Satan Absolved: A Victorian Mystery — Reading Notes
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The source record for Satan Absolved: A Victorian Mystery — Reading Notes measures this digital text at 15,279 words, 1 hr 7 min estimated reading time, and 2 detected text sections.
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Else were Creation mocked--and haply I not God. In sooth all's well with the World. And thou my Raphael, How fare the Spirit hosts? Say, is _thy_ world, too, well?
All's well with the World. We stand, as aye, obedient. We have no thought but Thee, no asking, no intent More than to laud and worship, O most merciful, Being of those that wait.
The contemplative rule Out-ministers the active. These have right to boast, Who stand aye in His presence, beyond the Angel host.
And none of ye grow weary?
God is a jealous God. He doubteth Thee.
Nay, none. We are not as the Angels.
These have their devoirs, The search, the novelty. Ye drowse here in your choirs, Sleep-walkers all,--while these, glad messengers, go forth Upon new joyous errands, Earthwards, South and North, To visit men and cities. What is strange as Man? What fair as his green Globe in all Creation's plan? What ordered as his march of life, of mind, of will? What subtle as his conscience set at grips with ill? Their service needs no sleep who guide Man's destinies. Speak, Gabriel, thou the last. Is Man grown grand and wise? Hath he his place on Earth, prince of Time's fashionings, Noblest and fairest found, the roof and crown of things? Is the World joyful all in his most perfect joy? Hath the good triumphed, tell, o'er pain and Time's annoy, Since Our Son died, who taught the way of perfect peace? Thou knowest it how I love these dear Humanities. Is all quite well with Man?
All's well with the World, ay well. All's well enough with Man.
How meanest thou "enough"? Man holdeth then Earth's seat, Master of living things. He mild is and discreet, Supreme in My Son's peace. The Earth is comforted With its long rest from toil, nor goeth aught in dread, Seeing all wars have ceased, the mad wars of old time. The lion and the lamb lie down in every clime. There is no strife for gold, for place, for dignities, All holding My Son's creed! The last fool hath grown wise. He hath renounced his gods, the things of wood and stone!
The Christian name prevaileth. Its dominion Groweth in all the lands. From Candia to Cathay The fear of Christ is spread, and wide through Africa.
The fear and not the love?
Who knoweth Man's heart? All bow, And all proclaim His might. The manner and the how It were less safe to argue, since some frailties be. We take the outward act to prove conformity. All's well enough with Man--most well with Christendom.
Again thou sayest "enough." How fareth it in Rome? Hath My vicegerent rest?
He sitteth as of old Enthroned in Peter's chair with glories manifold. He sang a mass this morning and I heard his prayer.
And were the monarchs there, The great ones in their place? Did all pray with one breath?
Some priests and poor I saw,
The poor he always hath.
His guards, his chamberlains.
The mighty ones, the proud, Do they not kneel together daily in one crowd? Have they no common counsel?
Kings have their own needs, Demanding separate service.
Ay, and their own creeds. One cause alone combines them, and one service--mine.
We did redeem his line And crown him with new worship. In the ancient days His was a stubborn neck. But now he hath found grace, Being born anew. His gods he hath renounced, sayest thou? He worshippeth the Christ? What more?
Nay, 'tis enow. He is justified by faith. He hath no fear of Hell Since he hath won Thy grace. All's well with Man,--most well.
"All's well"! The fair phrase wearieth. It hath a new false ring. Truce, Gabriel, to thy word fence. Mark my questioning. Or rather no--not thou, blest Angel of all good, Herald of God's glad tidings to a world subdued, Thou lover tried of Man. I will not question thee, Lest I should tempt too sore and thou lie cravenly. Is there no other here, no drudge, to do that task And lay the secret bare, the face behind the mask? One with a soul less white, who loveth less, nay hates; One fit for a sad part, the Devil's advocate's; One who some wrong hath done, or hath been o'erborne of ill, And so hath his tongue loosed? O for Soul with will! O for one hour of Satan!
He is here, Lord God, Ready to speak all truths to Thy face, even "Ichabod, Thy glory is departed," were _that_ truth.
A suppliant for Thy pardon, and in love, not fear, One who Thou knowest doth love Thee, ay, and more than these.
That word was Peter's once.
Wilfrid Scawen Blunt's Satan Absolved: A Victorian Mystery (1899) opens with a preface that sets an accusatory tone, targeting the 'hypocrisy and all-acquiring greed of modern England.' The poem itself is a dramatic dialogue between Satan and the Lord God, where Satan—far from the traditional tempter—argues that humanity, particularly the Anglo-Saxon race, has outdone hell in cruelty and destruction. Blunt adopts a six-foot Alexandrine couplet, a metre he defends in the preface as more flexible for rhetorical and dramatic purposes than English heroic verse. The excerpts show a work that is less a mystery play in the medieval sense and more a polemical satire couched in theological language.
A Preface as Manifesto
Blunt's preface is not a conventional author's note but a direct attack on Victorian civilization. He apologizes not for his subject but for the 'plain speaking' that may offend those who equate 'Nineteenth Century Civilisation' with Christianity. He singles out the Anglo-Saxon race for 'exterminat[ing], root and branch, whole tribes of mankind' and destroying species 'for his insatiable lust of violent adventure.' The preface frames the poem as a deliberate provocation, naming Herbert Spencer as dedicatee—a choice that signals Blunt's alignment with evolutionary thought against religious orthodoxy. The language is unsparing: 'the destruction of beauty in the name of science, the destruction of happiness in the name of progress, the destruction of reverence in the name of religion.' This is not a neutral introduction but a call to read the poem as a jeremiad.
Satan as Reluctant Accuser
In the poetic dialogue, Satan is cast not as rebel but as reluctant truth-teller. He describes the Anglo-Saxon as 'the master wolf of all,' tracing a lineage of violence from Goths to 'the Sassenach.' The Lord God warns Satan that his 'tongue hath a wide license, yet it runneth far,' but Satan persists, detailing how the angels now fear the Englishman's 'long success, his victory over good.' The poem inverts the expected moral order: Satan exposes human hypocrisy, while God appears distant, 'in Thy long sleep profound.' Blunt uses the Alexandrine couplet to create a rolling, incantatory rhythm that suits the rhetorical thrust. The exchanges are less dramatic conflict than a series of accusations, with Satan serving as Blunt's mouthpiece for a critique of empire, commerce, and environmental devastation.
Meter and Structure as Argument
Blunt's choice of the Alexandrine couplet is itself a statement. In the preface, he argues that this French metre is 'infinitely preferable' to the English heroic couplet for 'rhetorical and dramatic purposes.' The excerpts show how the long lines allow for cumulative lists and parallel clauses—'Death, fire in his right hand'—that build a sense of relentless indictment. The poem's structure, with Satan and God as interlocutors, echoes Milton but subverts it: here, Satan is not defiant but weary, and God is not just but passive. The catalog subjects list the work as 'Poetry' and 'Science Fiction & Utopias,' but the excerpts reveal a satirical drama closer to political allegory. Readers should attend to how Blunt uses the verse form to control pace and emphasis, particularly in the longer speeches where the couplet's flexibility enables both invective and irony.
Blunt's poem resists easy categorization: it is a verse drama, a political pamphlet, and a theological parody. The excerpts show a work that demands attention to its rhetorical strategies rather than its plot. Readers will benefit from reading the preface as an integral part of the poem, not a separate statement. The Alexandrine couplet rewards reading aloud, where its cumulative force becomes apparent. Approach Satan Absolved as a document of late-Victorian dissent, one that uses the language of faith to attack the very foundations of imperial Christianity.
Blunt's verse drama left me thinking about how easily we justify our own damage, and I found myself echoing that unease while paging through The Battle of the Bays — Key Ideas to Explore. There’s something in both that lingers—a quiet ache about what we call progress, and the cost we pretend not to see.
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