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This book will change how readers read not only Milton but any poetry. Whereas prose is written in sentences, poetry is written in lines, lines that may or may not coincide with the syntax of the sentence. Lines add an aural and visual mode of punctuation, with some degree of pause and weight at the line-turn. So lineation, the division of poetry into lines, opens a repertoire of possibilities to the poet. Notably, it encourages an enhanced concentration on meaning, rhythm, and sound. It makes metrical patterns possible, with interactions between regularity and deviation; or it makes possible the presence or absence of structural rhyme; or the multiple variations of the line-turn, whether in harmony with syntax or overflowing, in ways that may be either more or less conspicuous. Starting from theories of Derek Attridge, this book develops new methods for exploring the expressive resources of the verse line as exploited by the greatest of English poets, John Milton. Topics examined include: the interaction of strictness and freedom in the rhythms of Milton's line and paragraph; the interfusion of diverse prosodies in a single poem; approaches to free verse; rhyme in the earlier lyric verse and modes of near-rhyme in the later blank verse; the diverse modes of onomatopoeia; and the complex interweavings of prosody and ideology in this very political poet. The great themes and issues and characters of Milton's innovative and always controversial poetry are perceived afresh, being approached intimately through the rich possibilities of the line, and the insights of the approach illuminate the reading of any poetry.
Whereas prose is written in sentences, poetry is written in lines, lines that may or may not coincide with the syntax of the sentence. Lines add an aural and visual mode of punctuation through bringing some degree of pause and sense of weight at the line-turn. So lineation, the division of poetry into lines, opens a repertoire of possibilities to the poet. Notably, it encourages an enhanced concentration on meaning, rhythm, and sound. It makes metrical patterns possible, with interactions between regularity and deviation; or the presence or absence of structural rhyme; or the multiple variations of the line-turn, whether in harmony with syntax or overflowing in ways either more or less conspicuous. This book develops ways for exploring the expressive resources of the verse line through concentration on the greatest of English poets, John Milton. Topics examined include: the interaction of strictness and freedom in the rhythms of Milton's line and paragraph; the interfusion of diverse prosodies in a single poem; approaches to free verse; rhyme in the earlier lyric verse and modes of near-rhyme in the later blank verse; the diverse modes of onomatopoeia; and the complex interweavings of prosody and ideology in this very political poet. The great themes and issues and characters of Milton's innovative and always controversial poetry are perceived afresh, being approached intimately through the rich possibilities of the line. The insights of the approach will illuminate the reading of any poetry.
Implication, Readers' Resources, and Thomas Gray's Pindaric Odes presents an account of “the Poets’ Secret,” the quite belated, historically recent, discovery by scholars and critics of something many poets have recognized and employed for ages: the sense expressed by allusively parallel parts within a text—thus expressed intratextually rather than only intertextually. Inferential perception of the implicit sense produced logically and linguistically—by enthymemes, implicatures, and other intratextual features, as well as intertextual ones—can be indispensable for readers’ comprehension of literary as well as other texts, especially their difficult passages. Implication, Readers' Resources, and Thomas Gray's Pindaric Odes addresses these elusive matters as they have historically been posed by Thomas Gray’s Pindaric odes of 1757, and mainly the first of them, “The Progress of Poesy,” a poem that readers have more or less knowledgeably struggled to understand from the outset. The process of disclosing that ode’s sense can be aided by new further reference to Paradise Lost, in the context of Gray’s largely unpublished Commonplace Book, with its extensive, little-studied, and very pertinent use of Plato and Locke.
John Milton is, next to William Shakespeare, the most influential English poet, a writer whose work spans an incredible breadth of forms and subject matter. The Complete Poetry and Essential Prose of John Milton celebrates this author’s genius in a thoughtfully assembled book that provides new modern-spelling versions of Milton’s texts, expert commentary, and a wealth of other features that will please even the most dedicated students of Milton’s canon. Edited by a trio of esteemed scholars, this volume is the definitive Milton for our time. In these pages you will find all of Milton’s verse, from masterpieces such as Paradise Lost–widely viewed as the finest epic poem in the English language–to shorter works such as the Nativity Ode, Lycidas,, A Masque and Samson Agonistes. Milton’s non-English language sonnets, verses, and elegies are accompanied by fresh translations by Gordon Braden. Among the newly edited and authoritatively annotated prose selections are letters, pamphlets, political tracts, essays such as Of Education and Areopagitica, and a generous portion of his heretical Christian Doctrine. These works reveal Milton’s passionate advocacy of controversial positions during the English Civil War and the Commonwealth and Restoration periods. With his deep learning and the sensual immediacy of his language, Milton creates for us a unique bridge to the cultures of classical antiquity and medieval and Renaissance Christianity. With this in mind, the editors give careful attention to preserving the vibrant energy of Milton’s verse and prose, while making the relatively unfamiliar aspects of his writing accessible to modern readers. Notes identify the old meanings and roots of English words, illuminate historical contexts–including classical and biblical allusions–and offer concise accounts of the author’s philosophical and political assumptions. This edition is a consummate work of modern literary scholarship.
Milton is an epic poem by William Blake, written and illustrated between 1804 and 1810. Its hero is John Milton, who returns from Heaven and unites with Blake to explore the relationship between living writers and their predecessors, and to undergo a mystical journey to correct his own spiritual errors. William Blake (28 November 1757 – 12 August 1827) was a poet, painter, visionary mystic, and engraver. During his life the prophetic message of his writings were understood by few and misunderstood by many. However Blake is now widely admired for his soulful originality and lofty imagination. The poetry of William Blake is far reaching in its scope and range of experience. The poems of William Blake can offer a profound symbolism and also a delightful childlike innocence. Whatever the inner meaning of Blake's poetry we can easily appreciate the beautiful language and lyrical quality of his poetic vision.
@Published in 1919 when Lewis was only twenty, these early poems give an insight into the author's youthful agnosticism. The poems are written in various metrical forms, but are unified by a central idea, expressing his conviction that nature was malevolent and beauty the only true spirituality. Preface by Walter Hooper.@@