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 16
... passage from book 5 : Well hast thou taught the way that might direct Our knowledge , and the scale of nature set From centre to circumference , whereon In contemplation of created things By steps we may ascend to God . ( 5.508-12 ) ...
... passage from book 5 : Well hast thou taught the way that might direct Our knowledge , and the scale of nature set From centre to circumference , whereon In contemplation of created things By steps we may ascend to God . ( 5.508-12 ) ...
Pagina 27
... passage borrows from St. John's description , " Before the throne burn seven torches of fire , which are the seven spirits of God " ( Revelation 4.5 , with which compare Zechariah 4.2 ) , and Isaiah's verse , “ How you are fallen from ...
... passage borrows from St. John's description , " Before the throne burn seven torches of fire , which are the seven spirits of God " ( Revelation 4.5 , with which compare Zechariah 4.2 ) , and Isaiah's verse , “ How you are fallen from ...
Pagina 60
... passage follows directly upon the description of Tartarus where Milton left it at his last allusion in book 2 - but one thing is crucially different . As long as his scene was set at the lower frontier of the universe ( Hell and Chaos ) ...
... passage follows directly upon the description of Tartarus where Milton left it at his last allusion in book 2 - but one thing is crucially different . As long as his scene was set at the lower frontier of the universe ( Hell and Chaos ) ...
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