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We glean from this characteristically pithy and playful response that Borges's first exposure to Milton's works was influential both because it came early in his life, during particularly impressionable years, and because his own bookish Parisian experience resembled Milton's. Milton likely would have found some satisfaction in Borges's first reading of his works. Most generally, that reading was proof that indeed he had left \"something so written to aftertimes, as they should not willingly let it die,\" as he had hoped in The Reason of Church-Government (1642) and reiterated in Apology against a Pamphlet (1642).4 More specifically, Borges's decision to read a solas (alone, independently) rather than prowl around Paris accords with Milton's account of his own chaste visit to the same city in 1638.

Wheatley compares the selfserving thirst for glory to this visual phenomenon. [...]she makes her verbal picture of British invasion and racial dominance more permeable while amplifying the resonances of poetic fallenness in her intertextual epic. According to Lewalski, Milton surfaces in diverse works throughout Pope's oeuvre such as his Pastorals, translations of Homer's epics, Essay on Man, and the Dunciad. [...]Rochfort concludes, \"For softer strains we quickly must repair / To Wheatly's song, for Wheatly is the fair\" (59-60). According to Wheatley, Rochfort's poem features \"fair descriptions\" of her native homeland.

[...]the allusion to the Polycrates myth and the Miltonic elements are evidence of another Machadian creational technique, an appropriation of the idea of an Other or Others in order to generate his own creation. Reading under erasure leaves the dynamic unresolved and ideas of dependency or inferiority of one text in relation to the other, in this case Machado de Assis's and Milton's texts, are beside the point. [...]a new possibility is revealed: a relationship of supplementation, the destination of texts. Machado de Assis's direct and indirect references to Milton propose an act of reading that goes beyond a fixed moment; they demand movement, a digression, a disorder of time, in which meaning always differs. [...]the direct Machadian references to Milton as an \"immense poet\" (The hand and the glove) who deserves \"the admiration of men for . . . [the] old English father\" (\"Polycrates's ring\") call into question Machado de Assis's judgment of the English poet as someone who represents a sense of greatness, suggesting a search for readings and possibilities yet to come, a fact that the general public in the nineteenth century Brazil may not have been able to experience. The notion of precedence-the pivot of a rebellion, a motif of envy, discord, and fall-goes through several plays on meaning in the works of Milton and Machado de Assis, from the heavenly order to the very act of creation, be it divine or literary. [...]the traditions of the two writers establish a dialogue, occupying a similar position in literary studies, because their texts transgress temporal limitations, geographical frontiers, and/or authorial control.