• Skip to primary navigation
  • Skip to main content
  • Skip to primary sidebar

Early British Survey

  • Early British Literature
  • Gender and Sexuality
    • Key Terms on Queer Themes in the Middle Ages
      • Queer Torture in the Middle Ages and Beowulf
      • Queer Acceptance in the Middle Ages and Sir Gawain and The Green Knight
    • Eve: More Than Just the First Woman
      • Eve: A Rebel in Paradise
      • Eve: The First Queer Woman
    • Gendered Betrayal in Medieval Arthurian Myths
      • Forbidden Love’s Betrayal
      • Punishments of Treason
    • Magic and Femininity
      • Magic and Femininity in Sir Gawain and the Green Knight
      • Magic and Femininity in The Faerie Queene
    • Magic and Gender in Arthurian Romance Poetry
      • Magic and Gender in “Lanval”
      • Magic and Gender in “Sir Gawain and the Green Knight”
    • 50 Shades of Courtly Love
      • Dominator in Love and Life
      • The Hue of Female Power
    • Adultery in the Middle Ages
      • Adultery in “Lanval”
      • Adultery in “Sir Gawain and the Green Knight”
    • Representations Of Femininity In Morality Plays
      • Femininity In Everyman
      • Femininity In Doctor Faustus
    • Monsters and Women
      • BEOWULF AND GRENDELS’ MOTHER
      • Satan and Sin
  • Politics, Power, and Economics
    • Shifting of Political and Economic Structures
      • Feudalism in Gawain and the Green Knight
      • Paradise Lost and Tracing the Fall of Feudalism
    • Knighthood in the Middle Ages
      • knighthood in “Lanval”
      • Knighthood in “Sir Gawain and the Green Knight”
    • The Divine Right to Rule: Past Perceptions of Monarchy
      • Sir Gawain and the Green Knight: A Condescending Commentary on the Monarchy?
      • The Faerie Queene: Spenser’s Ode To Queen Elizabeth I
    • Chivalry & Identity in Early Brit Lit
      • Chivalry in Sir Gawain and the Green Knight: the Establishing of a Literary British Identity
      • Chivalry in the Faerie Queen: Continuing to Establish British Identity
  • Religion
    • GOD: Humanity’s Most Influential Literary Figure
      • My Pain, Your Pain, His Gain: What God Means to Margery Kempe and Julian of Norwich
      • Respect My Authority: How God Rules Over Creation in Everyman & Paradise Lost
    • Imitatio Christi: How Doctor Faustus and Everyman Mimic Jesus through Suffering
      • Imitatio Christi: How Antagonists Mimic Christ
      • Imitatio Christi: Satan as a Jesus Figure
    • Depictions of the Devil in British Literature
      • Faustus: To Laugh Is To Be Against Evil
      • The Devil As Sympathetic: Human Qualities in Paradise Lost
    • Representations of Hell
      • Hell in Beowulf
      • Paradise Lost’s Liquid Hell
    • Medieval Mysticism: A Space For Women’s Authority
      • Julian of Norwich
      • Margery Kempe
    • God, Literature, and Religious Denomination in a Changing Christendom
      • Mysticism and Miracle in Catholic Europe
      • The Reformation and the “Intellectualization” of God
  • Nature and Culture
    • The Environment from the Middle Ages to Early Modern Period
      • Environment in Paradise Lost
      • Environment in Sir Gawain and Utopia
    • Kissing in Medieval Literature- Brooke Zimmerle
      • Kissing in Sir Gawain and the Green Knight
      • Kissing in Margery Kempe
    • Medieval and Early Modern Feasts
      • Feasts in Sir Gawain
      • “Meals in common”: Utopian Dining
    • Ars Moriendi and the Early Modern Period
      • Authors’ Views on Ars Moriendi
      • Ars Moriendi in Everyman
    • Games Medievalists Play
      • Beowulf’s Game: Battle
      • Sir Gawain’s Game: A Courtly Dare
  • Literary Concerns
    • A Brief History of Allegorical Literature
      • Allegory in the Middle Ages
      • 16th vs. 21st Century Allegory
    • Allegory in the Middle Ages and the 18th Century
      • Allegory in Everyman- pg3
      • Allegory Defined
    • Female Readership in the Middle Ages
      • Parenting Through Books
      • Julian of Norwich
    • Heroes of Epic British Literature
      • Beowulf as a Hero
      • Satan as a Hero – Paradise Lost
    • The Role of the Translator
      • Fixers and Their Roles in Translations of Medieval Texts
      • Translations and How They Change the Meaning of Medieval Texts
    • The Self in 15th and 16th Century Dramatic Literature
      • The Self in Everyman
      • The Self in Faustus

Eve: A Rebel in Paradise

By: Morgan Gerlach

William Blake, English, 1757-1827, European; British; English. The Temptation and Fall of Eve (Illustration to Milton’s “Paradise Lost”). 1808. Artstor, library.artstor.org/asset/AMICO_BOSTON_103840788

Very specific expectations were put on Eve, and she subverted many of them in Paradise Lost, beyond showing attraction to women (which is discussed in Eve as a Queer Woman)

With Adam commonly referred to as the first human, and Eve the second, it would make sense to hear the narrative of Adam first. Milton instead continues to redirect tradition, and Eve’s narrative is told first. Adam’s narrative doesn’t enter until he enters in Eve’s story well into book IV. This puts Eve in the position of giving her own account, an opportunity she (and many other women) are not offered. We get to hear her tale directly from her, as opposed to the removed perspective of how it is told in the Bible, or as adjacent to Adam’s story. Eve asserts herself into the narrative, instead of letting it unfold and be dictated by outsiders. Simply in the way that Milton laid out the narrative, he portrays Eve as a woman who is asserting herself into the narrative, which diverges from both many of the writings of the time and the Catholic canon.

Even if you do not agree that Milton’s Eve was sapphic (as I suggest in my other page), we do see her resisting her forced match with Adam. She has to be drawn to him and attempts to leave him upon first meeting. This is not what is supposed to happen. While she does inevitably end up with him, she resists initial efforts to the best of her ability. In doing so, she pushes back against the nature of her own creation and the life that has been laid out for her by outside forces.

On the fateful day in which she takes a bite of the forbidden apple, she pushes Adam to have them work separately, despite the dangers. In this act, she both enforces her independence from Adam and asserts her individual strength. They argue at lengths whether to work separately or together, and Eve eventually wins with her resistance.

So spake the partriarch of mankind, But Eve/Persisted, yet submiss, though last replied:/’With thy permission then, and thus forewarned…The willinger I go, nor emuch expect/A foe so proud will first the weaker seek;/So bent, the more shall shame him his repulse”/Thus saying, from her husband’s hand her hand/Soft she withdrew”

Book IX, 376-386

She is expected to obey the “patriarch of mankind,” yet pushes back against his wishes, and receives only his unwilling approval, and continues to push her point. She leaves with the last word on the subject, not allowing him to further assert his power over her.

When she is inevitably tempted by Satan, she is convinced by her logic, not her naivete or foolishness (as Adam believes will happen). When talking with Satan as the snake, she realizes she can consume the apple without dying, contrary to what was implied by Raphael to Adam, and that it potentially offers great power, it seems to be a clear choice to partake of the apple. “Fixed on the fruit she gazed, which to behold/Might tempt alone, and in her ears the sound/Yet rung of his persuasive words, impregned/With reason” (IX, 735-738). She is ultimately persuaded by reason and logical thought. If the apples will give her power and knowledge, why should she not partake?

Milton appears to have created an Eve that is assertive, logical, and pushes for autonomy, ultimately rebelling against the expectations put upon her. It is unclear whether this was intentional or not. His writing is clearly misogynistic and sexist throughout this text and others, and his stance on the act of rebellion as a whole seems inconsistent. It is said that “Milton found himself vehemently justifying political revolt, while simultaneously scrutinizing and combatting in some of its more ambiguous forms” (Loewenstein). This rebellion of Eve’s is absolutely ambiguous. Satan is the protagonist of Paradise Lost, rebelling against the (arguably) political agenda of God. Eve is rebelling in the way that she uniquely can: in her daily life, against what is expected of her. These are two very different kinds of rebellion, and Eve seems to fall in the disapproved category of rebellion. Milton “heatedly engaged in rebellion as a fierce supporter of regicide, he was also deeply anxious about other forms of it” (Loewenstein). Eve is still ultimately punished for consuming the apple as in the Biblical canon, perhaps suggesting that her actions were not right. However, unintentionally, Milton wrote an Eve that serves as a prime example for everyday rebellion against forced patriarchy or power structure.

Milton, John. Paradise Lost. The Norton Anthology of English Literature: The Sixtennth Century The Early Seventeenth Century, edited by Stephen Greenblatt,W. W. Norton & Company, 2018, 1493-1727.
Loewenstein, David. “‘An Ambiguous Monster’: Representing Rebellion in 
Milton's Polemics and ‘Paradise Lost.’” Huntington Library Quarterly, vol. 55, no. 2, 1992, pp. 295–315. JSTOR, www.jstor.org/stable/3817560.

Primary Sidebar

Recent Posts

  • Hello world!

Recent Comments

  • A WordPress Commenter on Hello world!

Archives

  • August 2019

Categories

  • Uncategorized

Meta

  • Log in
  • Entries feed
  • Comments feed
  • WordPress.org

Copyright © 2025 · News Pro with Full Header on Genesis Framework · WordPress · Log in