Reading the Classics and Paradise LostUniversity of Nebraska Press, 1993 - 222 頁 Milton’s early commentators—Henry Todd, Thomas Newton, Joseph Addison, and others—not only knew their classics well, they took them seriously as models of literary excellence and repositories of values. In the twentieth century, however, the classics have become mere “background.” As a consequence, William M. Porter argues, not only is the foundational dimension of Milton’s poetry now hardly visible, even to scholars, but the potential of Milton’s poetry to revitalize the reading of the classics has been diminished. In this insightful study, Porter attempts once again to read both the classics and Milton’s epic poem sensitively and intelligently. He exposes the recklessly speculative and tendentious character of much earlier work on Milton’s allusions, in which allusions were promiscuously posited and in which Paradise Lost was too often regarded naively as triumphing over the classics. Porter demonstrates that Milton’s allusions, in which allusions to the classics, while fewer than has been supposed, are rich with wit, irony, and thought that can be grasped only by a reader with a double perspective. |
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第 1 到 3 筆結果,共 20 筆
第 68 頁
... odes ; he himself calls it a “ longum . . . melos ” ( 2 ) . It is fourth in the sequence of six so - called Roman Odes that opens book 3. These are strongly bound together ( as well as set off from the odes immediately following in that ...
... odes ; he himself calls it a “ longum . . . melos ” ( 2 ) . It is fourth in the sequence of six so - called Roman Odes that opens book 3. These are strongly bound together ( as well as set off from the odes immediately following in that ...
第 71 頁
William Malin Porter. spect both to book and line . The ode , which comes fourth in book 3 , occupies the same position relative to the six - ode se- quence of Roman odes as does Milton's book 7 relative to Para- dise Lost's twelve books ...
William Malin Porter. spect both to book and line . The ode , which comes fourth in book 3 , occupies the same position relative to the six - ode se- quence of Roman odes as does Milton's book 7 relative to Para- dise Lost's twelve books ...
第 73 頁
... Odes with apparent indifference.35 But in 3.4 , where he is preparing to advise his prince , the invocation of ... ode , Milton relates the themes of inspiration and celestial revolt to one another , serving thereby not only the ...
... Odes with apparent indifference.35 But in 3.4 , where he is preparing to advise his prince , the invocation of ... ode , Milton relates the themes of inspiration and celestial revolt to one another , serving thereby not only the ...
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Achilles Adam Aeneas Aeneid allu alluding Anchises ancient angels animis caelestibus Augustus Biblical Blessington borrowing Caesar Catullus chapter cites Classical Epic Club of Hercules commentary context critical allusion dactylic hexameter Descende caelo descent Dido divine Dobson earlier echo edition English Ennius enthymeme Epic Tradition example fact Georgics Greek heaven Hell hermeneutic Hesiod hexameter Homer Horace Horace's Hume Iliad imitation important interpretation intertextual invocation John Milton language Latin lines literary literature Lost's meaning Milton's allusions Milton's classicism Milton's poetry modern Muses narrative Neo-Latin notes Odes Odyssey original Orpheus Ovid pagan Paradise Lost parallel Partu Virginis passage poem poet poet's poetic Press proem prologue prose quoted reader reference Renaissance reworking rhetorical Roman Sannazaro Satan says seems significant simile sion Spenser structure style suggests target Tartarus Theogony tion Tiresias titanomachy translation Turnus twelve books verbal Vergil Vergilian verse words Zeus καὶ τε