Reading the Classics and Paradise LostUniversity of Nebraska Press, 1993 - 222 pagina's Milton’s early commentators—Henry Todd, Thomas Newton, Joseph Addison, and others—not only knew their classics well, they took them seriously as models of literary excellence and repositories of values. In the twentieth century, however, the classics have become mere “background.” As a consequence, William M. Porter argues, not only is the foundational dimension of Milton’s poetry now hardly visible, even to scholars, but the potential of Milton’s poetry to revitalize the reading of the classics has been diminished. In this insightful study, Porter attempts once again to read both the classics and Milton’s epic poem sensitively and intelligently. He exposes the recklessly speculative and tendentious character of much earlier work on Milton’s allusions, in which allusions were promiscuously posited and in which Paradise Lost was too often regarded naively as triumphing over the classics. Porter demonstrates that Milton’s allusions, in which allusions to the classics, while fewer than has been supposed, are rich with wit, irony, and thought that can be grasped only by a reader with a double perspective. |
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Pagina 9
... chapter , subtitled “ Allusion , " I make some prac- tical distinctions among the varieties of intertextuality that readers encounter in Paradise Lost in order to isolate a par- ticular type of allusion that I dub " critical . " A ...
... chapter , subtitled “ Allusion , " I make some prac- tical distinctions among the varieties of intertextuality that readers encounter in Paradise Lost in order to isolate a par- ticular type of allusion that I dub " critical . " A ...
Pagina 10
... chapter , subtitled " Language , " is at once the most elementary and the most tentative in the book . Relinquishing the narrow focus on specific allusions that I maintained previously , I turn to make a distinction between literary ...
... chapter , subtitled " Language , " is at once the most elementary and the most tentative in the book . Relinquishing the narrow focus on specific allusions that I maintained previously , I turn to make a distinction between literary ...
Pagina 129
... chapter 1 , I suggested that the critical allusion is a species of wit ; I noted that , in fact , allusion is etymologi- cally a kind of playing . This play no doubt has deep prehis- toric roots , but historically it can be traced back ...
... chapter 1 , I suggested that the critical allusion is a species of wit ; I noted that , in fact , allusion is etymologi- cally a kind of playing . This play no doubt has deep prehis- toric roots , but historically it can be traced back ...
Inhoudsopgave
Allusion | 13 |
Lesser Forms of Literary | 21 |
The Critical Allusion | 32 |
Copyright | |
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Achilles Adam Aeneas Aeneid allu alluding Anchises ancient angels animis caelestibus Augustus Biblical Blessington borrowing Caesar Catullus chapter cites Classical Epic Club of Hercules commentary context critical allusion dactylic hexameter Descende caelo descent Dido divine Dobson earlier echo edition English Ennius enthymeme Epic Tradition example fact Georgics Greek heaven Hell hermeneutic Hesiod hexameter Homer Horace Horace's Hume Iliad imitation important interpretation intertextual invocation John Milton language Latin lines literary literature Lost's meaning Milton's allusions Milton's classicism Milton's poetry modern Muses narrative Neo-Latin notes Odes Odyssey original Orpheus Ovid pagan Paradise Lost parallel Partu Virginis passage poem poet poet's poetic Press proem prologue prose quoted reader reference Renaissance reworking rhetorical Roman Sannazaro Satan says seems significant simile sion Spenser structure style suggests target Tartarus Theogony tion Tiresias titanomachy translation Turnus twelve books verbal Vergil Vergilian verse words Zeus καὶ τε