ISSN:0026-4326    

DOI:10.1111/j.1094-348X.1980.tb00303.x

出版商:Blackwell Publishing Ltd    

年代:1980

数据来源: WILEY

ISSN:0026-4326    

DOI:10.1111/j.1094-348X.1980.tb00304.x

出版商:Blackwell Publishing Ltd    

年代:1980

数据来源: WILEY

ISSN:0026-4326    

DOI:10.1111/j.1094-348X.1980.tb00305.x

出版商:Blackwell Publishing Ltd    

年代:1980

数据来源: WILEY

ISSN:0026-4326    

DOI:10.1111/j.1094-348X.1980.tb00306.x

出版商:Blackwell Publishing Ltd    

年代:1980

数据来源: WILEY

ISSN:0026-4326    

DOI:10.1111/j.1094-348X.1980.tb00307.x

出版商:Blackwell Publishing Ltd    

年代:1980

数据来源: WILEY

ISSN:0026-4326    

DOI:10.1111/j.1094-348X.1980.tb00308.x

出版商:Blackwell Publishing Ltd    

年代:1980

数据来源: WILEY

ISSN:0026-4326    

DOI:10.1111/j.1094-348X.1980.tb00310.x

出版商:Blackwell Publishing Ltd    

年代:1980

数据来源: WILEY

ISSN:0026-4326    

DOI:10.1111/j.1094-348X.1980.tb00311.x

出版商:Blackwell Publishing Ltd    

年代:1980

数据来源: WILEY

摘要:

Fredson Bowers.“Samson Agonsites:Justice and Reconciliation.” InThe Dress of Words: Essays on Restoration and Eighteenth Century Literature in Honor of Richmond P. Bond, ed. Robert B. White, Jr., pp. 1‐23.Gordon Campbell. “Milton and Aurora's Tears.”Notes and Queries, 26 (October 1979), 415.Irby B. Cauthen, Jr. ‘“A Complete and Generous Education'. Milton and Jefferson.”Virginia Quarterly Review, 55, No. 2 (Spring 1979), 222‐233.Milton's ideas of education echo some of Jefferson's. Both men considered education the basic foundation of the commonwealth, essential and necessary for wise rule and citizenship. Through devotion to one's country, conscience, and mind, Jefferson and Milton arrive at similar goals of education, goals involving civic leadership and personal integrity.Thomas N. Corns. “Obscenity, Slang and Indecorum in Milton's English Prose.”Prose Studies, 3, No. 1 (May 1980), 5‐14.In terms of prose strategy and range of reference, Milton offers a new decorum for abuse in the works of his “left hand.” As he states in theApology, “all words and whatsoever may be spoken” can find a place in religious prose. While this statement does not concede that Milton held his own prose to contain inappropriate words, there is no reason to doubt that he sincerely held this theoretical position.Thomas J. Embry. “Sensuality and Chastity in ĽAllegro and II Penseroso.” Journal of Englishand English Philosophy, ff (1978), 504‐29.L Allegroandll Penserosoare not merely aesthetically pleasing pieces about mirth and melancholy, but rather highly allusive and symbolic poems expressing Milton's growing interest in the opposition of sensuality and chastity. Inll Penserosohe uses symbolism to bring out ideas only vaguely suggested on the surface—ideas about contemplation, knowledge, sexual purity, inspiration—and to relate them to his theory of chastity. InL'Allegrothe symbolism undercuts the seeming innocence of the poem, showing that the pleasures described are not, as the narrator states, “unreproved pleasures free.” Although many of the activities the mirthful man enjoys seem beyond reproof, others have a definite seductive potential. They include drinking, dancing, soft music, lavish courtly entertainments such as feasts and masques where beautiful women are plentiful—all of which are condemned inComus.ĽAllegro's attitude toward these activities is obviously one of approval. But Milton's symbolism shows that his own attitude is opposed to the mirthful man's and that, whereasll Penserosois a didactic poem,L'Allegrois an ironic one. (TJE)Kazutoshi Kato. “Milton's Plot Design inSamson Agonistes:A First Step Toward the Interpretation of the Tragedy.”Milton Center of Japan News, 3 (December 1979), 20‐21.The dramatic conflict inSAinvolves not the internal struggle of the protagonist but the conflict between Samson and the Philistian Lords. It is this plot which moves the drama toward the catastrophe which necessitates Samson's death. Manoa and Dalila's proposals become temptations to a compromise and reconcilement with the Philistian lords which Samson must fight against. Harapha and the Officer add to this series of challenges to Samson until he is brought to the scene of the final conflict with the lords where the “necessary” outcome conforms to God's dispensation working from above.George Miller. “‘Images of Matter’: Narrative Manipulation in Book VJ ofParadise Lost.” Ariel, 11, No. 1 (January 1980), 5‐13.The narrative technique in the War of Heaven emblematically represents the fallen nature of the experience described. Raphael's narrative is reductive and intentionally confining, and language loses its spiritual significance because the War is Satan's war. It is a specific physical battle moving from “spirit” down to something close to “flesh.” Satan descends in our fallen world waging epic warfare blindly and absurdly against a moral force. Milton's vehicle (epic warfare) serves to condition and confine our purpose in this part of the poem; with everything confined within natural limits, part of the lesson the war carries for us is defined through the poet's use of language and perspective.George Miller. “MiltonTopothesias:Some Rhetorical Aspects of Description inParadise Lost.”Cahiers Elisabethains, No. 16 (October 1979), pp. 45‐57.In his descriptions of Hell, Chaos and Paradise, Milton seeks to elicit a rhetorical and didactic effect through a use of elaboratetopothesias.These rhetorically oriented descriptive techniques contribute to the narrative and didactive context of Milton's passages; thus such a style reflects meaning inPL.Leo Miller. “Dating Milton's 1626 Obituaries.”Notes and Queries, 27 (1980), 323‐324.An unpublished letter by Joseph Meade in the British Library supplies the hitherto unavailable date of death of beadle Ridding, September 26, 1626. Hence he is the subject of Milton'sElegia II, while the elegy on Andrews, who died September 25, is numberIII, since news of his passing did not reach Christ's College till a day or more after Ridding's death. Milton indicates thatElegia IIIwas done before Felton died at Ely October 5. However, Milton was at work on his little Guy Fawkes epic in advance, in anticipation of November 5, and therefore printed hisIn Quintum Novembrisas preceding his obituary on Felton. The peculiar (sc. 1625) dating ofSylva I, a year before Gostlin's death on October 21, 1626, suggests that its first twenty and last four lines were drafted as an exercise in 1625 in imitation of Diodati's poem on Camden, and that lines 21‐44 were added in 1626. The November‐December 1626 dating scheme offered by W. R. Parker(Milton, A Biography)is now unacceptable. (LM)Hiromitsu Nobumori. “Ariosto's Influence on Milton.”Milton Center of Japan News, 3 (December 1979), 24‐26.Ariosto's influence on Milton is documented through Milton's many references in his religious treatises and his Commonplace Book. Influenced both by his life and his work, Milton's use of allegorical fables and romances from Italian chivalric epic poetry is frequent in the earlier works, less so inPL.However, though difficult to tell, in technique and skill Ariosto'sFuriosodoes appear to offer parallels toPLAny direct affect came from Milton's total apprehension of the marvellous superposant technique of Ariosto's epic structure. Perhaps inspired by Ariosto, Milton made a conscious attempt to exalt and enhance the English language as well as to establish his poetic diction.Naoki Onishi. “Paradise Within inParadise Lost.” Milton Center of Japan News, 3 (December 1979), 22‐24.One of the features of the “paradise within” inPLconsists of the memory of the happy rural life in Eden. In Book IV the description of the Garden, and in Books V and VIII involving Adam and Raphael, a close and familiar relationship between the heavenly and the earthly is implied as the central symbol of the prelapsarian world. Finally, through the two verbal echoes between Michael's teaching and the Emmaus episode in the Bible(Luke, xxiv), one can understand the final psychological condition of Adam and Eve at the moment of their leaving Paradise: they are encouraged by Michael's promise of the second Adam's coming. Their belief in this promise, together with the happy memories of the prelapsarian life, constitute the new “paradise within.“Hideyuki Shitaka. “The Langu

ISSN:0026-4326    

DOI:10.1111/j.1094-348X.1980.tb00312.x

出版商:Blackwell Publishing Ltd    

年代:1980

数据来源: WILEY

ISSN:0026-4326    

DOI:10.1111/j.1094-348X.1980.tb00313.x

出版商:Blackwell Publishing Ltd    

年代:1980

数据来源: WILEY