Milton and Homer: "Written to Aftertimes"

Notes

171 NOTES Notes to Introduction 1. Davis P. Harding, The Club of Hercules (Urbana: University of Illinois Press, 1962), 108; Charles Martindale, John Milton and the Transformation of Ancient Epic (London: Croon Helm, 1986), 79; William M. Porter, Reading the Classics and “Paradise Lost” (Lincoln: University of Nebraska Press, 1993), 94. 2. J. Milton French, ed., Life Records of John Milton (New Brunswick: Rutgers University Press, 1949–58), 5:110, 327–28. 3. Toland quoted in Helen Darbishire, The Early Lives of Milton (London: Constable, 1932), 179. 4. Richardson quoted in ibid., 290. 5. Samuel Johnson, The Lives of the Most Eminent English Poets (Oxford: Clarendon Press, 2006), 275. 6. Joseph Addison, Critical Essays from “The Spectator,” ed. Donald F. Bond (New York: Oxford University Press, 1970), 148. 7. Ibid., 80. 8. Johnson, Lives, 285, 292. 9. John Henry Todd, ed., The Poetical Works of John Milton, 4 vols. (London: Rivingtons, 1842). 10. John Milton, The Reason of Church Government, 3:1.236. All references to Milton’s poetry and prose are to The Works of John Milton, ed. Frank Allen Patterson et al., 18 vols. (New York: Columbia University Press, 1931–40); hereafter cited as CM, followed by volume, part (in some cases), and page number. References to Paradise Lost will appear parenthetically in the text as PL by book and line number and are also from this edition. 11. Porter, Reading the Classics, 17, 21, 32–33, 30. 12. G. W. Pigman, “Varieties of Imitation in the Renaissance,” Renaissance Quarterly 33 (Spring 1980): 2. 13. Ibid., 12. 14. Odyssey 11.489–91. Quotations from Homer are from the translations of Richmond Lattimore, The Iliad of Homer (Chicago: University 172 Notes to Pages 3–15 of Chicago Press, 1961; The Odyssey of Homer (New York: Harper & Row, 1975), both hereafter cited by book and line number. In cases where Lattimore’s translation does not capture the element Milton is attempting to recall in his allusion, I provide the Greek text from Homeri opera, 4 vols., 3rd ed., ed. David T. Monroe and Thomas W. Allen (Oxford: Clarendon, 1920), and provide my own translation. 15. Porter, Reading the Classics, 90, 94. 16. Pigman, “Varieties of Imitation,” 45. 17. Porter, Reading the Classics, 92. 18. Stephen Fallon, Milton’s Peculiar Grace: Self-Representation and Authority (Ithaca: Cornell University Press, 2007), 221. Milton’s desire for literary fame runs as a recurrent motif through this study of the poet’s self-conception and self-presentation; see esp. 170–73. 19. Joseph Pucci, The Full-Knowing Reader: Allusion and the Power of the Reader in the Western Literary Tradition (New Haven: Yale University Press, 1998), x. 20. Jonathan Culler, “Presupposition and Intertextuality,” The Pursuit of Signs: Semiotics, Literature, Deconstruction (Ithaca: Cornell University Press, 1981), 100, 103. 21. Julia Kristeva, Revolution in Poetic Language, trans. Margaret Waller (New York: Columbia University Press, 1984), 60. 22. Harold Bloom, A Map of Misreading (Oxford: Oxford University Press, 1975), 19, 17. 23. Louis Montrose, “Professing the Renaissance: The Poetics and Politics of Culture,” in The New Historicism, ed. H. Aram Veeser (New York: Routledge, 1989), 17. 24. Stephen Dobranski, Milton, Authorship and the Book Trade (Cambridge: Cambridge University Press), 1999. 25. Annabel Patterson, Reading between the Lines (London: Routledge, 1993), 258. Notes to Chapter 1 Edmund Spenser, 1. The Faerie Queene: Book One, ed. Carol V. Kaske (Indianapolis: Hackett, 2006), 1.1.54. Jonathan Culler, “Presupposition and Intertextuality,” 2. The Pursuit of Signs: Semiotics, Literature, Deconstruction (Ithaca: Cornell University Press, 1981), 109. Harold Bloom, 3. A Map of Misreading (Oxford: Oxford University Press, 1975), 19, 17. Richard Garner, 4. From Homer to Tragedy: The Art of Allusion in Greek Poetry (London: Routledge, 1990); John Hollander, The Figure of Echo: A Mode of Allusion in Milton and After (Berkeley and Los Notes to Pages 15–28 173 Angeles: University of California Press, 1981); William Porter, Reading the Classics and “Paradise Lost” (Lincoln: University of Nebraska Press, 1993); Allan Pasco, Allusion: A Literary Graft (Toronto: University of Toronto Press, 1994); John Hale, “Milton Playing with Ovid,” Milton Studies, vol. 25, ed. James D. Simmonds (Pittsburgh: University of Pittsburgh Press, 1989), 3–19. Christopher Ricks, Allusion to the Poets (New York: Oxford University Press, 2002), invents a new metaphor to describe the workings of almost every allusion he examines. Jane Melbourne, “Biblical Intertextuality in 5. Samson Agonistes,” SEL 36 (Winter 1996): 111–27; Anne Lake Prescott, “Intertextual Topology: English...