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"Paradise Lost"
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Milton on Film
In January 2012, shooting was set to begin in Sydney, Australia, on the Hollywood-backed production of Milton's Paradise Lost, with Oscar nominee Bradley Cooper cast as Satan. Yet just two weeks before the start of production, Legendary Pictures delayed the project, reportedly due to budgetary concerns, and soon the company had suspended the film indefinitely. Milton scholar Eric C. Brown, who was then serving as a script consultant for the studio, sees his experience with that project as part of a long and perplexing story of Milton on film. Indeed, as Brown details in this comprehensive study, Milton's place in the popular imagination—and his extensive influence upon the cinema, in particular—has been both pervasive and persistent.
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The satanic epic
The Satan of Paradise Lost has fascinated generations of readers. This book attempts to explain how and why Milton’s Satan is so seductive. It reasserts the importance of Satan against those who would minimize the poem’s sympathy for the devil and thereby make Milton orthodox. Neil Forsyth argues that William Blake got it right when he called Milton a true poet because he was \"of the Devils party\" even though he set out \"to justify the ways of God to men.\" In seeking to learn why Satan is so alluring, Forsyth ranges over diverse topics--from the origins of evil and the relevance of witchcraft to the status of the poetic narrator, the epic tradition, the nature of love between the sexes, and seventeenth-century astronomy. He considers each of these as Milton introduces them: as Satanic subjects.
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\Matter of Glorious Trial\
This groundbreaking book, the first to examine Milton's thinking about matter and substance throughout his entire poetic career, seeks to alter the prevailing critical view that Milton was a monist-materialist-one who believes that all things are composed of material and all phenomena (including consciousness) are the result of material interactions.
Based on her close study of the philosophical movements of Milton's mind, Sugimura discovers the \"fluid intermediaries\" in his poetry that are neither strictly material nor immaterial. In doing so, Sugimura usesParadise Lostas a fascinating window into the intersection of literature and philosophy, and of literary studies and intellectual history. Sugimura finds that Milton displays a tense and ambiguous relationship with the idealistic dualism of Plato and the materialism of Aristotle and she argues for a more nuanced interpretation of Milton's metaphysics.
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The Creator and the Creative Process in Milton’s Paradise Lost: A Lyrical Analysis
This book is an in-depth lyrical and structural analysis of Milton's epic poem Paradise Lost and his representation of the biblical creation story of the Book of Genesis. It combines approaches of critical biblical exegesis and literary comparative methods to analyze Milton's concept of creation and his depiction of creative processes and productive elements in his narrative, particularly with regard to style, imagery, structure, meaning and mythological origin. The central part of the book involves an analysis of Milton's portrayal of the role and identity of the creator and that of his creatures and explores Milton's interpretation and symbiosis of Christian and Classical concepts. Furthermore, the relationship between the creator and his creations and the occurring conflict between them is going to be examined together with the subsequent deconstruction and reconstruction of God's creation. The book also discusses Milton's own role as a poet, author and creator and puts it in relation to his work, life, and narrative style.
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Milton's Socratic rationalism
The conversation of Adam and Eve in Paradise Lost, that most obvious of Milton's additions to the Biblical narrative, enacts the pair's inquiry into and discovery of the gift of their rational nature in a mode of discourse closely aligned to practices of Socrates in the dialogues of Plato and eponymous discourses of Xenophon. Adam and Eve both begin their life \"much wondering where\\ And what I was, whence thither brought and how.” Their conjoint discoveries of each other's and their own nature in this talk Milton arranges for a in dialectical counterpoise to his persona's expressed task \"to justify the ways of God to men.\" Like Xenophon's Socrates in the Memorabilia, Milton's persona indites those \"ways of God\" in terms most agreeable to his audience of \"men\"––notions Aristotle calls \"generally accepted opinions.\" Thus for Milton's \"fit audience\" Paradise Lost will present two ways––that address congenial to men per se, and a fit discourse attuned to their very own rational faculties––to understand \"the ways of God to men.\" The interrogation of each way by its counterpart among the distinct audiences is the \"great Argument\" of the poem.
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Between Worlds
William Pallister analyses the rhetorical methods that Milton uses throughout the poem and examines the effects of the three distinct rhetorical registers observed in each of the poem's major settings.
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Inside paradise lost
Inside \"Paradise Lost\"opens up new readings and ways of reading Milton's epic poem by mapping out the intricacies of its narrative and symbolic designs and by revealing and exploring the deeply allusive texture of its verse. David Quint's comprehensive study demonstrates how systematic patterns of allusion and keywords give structure and coherence both to individual books ofParadise Lostand to the overarching relationship among its books and episodes. Looking at poems within the poem, Quint provides new interpretations as he takes readers through the major subjects ofParadise Lost-its relationship to epic tradition and the Bible, its cosmology and politics, and its dramas of human choice.
Quint shows how Milton radically revises the epic tradition and the Genesis story itself by arguing that it is better to create than destroy, by telling the reader to make love, not war, and by appearing to ratify Adam's decision to fall and die with his wife. The Milton of thisParadise Lostis a Christian humanist who believes in the power and freedom of human moral agency. As this indispensable guide and reference takes us inside the poetry of Milton's masterpiece,Paradise Lostreveals itself in new formal configurations and unsuspected levels of meaning and design.
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Barbarous Dissonance and Images of Voice in Milton's Epics
Sauer investigates the texts' discursive practices and the politics of their orchestration of voice exploring the ways in which Milton's multivocal poems interrogated dominant structures of authority in the seventeenth century and constructed in their place a community of voices characterized by dissonances. She incorporates different critical responses to Milton's texts into her argument as a way of contextualizing her own historically engaged approach.
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Looking into providences : designs and trials in Paradise Lost
What is the role of providence in Paradise Lost ? In Looking into Providences , Raymond B. Waddington provides the first examination of this engaging subject. He explores the variety of implicit organizational structures or ‘designs’ that govern Paradise Lost , and looks in-depth at the ‘trials,’ or testing situations, which require interpretation, choice, and action from its characters.
Waddington situates the poem within the context of providentialism’s centrality to seventeenth-century thought and life, arguing that Milton’s own conception of providence was deeply influenced by the theology of Jacob Arminius. Using Milton’s Arminian conception of free will, he then looks at the providential trials experienced by angels and humans. Finally, the work explores the ways in which providentialism infiltrates various kinds of discourse, ranging from military to medical, and from political to philosophical.
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