Debate about the authorship of the manuscript known to us as De Doctrina Christiana has bedevilled Milton studies over recent years. In this book four leading scholars give an account of the research project that demonstrated its Miltonic provenance beyond reasonable doubt. But the authors do much more besides, locating Milton's systematic theology in its broader European context, picking open the stages and processes of its composition, and analysing its Latinity.

This book showcases cutting-edge research papers from the XIIth international Milton Symposium hosted by the University of Strasbourg, 17-21 June 2019. Strasbourg is home to Martin Bucer, the Protestant reformer from whom Milton drew support for his theory of divorce, and to Gustave Dore, the famous French illustrator of Paradise Lost. The 26 essays gathered in the present volume are by international scholars, including ones from countries outside the Anglosphere, young or experienced. Opening with a tribute to all Milton symposia organized since 1981, the book falls into eight parts, covering all aspects of Milton studies. "Milton and Materiality" starts with an essay by James G. Turner on personal bodily reference in Milton. In "Milton's Style and Language", the polemicist's use of satire is scrutinized and his relation to enthusiasm is examined, while a new light is shed on his sonnets. In "Milton's Prose", in a rare essay on Observations upon the Articles of Peace (1649), David H. Sacks compares Milton's view of Ireland with what he thought of Russia, delving into the notions of "civilization" and "tyranny". Then the reader will find six essays on Paradise Lost, including one by Hiroko Sano, followed by three essays on his minor poems by promising scholars. The debate on the authorship of De Doctrina Christiana is reopened, with many stylometric tables and charts. A new track leads us to Silesia. In "Reception Studies", two Brazilian contributors study Milton through the lens of French philosophers, and the next essay by Christophe Tournu focuses on the first French verse translation of Paradise Lost. The concluding part, "Milton and his Audience", considers Milton's relationship to his readers, music in Haydn's Creation, while Beverley Sherry analyses portraits of Milton and his works in stained glass.

Milton's poetry is one of the glories of the English language, and yet it owes everything to Milton's widespread knowledge of other languages: he knew ten, wrote in four, and translated from five. In Milton's Languages, John K. Hale first examines Milton's language-related arts in verse-composition, translations, annotations of Greek poets, Latin prose and political polemic, giving all relevant texts in the original and in translation. Hale then traces the impact of Milton's multilingualism on his major English poems. Many vexed questions of Milton studies are illuminated by this approach, including his sense of vocation, his attitude to print and publicity, the supposed blemish of Latinism in his poetry, and his response to his literary predecessors. Throughout this full-length study of Milton's use of languages, Hale argues convincingly that it is only by understanding Milton's choice among languages that we can grasp where Milton's own unique English originated.

Milton's poetry is one of the glories of the English language, and yet it owes everything to Milton's widespread knowledge of other languages: he knew ten, wrote in four, and translated from five. In Milton's Languages, John K. Hale first examines Milton's language-related arts in verse-composition, translations, annotations of Greek poets, Latin prose and political polemic, giving all relevant texts in the original and in translation. Hale then traces the impact of Milton's multilingualism on his major English poems. Many vexed questions of Milton studies are illuminated by this approach, including his sense of vocation, his attitude to print and publicity, the supposed blemish of Latinism in his poetry, and his response to his literary predecessors. Throughout this full-length study of Milton's use of languages, Hale argues convincingly that it is only by understanding Milton's choice among languages that we can grasp where Milton's own unique English originated.

The second of eleven volumes of Milton's Complete Works to be published contains his systematic theology, De Doctrina Christiana. It is his longest work and was, Milton said, his dearest possession. In it, he works out his religious beliefs from Scripture; what Scripture does not mention, such as the Trinity, he energetically refutes. The work exists in manuscript and was written in Latin for European as well as home consumption. Its chapters are conceived and arranged according to the binarizing logic devised by the Protestant martyr Ramus.
De Doctrina Christiana first appeared in print nearly two hundred years ago but the previous editions are now overdue for replacement. For this ground-breaking edition, the manuscript has been freshly transcribed, with fuller textual apparatus and commentary than in any of its few predecessors. The edition aims above all at accuracy, clarity, and completeness, presenting Latin and English on facing pages, amplifying the Biblical citations where necessary, and adding extensive annotations not only on the text and its transcription but also on the content and context of Milton's ideas. The provenance and history of the work are expertly narrated, enabling readers to get closer than ever before to its composition. Milton's Latin is examined in unprecedented detail, and the translation aims to reproduce the nuances and changes of register which characterize his Latin in all its individuality - from the high-flown rhetoric of his arguments in favour of divorce and polygamy, and against tithing, to the plainer style of those sections where he states his main points more dispassionately but bolsters them with strong and wide-ranging Biblical support. The structure of this massive edifice is clarified by the addition of charts which show the Ramist scheme he followed, whereby the primary division between faith (Book One) and worship (Book Two) is mirrored by smaller and smaller subdivisions whose relationship to the whole can be seen at a glance.