themselves is. Sin is convinced that Satan's absence can only be due to his continued "success" in Eden, so she feels "strength in his ascension" and "the wings grow." Evans reflects that "throughout the poem, flight is a symbol of aspiration", but in a post-lapsarian world, Sin's awareness of her "dominion" is not simply a desire, but rather a reality. This is emphasized when she refers to the "infernal trinity" as a "powerful connatural force"; their strength is seemingly innate and deeply rooted. She therefore believes she shares a sort of telepathy with Satan and feels with him. His link with Death is of a different nature but just as “inseparable”. This contrasts with their tenuous relationship in Book II where Death wants to eat Sin, but she warns him that she "would prove a bitter morsel and his scourge". Nothing in this passage borders on the same “grotesque” behavior. However, the sense of triumph that develops in Sin's speech arguably has more serious implications for Adam and Eve. She insists that they attempt "adventurous work" and build a bridge to connect Hell to Earth. As Eden became a monument to original sin, this bridge would later become "a monument/of merit" to their success - the use of the word "merit" here is deliberately perverted. She envisages a constant procession of traffic on this route; an image that undoubtedly sends shivers down your spine. Satan is depicted as a magnet that attracts and directs his "instinct", leaving him no choice but to submit. In light of this proposition, Milton's portrayal of Death inevitably becomes horrific and he is reduced to a barbaric monster. Satan has completed the task of bringing about the downfall of humanity and Sin will now begin building a bridge between Hell and Earth. But Death remains completely unsatisfied and it is only now that his role within the "infernal trinity" really begins to come into play. His senses are on alert and he draws in the "smells" of "carnage" and " countless prey", even if the Earth remains relatively sparsely populated. He insists he could never “get it wrong.” The path” because he fully relishes the opportunity to “taste the taste of death”. Milton underlines the immense anticipation of Death with the oxymoron “living carcasses”; every creature is seen as purely meat and bones. They are indeed destined to die and that is why Death's appetite has been so whetted. Her hungry excitement is almost an inversion of Eve's desire to eat the apple from the tree of knowledge. So he and Sin venture into the “chaos,” while his wide nostrils are still “turned toward the troubled air.” Armed with a “petrifying mace,” he assumes the role of a ruthless warrior charging into battle. But Milton's earlier illustration of Death as a "meager shadow" of Sin draws attention to its transparency and haunting 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 hitherto been largely characteristic of the "infernal trinity." As in Sin's opening speech on Death in Book X, there emerges a disturbing notion of joy and triumph in Satan's heroism. Furthermore, the parallels that Sin decides to establish between the structures of Heaven and Hell give the impression of a bad foreboding. Yet Milton is also keen to emphasize Satan's relief at his return; for ultimately he was afraid of the wrath of God while he was still in the Garden of Eden. The enjambment in “The Son of God to judge them in terror.” He fled” makes ambiguous the question of whether Satan was as “terrified” as Adam and Eve. But we can assume that his “guilty” fear pushed him to flee quickly. This reaffirms the idea that God will always have the last word despite Satan's successful attacks on Creation. Through the eyes of Satan, Milton alerts us to the “wonderful bridge” that has now been built between Hell and Earth. As he turns to meet "his enchanting stepdaughter/daughter", there is a serious sense of irony in that we know that Sin is a severely deformed creature. She praises the “magnificent deeds” he orchestrated and the “trophies” he won could even refer to Adam and Eve. She gives him all the credit for achieving their “freedom” and giving them the means to build the “Omen Bridge.” Evans emphasizes the skill with which.”