Milton's Kinesthetic Vision in Paradise Lost
The author demonstrates that the apparent contradictions in the poetic, dramatic, and conceptual framework of Paradise Lost are purposive, indeed central, to Milton's kinesthetic poetics.
The Ironic Mode The Art of Raphael
Other editions - View all
action Adam and Eve Adam's allow angels anger appearance beauty becomes beginning Book cause complex consciousness countering created creation declension defined described desirer destroy dimension direct discussed disjunctive distance earth energy epic Eve's evil experience expresses fall fallen fear feels forces frame fruit gives heaven hell human identification imagination ironic irony judgment knowledge leads less light lyric meditative Milton mind modal mode motions move movement nature neutrality object pain Paradise Lost passage perceived perception perhaps physical picture pity poem pole possible principle psychic pure Raphael reader reality reciprocity reference relation relativizing represented resonance response Satan says sense serves shift similar simile simple spirit stage stars strategy structure sympathic takes thee third space thou thought tion tone tree turns universe vision winds wonder yearning yield
Page 32 - He scarce had ceased, when the superior fiend Was moving toward the shore ; his ponderous shield, Ethereal temper, massy, large, and round, Behind him cast ; the broad circumference Hung on his shoulders like the moon, whose orb Through optic glass the Tuscan artist views At evening from the top of Fesole Or in Valdarno, to descry new lands, Rivers, or mountains, in her spotty globe.