Milton and the Baroque |
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Page 68
... present , could have fear'd How such united force of Gods , how such As stood like these , could ever know repulse ? ( I , 622-30 ) Again he reminds himself that the Creator's strength had never previously been tested and who , he asks ...
... present , could have fear'd How such united force of Gods , how such As stood like these , could ever know repulse ? ( I , 622-30 ) Again he reminds himself that the Creator's strength had never previously been tested and who , he asks ...
Page 71
... presents the picture , has no hint of selfishness or duplicity about it , such as might have been expected from the ... present in his complex character from the very beginning of the poem . His vain boasting , his envy of superior ...
... presents the picture , has no hint of selfishness or duplicity about it , such as might have been expected from the ... present in his complex character from the very beginning of the poem . His vain boasting , his envy of superior ...
Page 177
... present book was already written , but in fact there are few points of contact . Frye's purpose , which he achieves with impressive skill , is to reveal the wealth of iconographic traditions in European art prior to Milton , on which ...
... present book was already written , but in fact there are few points of contact . Frye's purpose , which he achieves with impressive skill , is to reveal the wealth of iconographic traditions in European art prior to Milton , on which ...
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