All in All: Unity, Diversity, and the Miltonic Perspective

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Charles W. Durham, Kristin A. Pruitt
Susquehanna University Press, 1999 - All (Philosophy) in literature - 268 pages
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The sixteen essays in this collection reflect the individuality and diversity of varied ideas and approaches to Milton scholarship. They demonstrate the continued scholarly commitment to a search for truths in and about Milton's works, a process that began in the seventeenth century and promises to continue unabated into the next millennium.

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The Individuality of Creatures in Paradise Lost
Obedience and Disobedience in Paradise Lost
The Threat of Bliss
Eve as the Hero of Paradise Lost
Miltons Eve as Closed Corpus Open Book and Apocryphal Text
Agrippa Lanyer and Milton
The Satanic Predicament in Paradise Lost
Tassos Narrative Theory and Miltons Demonization of a Genre
Hymns and AntiHymns to Light in Paradise Lost
Miltons Use of Virgil in Paradise Lost Books 11 and 12
Miltons Epitaph on the Marchioness of Winchester and the Representation of Maternal Mortality in the SeventeenthCentury Epitaph
The Argument of Comus Revisited
Chaos Theory and Areopagitica
The Dalila Episode

Vitruvian Architecture in Paradise Lost
Visualizing the Expulsion

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Page 145 - of Pandemonium: Anon out of the earth a Fabric huge Rose like an Exhalation, with the sound Of Dulcet Symphonies and voices sweet. Built like a Temple, where Pilasters round Were set, and Doric pillars overlaid With Golden Architrave; nor did there want Cornice or Frieze, with bossy Sculptures grav'n; The Roof was fretted Gold. (1.710-17)
Page 181 - So much the rather thou Celestial Light Shine inward, and the mind through all her powers Irradiate, there plant eyes, all mist from thence Purge and disperse, that 1 may see and tell Of things invisible to mortal sight.
Page 90 - Eve's birth narrative itself begins with her turning away. After awakening, she reports: I thither went With unexperienc't thought, and laid me down On the green bank, to look into the clear Smooth Lake, that to me seem'd another Sky. As 1 bent down to look, just opposite, A Shape within the
Page 116 - Me miserable! Which way shall 1 fly Infinite wrath, and infinite despair? Which way I fly is hell; my self am hell; And in the lowest deep a lower deep Still threatening to devour me opens wide, To which the hell I suffer seems a heaven.
Page 154 - that he who would not be frustrate of his hope to write well hereafter in laudable things, ought himself to be a true poem, that is. a composition and pattern of the best and honorablest things
Page 169 - Behold me then, me for him, life for life I offer, on me let thine anger fall; Account me man; I for his sake will leave Thy bosom, and this glory next to thee Freely put off, and for him lastly die Well pleased, on me let Death wreak all his rage. (3.236-41)
Page 124 - So stretched out huge in length the arch-fiend lay Chain'd on the burning lake, nor ever thence Had risen or heaved his head, but that the will And high permission of all-ruling heaven Left him at large. . . . Forthwith upright he rears from off the pool His mighty stature.
Page 123 - The reason Milton wrote in fetters when he wrote of Angels & God, and at liberty when of Devils & Hell, is because he was a true Poet and of the Devil's party without knowing it" (William Blake, The Marriage of Heaven and Hell, in The Complete Writings of William Blake,
Page 180 - returns Day, or the sweet approach of Ev'n or Morn, Or sight of vernal bloom, or Summer's Rose, Or flocks, or herds, or human face divine; But cloud instead, and ever-during dark.

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