Abstract
The din of battle subsides, the Son returns to his Father in triumph, and the first of Milton’s self-appointed tasks, to assert Eternal Providence as the controlling force in the expanded universe has, in effect, ended. Some elements will remain, such as Adam’s enquiry into the seventeenth-century theories concerning the planetary systems; but in the same way as our first view of Eden in the earlier part of the poem formed only an interlude in the major drama of the cosmic conflict between God and the Arch Antagonist, so from now on the primary interest of the poem will focus down from the distant heavens to a single garden situated on earth, and the ways of God to men.
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Notes to Chapter 5
Isabel G. MacCaffrey, ‘Paradise Lost’ as Myth (Cambridge Mass., 1967), p. 64.
Matthew Arnold, On Translating Homer (London, 1861).
Cf. Caroline M. Goad, Horace in English Literature of the Eighteenth Century (New Haven, 1918 ).
Josephine Miles, Major Adjectives in English Poetry (Berkeley, 1946), p. 308.
Heinrich Wölfllin, Principles of Art History tr. M. D. Hottinger (New York, 1950), pp. 141f., originally published in German in 1915.
Barbara K. Lewalski, ‘Innocence and Experience in Milton’s Eden’, in Thomas Kranidas, ed., New Essays on’ Paradise Lost’ (Berkeley and Los Angeles, 1969 ), p. 86.
E. M. W. Tillyard, Milton, p. 239, published originally in 1930. A retraction appears in his Studies in Milton (London, 1964), pp. 67f., published originally in 1951.
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© 1980 Murray Roston
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Roston, M. (1980). Adventurous Song. In: Milton and the Baroque. Palgrave Macmillan, London. https://doi.org/10.1007/978-1-349-04982-0_5
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