By Thomas N. Corns
The varied and debatable international of up to date Milton experiences is introduced alive during this stimulating Companion.
- Winner of the Milton Society of America's Irene Samuels booklet Award in 2002.
- Invites readers to discover and revel in Milton's wealthy and engaging work.
- Comprises 29 clean and strong readings of Milton's texts and the contexts within which they have been created, every one written by means of a number one scholar.
- Looks at literary construction and cultural ideologies, problems with politics, gender and faith, person Milton texts, different proper modern texts and responses to Milton over time.
- Devotes an entire bankruptcy to every significant poem, and 4 to Paradise Lost.
- Conveys the thrill of contemporary advancements within the field.
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Additional resources for A Companion to Milton
His power to arouse pity towards a fiction aroused pity in return towards his fellow citizens. Milton in turn is moving the putative officer, and thus his actual readers, through personal fear to a thrilling moral, by simple appropriations from the classical literary tradition. To put that another way, the poem depends throughout on the figure by which the poet’s ‘doors’ (where the poem is imagined to be affixed) stand for the whole house, which in turn stands for the household or indwelling people.
In his poem, all these places are in process: their physical conditions are fitted to the beings that inhabit them, but the inhabitants interact with and shape their environments, creating societies in their own images. Hell is first presented in traditional terms with Satan and his crew chained on a lake of fire, but they soon rise up and begin to mine gold and gems, build a government centre (Pandaemonium), hold a parliament, send Satan on a mission of exploration and conquest, investigate their spacious and varied though sterile landscape, engage in martial games and parades, perform music, compose epic poems and argue hard philosophical questions.
The names which do enter into the allusion, ‘Athens or free Rome’, show Milton himself at his most discerning. These are the societies which were the heroes of Areopagitica: the Athens which (for Milton anyway) represented ‘free speech’; and the Rome of the republic, the Rome of self-discipline and patriotic sacrifice and free speech which was ended (for Milton as for Lucan and Tacitus) by the Caesars. Milton seeks his kind of desired authority from the reader by the gratuitous yet judicious mental exercising which the sidelong phrasing here encourages.