Milton's Kinesthetic Vision in Paradise LostBucknell University Press, 1983 - 321 pages The author demonstrates that the apparent contradictions in the poetic, dramatic, and conceptual framework of Paradise Lost are purposive, indeed central, to Milton's kinesthetic poetics. |
Contents
| 25 | |
| 40 | |
The LyricIronic Modal Structure | 66 |
The Meditative Modes | 92 |
Flight toward Reality A Modal Reading of Paradise Lost | 109 |
The Lyric Mode | 111 |
The Ironic Mode The Garden of Eden | 124 |
The Ironic Mode The Fall in Heaven | 135 |
The Creation of Adam and Eve | 155 |
The Fall in Eden | 167 |
The Meditative Modes The Art of Michael | 222 |
The Meditative Modes The Art of Milton | 243 |
In Miltons Kinesthetic Vision The Nature of the Universe | 281 |
| 295 | |
| 299 | |
| 320 | |
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Common terms and phrases
Abdiel absolute Adam and Eve Adam's aesthetic distancing angels anger beauty becomes behold Book 9 Books 11 coition complex relativizing conception consciousness countering counterplot created creation declension of mind described desirer dimension disjunctive dream earth energy epic Eve's evil evolution experience faculties fall fallen fallen angels fear feels forces frame fruit Galilean-Newtonian God's he/she heaven heavenly hell his/her human identification imagination ironic mode irony kinesthesia kinesthetic less lyric and ironic lyric mode lyric-ironic masculine meditative modes Michael Milton modal structure moon motions move movement nature neutrality Northrop Frye pain Paradise Lost passage perceived perhaps pilot plot poem poetic pole psychic pure Raphael reader reality reciprocity relation relativizing mode resonance resonant structure Satan says sense shift simple relativizing spirit stage stars strategy sympathic thee third space thou tion tone tree universe vision war in heaven winds wonder yearning
Popular passages
Page 32 - He scarce had ceased, when the superior fiend Was moving toward the shore ; his ponderous shield, Ethereal temper, massy, large, and round, Behind him cast ; the broad circumference Hung on his shoulders like the moon, whose orb Through optic glass the Tuscan artist views At evening from the top of Fesole Or in Valdarno, to descry new lands, Rivers, or mountains, in her spotty globe.
Page 18 - Served only to discover sights of woe, Regions of sorrow, doleful shades, where peace And rest can never dwell ; hope never comes, That comes to all ; but torture without end Still urges, and a fiery deluge, fed With ever-burning sulphur unconsumed.