Milton
This chapter considers the role played by imitatio in John Milton’s Paradise Lost and Paradise Regained. It shows how the traditional opposition between a ‘living’ imitation of a past text and a mere simulacral resemblance of it shapes the way Milton represents the imitated world of hell. It goes on to contextualize Milton’s understanding of imitatio. Milton was influenced by changing ways of presenting localized allusions or ‘imitations’ in editions of classical texts, by the educational thinking of the circle around Samuel Hartlib, and by the ways in which his friend Francis Junius interpreted Quintilian’s Institutio. Paradise Lost was composed in a period during which the word ‘imitation’ came to be used in new ways. It could be applied to translations which adapted classical texts to the manners of the present, and also to pastiches in the vernacular of another author’s style. Milton both resisted and responded to these developments. The chapter then shows how Milton was among the earliest writers to treat classical texts as (in a rather literal sense) ‘models’, which provide not words or images for a later writer but scalar templates for future works. The history of that word is explored, as is Milton’s use of the dizzying effects of scale which follow from an imitator regarding the texts which he imitates as ‘models’ in this sense. The chapter concludes with a discussion of such scalar effects in relation to the representations of both Rome and the Temple at Jerusalem in Paradise Regained.