| | Andrew, interesting choice, and certainly not without precedent. You might be interested in the following. (For a similar discussion, see Jung's essay on evil and Christianity, "ANSWER TO JOB.")
In my essay "THE TRICKSTER ARCHETYPE AND OBJECTIVISM" I discuss the Nietzche's "transvaluation of values" as it pertains to morality and explore the Romantic poet's use of Milton's Mephistopheles as a hero.
"In The Marriage of Heaven and Hell (1793), for example, Blake argued that Milton "was a true Poet and of the Devil's party without knowing it" (493). Abrams ([1962] 1968, 1234-35) argues that Blake engages in a 'transvaluation of standard criteria':
"Blake accepted the terminology of middle-class Christian morality ("what the religious call Good and Evil"), but reverses it values. In this conventional use Evil, which is manifested by the class of beings called Devils and which consigns a man to the orthodox Hell, is everything associated with the body and its desires and consists essentially with the body and its desires and consists essentially of energy, abundance, act, freedom. And conventional Good, which is manifested by Angels and guarantees its adherents a place in the orthodox Heaven, is associated with the Soul (regarded as entirely separate from the body) and consists of the contrary qualities of reason, restraint, passivity, and prohibition. Blandly adopting this current nomenclature, Blake elects to assume the diabolic persona--what he calls "the voice of the Devil"--and to utter "Proverbs of Hell."
Abrams adds that this is only a "first stage" in Blake's "transvaluation" of "simultaneous opposites," for, ultimately, he seeks a "more inclusive point of view a 'marriage' of the contrary extremes of desire and restraint, energy and reason"the prolific 'and 'the devouring'" (1235). Shelley, who was an atheist, proclaimed himself a follower of "the sacred Milton" in the preface to his lyrical four -act drama, Prometheus Unbound (Shelley 1968. 62). For Shelley, Milton's work entails a kind of transvaluation, in which the Devil, traditionally evil, embodies the good, while God, traditionally good, embodies the evil."
This is also reflected in a cut excerpt from THE FOUNTAINHEAD in the infamous "I Don't think of you" scene.
"Toohey is symbolic of the Devil as pure evil for evil's sake, even if, by Christian standards, Toohey's doctrine of altruism would be considered righteous. (10)
"Roark asks Toohey: 'What am I to you?'Toohey replies that he is Roark's 'antithesis.' Thus,
[f]or every pair of antonyms--light and darkness, life and death--"one is the real, the full, the self-sufficient; the other has no actual existence, except by grace of the first, as its denial." The first does not need the second, but the second needs to deny the first. "God does not demand power. He has it.But it is the Devil who must want to rule, in the absolute, total, the all-inclusive sense--because his reality is the total void." Toohey confesses his metaphysical dependence of Roark: " you don't have to know that I exist. And I --I actually have no meaning without you." He implicitly admits which of them is the self-sufficient God, and which is the power-desperate, destructive Devil. And, almost as an afterthought, Toohey, identifies their fundamental opposition: " I was merely illustrating the nature of opposites I untended no personal allusions. Though I could say that you stand--better than anyone I know--for that embodiment of evil, the Ego. While I stand for the ideal of good--selflessness." (Milgram 2001b, 28; Rand quotes from the second draft of The Fountainhead, Ayn Rand Manuscripts, box 21, folder 6, 177-84)
[First appeared as "THE TRICKSTER ICON AND OBJECTIVISM" in THE JOURNAL OF AYN RAND STUDIES (Vol. 3, No. 2, Spring 2002, pp. 229-58).] http://www.aynrandstudies.com
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