Milton and the Restoration: Some Reassessments
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Edward Jones
Edward Jones Events in John Milton’s life Events in Milton’s time JM is born in Bread Street (Dec 9) 1608 Shakespeare’s Pericles debuts to and baptized in the church of All great acclaim. Hallows, London (Dec 20). Champlain founds a colony at Quebec. 1609 Shakespeare’s Cymbeline is performed late in the year or in the first months of 1610, most likely indoors at the Blackfriars Theatre. The British establish a colony in Bermuda. Moriscos (Christianized Muslims) are expelled from Spain. Galileo constructs his first telescope. The Dutch East India Company ships the first tea to Europe. A tax assessment (E179/146/470) 1610 Galileo discovers the four largest confirms the Miltons residing in moons of Jupiter (Jan 7). the parish of All Hallows, London Ellen Jeffrey, JM’s maternal 1611 Shakespeare’s The Winter’s Tale is grandmother, is buried in All performed at the Globe Theatre Hallows, London (Feb 26). (May). The Authorized Version (King James Bible) is published. Shakespeare’s The Tempest is performed at court (Nov 1). The Dutch begin trading with Japan. The First Presbyterian Congregation is established at Jamestown. JM’s sister Sara is baptized (Jul 15) 1612 Henry, Prince of Wales, dies. and buried in All Hallows, London Charles I becomes heir to the (Aug 6). throne. 1613 A fire breaks out during a performance of Shakespeare’s Henry VIII and destroys the Globe Theatre (Jun 29). 218 Select Chronology Events in John Milton’s life Events in Milton’s time JM’s sister Tabitha is baptized in 1614 Shakespeare’s Two Noble Kinsmen All Hallows, London (Jan 30). -
The Provenance of John Milton's Christian Doctrine
SEL 34 (1994) ISSN 0039-3657 Forum II: Milton's Christian Doctrine The Provenance ofJohn Milton's Christian Doctrine: A Reply to William B. Hunter MAURICE KELLEY As scholars have determined it during the past century and a half, the provenance of the Christian Doctrine should invite no suspicion of Milton's authorship. Instead it confirms it. The treatise originated in Milton's youthful collection of proof texts and his perusal of certain shorter systems of theology.' By the 1640s, Edward Phillips reports, his uncle was dictating to him and his fellow students portions of a "Tractate which he thought fit to collect from the ablest of Divines, who had written of that subject: Arnesius, Wollebius. &c. viz. A perfect System of Divinity, of which more hereafter."2 Phillips, however, failed to keep his promise of more information about "A perfect System," but the Anonymous Biographer (Cyriack Skinner) reports that about 1655 Milton began "the framing a Body of Divinity out of the Bible . which . hee finished after the Restoration."3 Our manuscript of the Christian Doctrine confirms Cyriack's rough dating, for the primary hand in it is that ofJeremie Picard, who served as witness or scribe in Milton documents dating from January 1658 to May 1660;4 and Cyriack's mention of Milton's heterodoxies5 indicates Maurice Kelley is Emeritus Professor of English, Princeton University. 154 REPLY TO HUNT E R that he is writing of the Christian Doctrine that we have today. Parallels between the treatise and Paradise Lost as well as between it and Milton's Art of Logic, not published until 1672,6 confirm Milton's authorship of the systematic theology. -
1 “The Childhood Shews the Man” 1608–1625
1 “The Childhood Shews the Man” 1608–1625 Milton’s childhood and schooldays turned out to be a fortunate seedplot for a budding poet. Though his father expected him to take orders in the church, he encouraged and nurtured his poetic talents, his sheer delight in learning, and his wide-ranging scholarship. His schoolmasters taught him languages, literature, and verse writing (in Latin and Greek), and two of them became his friends. He also began a friendship with a schoolmate that was to be the most intense emotional attachment of his youth. He was reared in a bourgeois Puritan milieu that fostered in him qualities of self-discipline, diligent preparation for one’s intended vocation, and responsibility before God for the development and use of one’s talents, as well as a commitment to reformist, militant Protestantism. He grew up amid the sights and sounds and stimuli a great city like London can provide, and was conscious from early childhood of growing religious and political conflict in English society. These factors interacted with the gifts of nature: poetic genius, a prodigious intel- ligence, a serious and introspective temperament, a slender body, delicate features, and weak eyes. In early youth Milton developed character traits and attitudes that lasted a life- time: lofty aspirations and a driving compulsion to emulate and surpass the best and noblest; very exacting standards of personal morality and accomplishment; high expectations for human institutions (schools, marriage, government, the church); a disposition to challenge and resist institutional authorities who fell short of such standards; and a strong need for and high idealism about friendship and love. -
Influences of Independency in Milton's Early Life Peter A
University of Richmond UR Scholarship Repository Master's Theses Student Research Spring 1964 Influences of independency in Milton's early life Peter A. Edmunds Follow this and additional works at: http://scholarship.richmond.edu/masters-theses Recommended Citation Edmunds, Peter A., "Influences of independency in Milton's early life" (1964). Master's Theses. Paper 216. This Thesis is brought to you for free and open access by the Student Research at UR Scholarship Repository. It has been accepted for inclusion in Master's Theses by an authorized administrator of UR Scholarship Repository. For more information, please contact [email protected]. ....,,,,.---~-' INFLUENCES OF lNDEP.ENDllJCY IN MILTON'S EARLY LIFE 11 For my own part, I adhere to the Holy Scriptures alone; I follow no other heresy or sect." (Introduction - Christian Doctrine) BY PEr.ER A. EDMUNDS, B.A. VJ~ . ·LIBRARY ; . NlVERSITY OF RICHMOND VIRGINIA A THESIS SUBMITTED TO THE GRADUATE FACULTY OF THE UNIVERSITY OF RICHMOND IN CANDDJACY FOR THE DEGREE OF . MASTER OF ARTS IN ENGLISH FEBRUARY, 1964 ~i·· / .. ' ~ APPROVED FOR THE DEPARTMENT OF ENGLISH AND THE GRADUATE SCHOOL BY ., ~ . •',. f:J Cl/Mt~r .DEAN OF THE G'tDUATE SCHOOL . I I / .. ,.1 TABLE OF CONTENTS CHAPrER -PAGE '• PREFACE • • • • • • • • • • • • • • • • • • .iv I. MILTON'S JUVENILIA. • • • • • • • • • • • • .1 II. 11LYCIDAS 11 • • • • • • • • • • • • • • • • .9 III. MILTON'S ANCESTRY • • • • • • • • • • • • • .18 J.V. THOMAS YOUNG. • • • • • • • • • • • • • • .31 v. sr. PAUL'S SCHOOL • • • • • • -
Unit–1 Milton's: Lycidas
UNIT–1 MILTON’S: LYCIDAS Structure 1.0 Objectives 1.1 Introduction 1.2 His Works 1.3 The poem : Lycidas 1.4 Glossary 1.5 Notes 1.6 Critical Essays 1.6.1 ‘Lycidas’ as a Pastoral Elgy 1.6.2 Nature of Grief in ‘Lycidas’-Edward King as the Nominal Subject 1.6.3 The Autobiographical Element 1.6.4 Lycidas as a Work of Art-Diction and Versification 1.7 Let us Sum up 1.8 Review Questions 1.9 Bibliography 1.0 Objectives In this unit you are going to : Study one of the prominent poets of the puritan age : Milton. Understand the poem ‘Lycidas’ and its various features through a copious glossary and notes, 1.1 Introduction John Milton was born in London in 1608 (seven and a half years before the death of Shakespeare). His grandfather was a Roman Catholic who had disowned Milton’s father when the latter turned Protestant. The boy was sent to St Paul’s school, perhaps when twelve, perhaps earlier. From the beginning, Milton was an eager student (he tells us that from the time he was twelve, he seldom stopped reading before midnight), and he learned Latin, Greek, and Hebrew, and began to try to write verse. In 1625 he enrolled at Christ’s College, Cambridge, clashed with his tutor the following year and was suspended, returned and was given another tutor, and graduated on schedule. The University in those days still undertook to teach largely by rote memorization, and Milton thought his training was of little value. -
The Italian Verse of Milton May 2018
University of Nevada, Reno The Italian Verse of Milton A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in English by Francisco Nahoe Dr James Mardock/Dissertation Advisor May 2018 © 2018 Order of Friars Minor Conventual Saint Joseph of Cupertino Province All Rights Reserved UNIVERSITY OF NEVADA, RENO THE GRADUATE SCHOOL We recommend that the dissertation prepared under our supervision by Francisco Nahoe entitled The Italian Verse of Milton be accepted in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY James Mardock PhD, Adviser Eric Rasmussen PhD, Committee Member Lynda Walsh PhD, Committee Member Donald Hardy PhD (emeritus), Committee Member Francesco Manca PhD (emeritus), Committee Member Jaime Leaños PhD, Graduate School Representative David Zeh PhD, Dean, Graduate School May 2018 i Abstract The Italian verse of Milton consists of but six poems: five sonnets and the single stanza of a canzone. Though later in life the poet will celebrate conjugal love in Book IV of Paradise Lost (1667) and in Sonnet XXIII Methought I saw my late espousèd saint (1673), in 1645 Milton proffers his lyric of erotic desire in the Italian language alone. His choice is both unusual and entirely fitting. How did Milton, born in Cheapside, acquire Italian at such an elevated level of proficiency? When did he write these poems and where? Is the woman about whom he speaks an historical person or is she merely the poetic trope demanded by the genre? Though relatively few critics have addressed the style of Milton’s Italian verse, an astonishing range of views has nonetheless emerged from their assessments. -
I. Milton's Library
John Milton and the Cultures of Print An Exhibition of Books, Manuscripts, and Other Artifacts February 3, 2011 – May 31, 2011 Rutgers University Libraries Special Collections and University Archives Alexander Library Rutgers University Thomas Fulton Published by Rutgers University Libraries Rutgers, The State University of New Jersey New Brunswick, NJ John Milton at the age of 62, in The hisTory of BriTain (1670), by the english engraver WilliaM faithorne, taken froM life. Cover illustration: illustration by WilliaM blake froM Blake, MilTon a poeM (1804) Table of Contents Introduction . 1 I Milton’s Library . 3 II Milton’s Early Poetry . 7 III The Scribal Publication of Verse . 10 IV Pamphlet Wars . 12 V Divorce Tracts . 14 VI Revolution and the Freedom of the Press . 16 VII The Execution of Charles I . 19 VIII Milton and Sons: A Family Business . 22 IX The Restoration: Censorship and Paradise Lost . 23 X The Christian Doctrine . 26 XI Censorship and Milton’s Late Work . 27 XII J . Milton French: A Tribute . 29 Acknowledgements . 30 This exhibition was made possible by a grant from the New Jersey Council for the Humanities, a state partner of the National Endowment for the Humanities . Any views, findings, conclusions or recommendations in the exhibition do not necessarily represent those of the National Endowment for the Humanities or the New Jersey Council for the Humanities . ntroduction John Milton was born in 1608 to a century of revolution — in politics, in print media, in science and the arts . By the time he died in 1674, Britain had experienced the governments of three different Stuart monarchs, the protectorate of Oliver Cromwell, and a few short-lived experiments in republican government . -
Milton As Narrator in Paradise Lost
1 STEPHEN M. FALLON Milton as Narrator in Paradise Lost Milton, as the narrator of Paradise Lost , rises out of a sea of relatively anonymous European epic narrators. In the poem’s several invocations, Milton revises the dei nition of heroism to mean telling rather than act- ing, bringing order to the world not by arms but, to borrow from his later epic, Paradise Regained , “By winning words to conquer willing hearts” (PR 1.223). The narrator’s description of his experience and situation, moreover, suggests that there is little demarcation between narrator and author. The line we are used to drawing between poet and narrator, between author and speaker, is difi cult if not impossible to i nd in Paradise Lost . At the front of the epic tradition stands the anonymous, composite “Homer .” While both Homeric epics contain apostrophes to characters, the narrator himself otherwise remains impersonal, with the Odyssey ’s invoca- tion “Sing in me [lit. Tell me], Muse” (1.1) marking a minute step beyond the Iliad ’s “Anger be now your song, immortal one [lit. Sing, Goddess]” (1.1) . Aristotle turned to Homer for his model of excellence in epic, not least for the near-anonymity of his narration. In his Poetics , he praises Homer for saying “very little in propria persona ” and letting the narrative unfold pri- marily in the words of his characters (1460a5–12). Virgil follows Homer’s practice and Aristotle’s prescription. His self-references in the Aeneid are limited to the poem’s i rst line (“Armum virumque cano / Arms and the man I sing”) and to a handful of brief apostrophes. -
Bibliography
Bibliography MANUSCRll'TS' (INCLUDING BOOKS WITH MANUSCRll'T ANNOTAnONS) Amsterdam, Universiteits-Bibliotheek MS ill.E.9 (letters from Nicolas Heinsius to Isaac Vossius) Austin, Harry Ranson Humanities Research Center Pre-1700 Manuscript 127 (see 1615) Austin, University of Texas Library Milton, John, Defensio Pro Populo Anglicano (1651) (see 24 Febru ary 1651) Aylesbury, Buckinghamshire County Record Office DAT 107 Horton, Bishop's Transcript, 1637 PR 10711/1 (Horton Parish Register) Bedford, Bedfordshire Record Office MS Pl1/28/2 (see 24 June 1695) Bloomington, Lilly Library, Indiana University George Sikes, The Life and Death of Sir Henry Vane (see 5 Septem ber 1662) Boston, Massachusetts Historical Society , Winthrop Papers Boulder, Colorado University Library Leo Miller Collection Box XXII, File 17 (Leo Miller, 'Milton in Geneva and the significance of the Cardoini Album') Brussels, Bibliotheque Royale MS II 4109 Mus. Fetis 3095 (a collection of 100 songs in the hand of Thomas Myriell) Cambridge, Christ's College Admissions Book MS 8 ('Milton Autographs') Cambridge, Trinity College MS R.3.4 (JM's workbook) MS R.5.5 (Anne Sadleir's letterbook) MS 0.ii.68 (MS copy of John Lane's Triton's Trumpet) JM, Eikonoklastes (C.9.179; see 19 June 1650) Cambridge University Library Justa Edouardo King 1638 (Add MS 154); annotated by JM University Archives 233 234 A Milton Chronology Matriculation Book Subscription Book Supplicats 1627, 1628, 1629 Supplicats 1630, 1631, 1632 Canterbury, Cathedral Library JM, Eikonoklastes (Elham 732); See. 11 -
John Milton, Areopagitica (Jebb Ed.) (1644)
THE ONLINE LIBRARY OF LIBERTY © Liberty Fund, Inc. 2006 http://oll.libertyfund.org/ JOHN MILTON, AREOPAGITICA (JEBB ED.) (1644) The Online Library of Liberty is a project of Liberty Fund, Inc., a non-profit educational foundation based in Indianapolis, Indiana, USA. Liberty Fund, was established to foster thought and encourage discourse on the nature of individual liberty, limited and constitutional government, and the free market. About the Author Milton ranks among the greatest poets of the English language. He is best known for the epic poem Paradise Lost (1667), but he also wrote prose works on history, religion, and contemporary politics. Although his academic talents marked him for a career in the Anglican church, Milton turned away from the Church of England at an early age and was a consistent supporter of the Puritan cause. He spent most of his life in academia or as a civil servant working for the Puritan Commonwealth. About the Book An edition based upon Sir Richard Jebb’s lectures at Cambridge in 1872, with extensive notes and commentaries on this famous work. Milton’s famous defence of freedom of speech. It was a protest against Parliament’s ordinance to further restrict the freedom of print. Milton issued his oration in an unlicensed form and courageously put his own name, but not that of his printer, on the cover. The Edition Used Areopagitica, with a Commentary by Sir Richard C. Jebb and with Supplementary Material (Cambridge at the University Press, 1918). Copyright Information The text of this edition is in the public domain. Fair Use Statement This material is put online to further the educational goals of Liberty Fund, Inc. -
1 a Reexamination of the Spelling Revisions in the Paradise Lost
A Reexamination of the Spelling Revisions in the Paradise Lost Book I Manuscript Cameron Hunt McNabb Southeastern University [email protected] Curran McQuade With Milton studies’ increasing interest in material culture, it is not surprising that attention has recently been devoted to Milton’s manuscripts, such as in Thomas Fulton’s Historical Milton: Manuscript, Print, and Political Culture in Revolutionary England, John Creaser’s ‘Editing Lycidas: The Authority of Minutiae’, and William Poole’s ‘The Genres of Milton’s Commonplace Book’.1 Such studies ipso facto also investigate Milton’s composition and revision practices. All of the works above, though, focus heavily on the Trinity Manuscript and Milton’s Commonplace Book, both of which date early in his career, and they often treat the poet’s composition and revision practices within those witnesses as relevant only in the service of editorial decisions for constructing received texts and not necessarily valuable in and of themselves. One of Milton’s manuscripts has been largely overlooked in these studies – the extant copy of Book I of Paradise Lost – and we contend that it provides strong evidence, as of yet underanalyzed, of Milton’s later composition and revision practices, in particular regarding Milton’s spelling. Our analysis suggests that etymology may have played a more significant role in Milton’s spelling than has been previously acknowledged and We extend our deepest thanks to Dr. William Hackett, Provost of Southeastern University, for his funding and support of this research. 1 See Thomas Fulton, Historical Milton: Manuscript, Print, and Political Culture in Revolutionary England (Amherst, MS: University of Massachusetts Press, 2010); John Creaser, ‘Editing Lycidas: The Authority of Minutiae’, Milton Quarterly 44. -
John Milton & Seventeenth Century Culture
University of South Carolina Scholar Commons Irvin Department of Rare Books & Special Rare Books & Special Collections Publications Collections 4-2000 John Milton & Seventeenth Century Culture University Libraries--University of South Carolina Follow this and additional works at: https://scholarcommons.sc.edu/rbsc_pubs Part of the Library and Information Science Commons Recommended Citation University of South Carolina, “University of South Carolina Libraries – John Milton & Seventeenth Century Culture, April-July 2000”. http://scholarcommons.sc.edu/rbsc_pubs/13/ This Catalog is brought to you by the Irvin Department of Rare Books & Special Collections at Scholar Commons. It has been accepted for inclusion in Rare Books & Special Collections Publications by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. Department of Rare Books & Special Collections JOHN MILTON & Seventeenth.. Century Culture Mezzanine Exhibit Gallery Thomas Cooper Library University of South Carolina April-luly, 2000 John Milton (1608-1674) was not only among the most influential of British poets. He was the most directly involved of any British poet in the centres of political power and in the great historical events of the English Revolution. He was also arguably the most learned of the great British poets, even in a leamed and bookish century. This exhibit includes twenty-three 17th century Milton editions. most notably the fIrst editions of Milton's fIrst prose work (1641), of his great defense of a free press Areopagitica (1644). of his fust collection of poetry (1645), and of several political works of the 1650s. For his epic Paradise Lost, the exhibit includes all four editions published in Milton's life-time.