Structure in Milton's Poetry: from the Foundation to the PinnaclesMilton's skill in constructing poems whose structure is determined, not by rule or precedent, but by the thought to be expressed, is one of his chief accomplishments as a creative artist. Professor Condee analyzes seventeen of Milton's poems, both early and late, well and badly organized, in order to trace the poet's developing ability to create increasingly complex poetic structures. Three aspects of Milton's use of poetic structure are stressed: the relation of the parts to the whole and parts to parts, his ability to unite actual events with the poetic situation, and his use and variation of literary tradition to establish the desired structural unity. |
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Page 114
... called their collections of brief or minor poems “ silvae " ( literally " timber " and then metaphorically " rough or unpolished verses " ) " sketches " is perhaps the best English equivalent.11 This meaning also underlies line 61 of ...
... called their collections of brief or minor poems “ silvae " ( literally " timber " and then metaphorically " rough or unpolished verses " ) " sketches " is perhaps the best English equivalent.11 This meaning also underlies line 61 of ...
Page 126
... called “ On His Blindness " ( Sonnet 19 , " When I consider ... " ) closes with the line , " They also serve who only stand and wait . " The emotive force of this last line is the subject of some disagreement , 9 but surely all readers ...
... called “ On His Blindness " ( Sonnet 19 , " When I consider ... " ) closes with the line , " They also serve who only stand and wait . " The emotive force of this last line is the subject of some disagreement , 9 but surely all readers ...
Page 142
... called Christ Suffering a tragedy , although its ending is even more triumphant than that of Samson Agonistes . When the weeping Mary approaches Christ on the cross , He asks why she should grieve : Quid , ô quid , ô mulier , tuos Sic ...
... called Christ Suffering a tragedy , although its ending is even more triumphant than that of Samson Agonistes . When the weeping Mary approaches Christ on the cross , He asks why she should grieve : Quid , ô quid , ô mulier , tuos Sic ...
Contents
The Dynamic Structure of Paradise Lost | 5 |
The Early Latin Poems and Lycidas | 21 |
The Fair Infant Elegia Quinta | 43 |
Copyright | |
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achieves Adam Aeneas Aeneid answer appears beginning Book called Cambridge Christ closing Companion Complete Comus concerned concluding conventions course creates critics death discussion dynamic earlier early Elegia Tertia English epic epic tradition Epitaphium Damonis example exile extra-poetic fact father follow force functional gives Greek Greek tragedy Heaven hero heroic heroism ideas important integrated Italy John Milton kind later Latin lines London Lycidas Manso Mansus masque means merely Milton moves nature never Notes opening Ovid panegyric Paradise Lost Paradise Regained passage pastoral pattern physical play poem poet poetic poetry position praise present problem progression question reasons relation resembles resolution Samson Agonistes Satan says scene sense similar spirit stanza structure Studies technique thee things thou tion tradition tragedy Trans true turned ultimate University Press Vergil vision whole writing written York