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Structure in Milton's Poetry by Ralph W. Condee Pdf
Milton's skill in constructing poems whose structure is determined, not by rule or precedent, but by the thought to be expressed, is one of his chief accomplishments as a creative artist. Professor Condee analyzes seventeen of Milton's poems, both early and late, well and badly organized, in order to trace the poet's developing ability to create increasingly complex poetic structures. Three aspects of Milton's use of poetic structure are stressed: the relation of the parts to the whole and parts to parts, his ability to unite actual events with the poetic situation, and his use and variation of literary tradition to establish the desired structural unity.
First published in 1969. These nine lectures written by the distinguished scholar J. B. Leishman examines the various themes, context and structure of Milton’s poetry, with particular focus on L’Allegro, Il Penseroso and Lycidas. This title will be of great interest to students of John Milton and English Literature.
First published in 1991. These ten essays by the distinguished Milton scholar Edward Le Comte examines the various themes, context and structure of Milton’s poetry and prose, including particular focus on both Paradise Lost and Paradise Regained. This title will be of great interest to students of John Milton and English Literature.
Milton's English Poetry by William Bridges Hunter (Jr.) Pdf
In this survey one may discover Milton as he saw himself and come to recapture some of his originality. The selections from A Milton Encyclopedia in this volume were written by experts in each subject.
This full and definitive treatment of the whole body of Milton's poetry, written by one of the country's most eminent Milton scholars, was originally published under the title Poet of Exile: A Study of Milton's Poetry. With a new title and an introduction developing the theme of exile, it is now issued in paperback for the first time. "The most important single study of Milton that has appeared in years.... For a long time to come, it will be the book from which Milton's oeuvre is reviewed and from which Milton criticism seeks renewal." -Joseph Wittreich, Modern Language Quarterly "Martz's pleasure in reading Milton is evident and he conveys that pleasure in his pages.... All of us will want to ponder and can expect to profit from a commentary on the text carried on with the educated understanding, tact, skill, and perceptiveness that are everywhere present in this book." -B. Rajan, Modern Philology "A work that is both rich and rewarding.... The background that Martz brings to his subject illuminates Milton's poetry in fresh and exciting ways." -Michael Lieb, Cithara "The strength of Martz's criticism arises from his style as well as his learning and good sense. Observations are made in a manner which both clears the mind and arouses the imagination. Commonplace facts, acknowledged but ignored, suddenly take on fresh significance, while the results of scholarly research are introduced with easy grace and relevance. No one writing of Milton today has a sharper eye for the illuminating detail." -Hugh Maccallum, University of Toronto Quarterly "Martz's sensitive, percipient comments on the interplay of styles in Milton's poems provide some overarching unity to these diverse essays." -Barbara Kiefer Lewalski, Journal of English and Germanic Philology "The best major study of Milton's whole poetic career in almost half a century." -Arnold Stein
The Metaphoric Structure of Paradise Lost by Jackson I. Cope Pdf
Originally published in 1962. The rise of "metaphoric" criticism is a reaction against a previous critical preoccupation with psychology and time. Milton spatialized time, thoroughly mastering a metaphoric technique. The Metaphoric Structure of Paradise Lost, after discussing the influences that shaped Milton's aesthetic, systematically examines the structural components of Paradise Lost—light, darkness, and vertical movement—and finds that they imitate, metaphorically, the overall theme of the epic. To test further the implications of his hypothesis, Professor Cope turns to two unsettled points in Miltonic exegesis: Milton's muse and the dialogue in Heaven.
This series takes up the challenge of contemporary literary theory, providing collections of seminal modern readings of key authors, genres and critical approaches.
This book offers a reading of most of the poems collected by Milton in his youth and early maturity for Humphrey Moseley's publication of "The Poems of Mr John Milton" in 1645. The edition is examined as a poetic and political manifesto, anticipating many of the ideas more fully discussed in "Paradise Lost". Dr Moseley examines the development of Milton's poetic calling, its origins, authority and national importance, and sets these ideas in their European context. Also explored is Milton's inheritance not only from Classical authors but also from the Italians and Spenser. Dr Moseley then draws attention to the significant structure of the 1645 volume and discusses the manner in which Milton presents material, which was originally written for one audience and context, to another set of readers who knew him as a highly active political figure and who were intended to read this book in the months after the battle of Naseby. A prose translation of all the Latin poems is included.
DigiCat Publishing presents to you this special edition of "Milton's Comus" by John Milton. DigiCat Publishing considers every written word to be a legacy of humankind. Every DigiCat book has been carefully reproduced for republishing in a new modern format. The books are available in print, as well as ebooks. DigiCat hopes you will treat this work with the acknowledgment and passion it deserves as a classic of world literature.
Composed after the collapse of his political hopes, Milton's great poems Paradise Lost, Paradise Regained, and Samson Agonistes are an effort to understand what it means to be a poet on the threshold of a post-theological world. The argument of Delirious Milton, inspired in part by the architectural theorist Rem Koolhaas's Delirious New York, is that Milton's creative power is drawn from a rift at the center of his consciousness over the question of creation itself. This rift forces the poet to oscillate deliriously between two incompatible perspectives, at once affirming and denying the presence of spirit in what he creates. From one perspective the act of creation is centered in God and the purpose of art is to imitate and praise the Creator. From the other perspective the act of creation is centered in the human, in the built environment of the modern world. The oscillation itself, continually affirming and negating the presence of spirit, of a force beyond the human, is what Gordon Teskey means by delirium. He concludes that the modern artist, far from being characterized by what Benjamin (after Baudelaire) called "loss of the aura," is invested, as never before, with a shamanistic spiritual power that is mediated through art.
Blake's two finished epics have been widely regarded as combinations of brilliant set pieces which yield to no systematic rhetorical criticism. Susan Fox contests this view, discovering in Milton an elaborate verbal structure that is fully congruent with the poem's philosophy. She has made the first full exposition of the formal principles of a late Blake poem, and it suggests that the late prophecies are as profound in their artistic structures as they are in their thematic ones. The author begins by tracing throughout Blake's poetry the development of the techniques found in Milton. She then provides an analysis in two chapters organized, as she perceives the poem to be, in parallel three-part units. Her examination reveals the exhaustive parallelism of the poem's books, as well as more local devices such as paired stanzas and circular rhetoric. The rhetorical pattern which emerges raises several major thematic issues which are treated in the concluding chapter. In demonstrating the coherence and control of the intricate formal patterns of Milton, this study provides a new measure of Blake's late verbal art. Originally published in 1976. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
A Milton Encyclopedia by William Bridges Hunter Pdf
This nine volume set presents in easily accessible format the extensive information now available about John Milton. It has grown to be a study of English civilization of Milton's time and a history of literary and political matters since then.
Every major poet or philosopher develops their own distinctive semantic field around those terms which matter most to them, or which contribute most profoundly to the imagined world of a particular work. This book explores the specific meanings which Milton develops around key words in Paradise Lost. Some of these are theological or philosophical terms (e.g. 'evil', 'grace', 'reason'); others are words which shape the imagined world of the poem (e.g. 'dark', 'fall', 'within'); yet others are small words or even prefixes which subtly move the argument in new directions (e.g. 'if', 'not', 're-'). Milton seems to expect his readers to be alert to the special semantic field which he creates around such words, often by infusing them with biblical and literary connotations, and activating their etymological roots; alert also to the patterns created by the repetitions of such words, and particularly to their diverse use (and often their blatant misuse) by different characters. To understand the migrations and malleability of key words is part of the education of Milton's reader.
Milton and the Reformation Aesthetics of the Passion by Erin Henriksen Pdf
This book addresses the problem of Milton's poetics of the passion, a tradition he revises by turning away from late medieval representations of the crucifixion and drawing instead on earlier Christian images and alternative strategies.
