By David Loewenstein
Providing a stimulating advent to 1 of the main influential texts of Western literature, this booklet highlights Milton's creative bold, in contemplating the heretical dimensions of Paradise misplaced and its theology. It situates Milton's nice poem in its literary, non secular, and political contexts and contains a really precious and newly up-to-date advisor to additional studying. First variation Hb (1993): 0-521-39303-5 First variation Pb (1993): 0-521-39899-1
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Extra resources for Milton: Paradise Lost (Landmarks of World Literature (New))
As a radical Protestant, Milton recognizes that many of his theological views in the Christian Doctrine “are at odds with certain conventional opinions” and, as he did in Areopagitica, he valorizes “free discussion and inquiry” as he seeks “tirelessly after truth” (YP 6:120–1). His treatise reveals how he rethinks established theological doctrine. For one thing, it reveals Milton to be antiTrinitarian in his theological beliefs, unlike the more conventional young prophetic poet of the Nativity Ode who had referred to the “Trinal Unity” (line 11) in heaven.
It was a substance, and could only have been derived from the source of all substance. It was in a confused and disordered state at first, but afterwards God made it ordered and beautiful” (YP 6:307–8). g. ). 472) as Raphael teaches Adam. The heretical Protestant poet consequently rejects traditional Christian dualisms in both treatise and poem, preferring instead a universe characterized by its materiality. Of all of Milton’s unorthodox theological beliefs, his radical Arminianism is perhaps the most significant one for understanding Paradise Lost.
The sacred subject matter of his inspired poem, as he asserts in Book 9, is “Not less but more Heroic” (14) than that of his classical precursors whose heroic values his poem continually challenges, subverts, and transcends. Indeed, not only will Milton soar higher than any classical epic poet, but higher than any Christian poet as well. “Things unattempted yet in Prose or Rhyme” conveys Milton’s ambitious claim to raise the name of epic to a new height (cf. 2). 1, trans. Sir John Harrington), as his sacred poem ranges beyond his epic precursors and even beyond the Mosaic text itself (as we saw in section 6).