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By Thomas N. Corns

A New better half to Milton builds at the critically-acclaimed unique, bringing alive the varied and arguable international of latest Milton stories whereas reflecting the very most recent advances in learn within the field.

  • Comprises 36 robust readings of Milton's texts and the contexts within which they have been created, every one written by means of a number one scholar
  • Retains 28 of the award-winning essays from the 1st version, revised and up to date to mirror the latest research
  • Contains a brand new part exploring Milton's worldwide effect, in China, India, Japan, Korea, in Spanish conversing American and the Arab-speaking world
  • Includes 8 thoroughly new full-length essays, every one of which engages heavily with Milton's poetic oeuvre, and a brand new chronology which units Milton's existence and paintings within the context of his age
  • Explores literary creation and cultural ideologies, problems with politics, gender and faith, person Milton texts, and responses to Milton over time

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And this I finally demonstrate by examples from Book IX of his epic, that obvious climax of his life’s whole work. Further Examples from Paradise Lost, Book I Plunging like Homer and the rest in medias res (‘into the midst of things’), Milton invokes, then narrates, then hands over to speeches, before going on into a series of full‐length and profoundly felt similes, which then usher in a catalogue. All of these bear the hallmark of the ancient epics. If anything, Milton (as a latecomer to the tra­ dition of epic) is assailing the reader with a concentration of the recognized distinctive elements of ancient epic.

Painfully inadequate to the fallen human condition, pastoral is seen to have its true locus in heaven. That vision enables the swain, in the coda, to take up his several pastoral roles in the world: to warble his ‘Dorick lay’ (pastoral poetry) and, twitching his symbolic blue mantle, to assume p­oetry’s prophetic/teaching role (Wittreich 1979: 142–3). He can now move on to the next stage of life and poetry and national reformation: ‘fresh Woods, and Pastures new’ (lines 189, 193). Milton’s sonnets, written over a period of some twenty‐five years, offer a prime example of his experiments with, and transformations of, genre.

Satan claims that his mind will remain unchanged and will transform his surround­ ings: ‘The mind is its own place, and in itself / Can make a heaven of hell, a hell of heaven’ (I. 254–5). But he finds the reverse: ‘Which way I fly is hell; myself am hell’ (IV. 75). Like many romance heroes, Satan enters a Garden of Love and courts its lady with exaggerated Petrarchan compliments (Giamatti 1966: 295–351), but he cannot win love, or find sensual delight, or enjoy sensuous refreshment or ease there; on the contrary, he feels more intensely than before the agony of his own loneliness, loveless­ ness, and unsatisfied desire.

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