Through a Glass Darkly: Milton's Reinvention of the Mythological TraditionIn this wide-ranging and ambitious study, John Mulryan contributes significantly to our knowledge of the mythological underpinnings of John Milton's works. Perhaps our most Christian poet, Milton chose to communicate his vision of reality in the language of ancient Greek and Roman mythology. As Mulryan points out, Milton as no other poet before him mastered the texts of classical mythology in their original languages and seldom wrote a line that did not betray their influence. Here, we are reintroduced to the Renaissance millieu that was not only intimately familiar to Milton but that helped to shape his thinking about fundamental matters that he addresses in his poetry, particularly Paradise Lost. Mulryan's study first establishes the incredible richness of the mythological tradition that was available to Milton, including many sources that have either been ignored or depreciated in current scholarship. Milton's own view of classical myth is then explored, and Mulryan provides insight into how this view had to deal with the problem of reconciling pagan learning and Christian thought. Finally, this study demonstrates how Milton drew upon and assimilated the mythological traditions in his poetry as a reflection of the receptiveness to such acts of "creative mythologizing" during his own time. "Through a Glass Darkly" is primarily historical in its methodological approach, but it is relevant also for scholars using structuralist, deconstructionist, feminist, new historicist, psychoanalytic, or postmodernist approaches to Literary Studies. Myth is itself a kind of language that Milton, in a sense, "deconstructs." As this study shows, Milton decodes the mythological tradition, only to encode it in another way. |
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Page 86
... follows Mar- tianus's example ) , follows the convention of reducing the author's role to that of a stenographer , or amanuensis , who takes dictation from the Muse . Thus in the ninth book of Paradise Lost , he speaks " Of my Celestial ...
... follows Mar- tianus's example ) , follows the convention of reducing the author's role to that of a stenographer , or amanuensis , who takes dictation from the Muse . Thus in the ninth book of Paradise Lost , he speaks " Of my Celestial ...
Page 90
... follow the Platonic mode of nondiscursive form but also to conceal some more esoteric meaning than was apparent on the ... follows Chaos , and precedes the World and all the gods who are assigned to the parts of the World , since the ...
... follow the Platonic mode of nondiscursive form but also to conceal some more esoteric meaning than was apparent on the ... follows Chaos , and precedes the World and all the gods who are assigned to the parts of the World , since the ...
Page 276
... follows ] ) But the name " fortune , " as was said above , grew out of ignorance of causes ; for when something occurs which is unplanned and unexpected , this is commonly called for- tune .... Nor was the remark by Juvenal ...
... follows ] ) But the name " fortune , " as was said above , grew out of ignorance of causes ; for when something occurs which is unplanned and unexpected , this is commonly called for- tune .... Nor was the remark by Juvenal ...
Contents
ONE Milton and the Classics | 14 |
Two Milton and the Church Fathers | 54 |
THREE Milton Martianus Capella Bernard | 67 |
Copyright | |
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