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Faithful Labourers: A Reception History of Paradise Lost, 1667-1970 - Volume I: Style and Genre; Volume II: Interpretative Issues (Multiple copy pack, New)
Loot Price: R8,028
Discovery Miles 80 280
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Faithful Labourers: A Reception History of Paradise Lost, 1667-1970 - Volume I: Style and Genre; Volume II: Interpretative Issues (Multiple copy pack, New)
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Faithful Labourers surveys and evaluates existing criticism of John
Milton's epic Paradise Lost, tracing the major debates as they have
unfolded over the past three centuries. Eleven chapters split over
two volumes consider the key debates in Milton criticism, including
discussion of Milton's style, his use of the epic genre, and his
references to Satan, God, innocence, the fall, sex, nakedness, and
astronomy. Volume one attends to questions of style and genre. The
first three chapters examine the longstanding debate about Milton's
grand style and the question of whether it forfeits the native
resources of English. Early critics saw Milton as the pre-eminent
poet of 'apt Numbers' and 'fit quantity', whose verse is 'apt' in
the specific sense of achieving harmony between sound and sense;
twentieth-century anti-Miltonists faulted Milton for divorcing
sound from sense; late twentieth-century theorists have denied the
possibility that sound can 'enact' sense. These are extreme changes
of critical perception, and yet the story of how they came about
has never been told. These chronological chapters explain the roots
of these changes and, in doing so, engage with the enduring
theoretical question of whether it is possible for sound to enact
sense. Volume two considers interpretative issues, and each of the
six chapters traces a key debate in the interpretation of Paradise
Lost. They engage with such questions as whether Paradise Lost is
an epic or an anti-epic, whether Satan runs away with the poem (and
whether it is good that he does so), what it means to be innocent
(or fallen), and whether Milton's poetry is hostile to women. A
final chapter on the universe of Paradise Lost makes the
provocative argument that almost every commentator since the middle
of the eighteenth century has led readers astray by presenting
Milton's universe as the medieval model of Ptolemaic spheres. This
assumption, which has fostered the notion that Milton was
backward-looking or anti-intellectual, rests upon a misreading of
three satirical lines. Milton's earliest critics recognized that he
unequivocally embraces the new astronomy of Kepler and Bruno.
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