Structure in Milton's Poetry: from the Foundation to the PinnaclesMilton'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. |
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Pagina 37
Even the rhyme scheme of the opening lines of " Lycidas ” looks forward to the closing lines and imparts both unity and progression to the poem.30 This dynamic unity , like that which thirty years later will give Paradise Lost its ...
Even the rhyme scheme of the opening lines of " Lycidas ” looks forward to the closing lines and imparts both unity and progression to the poem.30 This dynamic unity , like that which thirty years later will give Paradise Lost its ...
Pagina 163
The opening boldly places the poem up against the epic tradition— " against it in both senses of the word : the opening is simultaneously opposed to and connected with the epic form . Milton uses the same four - part form with which he ...
The opening boldly places the poem up against the epic tradition— " against it in both senses of the word : the opening is simultaneously opposed to and connected with the epic form . Milton uses the same four - part form with which he ...
Pagina 165
Put into this context , Milton's opening lines equate Paradise Regained with the Aeneid , which is hardly surprising ; but what is surprising is that he implicitly equates his own Paradise Lost with the Eclogues and Georgics .
Put into this context , Milton's opening lines equate Paradise Regained with the Aeneid , which is hardly surprising ; but what is surprising is that he implicitly equates his own Paradise Lost with the Eclogues and Georgics .
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Inhoudsopgave
Miltons Poetical Architecture | 1 |
The Early Latin Poems and Lycidas | 21 |
The Fair Infant Elegia Quinta | 43 |
Copyright | |
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Veelvoorkomende woorden en zinsdelen
achieves Adam Aeneas Aeneid answer appears beginning Book called carries Christ closing comes Companion completion Comus concerned concluding conventions course creates critics dead death discussion dynamic earlier early Elegia Tertia epic epic tradition Epitaphium Damonis example exile extra-poetic fact father figure follow force functional gives Greek Greek tragedy Heaven hero heroic heroism ideas important integrated Italy John kind later Latin lines London Lycidas Manso Mansus masque means merely Milton moves nature never Notes opening Ovid panegyric Paradise Lost Paradise Regained passage pastoral pattern physical play poem poet poetic poetry position praise present problem progression question reasons relation resembles resolution Samson Agonistes Satan says scene seems sense similar spirit stanza structure Studies technique thee things thou tion tradition tragedy true turned ultimate Vergil vision whole writing written
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Bibliografische gegevens
| Titel | Structure in Milton's Poetry: from the Foundation to the Pinnacles |
| Auteur | Ralph Waterbury Condee |
| Editie | herdruk |
| Uitgever | Pennsylvania State University Press, 1974 |
| Oorspronkelijk uit | de University of Michigan |
| Gedigitaliseerd | 11 maart 2008 |
| ISBN | 0271011335, 9780271011332 |
| Lengte | 202 pagina's |
| Citatie exporteren | BiBTeX EndNote RefMan |