Beautiful Sublime: The Making of ‘Paradise Lost,’ 1701-1734Stanford University Press, 1990 M03 1 - 252 páginas 'Sublime' and 'Milton' - no other pairing is used more frequently in early discussions of the author of Paradise Lost: Addison finds Milton's genius 'wonderfully turned to the Sublime', John Dennis calls Milton 'the sublimist of all our poets', while Jonathan Richardson concludes that Milton's mind 'is truly poetical. Great, strong, elegant and sublime'. Modern critics look askance at these 'sublime Miltonists', who are charged with forcing Paradise Lost, they took what was essentially a Restoration term and challenged it with an alternative aesthetic category - the beautiful. Though beauty did mark a certain generic stability (in a Burkean sense), it came increasingly to represent generic transformation, which in its most radical form recast the notion of a 'sublime Milton'. It is this play of oxymorons - sublime epic and beautiful sublime - that marks the brilliance of the early eighteenth century' criticism of Paradise Lost. To explore the early-eighteenth-century view of the 'sublime Milton', the author analyzes the work of five readers of Paradise Lost during the years 1701-34: Joseph Addison, the only writer of the five who attained any lasting fame; John Dennis, by far the most important - and overlooked - of the early Miltonists; Anne Finch, Countess of Winchilsea, author of a brilliant parody of Book 8 and of even more remarkable accounts of Eve; Jane Adams, a lyric poet from Scotland who re-imagined the domestic hierarchy of Adam and Eve; and Jonathan Richardson, who attempted the first Christian interpretation of Paradise Lost and who authored the first biography of Milton as a 'sublime poet'. Together these critics represent the richness, cohesion, and variety of the interpretive community reading Paradise Lost in the first decades of the eighteenth century. |
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... rig- orous honesty , and wonderful cats ; and David Wolf , for re- minding me that leaving Eden is also the beginning of the story . L.E.M. Contents Notes on Citations Prologue ONE The Aesthetic of Admiration ACKNOWLEDGMENTS viii.
... rig- orous honesty , and wonderful cats ; and David Wolf , for re- minding me that leaving Eden is also the beginning of the story . L.E.M. Contents Notes on Citations Prologue ONE The Aesthetic of Admiration ACKNOWLEDGMENTS viii.
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Contenido
Prologue I | 11 |
The Aesthetic of the Beautiful | 57 |
THREE | 76 |
The Aesthetic of Terror | 99 |
The Aesthetic of Mediation | 135 |
Epilogue | 175 |
References | 219 |
Otras ediciones - Ver todas
Beautiful Sublime: The Making of ‘Paradise Lost,’ 1701-1734 Leslie Moore Sin vista previa disponible - 1990 |
Beautiful Sublime: The Making of ‘Paradise Lost,’ 1701-1734 Leslie Moore Sin vista previa disponible - 1990 |
Términos y frases comunes
Adam and Eve Adam's Addison admiration aesthetic ancient angels Anne Finch appears argues beautiful sublime Bentley century chaos character commentary Countess of Winchilsea created creation critics defined Dennis's describe discussion dise Lost divine Dryden early readers Earth eighteenth eighteenth century eighteenth-century enthusiastic passion enthusiastic terror epic poetry epic theory episodes Essay Eve's exalted example fall fallen Fanscomb Barn feminist Genius genre Heaven hero heroic Homer human Hume images imagination Jane Adams John Dennis John Milton Joseph Addison landscape linked Longinus Longleat Mediator Messiah metaphor Milton's poem mind narrative nature notes ordinary passion original PACW Paradise Lost passage poem's poet Poetical poetry prelapsarian principal action Regaining Paradise remarks Richardson Satan scenes simile soul spirit structure sublime and beautiful sublime Milton suggests theology things thought tion Toland ton's Tow'r tradition unfallen verse War in Heaven whereas Wittreich writes