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Answerable Style was first published in 1953. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions. By the use of both new and traditional techniques of critical analysis, Arnold Stein presents in this volume of six essays a fresh interpretation of Milton's epic. Beginning with the assumption that style is "answerable" to idea, he has tried to trace Milton's epic vision as it is bodied forth in patterns of structure (the ideas tested in action) and patterns of expression (the ideas tested in style). Mr. Stein explains: "My approach is in part based on an attempt to accept as fact both that I am a twentieth century reader and that this is a seventeenth-century poem. Milton is, I think, illuminated by some modern critical considerations; and some of those considerations are in turn illuminated, and some are found wanting."
In this analysis of Milton's artistry as an epic poet, John G. Demaray offers a fresh perspective on one of the world's great epic poems. Placing Paradise Lost against the background of Renaissance theatrical and literary formspageants, baroque spectacles, masques, musical dramas, and Continental heroic worksDemaray offers the first extended critical reading of the poem as a unique theatrical epic incorporating heroic conventions, theological materials, and elements of visual pageantry. He examines Milton's early experiments in prophetic verse and theatrical forms, the poet's exposure to Italian theater and art during travels in 163839, and the influence of classical, Continental, and British works upon evolving drafts of Paradise Lost. He relates the epic in new ways to the writings of Jonson, Dryden, and others. Readers interested in seventeenth-century literature, Renaissance and baroque theater, the epic, religious writings, and the creative processes of Milton's imagination will all find many original insights in Milton's Theatrical Epic.
Inside "Paradise Lost" opens up new readings and ways of reading Milton's epic poem by mapping out the intricacies of its narrative and symbolic designs and by revealing and exploring the deeply allusive texture of its verse. David Quint’s comprehensive study demonstrates how systematic patterns of allusion and keywords give structure and coherence both to individual books of Paradise Lost and to the overarching relationship among its books and episodes. Looking at poems within the poem, Quint provides new interpretations as he takes readers through the major subjects of Paradise Lost—its relationship to epic tradition and the Bible, its cosmology and politics, and its dramas of human choice. Quint shows how Milton radically revises the epic tradition and the Genesis story itself by arguing that it is better to create than destroy, by telling the reader to make love, not war, and by appearing to ratify Adam’s decision to fall and die with his wife. The Milton of this Paradise Lost is a Christian humanist who believes in the power and freedom of human moral agency. As this indispensable guide and reference takes us inside the poetry of Milton’s masterpiece, Paradise Lost reveals itself in new formal configurations and unsuspected levels of meaning and design.
Situating Milton's poetics of ineffability in the context of the intellectual cross-currents of Renaissance humanism and Protestant theology, this text reassesses Milton's poetry in light of the literary and conceptual problems posed by the poet's attempt to put into words that which is unsayable and beyond representation.
The Reformation of the Subject is a study of the cultural contradictions that gave birth to the English Protestant epic. In lucid and theoretically sophisticated language, Linda Gregerson examines the fraught ideological, political and gender conflicts that are woven into the texture of The Faerie Queene and Paradise Lost. She reminds us that Reformation iconoclasts viewed verbal images with the same aversion as visual images, because they too were capable of waylaying the human imagination. Through a series of detailed readings, Gregerson examines the different strategies adopted by Spenser and Milton as they sought to distinguish their poems from idols yet preserve the shaping power that iconoclasts have long attributed to icons. Tracing the transformation of the epic poem into an instrument for the reformation of the political subject, Gregerson thus provides an illuminating contribution to our understanding of the ways in which subjectivities are historically produced.