John Milton's Theory of Religious Toleration Roger Shade Wilson
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English Identity in the Writings of John Milton
The University of Southern Mississippi The Aquila Digital Community Honors Theses Honors College Fall 12-2012 English Identity in the Writings of John Milton Hannah E. Ryan University of Southern Mississippi Follow this and additional works at: https://aquila.usm.edu/honors_theses Part of the Arts and Humanities Commons Recommended Citation Ryan, Hannah E., "English Identity in the Writings of John Milton" (2012). Honors Theses. 102. https://aquila.usm.edu/honors_theses/102 This Honors College Thesis is brought to you for free and open access by the Honors College at The Aquila Digital Community. It has been accepted for inclusion in Honors Theses by an authorized administrator of The Aquila Digital Community. For more information, please contact [email protected]. The University of Southern Mississippi English Identity in the Writings of John Milton by Hannah Elizabeth Ryan A Thesis Submitted to the Honors College of The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Bachelor of Arts in the Department of English November 2012 ii Approved by _____________________________ Jameela Lares Professor of English _____________________________ Eric Tribunella, Chair Department of English ________________________________ David R. Davies, Dean Honors College iii Abstract: John Milton is an essential writer to the English canon. Understanding his life and thought is necessary to understanding his corpus. This thesis will examine Milton’s nationalism in several major and minor poems as well as in some of Milton’s prose. It will argue that Milton’s nationalism is difficult to trace chronologically, but that education is always essential to Milton’s national vision of England. -
Milton's Paradise Lost
Milton’s Paradise Lost: Previously Unrecognized Allusions to the Aurora Borealis, and a Solution to the Comet Conundrum in Book 21 clifford j. cunningham National Astronomical Research Institute of Thailand 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 re- cherche 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. -
Introduction to the 1645 Volume: Poems of Mr. John Milton
C01.qxd 8/18/08 14:44 Page 1 Introduction to the 1645 Volume: Poems of Mr. John Milton In 1645, Milton published most but not all of the poems he had composed by that date. The publisher Humphrey Moseley had been bringing out volumes of lyric poetry by royalist poets such as Edmund Waller, and it was likely, as he claims in the intro- duction to the volume, that he approached Milton and encouraged him to publish his verse. Moseley also arranged for the engraved portrait of Milton by William Marshall (see Figure 1), beneath which Milton, who considered the engraving unflattering, placed a witty Greek epigram ridiculing it in a language neither Marshall nor Moseley under- stood. Unlike most contemporary poets, Milton neither wrote a preface, solicited commendatory poems, nor acknowledged a patron. He organized his volume more or less chronologically, thus displaying his poetic development, but also carefully grouped together poems of similar themes and genres. With the Latin tag from Virgil’s Eclogues on the title page (“Baccare frontem / Cingite, ne vati noceat mala lingua futuro” – “Bind my forehead with foxglove, lest evil tongues harm the future Bard”), he promises future poems on even greater themes. In the Latin ode sent with a replacement copy of the volume to John Rouse, librar- ian of the Bodleian Library at Oxford, Milton describes the 1645 volume as a “twin book, rejoicing in a single cover, but with a double title page.” The first section of the volume presents his vernacular poems (mostly in English, but also including a mini-sonnet sequence in Italian), and concludes with A MASK Presented At LUDLOW- Castle. -
Incorporated Righteousness: a Response to Recent Evangelical Discussion Concerning the Imputation of Christ’S Righteousness in Justification
JETS 47/2 (June 2004) 253–75 INCORPORATED RIGHTEOUSNESS: A RESPONSE TO RECENT EVANGELICAL DISCUSSION CONCERNING THE IMPUTATION OF CHRIST’S RIGHTEOUSNESS IN JUSTIFICATION michael f. bird* i. introduction In the last ten years biblical and theological scholarship has witnessed an increasing amount of interest in the doctrine of justification. This resur- gence can be directly attributed to issues emerging from recent Protestant- Catholic dialogue on justification and the exegetical controversies prompted by the New Perspective on Paul. Central to discussion on either front is the topic of the imputation of Christ’s righteousness, specifically, whether or not it is true to the biblical data. As expected, this has given way to some heated discussion with salvos of criticism being launched by both sides of the de- bate. For some authors a denial of the imputation of Christ’s righteousness as the sole grounds of justification amounts to a virtual denial of the gospel itself and an attack on the Reformation. Others, by jettisoning belief in im- puted righteousness, perceive themselves as returning to the historical mean- ing of justification and emancipating the Church from its Lutheranism. In view of this it will be the aim of this essay, in dialogue with the main pro- tagonists, to seek a solution that corresponds with the biblical evidence and may hopefully go some way in bringing both sides of the debate together. ii. a short history of imputed righteousness since the reformation It is beneficial to preface contemporary disputes concerning justification by identifying their historical antecedents. Although the Protestant view of justification was not without some indebtedness to Augustine and medieval reactions against semi-Pelagianism, for the most part it represented a theo- logical novum. -
John Milton, Areopagitica (1644)1
1 Primary Source 7.6 – Milton JOHN MILTON, AREOPAGITICA (1644)1 John Milton (1608–74) is widely considered the greatest writer in English after Shakespeare. A private tutor, an excellent school in London, seven years at Cambridge University, and six years of self-directed study made him an extraordinarily learned man with fluency in Latin, Greek, Hebrew, French, Spanish, and Italian; vast knowledge of modern writing; and intimate familiarity with the literature and thought of ancient Greece and Rome, of late antiquity, and of the Middle Ages. From an early age, he believed himself destined to contribute a great creative work, something that would do credit to the gifts with which the Lord had endowed him. A deeply believing Christian and an unwavering advocate of religious, civil, and political liberty, he devoted those gifts for twenty years to the service of the Puritan and Republican causes. During this era, he penned Areopagitica, probably the greatest polemical defense of the freedom of the press ever written. Following the restoration of the Stuart monarchy in 1660, Milton had to withdraw from political life. Seven years later, he published his masterwork, Paradise Lost, an epic poem recounting the Biblical story of the Fall of Man in over 10,000 lines of blank verse. In Areopagitica, Milton deploys impassioned arguments, vast historical knowledge, extraordinary erudition, and powerful logic to demand the abrogation of a law of 1643 authorizing twenty licensors, or censors, in England to approve or reject book and pamphlet manuscripts before publication, a general policy (not always strictly enforced) dating to the mid-1500s but abolished in 1641 by the Long Parliament. -
An Analysis of the Objective-Subjective Elements in John Milton's Dramatic Poem Samson Agonistes
Loyola University Chicago Loyola eCommons Master's Theses Theses and Dissertations 1947 An Analysis of the Objective-Subjective Elements in John Milton's Dramatic Poem Samson Agonistes Louis S. Kaluzsa Loyola University Chicago Follow this and additional works at: https://ecommons.luc.edu/luc_theses Part of the Literature in English, British Isles Commons Recommended Citation Kaluzsa, Louis S., "An Analysis of the Objective-Subjective Elements in John Milton's Dramatic Poem Samson Agonistes" (1947). Master's Theses. 635. https://ecommons.luc.edu/luc_theses/635 This Thesis is brought to you for free and open access by the Theses and Dissertations at Loyola eCommons. It has been accepted for inclusion in Master's Theses by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. Copyright © 1947 Louis S. Kaluzsa AN ANALYSIS OF THE OBJECTIVE-SUBJECTIVE ELEMENTS IN JOHN MILTON'S DRAMATIC POEM SAMSON AGONISTES BY LOUIS S. KALUZSA, S.J. A THESIS SUBMITTED IN PARTIAL FULF'ILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN LOYOLA UNIVERSITY JUNE 1947 VITA AUCTORIS Louis s. Kaluzsa, S.J., was born in Cleve land, Ohio, October 13, 1916. He was graduated from Cathedral Latin High School, Cleveland, Ohio, June, 1934. He entered John Carroll University, Cleveland, Ohio, in Septemb~r, 1934. After completing two years there, he entered the Milford Novitiate of the Society of Jesus in 1936 and waB enrolled at St. Xavier University, Cincinnati, Ohio, whence he received his Litt. -
Milton's Attitude Toward Women
The Woman's College of The University of North Carolina LIBRARY no. 3?0 COLLEGE COLLECTION Gift of Marianne Sewell Aiken MILTON'S ATTITUDE TOWARD WOMEN by Marianne Sewell Aiken A Thesis Submitted to the Faculty of the Graduate School at The University of North Carolina at Greensboro in Partial Fulfillment of the Requirements for the Degree Master of Arts Greensboro May, I965 Approved by 6, Director APPROVAL SHEET This thesis has been approved by the following committee of the Faculty of the Graduate School of the University of North Carolina, Greensboro, North Carolina. Thesis Director Oral Examination Committee Members t> Date of Examination AIKEN. MARIAN ! 3EWELL. Milton's Attitude Toward Women.(1965) Directed by Dr. Jean E. Gagen. pp. 66. Milton lived in a period of transition affectin^ many as- pects of life, among them the status of wonen. Age-old conserva- tive beliefs were still alive and had a temporary resurgence un- der the Puritan hegemony, but liberal forces were also at work* The poet had the misfortune to be involved in a partic- ularly unhappy marriage. After a youth spent largely in study, with little contact with young women, he hastily married an im- mature Royalist bride, Mary Powell. Her refusal to return to Milton after she had left him in the early months of the mar- riage to visit her family suggests that Hilton and Mary Powell were incompatible from the start. Though there was a reconcil- iation later, Hilton's relationship with her, her whole -family, and, after her death, her children as well, was replete with friction and bitterness. -
" Touched with Hallowed Fire"--Milton's Early Poetry: The
DOCUMENT RESUME ED 352 653 CS 213 601 AUTHOR Langford, Thomas A. TITLE "Touched with Hallowed Fire"--Milton's Early Poetry: The Confirmation of a Teacher. PUB DATE Mar 92 NOTE 14p.; Paper presented at the Annual Meeting of the College English Association (23rd, Pittsburgh, PA, March 27-29, 1992). PUB TYPE Viewpoints (Opinion/Position Papers, Essays, etc.) (120) Speeches/Conference Papers (150) EDRS PRICE MFO1 /PCO1 Plus Postage. DESCRIPTORS *Didacticism; English Literature; *Figurative Language; Higher Education; Literary Criticism; *Poetry; *Poets; *Religious Factors; *Teacher Role IDENTIFIERS *Milton (John) ABSTRACT It is genergl knowledge that John Milton, when he came to Cambridge, chose not to proceed into the official ministry of the church, but to dedicate his life instead to the calling of literature. If, indeed, Milton rejected the official ministry of the church, after completing the education leading to it, choosing to teach through poetry rather than through sermon, it should be possible to find in his work not only exquisite verse, but elements of his doctrine as well. His readers are his church, and whether or not his teaching is accepted, his "pupils" are entranced by the music of his poetry. Milton's poetry as well as his prose all contribute to his underlying purpose to be a "herald of heavenly truth from God to man," and readers are affected by both the message and the song. Analysis of three poems from Milton's early period, the "Ode on Christ's Nativity," "Comus," and "Lycidas," demonstrate Milton's teacherly vocation, developing first in his intent to take priestly orders, through his revulsion from that goal, to his final decision that he could best employ his talent for teaching through poetry rather than pulpit. -
Censorship As a Typographical Chimera
Preliminary Communication UDC 070.13:808.5Milton, J. Received December 29th, 2009 Béla Mester Hungarian Academy of Sciences, Institute for Philosophical Research, Etele út 59-61, HU–1119 Budapest [email protected] Censorship as a Typographical Chimera John Milton and John Locke on Gestures1 Abstract The aim of my paper is to show some elements in Milton’s and Locke’s political writin gs, depending on their attitudes to different media. Milton in his argumentation against censorship must demonstrate that all the ancient instances for censorship, usually cited in his century, can be interpreted as examples of another phenomenon. However, Milton, analysing loci of Plato’s Republic and some Scriptural topics, recognises the scope and significance of nonconceptual, nonprinted, nonverbal forms of communication; he des cribes them as signs of childish, female or uneducated behaviours, as valueless phenomena from the point of view of political liberty incarnated in the freedom of press. John Locke’s attitude is the same. I will show a chain of ideas, similar to Milton’s one, in his Two Tracts on Government and in his Epistola de tolerantia, focusing the analyses on the concept of adiaphora (indifferent things). Key words censorship, orality, typographical age, Plato on censorship, adiaphora, John Milton’s Areo pagitica, John Locke’s Epistola de tolerantia The main topic of my presentation is John Milton’s argumentation and art of rhetoric in his Areopagitica. However, Milton was not a researcher of the media, and his aim in his booklet was not an analysis of homo typographicus’ thought on the freedom of thought itself, depended on the medium of the printed book; his thinking inevitably met the links between our ideals on the freedom of thought and different media by which we express them. -
Comus by John Milton
Comus By John Milton 1 MILTON'S COMUS WITH INTRODUCTION AND NOTES BY WILLIAM BELL, M.A. PROFESSOR OF PHILOSOPHY AND LOGIC, GOVERNMENT COLLEGE, LAHORE First Edition, 1890. Reprinted, 1891. 2 INTRODUCTION. Few poems have been more variously designated than Comus. Milton himself describes it simply as "A Mask"; by others it has been criticised and estimated as a lyrical drama, a drama in the epic style, a lyric poem in the form of a play, a phantasy, an allegory, a philosophical poem, a suite of speeches or majestic soliloquies, and even a didactic poem. Such variety in the description of the poem is explained partly by its complex charm and many-sided interest, and partly by the desire to describe it from that point of view which should best reconcile its literary form with what we know of the genius and powers of its author. Those who, like Dr. Johnson, have blamed it as a drama, have admired it "as a series of lines," or as a lyric; one writer, who has found that its characters are nothing, its sentiments tedious, its story uninteresting, has nevertheless "doubted whether there will ever be any similar poem which gives so true a conception of the capacity and the dignity of the mind by which it was produced" (Bagehot's Literary Studies). Some who have praised it as an allegory see in it a satire on the evils both of the Church and of the State, while others regard it as alluding to the vices of the Court alone. Some have found its lyrical parts the best, while others, charmed with its "divine philosophy," have commended those deep conceits which place it alongside of the Faerie Queen, as shadowing forth an episode in the education of a noble soul and as a poet's lesson against intemperance and impurity. -
The Role of Italy in Milton's Early Poetic Development
Italia Conquistata: The Role of Italy in Milton’s Early Poetic Development Submitted by Paul Slade to the University of Exeter as a thesis for the degree of Doctor of Philosophy in English in December 2017 This thesis is available for Library use on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. I certify that all material in this thesis which is not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other University. Signature: ………………………………………………………….. Abstract My thesis explores the way in which the Italian language and literary culture contributed to John Milton’s early development as a poet (over the period up to 1639 and the composition of Epitaphium Damonis). I begin by investigating the nature of the cultural relationship between England and Italy in the late medieval and early modern periods. I then examine how Milton’s own engagement with the Italian language and its literature evolved in the context of his family background, his personal contacts with the London Italian community and modern language teaching in the early seventeenth century as he grew to become a ‘multilingual’ poet. My study then turns to his first published collection of verse, Poems 1645. Here, I reconsider the Italian elements in Milton’s early poetry, beginning with the six poems he wrote in Italian, identifying their place and significance in the overall structure of the volume, and their status and place within the Italian Petrarchan verse tradition. -
The Public Sphere and the Emergence of Copyright: Areopagitica, the Stationers’ Company, and the Statute of Anne*
The Public Sphere and the Emergence of Copyright: Areopagitica, the Stationers’ Company, and the Statute of Anne* Mark Rose† I. INTRODUCTION ................................................................................. 123 II. HABERMAS AND THE PUBLIC SPHERE .............................................. 124 III. AREOPAGITICA .................................................................................. 128 IV. THE EARLY MODERN STATIONERS’ COMPANY ................................ 132 V. THE STATUTE OF ANNE ..................................................................... 136 VI. THE “HOLLOWING OUT” OF THE PUBLIC SPHERE ............................ 139 I. INTRODUCTION The notion of the public sphere, or more precisely the bourgeois public sphere, associated with German philosopher Jürgen Habermas, has become ubiquitous in eighteenth-century cultural studies. Scholars concerned with media and democratic discourse have also invoked Habermas. Nonetheless, the relationship between the emergence of the public sphere and the emergence of copyright in early modern England has not been much discussed. In this Article, I will explore the relationship between the Habermasian public sphere and the inauguration 1 of modern copyright law in the Statute of Anne in 1710. * This Article will also appear in PRIVILEGE AND PROPERTY: ESSAYS ON THE HISTORY OF COPYRIGHT (Ronan Deazley, Martin Kretschmer, and Lionel Bently eds., forthcoming 2010). † © 2009 Mark Rose. Mark Rose (AB Princeton, BLitt Oxford, PhD Harvard) is Professor Emeritus at the University of California, Santa Barbara, where he has taught in the English Department since 1977. He has also held positions at Yale, the University of Illinois, Urbana-Champaign, and the University of California, Irvine. Authors and Owners, his study of the emergence of copyright in eighteenth-century England, was a finalist for a National Book Critics’ Circle Award. Rose also regularly serves as a consultant and expert witness in matters involving allegations of copyright infringement.