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Essays on the 1667 First Edition
This two-volume set includes “Paradise Lost: A Poem Written in Ten Books” An Authoritative Text of the 1667 First Edition and its companion volume, “Paradise Lost: A Poem Written in Ten Books” Essays on the 1667 First Edition.
An Authoritative Text of the 1667 First Edition
“Paradise Lost: A Poem Written in Ten Books”: An Authoritative Text of the 1667 First Edition is the first such presentation of the first edition of this major epic of English literature. Constructed as a 10-book version, the 1667 edition is a finished piece that is architecturally and numerically balanced, significantly differing from the now-standard 1674 version that appeared in 12 books.
This edition of the 1667 text also provides the opportunity to view the second edition of 1674 from a fresh perspective. Although the 1674 edition has customarily been adopted as the basis for modern publications of the poem, the availability now of this authoritative text of the 1667 edition invites a reconsideration of Milton’s original intentions in light of the changes made evident in the revised text. Full discussions include information about the alterations made in states of the text, errors that persisted, and the rationale of the edition presented here.
Toward a Religion <i>with</i> Religion
Reexamining Deconstruction and Determinate Religion addresses the conventional conflicts between those who desire a more objective, determinate, and quasi-evidentialist perspective on faith and religious truth and those who adopt a more poetic, indeterminate, relativistic, and radical one. Drawing on both continental and analytic philosophy, this unique volume offers a sustained challenge to the prominent paradigm of a “religion without religion,” proposed in a deconstructive philosophy of religion. Articulated by Jacques Derrida and advanced by John D. Caputo, “religion without religion” challenges the epistemic certainty, political exclusivism, and theological absolutism with which specific religious traditions have tended to operate and recommends rejecting or maintaining an ironic distance from the determinate truth-claims and practices of particular religious communities. Without simplistically rejecting deconstruction, Simmons and Minister maintain that a specifically deconstructive approach to religion does not necessarily dictate the complete indeterminancy of a “religion without religion.” Rather, “religion with religion” is offered as a particular way of practicing determinate religions that rejects binary options between undecidability and safety, or between skepticism and dogmatism. Thus, the truths of determinate religions are not assumed, but their possibility is embraced, which invites vigorous and charitable dialogue. Within this framework, the contributors assert that postmodern religious identity is necessary for contemporary ethical and political existence. Organized in what might be called a “polylogue,” chapters 1–5 function dialogically, including two response essays to each of the primary essays. In these chapters, the authors explore topics including politics, faith, and biblical interpretation, but ultimately focus on the philosophical basis for a “religion with religion” and the practice or application of it. Finally, the book ends with two important new essays by Merold Westphal and John D. Caputo, respectively, that consider the conversation of the book as a whole and the very idea of “religion with religion.” Westphal’s essay offers a rigorous analysis and productive response to the essays by the other contributing authors, while Caputo’s lengthy chapter offers a clear and accessible introduction to his philosophical theology. While especially relevant to anyone interested in an overview of and constructive dialogue with deconstructive philosophy of religion, Reexamining Deconstruction and Determinate Religion will be of interest to scholars and students interested in all areas of continental philosophy of religion and its potential benefit to determinate faith practices.
The Poems of John Donne, Aemilia Lanyer, and John Milton
Theresa M. DiPasquale’s study of John Donne, Aemilia Lanyer, and John Milton demonstrates how each of these seventeenth century English poets revised, reformed, and renewed the Judeo-Christian tradition of the sacred feminine. The central figures of this tradition—divine Wisdom, created Wisdom, the Bride, the Blessed Virgin Mary, and Ecclesia—are essential to the works of Donne, Lanyer, and Milton. All three poets are deeply invested in the ancient, scripturally authorized belief that the relationship between God and humankind is gendered: God is father, bridegroom, king; the human soul and the church as corporate entity are daughter, bride, and consort.
This important text not only casts new light on these poets and on the history of Christian doctrine and belief, but also makes enormous contributions to our understanding of the feminine more broadly. It will be of interest to scholars who study the literature, religion, and culture of early modern England, to feminist theologians, and to any reader grappling seriously with gender issues in Christian theology and spirituality.
The Cultural Imagination of Early Modern England
Tropes provide access into habits of thought and worldviews—they express a climate of opinion and a hermeneutical context. Focusing on the textual activity of major cultural tropes, this study demonstrates the ways in which they enunciate and transform the cultural imagination on matters of love and power in the world, the body politic, and the rising sphere of personal life in early modern England. In 12 essays, prominent Renaissance scholars extend the theoretical analysis and application of the four tropes identified by Gale Carrithers and James Hardy: theater, moment, journey, and ambassadorship.
Renaissance tropologies and habits of thought are here demonstrated through exegesis of the works of Shakespeare, Vaughan, and especially John Donne, whose writings, because they explore the most provocative issues of his day, are a lens through which one can understand the surrounding culture. The text itself is organized around the four tropes, and their cross-disciplinary approach to cultural phenomenon is part of the move toward a more fully historicized rhetorical analysis of texts.
Fallenness and Poetic Tradition in <i>Paradise Lost</i>
Readers of Paradise Lost have long been struck by two prominent—and seemingly unrelated—aspects of the poem: its compelling depiction of Satan and its deep engagement with its literary (and specifically epic) tradition. Satan’s Poetry brings these two issues together to provide a bold, provocative, and fresh reading of the poem—one that responds to the resurgent interest in Milton’s Satan by examining the origins of conflict and ambiguity in Paradise Lost. Without needing to resolve whether Satan is the hero or the villain, a mastermind or fool, Satan’s Poetry examines the more fundamental role of Satan as the origin of the fallen world, the entity that initiates the poem—perhaps, indeed, that initiates poetry itself. Paradise Lost, like all else in our fallen human existence, is permeated by Satan’s evil, which alters human life in ways that cannot be remedied within the course of human history, but Milton’s epic demonstrates that this generative evil does not ultimately determine what fallen creatures can do with that life. The whole point of the poem, then, can be seen as an attempt to understand what Satan’s fall means for us, the poem’s fallen readers, and only by achieving that understanding and working within our fallenness can our fallen state be resolved in the promise of redemption. Drawing on the philosophical frameworks of Hegel and Adorno, Satan’s Poetry argues that satanic creation, although fundamentally negative, nevertheless exists positively in Milton’s universe by virtue of its dialectical relation to God’s creation. Qualitatively different from God’s creation, producing only fragments, satanic creation is essential for Milton because it is the only mode of creation available to fallen consciousness, and therefore the only kind available to the poem seeking to create itself. So it is unnecessary, St. Hilaire concludes, to assume that sympathy for the devil means implicit agreement with the devil, or that Milton’s narrator must dissociate himself from Satan in order to justify God’s ways. Paradise Lost is Satan’s poetry because it participates in a form of existence that is in need of redemption; it is by embracing this fact that it renders itself fit for redemptive reading.
For the Common Good
This study is a response to a continuing debate stimulated primarily by cultural materialist and new historicist claims that the early modern self was decentered and fragmented by forces in Elizabethan and Jacobean England. The current study enters this debate by rejecting claims of such radical discontinuity characterizing a “contingent” and “provisional” self incapable of unified subjectivity. The counterargument in The Self in Early Modern Literature: For the Common Good is that the intersection of Protestant vocation and Christian civic humanism, in support of the common good, was a stabilizing factor in early modern construction of self that resisted historical and cultural dislocations.
The theoretical issues at stake are examined in an introductory chapter, followed by chapters discussing central aspects of five major early modern writers whose works variously incorporate elements in Protestant vocation and Christian civic humanism. These five writers have been chosen both for their importance in the English literary canon and for their respective roles in early modern culture: “Spenser: Persons Serving Gloriana”; “Shakespeare’s Henriad: Calling the Heir Apparent”; “‘Ego Videbo’: Donne and the Vocational Self”; “Jonson and the Truth of Envy”; “Milton: Self-Defense and the Drama of Blame.” The study ends with a brief postscript on the Bacon family in whom the combined forces of Protestant vocation and Christian civic humanism were uniquely expressed.
The Art of Almost Raising the Dead
This engaging book demonstrates Shakespeare’s abiding interest in the theatrical potential of the Christian resurrection from the dead. In 14 of Shakespeare’s plays, characters who have been lost, sometimes for years, suddenly reappear—seemingly returning from the dead. In the classical recognition scene, such moments are explained away in naturalistic terms—a character was lost at sea but survived, or abducted and escaped, and so on. Shakespeare never invalidates such explanations, but in his manipulation of classical conventions he parallels these moments with the recognition scenes from the Gospels, repeatedly evoking Christ’s resurrection from the dead.
Benson’s close study of the plays, as well as the classical and biblical sources that Shakespeare fuses into his recognition scenes, clearly elucidates the ways in which the playwright explored his abiding interest in the human desire to transcend death and to live reunited and reconciled with others. In his manipulation of resurrection imagery, Shakespeare conflates the material with the immaterial, the religious with the secular, and the sacred with the profane.
Reinterpreting Samson Agonistes
Samson Agonistes is the climax and completion of Milton’s poetic vision. As such, it has become the work at which the critical controversies in Milton studies converge and from which new critical perspectives on Milton’s poems emerge. In 1969, John Carey heralded the birth of new critical perspectives when he contended that Milton’s dramatic poem "is not a drama of inner regeneration," a view that flies in the face of traditional interpretation, which tends to perceive Samson as a hero of regeneration. Carey also focused on Samson’s “tragic sulk” and the “theatre-demolition” at the feast of Dagon. Following Carey’s lead, other critics, notably Irene Samuel, began to question the various elements, large and small, of the traditional interpretation of Milton’s dramatic poem. Milton’s religious and political thinking, his use of prosody and verse, his outlook on tragedy, and the like were all reexamined. Since this revisionist view of Samson Agonistes began to develop, it has unfolded with a decisiveness and momentum that now challenge the traditional view, if not overthrow it. The dramatic poem’s ambiguities highlight Milton’s innovative adaptation of the biblical narrative concerning Samson, undermine the traditional ideas of Samson’s election by God and his redemption, question the typological alignment of the Hebraic and Christian scriptures whereby Samson traditionally is perceived as a “hero of faith” who prefigures the mission and ministry of Jesus, and draw attention to Milton's use of Arminianism, Calvinism, and other theological views. This book contends that there are several Samsons in the dramatic poem and multiple contexts and various traditions that bring to light Milton’s unique rendition of a kaleidoscopic protagonist. To achieve its purposes, this book forges and deploys a new critical vocabulary of paramount importance not only to Miltonists but to critical theorists generally.
Milton, Marriage, and Friendship
This book takes a fresh look at John Milton’s major poems—Paradise Lost, Samson Agonistes, and Paradise Regained—and a few of the minor ones in light of a new analysis of Milton’s famous tracts on divorce. Luxon contends that Milton’s work is best understood as part of a major cultural project in which Milton assumed a leading role—the redefinition of Protestant marriage as a heteroerotic version of classical friendship, originally a homoerotic cultural practice. Schooled in the humanist notion that man was created as a godlike being, Milton also believed that what marked man as different from God is loneliness. Milton’s reading of Genesis—“it is not good for man to be alone”—prescribes a wife as the remedy for this “single imperfection,” but Milton thought marriage had fallen to such a degraded state that it required a reformation. As a humanist, Milton looked to classical culture, especially to Plato, Aristotle, and Cicero, for a more dignified model of human relations—friendship. Milton reimagined marriage as a classical friendship, without explicitly conceptualizing the issues of gender construction. Nor did he allow the chief tenet of classical friendship, equality, to claim a place in reformed marriage. Single Imperfection traces the path of friendship theory through Milton’s epistolary friendship with Charles Diodati, his elegies, divorce pamphlets, and major poems. The book will prompt even more reinterpretations of Milton’s poetry in an age that is anxiously redefining marriage once again.