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Journal articles on the topic 'Milton, John. Paradise Lost'

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Published: 4 June 2021
Last updated: 10 February 2022

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1

Maley, Willy, David Scott Kastan, Warren Chernaik, and Emma Smith. "John Milton: 'Paradise Lost'." Modern Language Review 102, no. 4 (October 1, 2007): 1139. http://dx.doi.org/10.2307/20467569.

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2

Sá, Luiz Fernando Ferreira. "Gayatri Spivak leitora de Paradise Lost: um texto transdisciplinar." Aletria: Revista de Estudos de Literatura 19, no. 1 (January 31, 2009): 109–19. http://dx.doi.org/10.17851/2317-2096.19.1.109-119.

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Resumo: Em Paradise Lost, de John Milton, épico e império se encontram dissociados. Contrário a muitas leituras tradicionais, essa escrita do início da Era Moderna inglesa intersecta o pensamento pós-colonial de várias maneiras. Ao usar o circuito pós-colonial de teoria e prática textual de Gayatri Spivak, este artigo desenvolve uma desleitura em contraponto desse texto de Milton: Paradise Lost poderá finalmente libertar-se de seu conteúdo colonial e liberar seu conteúdo pós-colonial.Palavras-chave: Gayatri Spivak; pós-colonialismo; John Milton.Abstract: In John Milton’s Paradise Lost epic and empire are dissociated. Contrary to many misreadings,32 this all-important writing of the English Early Modern Age intersects postcolonial thinking in a number of ways. By using Gayatri Spivak’s circuit of postcolonial theory and practice, this article enacts a contrapuntal (mis)reading of Milton’s text: Paradise Lost may at last free its (post)colonial (dis)content.Keywords: Gayatri Spivak; postcolonialism; John Milton.
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3

Fernandes, Fabiano Seixas. "Paradise Lost em português." Tradterm 20 (December 18, 2012): 51. http://dx.doi.org/10.11606/issn.2317-9511.tradterm.2012.49043.

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O presente artigo apresenta uma relação das traduções do poema épico <em>Paradise Lost</em>, do poeta inglês John Milton, para o português, realizadas em Portugal e no Brasil. Também fornece um breve notícia do restante da obra tradutória e intelectual de seus tradutores lusófonos. Finalmente, enfoca as traduções brasileiras de Conceição Garcia Sotto Maior e Paulo Matos Peixoto, ambas em prosa, apontando alguns problemas inerentes à transposição de poesia narrativa em prosa.
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4

Dunning, Chester. "Lost Chapters of John Milton's Moscovia." Canadian-American Slavic Studies 45, no. 2 (2011): 133–61. http://dx.doi.org/10.1163/221023911x566615.

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AbstractThis article examines The Rarities of Russia, a long overlooked pamphlet describing Russian commodities that was published in London in 1662, and argues that it was ghostwritten by the great poet and pamphleteer John Milton at a time when he lived in fear of assassination and was forbidden to publish anything due to his past support of the English Revolution and his service as Oliver Cromwell's Latin Secretary. The pamphlet appears to consist of previously unknown chapters of Milton's Moscovia, a work completed sometime in the 1640s but not published in Milton's lifetime. A version of Moscovia was published several years after Milton's death under the title A Brief History of Moscovia (1682). at problematic, awkwardly structured little book has long been dismissed by scholars as incomplete or as Milton's least significant work, but when the contents of The Rarities of Russia are added to it (there is virtually no overlapping information), Milton's book about Russia is transformed into a fine piece of Baconian geographic scholarship. This article explores the context in which The Rarities of Russia was published as well as the pamphlet's content and source base to make the case for Milton as its author and for Milton's friend Andrew Marvell as the probable facilitator of its publication. The pamphlet includes a reference to Russia in the Spring as something akin to “Paradise.” The use of the term “Paradise” is especially interesting because Milton was apparently composing Paradise Lost when he paused to ghostwrite The Rarities of Russia .
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Seixas Fernandes, Fabiano. "Lógica luciferina: argumentação em Paradise Lost, de John Milton." Acta Scientiarum Language and Culture 35, no. 3 (July 4, 2013): 233–44. http://dx.doi.org/10.4025/actascilangcult.v35i3.15467.

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6

Urban, David V. "Paradise Lost: A Biblically Annotated Edition. By John Milton." Reformation & Renaissance Review 17, no. 3 (September 2, 2015): 270–72. http://dx.doi.org/10.1080/14622459.2015.1119451.

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7

Cunningham, Clifford J. "Milton’s Paradise Lost: Previously Unrecognized Allusions to the Aurora Borealis, and a Solution to the Comet Conundrum in Book 2." Renaissance and Reformation 39, no. 1 (April 26, 2016): 5–34. http://dx.doi.org/10.33137/rr.v39i1.26541.

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This article reveals that John Milton employed an allusion to the aurora borealis in book 6 (79–83) of Paradise Lost, unrecognized in more than three centuries of scholarly analysis. Two other likely allusions, and one certain, to the aurora have also been identified. This research casts doubt on the long-held belief, made popular by the astronomer Edmund Halley (1656–1742), that no notable aurora was visible in England in the seventeenth century. After examining an overlooked note by the English historian William Camden (1551–1623), this article explores the possibility that Milton actually saw an aurora. A solution is also presented here to the long-standing conundrum of the comet near the “Arctic” constellation Ophiuchus in book 2 (707–11) of Paradise Lost. Cet article révèle que John Milton fait allusion à une aurore boréale au sixième livre (79–83) de Paradise Lost, allusion qui est restée ignorée pendant plus de trois siècles de lectures savantes. Une autre allusion à une aurore boréale, ainsi que deux autres, probables, ont été identifiées. Cette recherche remet en question l’opinion tenue de longue date, et circulée par l’astronome Edmund Halley (1656–1742), qu’aucune véritable aurore boréale ne put être observée en Angleterre au dix-septième siècle. Grâce à l’analyse d’une note, longtemps négligée, de l’historien anglais William Camden (1551–1623), cet article explore la possibilité que Milton ait pu réellement observer une aurore boréale, ce qui pourrait alors résoudre l’énigme de la mention, au deuxième livre du Paradise Lost (707–711), d’une comète près de la constellation « arctique » Ophiuchus.
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8

Hamidizadeh, Parisa, Yazdan Mahmoudi, and Amir Hamidizadeh. "The Ideology of Puritanism in John Milton’s Paradise Lost." International Journal of Applied Linguistics and English Literature 7, no. 4 (July 1, 2018): 33. http://dx.doi.org/10.7575/aiac.ijalel.v.7n.4p.33.

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John Milton can be considered one of the key figures who was not satisfied with the dominant religion and struggled to intensify the essence of Protestantism in form of Puritanism. Through a minute analysis of John Milton’s Paradise Lost and the religious context he lived in, his Puritan ideology in his masterpiece can be traced. It is believed that there are a number of puritan elements embedded in book IX of Paradise Lost. Therefore, the authors try to reveal, enumerate and explain these elements. In doing so, Louis Althusser’s symptomatic reading of ideology will be applied as a background theory so as to justify the main idea of the study. Moreover, the will show how book IX of Paradise Lost can be viewed as the epitome of misogyny; so it makes an effort to nullify McColley’s claim regarding Milton’s equality of sexes.
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9

Quinteiro Macedo, Cristian Cláudio. "The author who translates: Chateaubriand and Paradise Lost by John Milton." Letrônica 12, no. 1 (June 26, 2019): 32237. http://dx.doi.org/10.15448/1984-4301.2019.1.32237.

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O presente artigo é o resultado de uma pesquisa de Historiografia da Tradução que visa apresentar alguns apontamentos historiográficos sobre a publicação e a recepção da tradução em francês de Paraíso Perdido, de Milton, feita por François-René de Chateaubriand, em 1836. Ele propunha realizar uma tradução literal, “palavra por palavra, como um dicionário”, o que demarcaria, na visão de Chateaubriand, uma “revolução na maneira de traduzir”. O estudioso da tradução George Mounin considera essa obra um dos marcos da transformação na maneira francesa de traduzir. Já Antoine Berman a evoca na sua defesa de uma tradução literal na contemporaneidade. A partir do modelo histórico descritivo de Historiografia da Tradução de Brigitte Lépinette, buscamos compreender as noções de autor e tradutor implícitos nos discursos de Chateaubriand e de seus críticos ao se reportarem à obra por ele traduzida.
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10

Sá, Luiz Fernando Ferreira, and Mayra Helena Alves Olalquiaga. "Infinity and Voracity of Lists in John Milton’s Paradise Lost." Aletria: Revista de Estudos de Literatura 25, no. 3 (April 28, 2016): 97–112. http://dx.doi.org/10.17851/2317-2096.25.3.97-112.

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Taking a cue from Stanley Fish, the focus of this essay will be on the forms of “intangling” that read as a play of captivity and unboundedness, two apparently opposed notions that, nevertheless, underpin Milton’s poetics. What we propose to look at here is how these terms are effected in the literary lists, inventories, catalogues and accumulations Milton consistently explores in Paradise Lost. More specifically, this essay argues that the paradoxes of, and possible antidotes to, captivity that we see operating in the lists in Paradise Lost are staged in a treatment that lends them the quality of being at once infinite and voracious, thus a tentative antidote to (something that relieves, prevents, or counteracts, as an antidote to boredom) captivity.
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11

Collett, Christian Alexander. "The Devil's First Advocate." Journal of English Language and Literature 12, no. 1 (August 31, 2019): 1168–69. http://dx.doi.org/10.17722/jell.v12i1.420.

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In this work, I analyze John Milton's Paradise Lost through Milton's use of allegory, allusion, and religious archetypes alike and hypothesize the implications of said techniques of writing as a more synchronistic view held by Milton in this particular work, as Milton never abides by one singular religious context or reference to coinciding cultures of the time, but appears to borrow all at will indiscriminately, as if to hint at a greater connection between each.
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12

Murgia-Elizalde, Mario. "De utopía y paraíso: presencias de Tomás Moro en John Milton." La Colmena, no. 105 (March 13, 2020): 13. http://dx.doi.org/10.36677/lacolmena.v0i105.12969.

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Se exploran las posibilidades intertextuales existentes entre la Utopía de Tomás Moro (1478-1535) y algunos textos en prosa y verso del poeta y polemista John Milton (1608- 1674). La discusión se da a partir de la novela Milton in America, del británico Peter Ackroyd (1949), en la que se sugieren ciertas relaciones (y controversias) confesionales, literarias e ideológicas entre los pensadores. A partir de ahí, se hace una revisión de pasajes en los que la presencia de Moro en la obra de Milton, tema casi inexplorado académicamente, resulta más evidente. Se propone aquí que, a pesar de las diferencias entre ambos, Milton abrevó en las ideas utópicas de su predecesor para construir una idea de 'lugar ideal' o 'no lugar' que daría pie a la configuración del paraíso en el poema épico Paradise Lost.
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13

Wilburn, Reginald A. "“Looking ‘Foreword’ to Milton in Toni Morrison’s Paradise”." Religions 11, no. 11 (October 30, 2020): 562. http://dx.doi.org/10.3390/rel11110562.

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Prior to the 2014 republication of Toni Morrison’s, Paradise, the novelist had not published any commentary about the role of literary influence John Milton might have had on her fictional writings. In a foreword to the republication of her 1997 novel, Morrison offers her first published acknowledgement of Milton’s influence on any work in her canon. My essay contends this Miltonic revelation constitutes a groundbreaking event in literary criticism. I explore the critical significance of this revelation by explicating the foreword, Milton’s significance within it, and its implications for reading the 17th-century epic writer’s (in)visible influential presence throughout Paradise. Placing particular emphasis on the interpretive significance of Morrison’s womanist critique of Milton’s portrayal of Eve, my essay turns to a focus on the Convent women as interrogated replicas of the first mother presented in Paradise Lost. This analysis of the novel enlarges the grounds of contention in Milton and African American studies, providing a richer interpretive reading experience that has never been cited or examined in existing literary criticism prior to now.
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14

Kuhnova, S. "SHARON ACHINSTEIN and ELIZABETH SAUER (eds), Milton and Toleration. * BARBARA K. LEWALSKI (ed.), John Milton: Paradise Lost." Notes and Queries 56, no. 1 (March 1, 2009): 151–53. http://dx.doi.org/10.1093/notesj/gjn203.

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15

Knoppers, Laura Lunger. "Milton and Religious Controversy: Satire and Polemic in Paradise Lost. John N. King." Modern Philology 99, no. 2 (November 2001): 304–6. http://dx.doi.org/10.1086/493068.

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16

Sá, Luiz Fernando Ferreira, and Talita Cassemiro Paiva Alves. "Living on or Textual Afterlife: "Frankenstein" and "Paradise Lost"." Em Tese 22, no. 3 (October 27, 2017): 263. http://dx.doi.org/10.17851/1982-0739.22.3.263-278.

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Propomo-nos a ler Frankenstein de Mary Shelley como uma adaptação de Paradise Lost, de John Milton. Adaptação, na nossa leitura, se inicia na qualidade "palimpsestuosa" ou lógica suplementar inerente a este processo de criação, como teorizado por Julie Sanders e Linda Hutcheon, e chega ao momento em que um texto (Frankenstein), em face do evento de outro texto (Paradise Lost), tenta responder ou produzir uma contra-assinatura (Jacques Derrida). Neste sentido, a adaptação não é nem imitação, nem reprodução, nem metalinguagem, mas um reconhecimento da fluidez dos textos ao longo do tempo (história, história literária) e espaço (culturas, diferentes posições do sujeito). Em última análise, a questão não é como um escritor ou um texto influencia outro, ou como podemos visualizar trajetórias textuais na tradição literária, mas a possibilidade da adaptação se tornar uma resposta pontual, crítica, finita de um texto a outro, uma espécie de leitura como contra-assinatura (Derrida).
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17

Dunning, Chester. "The Rarities of Russia (1662): A Pamphlet Ghostwritten by John Milton." Canadian–American Slavic Studies 47, no. 3 (2013): 347–67. http://dx.doi.org/10.1163/22102396-04703010.

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In 1662 a pamphlet was published in London under the title The Rarities of Russia. Although it was ostensibly written by a merchant named William White, internal evidence reveals that it was written by John Milton, the author of Paradise Lost. It is well known that Milton penned a study of Russia during the 1640s, but his Moscovia manuscript remained unpublished during the poet’s lifetime. When a little book finally appeared in print in 1682 as A Brief History of Moscovia, Milton’s study of Russia was quickly dismissed as inconsequential. Today it is still considered to be his least significant prose work. In fact, the main problem with A Brief History of Moscovia is that it is simply incomplete. Most of the description of Russia that Milton had included in his Moscovia manuscript (on topics such as Russia’s climate, its commodities, people, religion, laws, and customs, the tsar’s court, his government and its revenues, the nobility, and the tsar’s military forces and their weaponry) ended up in The Rarities of Russia. Here is the complete text of that curious pamphlet that was ghostwritten by John Milton while he was composing his long poem.
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Hazemali, David, and Tomaž Onič. "The Proud Prime Evil of Hell: Characterization of Satan as the Capital Vice of Pride in Milton’s Paradise Lost." ELOPE: English Language Overseas Perspectives and Enquiries 13, no. 2 (December 16, 2016): 63–76. http://dx.doi.org/10.4312/elope.13.2.63-76.

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This paper looks into the characterisation of Satan as the Capital Vice of Pride in John Milton’s Paradise Lost. It thus supports the findings of Robert Charles Fox, who in his study The Seven Deadly Sins in Paradise Lost first thoroughly analysed and comprehensively presented this issue and its importance in Milton’s epic. The authors of the study share Fox’s belief that Milton consciously used the system of the Seven Capital Vices in his epic as a structural device to present the entire scope of evil to the willing reader, and he achieved this by giving Satan and six other major denizens of Hell each the characteristics of a particular Vice. In other words, each of the seven major diabolical figures that appear in Paradise Lost embodies or personifies one of the Seven Capital Vices. As the most eloquent and characteristically perfected of the diabolical figures of Hell, Satan embodies Pride, the prime Capital Vice.
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De Oliveira, Ricardo Mendes. "A Moralidade Bíblica." Protestantismo em Revista 43, no. 01 (July 2, 2017): 195. http://dx.doi.org/10.22351/nepp.v43i01.2956.

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Esse estudo se dedicou à origem do bem e do mal na Bíblia. Com o intuito dedesmistificar a moralidade bíblica, foram utilizadas fontes literárias e históricas que remontama esse documento. As histórias nela contida foram comparadas às histórias pagãs. Utilizou-sea Bíblia e a obra Paradise Lost de John Milton, para um paralelo entre o Deus existente nessas duas obras. O resultado foi que Deus mente e é complacente com a mentira, então a moralidade da Bíblia é mito
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20

Sá, Luiz Fernando Ferreira, and Miriam Piedade Mansur Andrade. "Rosa, Goethe e Milton." Remate de Males 39, no. 1 (June 13, 2019): 440–64. http://dx.doi.org/10.20396/remate.v39i1.8654052.

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A proposta deste artigo é analisar os traços dos textos de João Guimarães Rosa, Johann Wolfgang von Goethe e John Milton, a saber, Grande sertão: veredas, Fausto e Paradise Lost, respectivamente, que compõem diálogos poético-bíblicos, cantos paralelos ou transcriações. Este artigo também investigará o modo como o romance brasileiro dialoga com a peça trágica alemã na elaboração e recriação do mito do Diabo e em seus desdobramentos, elementos esses que também estão presentes no diálogo entre os textos em alemão e em inglês. A noção de diálogo aqui trabalhada é a estudada por Mikhail Bakhtin, o qual sugere a ideia de dialogismo como constitutivo da intertextualidade, com o texto passando a ser visto como uma absorção de e uma resposta a um outro texto. Nesse movimento de absorção de elementos e resposta a outros textos, a lógica do suplemento de Jacques Derrida promove a noção de diálogo com o termo funcionando como a escrita de proliferação de significados.
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21

Quiring, Björn. "Die Ausrufung der Naturgesetze in John Miltons Paradise Lost." Poetica 42, no. 1 (June 27, 2010): 117–38. http://dx.doi.org/10.30965/25890530-04201004.

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Quiring, Björn. "Die Ausrufung der Naturgesetze in John Miltons Paradise Lost." Poetica 42, no. 1-2 (June 27, 2010): 117–38. http://dx.doi.org/10.30965/25890530-0420102004.

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23

Quiring, Bjöm. "DIE AUSRUFUNG DER NATURGESETZE IN JOHN MILTONS PARADISE LOST." Poetica 42, no. 1-2 (November 20, 2010): 117–38. http://dx.doi.org/10.1163/25890530-042-01-90000004.

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24

Bonda, Moreno. "THE EARLIEST ITALIAN TRANSLATIONS OF JOHN MILTON ’S “PARADISE LOST”: FAILED ATTEMPTS AND DANTESQUE INFLUEN CES." Vertimo studijos 10, no. 10 (January 18, 2018): 76. http://dx.doi.org/10.15388/vertstud.2017.10.11286.

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This paper deals with the history of translation in the 18th and 19th centuries. It investigates the reasons behind six unsuccessful attempts to translate John Milton’s Paradise Lost (1667) into the Italian language. We hypothesise that the problem was the rendering of unusually marked lexical, thematic, stylistic and rhythmical analogies with Dante’s Comedy and, mainly, with its sources. Adopting Antonio Bellati’s Italian translation (1856) as an indicator, our study focuses on problematic aspects intrinsic to the English poem. Specifically, we suggest that the challenge was the transposition of Paradise Lost’s peculiar mixture of style and meter: the blank verse of a Christian epic poem. This uniqueness rendered it too similar to Dante’s Comedy. Likewise, the setting and the subject matter of the English poem were too adherent to that of both Dante and Virgil’s Aeneid (one of Dante’s main sources). Finally, it might have been difficult to translate Milton into Italian because the English poet openly imitates the Italian epic style, its rhythmical and lexical choices. We conclude that it might have been arduous to avoid even more marked Dantesque influences in an Italian translation. In other words, this study depicts an unusual traductive instance of “excess of equivalence” for lexical and culturally specific items.
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Williams, Glanville. "The Fetus and the “Right to life”." Cambridge Law Journal 53, no. 1 (March 1994): 71–80. http://dx.doi.org/10.1017/s0008197300096896.

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The philosophical answer to Milton's problem is, like so many philosophical answers, a counter-question. What do you mean by human life? This could involve further probing of a kind that a pre-Darwinian like John Milton would fail to comprehend. Does he include Neanderthal man, for example, in “human life”, or does he want to start with Homo sapiens?A resurrected Milton might protest that in writing Paradise Lost he was not concerned with problems of evolution (of which he had not previously heard). His question suggests that he was thinking of the “life” of a particular “human being”; but he knew so little of what we now call biology that he would probably have been as nonplussed by the biological answer to his problem as one given in terms of prehistory.
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Toscano, Fabio. "The Tuscan Artist." Journal of Science Communication 03, no. 03 (September 21, 2004): A02. http://dx.doi.org/10.22323/2.03030202.

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In The Areopagitica, his most important work of prose, John Milton mentions Galileo as the illustrious martyr who fought for the freedom of thought. The name of the great scientist is repeated several times in the English poet's epic masterpiece: Paradise Lost. In three different passages of the poem, Milton in fact celebrates the "Tuscan Artist" and his crucial achievements in astronomy. Nevertheless, in a subsequent passage, the poet addresses the Copernican issue without openly defending the heliocentric theory confirmed by Galileo's discoveries. In fact, he neither embraces the Copernican system nor the Ptolemaic one, but instead compares them, following a dialectic method where one cannot fail to notice an echo of Galileo's Dialogue Concerning the two Chief World Systems. Milton's literary work presents images of astronomy at that time, thus offering a valuable historical example of scientific communication through art.
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Sá, Luiz Fernando Ferreira. "“O jardim todo pesquisar me cumpre”: um estudo sobre O paraíso perdido, de John Milton." Revista do Centro de Estudos Portugueses 30, no. 44 (December 31, 2010): 55. http://dx.doi.org/10.17851/2359-0076.30.44.55-72.

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<p>Este artigo analisa o poema épico <em>O paraíso perdido </em>do escritor inglês John Milton, em suas relações de proximidade e distanciamento do que entendemos normalmente das idéias associadas aos jardins edênicos. Este artigo também passa em revista a alegoria do jardim na cultura ocidental até a Inglaterra do século XVII, relaciona o jardim de <em>O paraíso perdido </em>com as narrativas bíblicas e finaliza concluindo que, após “O jardim todo pesquisar”, nas palavras de Satã, não há jardim geo-gráfico, mas tão-somente o corpo que constrói um paraíso ditoso.</p> <p>This essay analyses John Milton’s <em>Paradise lost </em>with a view to establishing relations of proximity and distancing from what we ordinarily think of the ideas associated with edenic gardens. This essay also comments on the allegory of the garden in our Western culture up until 17th-century England, relates the garden depicted in the epic poem to biblical narratives, and ends by concluding, tentatively, that, after “This garden, and no corner leave unspied” (IV, 529), in Satan’s words, there is no geo-graphic garden, but only the body that makes up a Paradise within.</p>
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28

Tobrmanova-Kuhnova, S. "NOAM REISNER, John Milton's Paradise Lost: A Reading Guide. * PAUL HAMMOND AND BLAIR WORDEN (eds), John Milton: Life, Writing, Reputation." Notes and Queries 59, no. 4 (October 12, 2012): 600–602. http://dx.doi.org/10.1093/notesj/gjs200.

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29

Leonard, John. "Pablo Auladell. Paradise Lost by John Milton. London: Jonathan Cape, 2016. 312pp. ISBN 13: 9781910702239. $17.64 (cloth)." Milton Quarterly 52, no. 2 (May 2018): 128–33. http://dx.doi.org/10.1111/milt.12250.

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30

Schipper, Bernd. "From Milton to Modern Satanism: The History of the Devil and the Dynamics between Religion and Literature." Journal of Religion in Europe 3, no. 1 (2010): 103–24. http://dx.doi.org/10.1163/187489210x12597396698744.

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AbstractThe article explores the dynamics between literature and religion with the examples of Lucifer and modern Satanism. With John Milton's poem Paradise Lost (1667), the originally Christian myth of Lucifer evolved in a positive direction. Having been adopted by so-called 'literary Satanism,' this character became the basis for a new non-Christian religion, the 'Temple of Set' (founded by Michael Aquino in 1975). The article also argues for a remodelling of the conception of the dynamics between religion and other systems of meaning in the 'European history of religion': not only do religious traditions affect the medium of literature; literature can also affect the religious tradition.
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31

Talbott, Thomas. "Punishment, Forgiveness, and Divine Justice." Religious Studies 29, no. 2 (June 1993): 151–68. http://dx.doi.org/10.1017/s0034412500022174.

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According to a long theological tradition that stretches back at least as far as St Augustine, God's justice and mercy are distinct, and in many ways quite different, character traits. In his great epic poem, Paradise Lost, for example, John Milton goes so far as to suggest a conflict, perhaps even a contradiction, in the very being of God; he thus describes Christ's offer of himself as an atonement this way:No sooner did thy dear and only SonPerceive thee purpos'd not to doom frail ManSo strictly, but much more to pity inclin'd,Hee to appease thy wrath, and end the strifeOf Mercy and Justice in thy face discern'dRegardless of the Bliss wherein hee satSecond to thee, offer'd himself to dieFor man's offence.
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Adams, M. "COMPLEX JOHN MILTON: John Milton: Life, Work, and Thought. By GORDON CAMPBELL and THOMAS N. CORNS * The Complete Works of John Milton, volume ii, The 1671 Poems: Paradise Regain'd and Samson Agonistes. Edited by LAURA LUNGER KNOPPERS * Between Worlds: The Rhetorical Universe of Paradise Lost. By WILLIAM PALLISTER." Essays in Criticism 60, no. 2 (April 1, 2010): 181–89. http://dx.doi.org/10.1093/escrit/cgq004.

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Alcini, Laura. "PAOLO ANTONIO ROLLI PRIMO TRADUTTORE DI MILTON UN POETA, EDITORE, POLEMISTA E MAESTRO D'ITALIANO NELL'INGHILTERRA DEL SETTECENTO." Forum Italicum: A Journal of Italian Studies 39, no. 2 (September 2005): 398–420. http://dx.doi.org/10.1177/001458580503900205.

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Il saggio intende ricostruire la vicenda biografica e letteraria di Paolo Antonio Rolli, intellettuale eclettico nella Londra del secolo diciottesimo, a cui spetta il merito, scarsamente riconosciuto, di precursore e fautore degli scambi letterari tra Italia e Gran Bretagna. Per almeno trenta anni Rolli fu infatti uno dei più autorevoli rappresentanti della lingua e della cultura italiana a Londra, diventandone principale ambasciatore. Oltre al Rolli poeta arcade, librettista ed editore-filologo esiste anche un Rolli docente di lingua italiana la cui vocazione maieutica si esprime nell'intento, assolutamente moderno, di rendere più vicini il mondo letterario inglese e quello italiano. Egli si colloca d'altronde nella scia di quella corrente culturale che, già dal secolo XVII, aveva visto la lingua italiana diventare fulcro della formazione culturale anglosassone. Tendenza che in John Milton aveva trovato il suo più illustre rappresentante. L'attività di traduttore, dai classici e dai moderni, costituisce senza dubbio la parte fondamentale della produzione di Paolo Rolli, particolarmente intensa durante la permanenza inglese. Il più importante lavoro traduttivo rimane la versione italiana del Paradise Lost di J. Milton che impegnò il poeta per circa quindici anni. L'opera, pionieristica per l'epoca, rappresenta una pietra miliare della critica italiana in rapporto alla letteratura inglese.
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Loscocco, Paula. "Royalist Reclamation of Psalmic Song in 1650s England." Renaissance Quarterly 64, no. 2 (2011): 500–543. http://dx.doi.org/10.1086/661798.

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AbstractThis article brings into focus the royalist experience of political defeat and cultural recovery in mid-seventeenth-century England. It shows how royalist writers developed a polemically charged psalmic poetics that allowed them to appropriate the discursive authority of their Puritan enemies, reestablish their own cultural standing, and prepare the way for religious and political return. Several writers who found common cause in 1650s royalist poetics appear in these pages, including Izaak Walton, Thomas Stanley, Jeremy Taylor, Henry King, and the author(s) of the 1649 Eikon Basilike. Royalist writers with more divided responses to psalmic polemics appear here as well, including the episcopal divine, Henry Hammond, and the Davidic poet, Abraham Cowley. The poet, psalmist, and polemicist John Milton is an important presence throughout: his Eikonoklastes seems aware of his opponents’ polemical project, as do his 1653 psalms, and Paradise Lost itself may respond to what he once derided as royalist “Psalmistry.”
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McColley, Diane Kelsey. "Milton and Nature: Greener Readings Milton and the Natural World: Science and Poetry in "Paradise Lost" Karen L. Edwards Milton among th Philosophers: Poetry and Materialism in Seventeenth-Century England Stephen M. Fallon Contemplation of Created Things: Science in "Paradise Lost" Harinder Singh Marjara The Matter of Revolution: Science, Poetry, and Politics in the Age of Milton John Rogers." Huntington Library Quarterly 62, no. 3/4 (January 1999): 423–44. http://dx.doi.org/10.2307/4621651.

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Ghermani, Laïla. "Le Fils, représentation visible du Père dans Paradise Lost (1674) : de l'hétérodoxie religieuse à la crise de la christo-mimesis chez John Milton." Dix-septième siècle 257, no. 4 (2012): 595. http://dx.doi.org/10.3917/dss.124.0595.

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Urban, David V. "Jameela Lares and P. J. Klemp (eds), (ed.),A Variorum Commentary on the Poems of John Milton: Volume 5, Part 8.Paradise Lost." Notes and Queries 62, no. 3 (July 2, 2015): 478–79. http://dx.doi.org/10.1093/notesj/gjv107.

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Isitt, Larry R. "Milton and Religious Controversy: Satire and Polemic in Paradise Lost. By John N. King. Cambridge: Cambridge University Press, 2000. xx + 227 pp. $59.95 cloth." Church History 71, no. 1 (March 2002): 201–3. http://dx.doi.org/10.1017/s0009640700095469.

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Stoll, Abraham. "John N. King. Milton and Religious Controversy: Satire and Polemic in Paradise Lost. New York: Cambridge University Press. 2000. Pp. xx, 227. $59.95. ISBN 0-521-77198-6." Albion 33, no. 4 (2001): 652–53. http://dx.doi.org/10.1017/s0095139000068046.

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Dzelzainis, Martin. "Milton and religious controversy. Satire and polemic in Paradise lost. By John N. King. Pp. xx+227 incl. 25 ills. Cambridge: Cambridge University Press, 2000. £37.50. 0 521 77198 6." Journal of Ecclesiastical History 53, no. 2 (April 2002): 333–428. http://dx.doi.org/10.1017/s0022046902804249.

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Butler, Todd. "JameelaLares, ed. A Variorum Commentary on the Poems of John Milton: Volume 5, Part 8.Paradise Lost, Books 11-12. Pittsburgh, PA: Duquesne UP, 2012. xxii + 393pp. ISBN 13: 978-0-8207-0446-3. $85.00 (cloth)." Milton Quarterly 47, no. 2 (May 2013): 105–7. http://dx.doi.org/10.1111/milt.12036.

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Langer, Ayelet. "Identity over Time in Paradise Lost." University of Toronto Quarterly 90, no. 1 (June 2021): 42–57. http://dx.doi.org/10.3138/utq.90.1.03.

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This essay proposes that in Paradise Lost Milton represents the conscious self as constructed over time, thereby anticipating the early eighteenth- century formulation of identity as a problem of diachronic identity. Milton represents this process of self-constitution by situating the mind’s act of unifying itself in the present moment, which he models on Aristotle’s definition of the now as both a connection and a boundary of time. Aristotle’s bivalency of the now serves in Paradise Lost to distinguish between the capacity of prelapsarian and postlapsarian individuals to constitute their self by organizing their experiences in time. As a connection of time, the Aristotelian now grounds Milton’s representation of the way in which the prelapsarian individual constitutes his or her own self. As a boundary of time, it marks the failure of the postlapsarian mind to achieve such constitution, which leads to a disintegration of the self. Thus, Aristotle’s distinction between the two contrasting aspects of the now becomes, in Milton’s representation of the self, the prism through which Milton forms a clear distinction between two fundamental structures of identity, fallen and unfallen.
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SIRCY, JONATHAN. "Educating Milton: Paradise Lost, Accommodation, and The Story of Paradise Lost, for Children." Milton Quarterly 45, no. 3 (October 2011): 172–86. http://dx.doi.org/10.1111/j.1094-348x.2011.00287.x.

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Jordan, Richard D. "John Abbot's 1647 "Paradise Lost"." Milton Quarterly 20, no. 2 (May 1986): 48–51. http://dx.doi.org/10.1111/j.1094-348x.1986.tb00671.x.

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Hizam, Akram Nagi. "Deconstructing the Miltonic Exaggerations in Paradise Lost." Journal of Language Teaching and Research 11, no. 3 (May 1, 2020): 462. http://dx.doi.org/10.17507/jltr.1103.14.

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Paradise Lost has become a controversial epic in misrepresenting characters especially among pious critics and religious scholars. Based on applying the deconstruction theory analysis on Paradise Lost, this paper discusses three main purposes about the Miltonic exaggerations in Paradise Lost: the infringement of God divinity, the high power position of Jesus Christ, and Oliver Cromwell; as the intended symbolic political figure by Milton.In fact, the Bible and the Holy Quran are considered two main sources to the paradise story, so they apparently deconstruct the Miltonic thoughts in this epic poem. According to deconstructionism in Paradise Lost, Milton consecrated the ideology of the Trinity concept which is not explicitly mentioned in the New Testament. He also exceeded the reasonable limitation of divinity by ignoring the role of the Great God and overstating the role of Jesus Christ as the whole mercy and justices. In addition, Milton came out with Paradise Lost after Oliver Cromwell’s death in order to express his grief about Oliver Cromwell and the Commonwealth fall as well.
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Sherry, B. "Milton, Materialism, and the Sound of Paradise Lost." Essays in Criticism 60, no. 3 (July 1, 2010): 220–41. http://dx.doi.org/10.1093/escrit/cgq013.

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Osier, Alan. "John Marchant's Lectures on Paradise Lost." Milton Quarterly 20, no. 2 (May 1986): 52–53. http://dx.doi.org/10.1111/j.1094-348x.1986.tb00672.x.

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Raymond, J. "Review: Milton and Modernity: Politics, Masculinity and Paradise Lost." Review of English Studies 54, no. 216 (September 1, 2003): 535–37. http://dx.doi.org/10.1093/res/54.216.535.

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Fallon, Stephen M. "Wordsworth after Milton: Paradise Lost and Regained in “Nutting”." Partial Answers: Journal of Literature and the History of Ideas 13, no. 2 (2015): 193–213. http://dx.doi.org/10.1353/pan.2015.0017.

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Leonard, John. "‘Or’ in Paradise Lost: the Poetics of Incertitude Reconsidered." Review of English Studies 71, no. 302 (April 1, 2020): 896–920. http://dx.doi.org/10.1093/res/hgaa018.

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Abstract Several Miltonists, beginning with Virginia Mollenkott in 1974, have identified ‘or’ as a key word in Paradise Lost because it is the word most associated with choice. In recent years, Peter C. Herman has made the bolder claim that ‘or’ is the poem’s key word because it refuses to choose. Herman argues that Paradise Lost is characterized by a ‘poetics of incertitude’ calculated to frustrate the reader. Whilst agreeing with earlier critics that ‘or’ is a key word in the poem, this essay challenges the claim that it always refuses (or even consistently offers) choices. A series of close readings demonstrates that Milton frequently uses ‘or’ to affirm, not waver. In ‘cletic’ (summoning) hymns, epic catalogues, and oratorical speeches, ‘or’ most often signals certainty, not incertitude. In the debate in Hell, every orator uses ‘or’ to pressure his audience to assent, not vacillate. The present essay is not, however, an attempt to replace Herman’s ‘poetics of incertitude’ with a rival ‘poetics of certainty’. The emphasis is on the diversity of ‘or’ in Paradise Lost. ‘Or’ sometimes signals uncertainty, but Milton never values incertitude for its own sake. The essay concludes by examining the poem’s cautious ventures into theology and astronomy, where Milton does keep his options open with ‘or’, but even in these cases he sometimes hints at a preference between the choices he declines to make.
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