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Category: English | Posted By: Alicia | Rating: 
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'Rhetoric:1. a. The art of using language so as to persuade or influence others; the body of rules to be observed by a speaker or writer in order that he may express himself with eloquence.' What the Oxford English Dictionary's definition fails to mention, is the overwhelming power that language can have, particularly when it comes from the mouth of a fallen angel, whose intelligence seconds only God, and who possesses boundless determination. While these devils are often portrayed or associated with serpents, (stemming from Satan's form in Eden) this description is accurate in more ways than one. With slithering tongues that spit their venom into the brains of their listeners, with words sleek, smooth, and sly, their minds quick to use language that persuades and deceives. The impact that these fallen angels can have on others, as seen in Milton's epic, Paradise Lost, is often portrayed not by their appearance, but by the deceptive language they use, language that appears filled with reason, wisdom, and truth, but is truly the wickedness in its entirety. In Book II, four different devils are differentiated by the way in which they speak; how they relate their thoughts to their peers, and what words they choose to do so. Rhetoric is an immensely powerful tool, and when these devils put forth their ideas as to what the fallen angels' next move should be, they skillfully utilize language that distracts the senses and reason of their listeners, deceiving one into believing that what they have suggested is right, thereby destroying the concept of free will that Milton so strongly believed in.
Book II of Paradise Lost opens with Satan asking his fellow devils what they believe they should do next, challenge God once more, or resign to their current situation. The first of four devils to respond is Moloch, 'sceptered king,' the 'strongest and the fiercest Spirit/That fought in heav'n' (Milton II.43-44). Before Moloch has spoken, his mere presence has commanded the attention of all, his power and might shine through in simply the way he carries his person. He has grown 'fiercer by despair' (II.44) determined not to let their first defeat keep him down, determination that gives him stronger passion in his speech. His plan gets straight to the point, simple and forward, an oratory style similar to a general speaking to his troops; 'My sentence is for open war' (II.51). With Moloch's first six words, all in attendance know immediately what he suggests, and he proceeds to describe images of battle, of glory, strength and power; images such as 'Millions that stand in arms' (II.55), of how they would be 'Armed with hell flames and fury all at once' (II.61), 'Turning our tortures into horrid arms' (II.64). He is essentially rallying troops for battle, attempting to get his peers to stand and fight once more. His powerful words reflect his resolve, and his strength of mind overpowers the ears of his listeners.
Following Moloch's authoritative speech are the words of Belial, 'in act more graceful and humaneâ'¦But all was false and hollow' (II.109-112). Belial's mind is at the opposite end of Moloch's, more from slothfulness than anything else, but his 'with persuasive accent' (II.118), he is able to sway those who had previously agreed with Moloch. He artfully hides any fear or apprehension he may possess with words that flow slowly and smoothly like liquid mercury. Belial glides over his opposition to Moloch's proposal, never directly stating that he does not agree. This is the 'art and character of the rhetorician' as seen in 'Rhetoric' by Stanley Fish, and it is in fact Belial whom Fish describes at the opening of his essay. Fish addresses Belial's skill at deterring his audience from his true self and motives, how he 'draws attention to his appearance, to his surface, and the suggestion of superficiality extends to the word 'act'; i.e., that which can be seen' (Fish I). His speech is extremely wordy, using as many adjectives and images as possible, with the first sentence alone, in which he introduces his view, is a lengthy ten lines, whereas Moloch's does not span one. He approaches the issue by skirting it, asking rhetorical questions, putting forth images of the devils living in the splendors that Hell has to offer them, the enjoyment of being away from Him that cast them there. Belial makes their punishment out to be a paradise, 'with words clothed in reason's garb,/Counseled ignoble ease, and peaceful sloth,/Not peace' (II.226-227), and that if their simply bide their time, God may forgive them and allow them back into Heaven once more. His elegant language is a carefully used device, enchanting nearly all who hear him, parallel to his looks that please the eye, his words please the ear.
Belial finishes, a flourish of figurative language, and a third, Mammon, soon rises. Mammon is distinct from both Moloch and Belial, in that he is straightforward, without being commanding or deceptive. He says simply what is on his mind, using plain language and reasonable thinking, his composure mirroring his stance. His words are filled with the wisdom that he possesses, and he works his way up to what he believes is the solution, reasoning why both Moloch's and Belial's plans will not work- 'the former vain to hope argues as vain/The latter' (II.234-235). Mammon is wiser by far than either Moloch or Belial, taking time to think of not only the immediate future, but the past and present as well, pointing out that fighting another war against God will only be won 'when everlasting fate shall yield/To fickle chance, and Chaos judge the strife' (II.232-233), and that making the most of their punishment is foolish, for it would be nothing more than 'new subjection' (II.239). His thoughts are balanced, taking on the full of what is before the newly fallen angels, and he has soon gathered all to his cause. He shows humility, intelligence, merely being an advisor, suggesting what he thinks, without proclaiming it or demanding it. Whereas Moloch and Belial were unable to appeal to all who listened, Mammon's wisdom and reason inspire all who hear.
Last of all is Beelzebub, taking in all that those before him have suggested, but already knowing of the plans that Satan intends to carry out. Beelzebub essentially says what Satan would have, relaying the plan that will be carried out, but with him suggesting it, it does not seem as if Satan is dictating orders. He rises to speak, 'and in his rising seemed/A pillar of stone' (II.301-302), with a presence far outshining all that preceded him, already receiving respect that he has not had to ask for. His countenance is calm, collected, 'princely counsel in his face yet shone/Majestic though in ruin' (II.304-305), his powerful 'Atlantean shoulders fit to be/The weight of mightiest monarchies' (306-307), all setting high the expectations for what he is to say. His audience absorbs every word, first he appeals to them by complimenting their power, strength, and accomplishments, how they have come so far, and then relates as to how they shall continue in their evildoings- by destroying the new world of Man. By doing this, they will do more damage than ever could have been done in battle, and he has soon convinced all present that this is the course to be taken.
The powers of rhetoric, combined with the intelligence and cunning of a determined devil, prove fatal for Man. The gift of free will has become a curse with the fall of Eden and the first Sin. It was rhetoric that robbed Eve of her innocence, the words of Satan snaking and slithering into her pure mind, polluting it into believing what they say. Moloch, Belial, Mammon, and Beelzebub all do something similar, trying to persuade their audience that their plan is paramount, that their thoughts are better than the others'. In presenting their ideas, each of the four devils also presents himself, with the reader learning an immense amount about each from things such as their word choice, the stance they have, the ways in which they command attention, and the manner in which they speak.
Works Cited
Fish, Stanley. 'Rhetoric.' Critical Terms for Literary Study. Ed. Frank Lentricchia and
Thomas McLaughlin. Chicago: U of Chicago P, 1995.
Milton, John. Paradise Lost. Ed. Scott Elledge. New York: Norton & Company, Inc. 2nd
Edition. 1993. 32-45.
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