This study examines the translations of Paradise Lost translated in South and North Korea. Using Mona Baker’s Narrative Theory and Framing Concept and Kathryn Batchelor’s Paratext Concept as the theoretical basis, this study explores the representation of Satan in the source text and analyzes how its aspects were reframed in the South and North Korean translations’ paratext and main body. It specifically reviews the paratext’s preface and the commentary on the work, and it analyzes Satan’s appearance, action, and speech in the main body. The analysis shows that reframing took place mainly through selective appropriation and labelling during the translation process. In the paratext, the South Korean translation frames Paradise Lost as a Christian poem. The North Korean translation however transforms the source text into a radical political poem and reframes it as a communist narrative. Whereas the South Korean translation tends to weaken the positive narrative of Satan, the North Korean translation strengthens the positive narrative of Satan and relates it to the North Korean political narrative. The transformed Satan in the North Korean translation shares similarities with the role model of an autonomous communist common in the North Korean literature.