Many of the structures and symbols are similar. In heaven and hell there is a king and a military hierarchy of angels. In most cases, however, they the reverse of each other. In Book I, we are shown that the most prominent thing about hell is its darkness, whereas heaven is full of luminous light. As well, the fallen angels, previously glorious and beautiful, are now ugly and disfigured.
These mirror, and therefore reverse, images of heaven and hell also work on a theological level. The darkness of hell symbolizes the distance Satan and his army are from the luminous light and grace of God. Simultaneously, the rebel angels pulled away from God by their actions and are forced away by God himself, outside of all the blessings and glory that come with God's light and into the pain and suffering that comes with distance away from him. The physical corruption and disfigurement that occurs to all the fallen angels is symbolic of the corruption which has occurred in their souls.
Hell itself is described as a belching unhealthy body, whose "womb" will be torn open to expose the "ribs" of metal ore that are necessary to build Satan's temple. Natural occurrences in hell, such as the metaphor of the eclipsed sun, are symbols of natural, and therefore spiritual, decay.
Psychological motivations also work in reverse in hell. Hell is punishment for turning away from the Good, but instead of learning his lesson, Satan becomes more stubborn and more proud. While heaven is a place where all are turned toward the good and toward pleasing and obeying God, Satan makes hell a place turned away from God and turned deliberately toward displeasing him. Whereas before falling from heaven, Satan was only guilty of presuming to be greater than God (pride), now Satan has, in fact, become a creator himself. He has created evil: the direction away from God.
Other critics have examined the political implications of Milton's hell. Like Dante's hell, the characters and institutions in Milton's hell are often subtle references to political issues in Milton's day. The Temple of Satan, for example, has been thought to symbolize St. Peter's Cathedral in Rome, the "capitol" of Roman Catholicism and home of the Pope. The comparison of the glory of hell to the light of an eclipsed sun was thought to be a veiled critique of the Sun King, King Charles, who reigned during Milton's time.
A full understanding of the metaphors and images that Milton uses, however, would take more than a knowledge of his contemporary history or religious background. Describing Satan's kingdom, Milton takes from a myriad of sources, including Greek mythology and epic poetry, Egyptian and Canaanite religious traditions, the Hebrew Bible and Mishnaic texts, the New Testament and apocryphal texts, the Church Fathers, popular legends, and other theological texts.
It should be noted that, in the epic tradition, Milton is using poetry to tell his story, following most prominently the style of Homer. The work, therefore, can also be examined through the lens of poetry with an eye toward rhythm and sound. In the first sentence, Milton uses an alliteration to conduct what is referred to as a double discourse: "Of man's first disobedience, and the fruit of that forbidden tree..." Not only does the repeated "f" sound add to the aesthetic of the sentence, it connects the "f" words to present a different idea than the sentence itself is presenting. In this case, "first... fruits" are "forbidden." This double discourse, literally two sentences spoken at the same time, is repeated throughout Milton.
"Of man's first disobedience, and the fruit of that forbidden tree..."
The first impression of Satan that Milton tries to get across to the reader is of Satan’s absolute greatness: this particular quote refers to the hugeness of his spear alone, ‘To equal which the tallest pine / Hewn on Norwegian hills’, and he even states that his shield is the size of the moon. Milton uses ‘human’ terms to express the sheer size and power of Satan and his followers, the fallen angels. ‘He above the rest, / In shape and gesture proudly eminent, / Stood like a tower;’ Even though Satan is the leader of the fallen angels and of Hell, he would not be able even to think about fighting God without them, but he is still represented by Milton as a huge figure, even to the most powerful of his followers. The poet builds up Satan’s character by referring to earthly objects (‘the tallest pine’, ‘tower’) as comparisons, and he is able to use more monstrous and horrifying similes to portray this (‘bottomless perdition’, ‘penal fire’).
This also promotes the size of God, as even though Satan is of this colossal size, he was still no match for God.
