Appearing in tandem with the first publication of an authoritative text of the 1667 first edition of John Milton's Paradise Lost, these insightful essays by ten Miltonists establish the significant differences in the text, context, and effect of the first edition of Paradise Lost from those of the now-standard second edition of 1674. In bringing together essays by various hands, editors Lieb and Shawcross seek to map what may be termed a new frontier in Milton studies, that which acknowledges the importance of what Milton himself considered to be the work of a lifetime when he offered Paradise Lost to the world in 1667. While the scholars writing here do not claim that the first edition of Milton's epic is to be viewed as supplanting the second and later editions, they do seek to demonstrate the importance of coming to terms with the original 10-book edition both as an epic with its own identity and value and as a work that provides fundamental insight into the nature of the editions that would follow in its wake. As these scholars demonstrate, Paradise Lost is a work that cannot be fully understood without an awareness of the dynamic and ever-changing nature of the forces through which it made its first and subsequent appearances in the world at large.

This authoritative text of the first edition of John Milton's Paradise Lost transcribes the original 10-book poem, records its textual problems and numerous differences from the second edition, and discusses in critical commentary the importance of these issues.

"The Critical Heritage" gathers together a large body of critical sources on major figures in literature. Each volume presents contemporary responses to a writer's work, enabling student and researcher to read the material themselves.

The first complete annotated edition of Milton's poetry available in a one-volume paperback. The text is established from original sources, with collations of all known manuscripts, chronology and verbal variants recorded. Works in Latin, Greek and Italian are included with new literal translations.

Series Information:
The Critical Heritage Series

Series Information:
The Critical Heritage Series

The facts of John Milton's life are well documented, but what of the person Milton -- the man whose poetic and prose works have been deeply influential and are still the subject of opposing readings? John Shawcross's "different" biography depicts the man against a psychological backdrop that brings into relief who he was -- in his works and from his works. While the theories of Freud, Lacan, Kohut, and others underlie this pursuit of Milton's "self," Jung and some of his followers provide the basic understanding by which Shawcross places Milton in the panorama of history. His explorations of the psychological underpinnings of Milton's decision to become a poet, of the homoerotic dimensions of his personality, and of his relationships with father and mother demonstrate the extent to which psychobiography proves itself invaluable as a means to appreciate this complex writer and his complex writings. This biography combines the traditional chronological narrative with a technique akin to that of fiction, "a mixture of times and a triggering of remembrances from various time frames without time differentiations." Such an approach offers a view of Milton "not only in being but in process of being." Shawcross's examination of two current concerns, gender attitudes and political ideologies, ranges Milton's work against the self he exhibits. Specialists and nonspecialists alike will find in this magisterial biography a wealth of new insight into one of the greatest of English poets.

Renaissance Papers is a collection of the best scholarly essays submitted each year to the Southeastern Renaissance Conference. The nine articles in this volume reflect a wide range of approaches to Renaissance literary performance and theory. The first four essays seek reasons for the success of various Renaissance plays: Christopher Cobb examines how Thomas Heywood casts heroic action in a positive light in his romantic dramas, whereas Lucas Erne urges that Thomas Kyd's Spanish Tragedy owes its success to its Christian portrait of Heironimo's unsuccessful attempt to recognize a benevolent deity. Robert Reeder looks at Renaissance educational manuals in order to clarify views on precocity in Richard III, Bartholomew Fair, and Twelfth Night; and Thomas L. Martin and Duke Pesta investigate and refute postmodern claims about a "transvestite stage." Scott Lucas shows how several sonnets of Fulke Greville's Caelica disorient the reader, underscoring the poet's doubts about human reason and perception; and Pamela Macfie illustrates how Marlowe's ghostly allusions to Ovid's Heroides in Hero and Leander darken the portrayal of the tragic lovers' frustration. The final three essays concern the 17th-century literary giants Donne and Milton: Jay Stubblefield shows Donne's 1619 sermon to the Virginia Company to be a uniquely Thomistic commentary on the conflicting motives behind England's exploits in the New World; and John Wall and John T. Shawcross explore the effects of John Milton's poems on Renaissance and modern readers. M. Thomas Hester is professor of English at North Carolina State University.

" John T. Shawcross's groundbreaking new study of John Milton is an essential work of scholarship for those who seek a greater understanding of Milton, his family, and his social and political world. Shawcross uses extensive new archival research to scrutinize several misunderstood elements of Milton's life, including his first marriage and his relationship with his brother, brother-in-law and nephews. Shawcross examines Milton's numerous royalist connections, complicating the conventional view of Milton as eminent Puritan and raising questions about the role his connections played in his relatively mild punishment after the Restoration. Unique in its methodology, The Arms of the Family is required reading not only for students of Milton but also for students of biography in general. Entire chapters dedicated to Milton's brother Christopher, his brother-in-law Thomas Agar, and his nephews Edward and John Phillips, illuminate the domestic forces that helped shape Milton's point of view. The final chapters reconsider Milton's political and sociological ideology in the light of these domestic forces and in the religious context of his three major poetic works: Paradise Lost, Paradise Regain'd, and Samson Agonistes. The Arms of the Family is a seminal work by a preeminent Miltonist, marking a major advance in Milton studies and serving as a model for those engaged in family history, social history, and the early modern period.

The Critical Heritage gathers together a large body of critical sources on major figures in literature. Each volume presents contemporary responses to a writer's work, enabling student and researcher to read the material themselves.

The Critical Heritage gathers together a large body of critical sources on major figures in literature. Each volume presents contemporary responses to a writer's work, enabling student and researcher to read the material themselves.

Ambiguity, present in all aspects of the poem, is seen as central to Milton's authorial intentions. Shawcross proposes that the many ambiguities surrounding Milton's dramatic poem Samson Agonistes are intentional: the actual words, the dates of composition, the genre, and the characters - particularly Samson and Dalila but including Manoa, Harapha, and the Chorus. Ambiguity also lies in Milton's presentation of political issues both philosophical and practical, his treatment of gender concepts, the constant questioning of the reader, and the poem's effect. Discussing all these elements, Shawcross follows with a detailed reading of the text which argues that it remains purposefully ambiguous, reflecting Milton's own recognition of the uncertainty of the content, and suggesting that Milton himself would question some of the nice 'solutions' that modern scholarship has offered in the last two decades. JOHN SHAWCROSS is Professor of English, Emeritus, University of Kentucky.

Intentionality and the New Traditionalism argues that both the text and the author of a literary work are important to a cogent and full reading of that work. The author creates the text, which then leads the reader into a reading of it through its various elements or literary devices that have been consciously employed by the author. The author's presence is thus continuous in the work and important to it. Such elements and literary devices create what can be called an "intentionality" of the text and become limina, or thresholds, through which the reader can enter the world of the text. The limina direct the reader toward one means of understanding the work. Shawcross discusses and demonstrates the significance of specific types of limina, including genre, structure, and numerological relationships within the work, the use of Latin, allusion and historical/biographical context, onomastics, the performing self, and intertextuality. Some of these, such as genre, have been dismissed in recent critical stances, and others have been little considered.

Shawcross first explores genre, looking at poetic genres and subgenres, the difference between genre and mode, the generic question of tragedy/comedy, the concept of lyric, and the significance of sequence. He then illustrates the importance of other limina to a variety of authors and periods. He also offers new readings of particular works and suggests possible revised readings of other works of similar nature. Shawcross draws primarily on poetry and works of the seventeenth and twentieth centuries, but drama and the novel as well as the nineteenth century are also included.

More often than not, critics have looked upon Milton's great epic not as a literary work but rather as a theological tract or a display of Renaissance learning. In this book John Shawcross seeks to redress that critical imbalance by examining the poem for its literary values. In doing so he reveals the scope and depth of Milton's poetic craftsmanship in his control of such elements as structure, myth, style, and language; and he offers new approaches to reading Paradise Lost as a literary masterpiece rather than a relic of religious history.