Terrance Lindall: Milton's Satan 'inspiring' the Serpent . . .

The surrealist artist Terrance Lindall has sent me a couple more images of artworks -- along with commentary, also posted below -- from his 1979 series on Paradise Lost, these two depicting upon the moment in which Satan takes possession of the serpent (PL 9.179-191):

In all of the illustrators of Paradise Lost I never saw [even] one illustration where the devil is actually entering the serpent. They show Satan staring at the Serpent. So my idea was to show Satan actually entering the serpent as a black mist. Here are two versions. The drawing [above] is like a man opening the mouth of a crocodile and sticking his head in. The painting below that is in the collection of Denise Tuite ( I sold her PL works early in the 1980s -- the ones I did not intend to publish). I may actually redo this one for the YN Collection [i.e., the Yuko Nii Collection], maybe the others too. Another project before I die. [The Milton expert] Prof. John Geraghty owns the complete slide set of my original paintings for PL that he acquired at auction recently. T[errance].

The difference between the two images is intriguing, the drawing of the serpent appearing more dragon-like and also awake, as if already 'nocent' and remade in Satan's image despite Milton's description. In the painting, however, Lindall has kept somewhat more closely to the wording of Paradise Lost, for though the serpent is stretched out at length rather than "self-rowld," it is not yet awakened to sin, but sleepeth. In case anyone is curious, here is the passage in Milton's epic poem, PL 9.179-191, in which Satan determines upon entering the serpent, after first having lamented the necessity of lowering himself:

So saying, through each Thicket Danck or Drie,
Like a black mist low creeping, he held on [ 180 ]
His midnight search, where soonest he might finde
The Serpent: him fast sleeping soon he found
In Labyrinth of many a round self-rowld,
His head the midst, well stor'd with suttle wiles:
Not yet in horrid Shade or dismal Den, [ 185 ]
Nor nocent yet, but on the grassie Herbe
Fearless unfeard he slept: in at his Mouth
The Devil enterd, and his brutal sense,
In heart or head, possessing soon inspir'd
With act intelligential; but his sleep [ 190 ]
Disturbd not, waiting close th' approach of Morn.
[Thomas H. Luxon, ed. The Milton Reading Room, January 2012.]

My blog is privileged to have this apparently unique rendering of an illustration showing Satan in the act of possessing the serpent, a depiction -- in Lindall's experience as illustrator and Milton expert -- never before rendered by previous illustrators of Paradise Lost.

But if any reader knows of other such images, please let us know.

Georges de Feure - Le fruit défendu: péché as pêche

Le fruit défendu (1895)

Georges de Feure

(MutualArt)

My reading in Ben Hale's novel, The Evolution of Bruno Littlemore, has turned my thoughts again toward forbidden fruit and its rare depiction as a peach, which Ben picks up on and works into his story. After reading John Milton's description of the fruit from the Tree of Knowledge in terms better fitting a peach than an apple, as pointed out to me by Robert Appelbaum (who has written on this topic), I wondered about the possibility of a pun in French on pêche (peach) and péché (sin). I haven't confirmed that such a pun has been explicitly made, not in so many (or so few?) words, but the painting above by the French Symboliste painter Georges de Feure (real name: Georges Joseph van Sluÿters, 1868-1943) looks like a visual pun on Eve's biting of a peach as the original sin. Here's what the catelogue notes at Sotheby's Auction says about this painting:

Among the rare works created by de Feure during his sojourns in Bruges, this work is one of the most unusual for its symbolism and modernism. In the foreground, partially obscured by a floral border, a nude woman, Eve-like, holds the gaze of the spectator and proffers a peach she has already bitten. This fruit and its rich juice evoke the biblical temptation in Paradise, and mankind's ensuing fall from grace.

In the background, in the town streets moves a procession of nude women, dancing, applauding and caressing each other. Some wear black stockings while others brandish smoking amphoras above their heads. In front of them, a group of civil and religious dignitaries wave flags and an incense burner. An old bearded man and two naked boys with linked arms form the vanguard of the extraordinary march.

In creating this provocative work, De Feure was possibly inspired by two historical events associated with Bruges: the procession of Saint-Sang that occurs on the day of the Ascension in commemoration of the relic brought back in 1149 from the Second Crusade by Thierry d'Alsace, Count of Flanders; and a group of Anabaptists brutally persecuted in the sixteenth century. The Anabaptists believed that at the apocalypse, God would baptise them in fire (represented by the smoking amphoras in the composition), and consumed by religious fervor, they ran naked through the city streets. Whatever the veracity of these potential sources, De Feure accentuates the sexual and sensual, using the duality of the concept of blood and the underlying theme of Original Sin and redemption. (Lot 41, George de Feure, Le fruit défendu, Sotheby's 19th Century European Paintings (L09663), November 24, 2009, pages 74-75)

For its own source, Sotheby's cites Ian Millman work on George de Feure, Mâitre du Symbolisme et de l'Art Nouveau (Paris, 1992, p. 89, catalogued and discussed; p. 88, illustrated), which can be found among Google Books here (see Section 4 of the text) . As Sotheby notes, the illustration appears on page 88. Pages 89 and 90 are not shown in the preview, but page 92 (not 89!) is actually the page from which Sotheby gets its catalogue notes, having translated the French. The French original refers to the "pêche" (peach) and "Péché originel" (Original Sin), but does not explicitly note any pun.

Any knowledgeable individuals who might add to this query are welcome to post comments.