Choosing a captain back for Egypt: Milton and the Restoration

2018 ◽  
Author(s):  
Warren Chernaik
Keyword(s):  
Paradise Lost ◽  
Historical Context ◽  
The Other ◽  
Samson Agonistes ◽  
Paradise Regained ◽  
The One

Milton as a republican viewed the restoration of kingship in 1660 with dread. Paradise Regained and Samson Agonistes, like the last two books of Paradise Lost, have a specific Restoration historical context, at a time of persecution of former commonwealthsmen and religious Dissenters. In Samson Agonistes, Milton’s protagonist struggles against despair, the feeling that he has been abandoned by God, while recognizing his own responsibility for the humiliating slavery into which he has been plunged. Samson Agonistes and Paradise Regained, published in a single volume in 1671, in their different ways both concern themselves with the problems and temptations facing those who seek to serve God in a hostile, unjust society. The two works explore alternative paths for ‘the spirits of just men long opprest’: in the one case, patience, suffering, bearing ‘tribulations, injuries, insults’ courageously, not expecting redress, and in the other, violent resistance, the slaughter of one’s enemies, in an ending of Milton’s tragedy which has often puzzled and disturbed readers.

'The Excursion' and Wordsworth's Iconography

2018 ◽  
Author(s):  
Brandon C. Yen
Keyword(s):  
Paradise Lost ◽  
The Other ◽  
Long Poem ◽  
Paradise Regained ◽  
The One

This book considers William Wordsworth’s use of iconography in his long poem The Excursion (1814). Through this iconographical approach, it steers a middle course between The Excursion’s two very different interpretative traditions, the one focusing upon the poem’s abstraction, the other upon its touristic realism. The author explores Wordsworth’s iconography in The Excursion by tracing cultural and political allusions and correspondences in an abundance of post-1789 and earlier verbal and pictorial sources, as well as in Wordsworth’s own prose and poetry, especially The Prelude. Particular attention is paid to the complex ways in which The Excursion’s iconographical images contribute to – and also impose limitations upon – the overarching preoccupations of Wordsworth’s writings: the themes of paradise lost and paradise regained in the post-revolutionary context. This study thus revises New Historicist accounts of Wordsworth’s evasion of history by investigating the capacity of apparently ‘collateral’ images to respond to weighty arguments. In elucidating this vital aspect of Wordsworth’s poetic method, it reveals the visual etymologies – together with the nuances and rhetorical capacities – of five categories of images: envisioning, rooting, dwelling, flowing, and reflecting.

Vondel's Value as a Tragic Poet

PMLA ◽  
1905 ◽  
Vol 20 (3) ◽  
pp. 546-566
Author(s):  
F. C. L. van Steenderen
Keyword(s):  
Paradise Lost ◽  
The Other ◽  
Northern Europe ◽  
Samson Agonistes ◽  
Paradise Regained

Joost van den Vondel is one of the few Dutch poets who have attained to anything approaching international fame. To him is attributed a rather noteworthy influence on Milton. As long ago as 1854 A. Fischel demonstrated in his Life and writings of Joost van den Vondel that Milton knew and made use of Vondel's works. Gosse, in his Studies in the Literatures of Northern Europe, pointed out that this influence came only from Vondel's Lucifer and was restricted to the sixth book of Paradise Lost. Edmunson, however, in his Milton and Vondel: A Curiosity of Literature (London, 1885), showed that not only in Books 1, 2, 4, and 9 of Paradise Lost, but also in Paradise Regained and in Samson Agonistes fragments are imitated from Joannes den Boetgezant (John the Messenger of Repentance), Adam in Ballingschap (Adam in Exile), Samson of the Heilige Wraak (Samson or the Sacred Vengeance), and from Bespiegelingen van God en Godsdienst (Reflections about God and Religion). Among the other discussions the most important are that of Masson in his Life of Milton, that of Professor Moltzer in Noord en Zuid (vol. 9), and that of Van Noppen in the introduction to his translation of Vondel's Lucifer.

Monotheism in Isaiah

2020 ◽  
pp. 218-248
Author(s):  
Matthias Albani
Keyword(s):  
Historical Context ◽  
The Other ◽  
Divine Power ◽  
Crisis Situation ◽  
Catalytic Function ◽  
Other Hand ◽  
The Future ◽  
The One ◽  
Religious Crisis

The monotheistic confession in Isa 40–48 is best understood against the historical context of Israel’s political and religious crisis situation in the final years of Neo-Babylonian rule. According to Deutero-Isaiah, Yhwh is unique and incomparable because he alone truly predicts the “future” (Isa 41:22–29)—currently the triumph of Cyrus—which will lead to Israel’s liberation from Babylonian captivity (Isa 45). This prediction is directed against the Babylonian deities’ claim to possess the power of destiny and the future, predominantly against Bel-Marduk, to whom both Nabonidus and his opponents appeal in their various political assertions regarding Cyrus. According to the Babylonian conviction, Bel-Marduk has the universal divine power, who, on the one hand, directs the course of the stars and thus determines the astral omens and, on the other hand, directs the course of history (cf. Cyrus Cylinder). As an antithesis, however, Deutero-Isaiah proclaims Yhwh as the sovereign divine creator and leader of the courses of the stars in heaven as well as the course of history on earth (Isa 45:12–13). Moreover, the conflict between Nabonidus and the Marduk priesthood over the question of the highest divine power (Sîn versus Marduk) may have had a kind of “catalytic” function in Deutero-Isaiah’s formulation of the monotheistic confession.

The ‘Zen’ in the western monochrome

2020 ◽  
Vol 6 (1-2) ◽  
pp. 55-78
Author(s):  
Simon Morley
Keyword(s):  
Zen Buddhism ◽  
Historical Context ◽  
The Other ◽  
Binary Opposition ◽  
Middle Way ◽  
The 1950S ◽  
The One ◽  
Contemporary Painting ◽  
The Impact

I look at the impact of Zen Buddhism on western painters during the 1950s and 1960s, focusing on the monochrome in particular, in order to create a historical context for the consideration of transcultural dialogue in relation to contemporary painting. I argue that a consideration of Zen can offer a ‘middle way’ between conceptions of the monochrome (and art in general) often hobbled by models of interpretation that function within a binary opposition between ‘literalist/sensory’ on the one hand, and ‘intellectual/non-sensory’ readings on the other.

scholarly journals Women and Ijtihad: Towards a New Islamic Discourse

2019 ◽  
pp. 12-33
Author(s):  
Heba Raouf Ezzat
Keyword(s):  
Social Economic ◽  
Historical Context ◽  
The Other ◽  
Women's Issues ◽  
Political Issues ◽  
Islamic World ◽  
Contested Terrain ◽  
The One

A phenomenon of extreme polarization between the Islamist and the secular camps characterizes the intellectual scene regarding social, economic, and political issues in the Arab-Islamic world. This is especially true with respect to women’s issues, which are a very hotly contested terrain. Understanding this reality clearly requires a historic overview to comprehend how this polarization occurred and map the debate between supporters of “modernity and contemporality” (al-hadatha wa-l-mu‘asara) on the one hand, and supporters of “tradition and authenticity” (al-turath wal-asala) on the other. Though this is not at the heart of our research, framing it in its historical context enables us to better understand the roots and origins of the problem, in order to map the debates and foresee future courses more clearly.

scholarly journals AKOMODASI PESANTREN PADA KESENIAN RAKYAT DI CANGKRINGAN, SLEMAN, YOGYAKARTA

2018 ◽  
Vol 15 (2) ◽  
pp. 284-296
Author(s):  
Kholid Mawardi
Keyword(s):  
Historical Context ◽  
Boarding School ◽  
Folk Art ◽  
Religious Community ◽  
The Other ◽  
The Past ◽  
Diverse Society ◽  
Art Community ◽  
The One ◽  
The Relationship

This study investigated the construction of thoughts by KH. Ahmad Masrur and al-Qodir Islamic Boarding School to accomodate folk art; to reveal the relationship among KH. Ahmad Masrur, al-Qodir Islamic Boarding School, and folk art communities in Wukirsari village; and to find out the approaches of accommodation implemented in the folk art Village. The findings of this study led to some conclusions. First, on the one hand, Mr. Masrur (an Islamic expert) wanted to send the goodness and the beauty of Islam not only to be achieved by Moslems but also by other religious community. On the other hand, the folk art community wanted to maintain their existence in the diverse society. Therefore, those two intentions are linked to each other in order to accomplish those goals. Second, the relationship among Mr. Masrur, al-Qodir Islamic Boarding School, and Wukirsari village folk art community; in terms of historical context, it was the repetition of the relationship pattern in the past time that occured during the Islamisation process in Java. It was carried out by placing the locality as the basis of Islam. Mr. Masrur, al-Qodir Islamic Boarding School put themselves as the exponents of folk art; Mr. Masrur had the role as the patron and the community folk art had the role as the clients, and the overall relationship was accomplished based on mutually beneficial relationship. Third, the forms of accommodation  roposed by Mr. Masrur towards folk art in Wukirsari village were through compromise and tolerance. The form of the compromise was visible through the willingness of both parties to feel and understand the circumstances of one to each other party. As for the form of tolerance, it was implemented by Mr. Masrur and al-Qodir Islamic Boarding School deliberately to avoid various disputes and conflicts.

The Chronology of Milton's Major Poems

PMLA ◽  
1961 ◽  
Vol 76 (4-Part1) ◽  
pp. 345-358 ◽  
Author(s):  
John T. Shawcross
Keyword(s):  
Paradise Lost ◽  
Statistical Data ◽  
Samson Agonistes ◽  
Paradise Regained ◽  
Important Study

The conclusion of Ants Oras as to the chronology of Milton's major poems, based on his important study of the blank vejse, is, I believe, in serious error. Examining strong pauses, both terminal and medial, the distribution of medial pauses over the pentameter line, run-on lines, feminine and masculine pauses, the distribution of polysyllables over the verse line, feminine endings, rhythmical expressions creating shifted stresses, syllabized “-ed” endings, and pyrrhic verse endings, Oras concludes that the traditional chronology for Paradise Lost (from Book I through Book XII), Paradise Regained (from Book I through Book IV), and Samson Agonistes is correct. As a prosodical study, the statistical data presented lead us to a greater understanding of the aforementioned verse techniques as used by Milton than we have heretofore known. Professor Oras' inferences of dated practice are, however, another matter.

The Use of evangelicus in the Paraphrases

2017 ◽  
Vol 37 (2) ◽  
pp. 137-160
Author(s):  
Dean Simpson
Keyword(s):  
New Testament ◽  
Historical Context ◽  
The Other ◽  
Word Study ◽  
Semantic Categories ◽  
The New Testament ◽  
The One

This article is a word study that analyses and interprets how Erasmus uses the adjective evangelicus, -a, -um in his New Testament Paraphrases. The development of the idiom ‘gospel-blank’ (evangelicus + noun) is analyzed diachronically; the phrases denoting gospel things are divided into six semantic categories. The study shows, on the one hand, that there is a general consistency in how evangelicus is used, the most common pairings predominating in most Paraphrases on the Epistles and Gospels, while, on the other, there is some broadening and lowering of the nouns with which evangelicus is joined, moving from the Paraphrases on the Epistles to the Gospel Paraphrases. Erasmus’ changing attitude to the project of paraphrasing the New Testament provides biographical and historical context in which to place the study’s findings. The study concludes by highlighting the New Testament Paraphrases as Erasmus’ humanistic response to worsening divisions in the early 1520s.

Greek Necromancy: Reality or Myth?

2021 ◽  
Vol 60 (1-2) ◽  
pp. 27-51
Author(s):  
Tomáš Vítek
Keyword(s):  
Historical Context ◽  
Roman Period ◽  
The Other ◽  
Classical Period ◽  
The Dead ◽  
The One ◽  
Source Ability

SummaryThe article investigates the extent to which Greek necromancy fits into the wider eschatological, cultic and historical context of an epoch demarcated on the one hand by Homer and on the other by the Classical period. The oldest purported necromantic ritual, with the help of which Odysseus descended into the underworld, is a literary construct inspired especially by the heroic tomb-cults. Scenes depicting funereal necromancy, written by dramatists of the Classical period, were also drawn from this source. Ability, behavior and appearance of heroes were additionally ascribed to the so-called restless spirits and revenants and later came to include all the dead. The main cause of this was a change in eschatological ideas and especially heroization, which in the Roman period spread nominally to all the dead. Reports about necromancy include a high percentage of mythical and literarily-dramatized elements that simply do not correspond with contemporary ideas about the soul, the dead, the underworld and chthonic deities. It therefore appears almost certain that, at least to the end of the period described, necromancy was not carried out in reality but remained only the literary surmise of the possibility indicated by Homer.

Re-Visiting the Implications of Contemporary Epistemological Models for the Understanding of Religious Experience: an Overview

2004 ◽  
Vol 11 (3-4) ◽  
pp. 278-297 ◽  
Author(s):  
Daniel P. Veldsman
Keyword(s):  
Twentieth Century ◽  
Religious Experience ◽  
Historical Context ◽  
Science And Religion ◽  
The Other ◽  
Other Hand ◽  
Theology And Science ◽  
The One ◽  
Culturally Embedded

AbstractThe more recently proposed epistemological models (cf Gregersen & Van Huyssteen, eds., Rethinking Theology and Science: Six Models for the Current Dialogue) within the context of the science and religion debate, have opened up galaxie,s of meanirzg on the interface of the debates which are inviting for exploralive, theological travelling. But how are we epistemologically to judge not only oui journets but also the rethinking of the implications of these epistemological models for our understanding of religious experience and our experience of transcendence? The interdisciplinary space that has been opened up in an exciting post-foundational manner zuithirz these very debates, leaves us as rational persons, embedded in a very specific social and historical context, with the haunting cognitive pluralist question on how to reach beyond the limits of our own epistemic traditions (Wentzel van Huyssteen). This question is pursued as an effort on the one hand to unmask epistemic arrogance and, on the other hand, not to take refuge in the insular comfort of internally closed language-systems. It is an effort to address relativism and a 'twentieth-century despair of any knozuledye of reality' (Polkinghorne). It is finally an effort to conceptually revisit the implications of tltese models for our understanding of our culturally embedded religious experience.

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