Paradise Lost, 1668-1968: Three Centuries of CommentaryEarl Roy Miner, William Moeck, Steven Edward Jablonski The Commentary, the first full version on Paradise Lost since the Richardsons' in 1734, combines numerous resources with features used for the first time. It includes the best commentary from Annotations like Patrick Hume's (1695), to the variorum editions of Newton (1749) and Todd (1801-42), and the modern professional editions culminating in Alastair Fowler's (1968). Other elements include an essay on the early pre-annotative criticism from 1668, including Marvell, Dryden, Dennis, and others; copious use of the OED; numerous cross-references to Milton's other works and passages in Paradise Lost; fourteen excurses and other contributions by the present editors. This Commentary is itself a research library for Paradise Lost. It uniquely presents biblical, classical, and vernacular citations: the ultimate rather than a more recent source is cited, so dating the comment; every cited passage is quoted, and every question is in English. Only a text of the poem is required. Earl Miner is Townsend Martin, Class of 1917, Professor of English and Comparative Literature at Princeton University, William Moeck teaches English at Nassau Community College. Steven Jablonski is a public librari |
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Page 23
In the first note, we indicate that what Newton observes is about the whole of
God's speech by making his catchword align with Verity's. Newton's observation
on decorum was originally submerged in the second note, in which the
designation ...
In the first note, we indicate that what Newton observes is about the whole of
God's speech by making his catchword align with Verity's. Newton's observation
on decorum was originally submerged in the second note, in which the
designation ...
Page 29
His quotations and references to other poets from Dryden to Tennyson diverge
from Milton but attest to Verity's breadth of ... None starts a major change, but in
Verity two things in nineteenth- century criticism are fully realized: giving Dante
full ...
His quotations and references to other poets from Dryden to Tennyson diverge
from Milton but attest to Verity's breadth of ... None starts a major change, but in
Verity two things in nineteenth- century criticism are fully realized: giving Dante
full ...
Page 443
A. W. Verity very acutely made a point missed by others in his gloss on a brief
passage, 7.233-34, from the initial stage of the Creation: "Darkness profound /
Cover'd th' Abyss." As he remarked, here the darkness corresponds to Night and
the ...
A. W. Verity very acutely made a point missed by others in his gloss on a brief
passage, 7.233-34, from the initial stage of the Creation: "Darkness profound /
Cover'd th' Abyss." As he remarked, here the darkness corresponds to Night and
the ...
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Adam and Eve Adam's Addison Aeneid allegorical allusion Argonautica Belial Bentley biblical Book called Chaos Christ citing Dunster citing Pearce citing Thyer commentary Cowper creation Dante darkness David Masson death devils divine Dryden earth Eclogues edition epic Eve's evil Excursus Exodus eyes fall fallen angels Father fire Fowler fThe garden Genesis Georgics glory God's gods golden Greek hath heaven heavenly Hebrew Hell Hesiod Holy Homer Hume Hume-N Iliad ISee IThe IThis Keightley King Latin light lines Lord means Metamorphoses Michael Milton mind Moses nature Newton night Ovid Paradise Lost passage Phineas Fletcher poem poem's poet Psalms Raphael readers refers Romans Satan says seems sense serpent Shakespeare simile Song speech Spenser Spirit Sylvester's Du Bartas Tasso thee things thir thou thought throne tion Todd tree unto Verity verse Virgil Vulgate words