When we read poetry, we tend to believe that we are getting a glimpse of the interior of the poet's mind-pictures from the poet's imagination relayed through the representative power of language. But poets themselves sometimes express doubt (usually indirectly) that poetic language has the capability or the purpose of revealing these images. This book examines description in Renaissance poetry, aiming to reveal its complexity and variability, its distinctiveness from prose description, and what it can tell us about Renaissance ways of thinking about the visible world and the poetic mind. Recent criticism has tended to address representation as a product of culture; The Unimagined in the English Renaissance argues to the contrary that attention to description as a literary phenomenon can complicate its cultural context by recognizing the persistent problems of genre and literary history. The book focuses on Sidney, Spenser, Donne, and Milton, who had very different aims as poets but shared a degree of skepticism about imagistic representation. For these poets, description can obscure as much as it makes visible, and can create whole categories of existence that are outside of visibility altogether.

When we read poetry, we tend to believe that we are getting a glimpse of the interior of the poet's mind-pictures from the poet's imagination relayed through the representative power of language. But poets themselves sometimes express doubt (usually indirectly) that poetic language has the capability or the purpose of revealing these images. This book examines description in Renaissance poetry, aiming to reveal its complexity and variability, its distinctiveness from prose description, and what it can tell us about Renaissance ways of thinking about the visible world and the poetic mind. Recent criticism has tended to address representation as a product of culture; The Unimagined in the English Renaissance argues to the contrary that attention to description as a literary phenomenon can complicate its cultural context by recognizing the persistent problems of genre and literary history. The book focuses on Sidney, Spenser, Donne, and Milton, who had very different aims as poets but shared a degree of skepticism about imagistic representation. For these poets, description can obscure as much as it makes visible, and can create whole categories of existence that are outside of visibility altogether.

This study describes a variety of ways of thinking about place in the Renaissance and in Paradise Lost. Despite coming from different perspectives, they have in common the idea that the difficulty of the relationship of reciprocity that poetic subjects often expect from their environment destabilizes those subjects understanding, not only of environment, but of themselves.

The study explores destabilization as it affects aspects of the poem from Adam s sense of the landscape of Eden and the meaning of the Fall itself, to the relationship the ambiguous landscapes of Paradise Lost create between Adam and Eve, the poet and the reader; all of whom are struggling to make sense of the same problematically described places.

To a surprisingly large extent, the description of prelapsarian Eden and the events that go on within it have in common a failed attempt to understand the nature of the surroundings. In observing the centrality and difficultly of this poetic discourse of place, the problem of place is found at the very heart of the Fall.

This study describes a variety of ways of thinking about place in the Renaissance and in Paradise Lost. Despite coming from different perspectives, they have in common the idea that the difficulty of the relationship of reciprocity that poetic subjects often expect from their environment destabilizes those subjects' understanding, not only of environment, but of themselves.

The study explores destabilization as it affects aspects of the poem from Adam's sense of the landscape of Eden and the meaning of the Fall itself, to the relationship the ambiguous landscapes of Paradise Lost create between Adam and Eve, the poet and the reader; all of whom are struggling to make sense of the same problematically described places.

To a surprisingly large extent, the description of prelapsarian Eden and the events that go on within it have in common a failed attempt to understand the nature of the surroundings. In observing the centrality and difficultly of this poetic discourse of place, the problem of place is found at the very heart of the Fall.

Recent literary criticism, along with academic culture at large, has stressed collaboration as essential to textual creation and sociability as a literary and academic virtue. Solitude and Speechlessness proposes an alternative understanding of writing with a complementary mode of reading: literary engagement, it suggests, is the meeting of strangers, each in a state of isolation. The Renaissance authors discussed in this study did not necessarily work alone or without collaborators, but they were uncertain who would read their writings and whether those readers would understand them. These concerns are represented in their work through tropes, images, and characterizations of isolation. The figure of the isolated, misunderstood, or misjudged poet is a preoccupation that relies on imagining the lives of wandering and complaining youths, eloquent melancholics, exemplary hermits, homeless orphans, and retiring stoics; such figures acknowledge the isolation in literary experience. As a response to this isolation of literary connection, Solitude and Speechlessness proposes an interpretive mode it defines as strange reading: a reading that merges comprehension with indeterminacy and the imaginative work of interpretation with the recognition of historical difference.