Reading the Classics and Paradise LostMilton’s early commentators—Henry Todd, Thomas Newton, Joseph Addison, and others—not only knew their classics well, they took them seriously as models of literary excellence and repositories of values. In the twentieth century, however, the classics have become mere “background.” As a consequence, William M. Porter argues, not only is the foundational dimension of Milton’s poetry now hardly visible, even to scholars, but the potential of Milton’s poetry to revitalize the reading of the classics has been diminished. In this insightful study, Porter attempts once again to read both the classics and Milton’s epic poem sensitively and intelligently. He exposes the recklessly speculative and tendentious character of much earlier work on Milton’s allusions, in which allusions were promiscuously posited and in which Paradise Lost was too often regarded naively as triumphing over the classics. Porter demonstrates that Milton’s allusions, in which allusions to the classics, while fewer than has been supposed, are rich with wit, irony, and thought that can be grasped only by a reader with a double perspective. |
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Page 7
... regard to the interpretation of the Bible that " We are expressly forbidden to pay any regard to human traditions , whether written or unwritten , " he is using a little Protestant hyperbole . There is no question of Milton's ...
... regard to the interpretation of the Bible that " We are expressly forbidden to pay any regard to human traditions , whether written or unwritten , " he is using a little Protestant hyperbole . There is no question of Milton's ...
Page 21
... regard either to denotation or connotation ? And second , do these terms in any way correspond to whatever different kinds of critical consequence may be observed among the verbal con- nections between Paradise Lost and its predecessors ...
... regard either to denotation or connotation ? And second , do these terms in any way correspond to whatever different kinds of critical consequence may be observed among the verbal con- nections between Paradise Lost and its predecessors ...
Page 81
... regard the literalism of the seventeenth cen- tury — or at least of Milton — simplistically , that is , too literally , and to convict Milton the poet of misunderstanding Hesiod's poetry in a way we ought to regard as quaint , if not ...
... regard the literalism of the seventeenth cen- tury — or at least of Milton — simplistically , that is , too literally , and to convict Milton the poet of misunderstanding Hesiod's poetry in a way we ought to regard as quaint , if not ...
Contents
Allusion | 13 |
Lesser Forms of Literary | 21 |
The Critical Allusion | 32 |
Copyright | |
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Common terms and phrases
Adam Aeneas Aeneid alluding allusion ancient angels appears aspect association beginning borrowing called century chapter claim classical close commentary concern considered context course critical described Dido Dobson earlier early earth echo edition effect English epic especially example fact fall final Greek hand Harding heaven Hell Hesiod Homer Horace's Iliad imitation important interest interpretation John kind language later Latin least less lines literary literature look major matter meaning Milton Milton's allusions mind Muses Neo-Latin notes Odes Odyssey opening original Paradise Lost parallel passage perhaps poem poet poetic poetry present Press problem proem question quoted reader recognize reference regard rhetorical Roman Sannazaro Satan says seems sense significant similar simile simply speak structure style suggests Theogony thing thought tion Tiresias tradition translation turn Turnus University verbal Vergil Vergilian verse writing