Milton and the Baroque |
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Page 70
... argue that Milton was unaware of the effect produced by these lines , that he did not know of the admiration he was ... argument that the authorial comments in the epic were attempts by the poet to rectify the excessive attractiveness of ...
... argue that Milton was unaware of the effect produced by these lines , that he did not know of the admiration he was ... argument that the authorial comments in the epic were attempts by the poet to rectify the excessive attractiveness of ...
Page 179
... argued in Frances A. Yates , Giordano Bruno and the Hermetic Tradition ( London , 1971 ) , particularly pp . 355-6 . 17. Copernicus and Kepler responded differently to such writers as Lactantius who had condemned the heliocentric theory ...
... argued in Frances A. Yates , Giordano Bruno and the Hermetic Tradition ( London , 1971 ) , particularly pp . 355-6 . 17. Copernicus and Kepler responded differently to such writers as Lactantius who had condemned the heliocentric theory ...
Page 184
... argue for Milton's indebtedness to Du Bartas , but it underplays the differences between the two works . 22. Henry More , An Explanation of the Grand Mystery of Godliness ( London , 1660 ) , I , iii , 6. Robert H. West , Milton and the ...
... argue for Milton's indebtedness to Du Bartas , but it underplays the differences between the two works . 22. Henry More , An Explanation of the Grand Mystery of Godliness ( London , 1660 ) , I , iii , 6. Robert H. West , Milton and the ...
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