Satan and Shaftesbury

PMLA ◽  
1959 ◽  
Vol 74 (5) ◽  
pp. 544-547
Author(s):  
Morris Freedman
Keyword(s):  
Seventeenth Century ◽  
Paradise Lost ◽  
Plausible Model ◽  
New Perspective ◽  
The Way

Paradise lost, in spite of all the critical and scholarly acknowledgements that it is a “typical” seventeenth-century epic, has not often enough been seriously considered in the context of the Restoration, when, of course, it appeared. The audience that read it was also reading Dryden. And while it was obviously not a “party poem” in the way that Absalom and Achitophel was, it certainly was not detached from its age. In his own way, Milton was responding to contemporary events and issues with something of Dryden's hardness of mind and spirit. Indeed, certain aspects of Paradise Lost may appear in an altogether new perspective when we consider how closely Dryden used Milton's epical material in his own small epic. We may, to pursue one aspect in detail, even turn up a plausible model for Satan.

Royalist Reclamation of Psalmic Song in 1650s England

2011 ◽  
Vol 64 (2) ◽  
pp. 500-543 ◽  
Author(s):  
Paula Loscocco
Keyword(s):  
Seventeenth Century ◽  
John Milton ◽  
Paradise Lost ◽  
Common Cause ◽  
Jeremy Taylor ◽  
The Way ◽  
Cultural Recovery

AbstractThis article brings into focus the royalist experience of political defeat and cultural recovery in mid-seventeenth-century England. It shows how royalist writers developed a polemically charged psalmic poetics that allowed them to appropriate the discursive authority of their Puritan enemies, reestablish their own cultural standing, and prepare the way for religious and political return. Several writers who found common cause in 1650s royalist poetics appear in these pages, including Izaak Walton, Thomas Stanley, Jeremy Taylor, Henry King, and the author(s) of the 1649 Eikon Basilike. Royalist writers with more divided responses to psalmic polemics appear here as well, including the episcopal divine, Henry Hammond, and the Davidic poet, Abraham Cowley. The poet, psalmist, and polemicist John Milton is an important presence throughout: his Eikonoklastes seems aware of his opponents’ polemical project, as do his 1653 psalms, and Paradise Lost itself may respond to what he once derided as royalist “Psalmistry.”

scholarly journals Delírios e deleites: leitura dos diálogos de Machado de Assis com John Milton em Memórias póstumas de Brás Cubas / Deliriums and Delights: the reading of the dialogues of Machado de Assis with John Milton in Posthumous Memoirs of Bras Cubas

2022 ◽  
Vol 30 (4) ◽  
pp. 95
Author(s):  
Miriam Piedade Mansur Andrade
Keyword(s):  
Seventeenth Century ◽  
John Milton ◽  
Paradise Lost ◽  
Mikhail Bakhtin ◽  
Machado De Assis ◽  
Literary Creation ◽  
Careful Observation ◽  
English Poet ◽  
Literary Context ◽  
The Way

Resumo: Os textos de Machado de Assis e principalmente seus romances estabelecem muitos diálogos com diferentes escritores e tradições. Entretanto, a forma que Machado de Assis escolheu para se referir ao poeta inglês do século XVII, John Milton, no seu romance, Memórias póstumas de Brás Cubas, merece uma atenção cuidadosa. Nesse romance, o autor brasileiro também se refere a Milton, mas não de maneira direta ou nomeada; ao contrário, as alusões a Milton são indiretas, criando uma composição textual com o poeta inglês e o convidando, de maneira ausente, a também fazer parte da narrativa. Machado de Assis, na elaboração dos delírios e deleites de Brás Cubas, reflete sobre seu ato de composição e estabelece diálogos também com o poeta inglês, como uma tentativa de proliferar sentidos da obra de Milton, mais especificamente Paradise Lost, no contexto literário brasileiro. Esses diálogos serão analisados com base na ideia de dialogismo de Mikhail Bakhtin (1973, p. 39) que é constitutivo da intertextualidade e desvia o foco das noções de autoria, causalidade e finalidade, e o “texto passa a ser visto como uma absorção de e uma resposta a um outro texto”. Assim, é pertinente dizer que Machado de Assis absorve elementos de composição do universo miltoniano e responde a eles nas Memórias póstumas de Brás Cubas, revivendo, em sua criação literária, suas experiências como leitor desse poeta inglês.Palavras-chave: Machado de Assis; Brás Cubas; dialogue; Milton.Abstract: The texts of Machado de Assis and mainly his novels established many dialogues with different writers and traditions. However, the way Machado de Assis chose to refer to the English poet of the seventeenth century, John Milton, on his Posthumous Memoirs of Brás Cubas, demands a careful observation. In this novel, the Brazilian writer refers to Milton but not in a direct manner; on the contrary, the allusions to Milton are indirect, creating a textual composition within the English poet and inviting him, in an absent way, to be also part of the narrative. It seems that Machado de Assis, in the elaboration of Brás Cubas’s deliriums and delights, reflects upon his act of composition and establishes a textual dialogue with the English poet, as an attempt to proliferate the meanings of Milton’s oeuvre, more specifically Paradise Lost, in the Brazilian literary context. These dialogues will be analyzed based on Mikhail Bakhtin’s studies on the idea of dialogism, which is a constituent of the concept of intertextuality and deviates the focus on the notions of authorship, causality and finality, with writing working “as a reading of the anterior literary corpus and the text as an absorption of and reply to another text” (1973, p. 39). Thus, it is possible to say that Machado de Assis absorbs some elements of composition from Milton’s creative universe and answers him on his Posthumous Memoirs of Brás Cubas, reviving them in his literary creation and in his experiences as a reader of the English poet.Keywords: Machado de Assis; Brás Cubas; dialogue; Milton.

Stupid Goodness

2018 ◽  
Author(s):  
Garrett Cullity
Keyword(s):  
Moral Philosophy ◽  
Paradise Lost ◽  
Real Life ◽  
The Way

In Paradise Lost, Satan’s first sight of Eve in Eden renders him “Stupidly good”: his state is one of admirable yet inarticulate responsiveness to reasons. Turning from fiction to real life, this chapter argues that stupid goodness is an important moral phenomenon, but one that has limits. The chapter examines three questions about the relation between having a reason and saying what it is—between normativity and articulacy. Is it possible to have and respond to morally relevant reasons without being able to articulate them? Can moral inarticulacy be good, and if so, what is the value of moral articulacy? And, thirdly, can moral philosophy help us to be good? The chapter argues that morality has an inarticulacy-accepting part, an articulacy-encouraging part, an articulacy-surpassing part, and an articulacy-discouraging part. Along the way, an account is proposed of what it is to respond to the reasons that make up the substance of morality.

The history of a “primary source”: The making of Tûghî's chronicle on the regicide of Osman II

2009 ◽  
Vol 72 (1) ◽  
pp. 41-62
Author(s):  
Baki Tezcan
Keyword(s):  
Seventeenth Century ◽  
Primary Source ◽  
Collective Responsibility ◽  
Careful Examination ◽  
Political Sophistication ◽  
History Of ◽  
Initial Attitude ◽  
Historical Developments ◽  
The Military ◽  
The Way

AbstractA short chronicle by a former janissary called Tûghî on the regicide of the Ottoman Sultan Osman II in 1622 had a definitive impact on seventeenth-century Ottoman historiography in terms of the way in which this regicide was recounted. This study examines the formation of Tûghî's chronicle and shows how within the course of the year following the regicide, Tûghî's initial attitude, which recognized the collective responsibility of the military caste (kul) in the murder of Osman, evolved into a claim of their innocence. The chronicle of Tûghî is extant in successive editions of his own. A careful examination of these editions makes it possible to follow the evolution of Tûghî's narrative on the regicide in response to the historical developments in its immediate aftermath and thus witness both the evolution of a “primary source” and the gradual political sophistication of a janissary.

Alessandro Grandi: A Case Study in the Choice of Texts for Motets

1988 ◽  
Vol 113 (2) ◽  
pp. 274-305
Author(s):  
Jerome Roche
Keyword(s):  
Seventeenth Century ◽  
Sacred Music ◽  
Vocal Music ◽  
Literary Texts ◽  
Sacred Texts ◽  
The One ◽  
The Way ◽  
Musical Styles

It is perhaps still true that research into sacred types of music in early seventeenth-century Italy lags behind that into madrigal, monody and opera; it is certainly the case that the textual aspects of sacred music, themselves closely bound up with liturgical questions, have not so far received the kind of study that has been taken for granted with regard to the literary texts of opera and of secular vocal music. This is hardly to be wondered at: unlike great madrigal poetry or the work of the best librettists, sacred texts do not include much that can be valued as art in its own right. Nevertheless, if we are to understand better the context of the motet – as distinct from the musical setting of liturgical entities such as Mass, Vespers or Compline – we need a clearer view of the types of text that were set, the way in which composers exercised their choice, and the way such taste was itself changing in relation to the development of musical styles. For the motet was the one form of sacred music in which an Italian composer of the early decades of the seventeenth century could combine a certain freedom of textual choice with an adventurousness of musical idiom.

Rembrandt, Vermeer, and the Gift in Seventeenth-Century Dutch Art

2021 ◽  
Author(s):  
Michael Zell
Keyword(s):  
Social Networks ◽  
Seventeenth Century ◽  
Early Modern ◽  
Gift Exchange ◽  
Gift Giving ◽  
Dutch Art ◽  
Dutch Golden Age ◽  
Symbolic Economy ◽  
The Gift ◽  
New Perspective

This book offers a new perspective on the art of the Dutch Golden Age by exploring the interaction between the gift's symbolic economy of reciprocity and obligation and the artistic culture of early modern Holland. Gifts of art were pervasive in seventeenth-century Europe and many Dutch artists, like their counterparts elsewhere, embraced gift giving to cultivate relations with patrons, art lovers, and other members of their social networks. Rembrandt also created distinctive works to function within a context of gift exchange, and both Rembrandt and Vermeer engaged the ethics of the gift to identify their creative labor as motivated by what contemporaries called a love of art

Biblical Hebrews and the Rhetoric of Republicanism: Seventeenth—Century Portuguese Jews on the Jewish Community

AJS Review ◽  
1997 ◽  
Vol 22 (2) ◽  
pp. 199-221 ◽  
Author(s):  
Miriam Bodian
Keyword(s):  
Seventeenth Century ◽  
Iberian Peninsula ◽  
Jewish Community ◽  
Holy Land ◽  
Stark Contrast ◽  
The Way

In their rhetoric, the ex-conversos who settled in “lands of freedom” outside the Iberian Peninsula tended to emphasize the anguish and lack of freedom they had endured while in the orbit of the Inquisition–in stark contrast to the free and thriving Jewish collective life they had now built outside it. If the Peninsula had been a swamp of “Egyptian idolatry,” the Jewish ex-converso communities in Amsterdam, Venice, Livorno, and London (to name only the most vibrant) were, by implication, encampments on the way to the Holy Land. Yet one aspect of their new condition subtly undermined the ex-conversos' confidence as Jews vis-a-vis the gentile world. Ever sensitive to their image, they were exquisitely aware of their now unambiguous identification in Christian eyes, not with conviction rewarded, not with faith triumphant, but with a defeated and exiled people.

scholarly journals "Sufficient to Have Stood, Though Free to Fall": Free Will in John Milton's Paradise Lost

2020 ◽  
Author(s):  
David Martineau
Keyword(s):  
Free Will ◽  
Human Nature ◽  
John Milton ◽  
Paradise Lost ◽  
Problem Of Evil ◽  
Garden Of Eden ◽  
Adam And Eve ◽  
The Problem Of Evil ◽  
Book Of Genesis ◽  
The Way

In Book I of Paradise Lost, John Milton (1608-1674) asserts his intent to “justifie the wayes of God to men” (Paradise Lost1 I 26), paving the way for a revolutionary discussion of human nature, divinity, and the problem of evil, all couched in an epic retelling of Satan’s fall from grace, his temptation of Adam and Eve, and their expulsion from the Garden of Eden, as recounted in the Book of Genesis. In his treatment of the biblical account, Milton necessarily broaches a variety of subjects which were both relevant during his time and remain relevant in ours. Among these topics, and certainly one of the most compelling, is the matter of human free will.

scholarly journals When Hell is Other People. Interiority and Skepticism in António Lopes da Veiga

2017 ◽  
Vol 6 (2) ◽  
pp. 012
Author(s):  
Fernando Rodríguez Mediano ◽  
Carlos Cañete
Keyword(s):  
Seventeenth Century ◽  
Political Thought ◽  
International Scale ◽  
Close Study ◽  
The Individual ◽  
The Way

The study of the process of construction of modern subjectivity offers an image of constant tensions between universality and particularity, which could be considered a manifestation of the conflictual nature of Modernity itself. As a way to solve the problems derived of the separation between universal and particular dimensions of this process -that has resulted in opposing interpretations regarding its confesional nature- a close study of the particular experience of the seventeenth-century thinker António Lopes da Veiga is presented here. This study is intended to provide some insight of the way in which similar intelectual concerns -of an international scale- over interiority and exteriority in epistemology, political thought, philology, theology and history, resulted in the constitution of a particular perspective regarding the individual.

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