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Alexander the Great, according to Plutarch, carried on his campaigns a copy of the Iliad, kept alongside a dagger; on a more pronounced ideological level, ancient Romans looked to the Aeneid as an argument for imperialism. In this major reinterpretation of epic poetry beginning with Virgil, David Quint explores the political context and meanings of key works in Western literature. He divides the history of the genre into two political traditions: the Virgilian epics of conquest and empire that take the victors' side (the Aeneid itself, Camoes's Lusíadas, Tasso's Gerusalemme liberata) and the countervailing epic of the defeated and of republican liberty (Lucan's Pharsalia, Ercilla's Araucana, and d'Aubigné's Les tragiques). These traditions produce opposing ideas of historical narrative: a linear, teleological narrative that belongs to the imperial conquerors, and an episodic and open-ended narrative identified with "romance," the story told of and by the defeated. Quint situates Paradise Lost and Paradise Regained within these rival traditions. He extends his political analysis to the scholarly revival of medieval epic in the late eighteenth and nineteenth centuries and to Sergei Eisenstein's epic film, Alexander Nevsky. Attending both to the topical contexts of individual poems and to the larger historical development of the epic genre, Epic and Empire provides new models for exploring the relationship between ideology and literary form.
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.
Contributing to our understanding of Ovid, Milton, and more broadly the transmission and transformation of classical traditions, this book examines the ways in which Milton drew on Ovid's oeuvre, and argues that Ovid's revision of the past gave Renaissance writers a model for their own transformation of classical works.
Epic Romance: Homer to Milton presents a comprehensive view of the epic tradition from Homer, through Virgil, Ariosto, Tasso, Spenser, and the host of minor writers who helped create the idiom within which these writers worked, to the idiom within which these writers worked, to the indiviudal authors in historical context link to develop a powerful explanation of how and why the epic changed from Homer to Milton. Dr Burrow shows how the romance hero, whose prime motives are love and pity, emerged from a sequence of reinterpretations of Homer which runs from Virgil's Aeneid and its medieval redactions to Ariosto's Orlando Furioso. Relating the emergence of the romance hero to the digressive, decentred form of romance, the author explores how later writers sought to control the digressive energies of the romance hero and to create a language and form of heroism more like those of classical epic. This analysis leads to a fresh account of the way in which Renaissance writers responded to, and moved tentatively towards, the writing of the past. Arguing against the view that Ariosto, Tasso, Spenser, and Milton were engaged ina battle for mastery over their predecessors, Dr Burrow reveals how they transformed they received intrepreations of past epic in order to draw closer to the narrative forms of their classical forebears.
Virgil became a school author in his own lifetime and the centre of the Western canon for the next 1800 years, exerting a major influence on European literature, art, and politics. This Companion is designed as an indispensable guide for anyone seeking a fuller understanding of an author critical to so many disciplines. It consists of essays by seventeen scholars from Britain, the USA, Ireland and Italy which offer a range of different perspectives both traditional and innovative on Virgil's works, and a renewed sense of why Virgil matters today. The Companion is divided into four main sections, focussing on reception, genre, context, and form. This ground-breaking book not only provides a wealth of material for an informed reading but also offers sophisticated insights which point to the shape of Virgilian scholarship and criticism to come.
Introduction : the private labors of public men -- Rabelais in a pickle : fixing flux in Le quart livre -- Spenser's secret recipes : life support in The faerie queene -- Correcting Montaigne : agitation and care in the Essais -- Marvell in the meantime : preserving patriarchy in Upon Appleton House -- Milton's storehouses : tempering futures in Areopagitica, Paradise lost, and Paradise regain'd -- Conclusion : a woman's work is never done.
A groundbreaking biography of Milton’s formative years that provides a new account of the poet’s political radicalization John Milton (1608–1674) has a unique claim on literary and intellectual history as the author of both Paradise Lost, the greatest narrative poem in English, and prose defences of the execution of Charles I that influenced the French and American revolutions. Tracing Milton’s literary, intellectual, and political development with unprecedented depth and understanding, Poet of Revolution is an unmatched biographical account of the formation of the mind that would go on to create Paradise Lost—but would first justify the killing of a king. Biographers of Milton have always struggled to explain how the young poet became a notorious defender of regicide and other radical ideas such as freedom of the press, religious toleration, and republicanism. In this groundbreaking intellectual biography of Milton’s formative years, Nicholas McDowell draws on recent archival discoveries to reconcile at last the poet and polemicist. He charts Milton’s development from his earliest days as a London schoolboy, through his university life and travels in Italy, to his emergence as a public writer during the English Civil War. At the same time, McDowell presents fresh, richly contextual readings of Milton’s best-known works from this period, including the “Nativity Ode,” “L’Allegro” and “Il Penseroso,” Comus, and “Lycidas.” Challenging biographers who claim that Milton was always a secret radical, Poet of Revolution shows how the events that provoked civil war in England combined with Milton’s astonishing programme of self-education to instil the beliefs that would shape not only his political prose but also his later epic masterpiece.