Milton and the Baroque |
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Page 83
... angels themselves . However , within the epic narrative his depiction of those angels remains closer to the belief he enunciated in his prose tracts , that all creation ( and angels too are God's creatures ) is imperishable , since ...
... angels themselves . However , within the epic narrative his depiction of those angels remains closer to the belief he enunciated in his prose tracts , that all creation ( and angels too are God's creatures ) is imperishable , since ...
Page 117
... angels as physical beings . In recent years critics have swung round to an entirely different view . The scene is now validated as a positive contribution to the development of the epic , but on rather strange grounds . Professor Arnold ...
... angels as physical beings . In recent years critics have swung round to an entirely different view . The scene is now validated as a positive contribution to the development of the epic , but on rather strange grounds . Professor Arnold ...
Page 134
... angels in Hell was not unfounded after all . The battle was , as they had said , genuinely ' dubious ' until the final moment , and we learn that ' long time in even scale / The Battle hung ' . There are even moments when the rebels are ...
... angels in Hell was not unfounded after all . The battle was , as they had said , genuinely ' dubious ' until the final moment , and we learn that ' long time in even scale / The Battle hung ' . There are even moments when the rebels are ...
Contents
The Arch Antagonist | 50 |
Corporal Forms | 80 |
The War in Heaven | 116 |
Copyright | |
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achieved Adam angels appear argued artist attempt baroque battle become beginning belief biblical bright building ceiling celestial central century challenge Christian church classical close concept concern contrast cosmic cosmos course created creation creatures criticism darkness depiction described direction divine earlier early earth effect elements entire epic established evidence example fact fall figure final forces frescoes God's hand heaven heavenly hell human imaginatively immense impressive infinite Italy later least less light lines London major man's means Milton move nature never offers once opening original painting Paradise Lost passage period physical poem poet present Providence reader reading reason rebel religious remains Renaissance response Satan scene seen sense setting solid space spirits stars strength struggle style suggest task theme theory thir thought tradition universe vast vision visual