New PDF release: A New Companion to Milton

By Thomas N. Corns

ISBN-10: 1118827821

ISBN-13: 9781118827826

A New significant other to Milton builds at the critically-acclaimed unique, bringing alive the varied and arguable global of latest Milton reviews whereas reflecting the very most modern advances in study within the field.

  • Comprises 36 strong readings of Milton's texts and the contexts during which they have been created, every one written via 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, each 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 construction and cultural ideologies, problems with politics, gender and faith, person Milton texts, and responses to Milton over time

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Extra resources for A New Companion to Milton

Sample text

He also sounds some leitmotifs of reformist politics: the dangers posed by a corrupt clergy and church, the menace of Rome, adumbrations of apocalypse, and the call to prophecy. The opening phrase, ‘Yet once more’, places this poem in the long series of pastoral funeral elegies stretching back to Theocritus, and in a series of biblical warnings and apocalyptic prophecies beginning with those words, especially Hebrews 12: 26–8 (Wittreich 1979: 137–53). The headnote identifies this 10 Barbara K. Lewalski poem as a monody, a funeral song by a single singer (Puttenham 1589: 39), though in fact other speakers are quoted in the poem and the coda introduces another poetic voice.

1–16) 23 5 10 15 Any reader meeting this for the first time and willing to confront its texture in detail will check the allusions, and perhaps observe that most are biblical, in accordance with the chosen subject (Jesus in line 4, Moses in lines 6–11, three sacred mountains and Siloa’s brook). Thus, ‘Aonian’ sticks out, as the kind of classical allusion that must receive a gloss, but that may also irritate the reader who is eager to get up steam. ‘Aonian’ means ‘belonging to Mount Helicon, sacred home of the classical Muses’; and so it links back to the ‘heavenly Muse’ of line 6, differentiating that from the Homerical/ pagan one.

Yet in the drama’s historical moment a future in bondage is not yet fixed and choices are still possible. If the Israelites, or the English, could truly value liberty, could reform themselves, could read the signs and events with p­enetration, could benefit from the ‘new acquist / Of true experience’ (lines 1745–6), moral and political, that Samson’s experience offers to the Danites and that Milton’s dramatization of it offers to his compatriots, liberation might be possible. But that can happen only when a virtuous citizenry understands the political stakes and places a true value on liberty.

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A New Companion to Milton by Thomas N. Corns

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