“I knew him. He was the most beautiful of all the Seraphim. He shone with intelligence and daring. His great heart was big with all the virtues born of pride: frankness, courage, constancy in trial, indomitable hope. Long, long ago, ere Time was, in the boreal sky where gleam the seven magnetic stars, he dwelt in a palace of diamond and gold, where the air was ever tremulous with the beating of wings and with songs of triumph. Iahveh, on his mountain, was jealous of Lucifer. You both know it: angels like unto men feel love and hatred quicken within them. Capable, at times, of generous resolves, they too often follow their own interests and yield to fear. Then, as now, they showed themselves, for the most part, incapable of lofty thoughts, and in the fear of the Lord lay their sole virtue. Lucifer, who held vile things in proud disdain, despised this rabble of commonplace spirits for ever wallowing in a life of feasts and pleasure. But to those who were possessed of a daring spirit, a restless soul, to those fired with a wild love of liberty, he proffered friendship, which we return with adoration. These latter deserted in a mass the mountain of God and yielded to the Seraph the homage which That Other would fain have kept for himself alone.”                                                                                                                                                                                    

Ultimately a meditation on the corruption of power, Anatole France’s Revolt of the Angels (1914) utilizes the theological metaphor of Satan as a force favoring free inquiry, the War in Heaven a metaphysical battle against universal tyranny.

Arcade, an angel who has strayed from Heaven to study Philosophy and History on Earth seeks to re-assemble Lucifer’s legion to overthrow the detached and intolerant God of Heaven. Finally, Satan, after contemplating His probable victory concludes:

“No, let us not conquer the heavens. It is enough to have the power to do so. War engenders war, and victory defeat. God, conquered, will become Satan; Satan, conquering, will become God. May the fates spare me this terrible lot!‎”

Paradise Lost remains as challenging and relevant today as it was in the turbulent intellectual and political environment in which it was written. This edition aims to bring the poem as fully alive to a modern reader as it would have been to Milton's contemporaries. It provides a newly edited text of the 1674 edition of the poem--the last of Milton's lifetime--with carefully modernized spelling and punctuation. Marginal glosses define unfamiliar words, and extensive annotations at the foot of the page clarify Milton's syntax and poetics, and explore the range of literary, biblical, and political allusions that point to his major concerns. David Kastan's lively Introduction considers the central interpretative issues raised by the poem, demonstrating how thoroughly it engaged the most vital--and contested--issues of Milton's time, and which reveal themselves as no less vital, and perhaps no less contested, today. 

The Marriage of Heaven and Hell is a book by the English poet and printmaker William Blake. It is a series of texts written in imitation of biblical prophecy but expressing Blake's own intensely personal Romantic and revolutionary beliefs. Like his other books, it was published as printed sheets from etched plates containing prose, poetry, and illustrations. The plates were then coloured by Blake and his wife Catherine.

It opens with an introduction of a short poem entitled "Rintrah roars and shakes his fires in the burden'd air". William Blake claims that John Milton was a true poet and his epic poem Paradise Lost was "of the Devil's party without knowing it". He also claims that Milton's Satan was truly his Messiah.

The work was composed between 1790 and 1793, in the period of radical ferment and political conflict during the French Revolution. The title is an ironic reference to Emanuel Swedenborg's theological work Heaven and Hell, published in Latin 33 years earlier. Swedenborg is directly cited and criticized by Blake in several places in the Marriage. Though Blake was influenced by his grand and mystical cosmic conception, Swedenborg's conventional moral strictures and his Manichaean view of good and evil led Blake to express a deliberately depolarized and unified vision of the cosmos in which the material world and physical desire are equally part of the divine order; hence, a marriage of heaven and hell. The book is written in prose, except for the opening "Argument" and the "Song of Liberty". The book describes the poet's visit to Hell, a device adopted by Blake from Dante's Divine Comedy and Milton's Paradise Lost.

Frankenstein; or, The Modern Prometheus is an 1818 novel written by English author Mary Shelley. Frankenstein tells the story of Victor Frankenstein, a young scientist who creates a sapient creature in an unorthodox scientific experiment. Shelley started writing the story when she was 18, and the first edition was published anonymously in London on 1 January 1818, when she was 20. Her name first appeared in the second edition, which was published in Paris in 1821.

Shelley travelled through Europe in 1815, moving along the river Rhine in Germany, and stopping in Gernsheim, 17 kilometres (11 mi) away from Frankenstein Castle, where, two centuries before, an alchemist had engaged in experiments.[2][3][4][note 1] She then journeyed to the region of Geneva, Switzerland, where much of the story takes place. Galvanism and occult ideas were topics of conversation for her companions, particularly for her lover and future husband Percy B. Shelley. In 1816 Mary, Percy and Lord Byron had a competition to see who could write the best horror story.[5] After thinking for days, Shelley was inspired to write Frankenstein after imagining a scientist who created life and was horrified by what he had made

Though Frankenstein is infused with elements of the Gothic novel and the Romantic movement, Brian Aldiss has argued for regarding it as the first true science-fiction story. In contrast to previous stories with fantastical elements resembling those of later science fiction, Aldiss states, the central character "makes a deliberate decision" and "turns to modern experiments in the laboratory" to achieve fantastic results.[7] The novel has had a considerable influence on literature and on popular culture; it has spawned a complete genre of horror stories, films, and plays.

The reason why this book is on this list is that it shows, that humans always fear and try to destroy what they don't understand, instead of trying to understand what they don't know.

Baudelaire's poetry, written from 1840 until his death in August 1867. First published in 1857, it was important in the symbolist —including painting— and modernist movements. Though it was extremely controversial upon publication, with six of its poems censored due to their immorality, it is now considered a major work of French poetry. The poems in Les Fleurs du mal frequently break with tradition, using suggestive images and unusual forms. They deal with themes relating to decadence and eroticism, particularly focusing on suffering and its relationship to original sin, disgust toward evil and oneself, obsession with death, and aspiration toward an ideal world. Les Fleurs du mal had a powerful influence on several notable French poets, including Paul Verlaine, Arthur Rimbaud, and Stéphane Mallarmé. 

George Gordon Byron, 6th Baron Byron, but more commonly known as just Byron was a leading English poet in the Romantic Movement along with Keats and Shelley. Byron was born on January 22nd, 1788. He was a great traveller across Europe, spending many years in Italy and much time in Greece. With his aristocratic indulgences, flamboyant style along with his debts, and a string of lovers he was the constant talk of society. In 1823 he joined the Greeks in their war of Independence against the Ottoman Empire, both helping to fund and advise on the war’s conduct. It was an extraordinary adventure, even by his own standards. But, for us, it is his poetry for which he is mainly remembered even though it is difficult to see where he had time to write his works of immense beauty. But write them he did. He died on April 19th 1824 after having contracted a cold which, on the advice of his doctors, was treated with blood-letting. This cause complications and a violent fever set in. Byron died like his fellow romantics, tragically young and on some foreign field. 

Percy Bysshe Shelley endures today as the great Promethean bard of the High Romantic period who is best remembered for extolling the sublime and affirming the possibility of transcendence.

Whatever the author’s intentions in writing Paradise Lost, there is little doubt that Milton’s epic is the true Satanic Bible, establishing our understanding of Satan as rebel against tyranny over the body and mind.

“Satan emerges as the main challenge to Christian belief. It is Satan who questions and wonders and denounces. He is the great doubter who gives voice to many of the arguments that Christianity has provoked from within and without. And by rooting his Satanic reading of Paradise Lost in Biblical and other sources, Forsyth retrieves not only an attractive and heroic Satan but a Milton whose heretical energies are embodied in a Satanic character with a life of his own.”

The Story of the Black Mass. The ‘Affair of the Poisons’ was a scandal at which ‘all France trembled’ and which ‘horrified the whole of Europe’ as it implicated a number of prominent persons at the court of King Louis XIV in the late 17th century. Parisian society was seized by a fad for spiritualist seances, fortune-telling, and the use of love potions. The most celebrated case was that of La Voisin, a midwife and fortune-teller whose real name was Catherine Deshayes Monvoisin and whose clientele included the Marquise de Montespan, Olympe Mancini and Marshal Luxembourg. No formal charges were made, and there is no evidence that they were seriously implicated, yet a permanent stain was left on their names. La Voisin was burned as a poisoner and a sorceress in 1680. A special court was instituted to judge cases of poisoning and witchcraft, and the poison epidemic came to an end in France.This bizarre witchhunt, which embroiled the gilded denizens of Versailles with the most sordid dregs of Paris society, remains both a fascinating enigma and an utterly compelling story.