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Publisher Description
This interdisciplinary volume of essays brings together a team of leading early modern historians and literary scholars in order to examine the changing conceptions, character, and condemnation of 'heresy' in sixteenth- and seventeenth-century England. Definitions of 'heresy' and 'heretics' were the subject of heated controversies in England from the English Reformation to the end of the seventeenth century. These essays illuminate the significant literary issues involved in both defending and demonising heretical beliefs, including the contested hermeneutic strategies applied to the interpretation of the Bible, and they examine how debates over heresy stimulated the increasing articulation of arguments for religious toleration in England. Offering fresh perspectives on John Milton, Thomas Hobbes, John Locke and others, this volume should be of interest to all literary, religious and political historians working on early modern English culture.
With brevity, depth, and accessibility, this book helps readers to appreciate the works of John Milton, and to understand the great influence they have had on literature and other disciplines. Presents new and authoritative essays by internationally respected Milton scholars Explains how and why Milton’s works established their central place in the English literary canon Structured chronologically around Milton’s major works Also includes a select bibliography and a chronology detailing Milton’s life and works alongside relevant world events Ideal as a first critical work on Milton
The issue of the Jews deeply engaged Milton throughout his career, and not necessarily in ways that make for comfortable or reassuring reading today. While Shakespeare and Marlowe, for example, critiqued rather than endorsed racial and religious prejudice in their writings about Jews, the same cannot be said for Milton. The scholars in this collection confront a writer who participated in the sad history of anti-Semitism, even as he appropriated Jewish models throughout his writings. Well grounded in solid historical and theological research, the essays both collectively and individually offer an important contribution to the debate on Milton and Judaism. This book will be of interest not only to scholars of Milton and of seventeenth-century literature, but also to historians of the religion and culture of the period.
This nine volume set presents in easily accessible format the extensive information now available about John Milton. It has grown to be a study of English civilization of Milton's time and a history of literary and political matters since then.
This book is a volume in the Penn Press Anniversary Collection. To mark its 125th anniversary in 2015, the University of Pennsylvania Press rereleased more than 1,100 titles from Penn Press's distinguished backlist from 1899-1999 that had fallen out of print. Spanning an entire century, the Anniversary Collection offers peer-reviewed scholarship in a wide range of subject areas.
Taking as its starting point the long-standing characterization of Milton as a "Hebraic" writer, Milton and the Rabbis probes the limits of the relationship between the seventeenth-century English poet and polemicist and his Jewish antecedents. Shoulson's analysis moves back and forth between Milton's writings and Jewish writings of the first five centuries of the Common Era, collectively known as midrash. In exploring the historical and literary implications of these connections, Shoulson shows how Milton's text can inform a more nuanced reading of midrash just as midrash can offer new insights into Paradise Lost. Shoulson is unconvinced of a direct link between a specific collection of rabbinic writings and Milton's works. He argues that many of Milton's poetic ideas that parallel midrash are likely to have entered Christian discourse not only through early modern Christian Hebraicists but also through Protestant writers and preachers without special knowledge of Hebrew. At the heart of Shoulson's inquiry lies a fundamental question: When is an idea, a theme, or an emphasis distinctively Judaic or Hebraic and when is it Christian? The difficulty in answering such questions reveals and highlights the fluid interaction between ostensibly Jewish, Hellenistic, and Christian modes of thought not only during the early modern period but also early in time when rabbinic Judaism and Christianity began.
“An authoritative, and accessible, introduction to Milton’s life and an engaging examination of the process of composing Paradise Lost” (Choice). In early 1642 Milton promised English readers a work of literature so great that “they should not willingly let it die.” Twenty-five years later, the epic poem Paradise Lost appeared in print. In the interim, however, the poet had gone totally blind and had also become a controversial public figure―a man who had argued for the abolition of bishops, freedom of the press, the right to divorce, and the prerogative of a nation to depose and put to death an unsatisfactory ruler. These views had rendered him an outcast. William Poole devotes particular attention to Milton’s personal life: his reading and education, his ambitions and anxieties, and the way he presented himself to the world. Although always a poet first, Milton was also a theologian and civil servant, vocations that informed the composition of his masterpiece. At the emotional center of this narrative is the astounding fact that Milton lost his sight in 1652. How did a blind man compose this intensely visual work? Poole opens up the world of Milton’s masterpiece to modern readers, first by exploring Milton’s life and intellectual preoccupations and then by explaining the poem itself―its structure, content, and meaning. “Poole’s book may well become what he shows Paradise Lost soon became: a classic.” —Times Literary Supplement “Smart and original . . . Demonstrates with astonishing exactitude how Milton’s life and―most impressively of all―his reading enabled this epic.” ―The Spectator “This deeply learned and lucidly written book . . . makes this most ambitious of early modern poets accessible to his modern readers.” ―Journal of British Studies
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.