A Companion to MiltonThe diverse and controversial world of contemporary Milton studies is brought alive in this stimulating Companion.
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Pagina iv
No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, except as permitted by the UK Copyright, Designs, ...
No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, except as permitted by the UK Copyright, Designs, ...
Pagina 14
At his first sight of Adam and Eve, he makes clear in soliloquy that he means to use Eden and its inhabitants for his own purposes, ... Such associations do not mean that Milton thought exploration and colonization necessarily Satanic, ...
At his first sight of Adam and Eve, he makes clear in soliloquy that he means to use Eden and its inhabitants for his own purposes, ... Such associations do not mean that Milton thought exploration and colonization necessarily Satanic, ...
Pagina 20
Especially in the long segment after Samson leaves the scene, it falls to them to try to understand what Samson's life and death mean for Israel, and what they themselves are called to do. The preface also indicates the drama's ...
Especially in the long segment after Samson leaves the scene, it falls to them to try to understand what Samson's life and death mean for Israel, and what they themselves are called to do. The preface also indicates the drama's ...
Pagina 23
`Aonian' means `belonging to Mount Helicon, sacred home of the classical Muses'; and so it links back to the `heavenly Muse' of line 6, differentiating that from the Homerical / pagan one . . .yes, but so what?
`Aonian' means `belonging to Mount Helicon, sacred home of the classical Muses'; and so it links back to the `heavenly Muse' of line 6, differentiating that from the Homerical / pagan one . . .yes, but so what?
Pagina 33
... are important: many of the key transactions are persuasions, by means of speeches; what Wittgenstein called `speech-acts'. The action might be read as five acts, formed as in Greek tragedy by the punctuations of the poet as Chorus.
... are important: many of the key transactions are persuasions, by means of speeches; what Wittgenstein called `speech-acts'. The action might be read as five acts, formed as in Greek tragedy by the punctuations of the poet as Chorus.
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Inhoudsopgave
PART II Politics and Religion | 107 |
PART III Texts | 211 |
PART IV Influences and Reputation | 445 |
PART V Biography | 481 |
Consolidated Bibliography | 499 |
General Index | 521 |
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Abdiel Adam and Eve Adam's allusion angels Areopagitica argued argument Arminian authority baroque biblical bishops Book Calvinist century Charles Christ Christian church classical Comus contemporary court CPW VII critics culture Dalila death divine divorce Doctrine drama early earth edition Eikonoklastes England English epic Eve's Faerie Queene faith Fall fallen genre God's heaven hell human interpretation John John Milton King language Latin liberty lines literary Long Parliament Lycidas masque means Milton monarchy Monck monody moral narrative nature Norbrook obedience pamphlet Paradise Lost Paradise Regained Parliament pastoral poem poet poetic poetry polemical political prelapsarian Presbyterians printed prose Protestant puritan radical Raphael readers Readie and Easie reading reason Reformation regicide religious republican Restoration rhetorical Roman royalist Samson Agonistes Satan scripture sense seventeenth-century sexual sonnet Spenser spirit thee thir thou tracts tradition tragedy truth verse virtue voice words writing