The diary of john evelyn

Acknowledgments Abbreviations Introduction: childish things Part I The Growth of Consent and Disciplining of Childhood in Early Modern England: 1 Coming of age on stage: Jonson's epicoene and the politics of childhood in early Stuart England 2 Children, literature, and the problem of consent 3 Contract's children: Thomas Hobbes and the culture of subjection Part II Milton and the Children of Liberty: 4 'Perplex't paths': youth and authority in Milton's early work 5 'Children of reviving libertie': the radical politics of Milton's pedagogy 6 'Youthful beauty': infancy and adulthood among the angels of Paradise Lost 7 Children of paradise Epilogue: 'children gathering pebbles on the shore'

The Poetics and Politics of Youth in Milton's England

middleton and Rowley’s The Changeling (ca. 1622) is a play infused with shame. Its two climactic moments foreground the excruciating, specifically sexual shame of its protagonist, Beatrice-Joanna: first, when she rises from her position of supplicating self-abasement to “shroud [her] blushes” (3.4.167) in the bosom of the physically repellent servant who is about to deflower her, and second, when both she and he, disheveled, bleeding, and at least verbally constructed as being caught in flagrante, are exhibited by her vengeful husband to a stage full of gawking onlookers. “Forgive me, Alsemero, all forgive,” murmurs Beatrice-Joanna with her last breath, “’Tis time to die, when ’tis a shame to live” (5.3.178–79). While it has long been recognized that The Changeling critiques its culture’s overvaluation of virginity, its exploration of a related but rather less comfortable topic—the erotic fetishization of women’s sexual shame—has gone largely unremarked. Examining the treatment of sexual shame in The Changeling helps to illuminate a facet of the early modern understanding of an emotion—or a “passion,” the contemporary term unusually apt in

https://www.jstor.org/stable/10.1086/678123

Shame and Pleasure in The Changeling

Garrett Sullivan explores the changing impact of Aristotelian conceptions of vitality and humanness on sixteenth- and seventeenth-century literature before and after the rise of Descartes. Aristotle's tripartite soul is usually considered in relation to concepts of psychology and physiology. However, Sullivan argues that its significance is much greater, constituting a theory of vitality that simultaneously distinguishes man from, and connects him to, other forms of life. He contends that, in works such as Sidney's Old Arcadia, Shakespeare's Henry IV and Henry V, Spenser's Faerie Queene, Milton's Paradise Lost and Dryden's All for Love, the genres of epic and romance, whose operations are informed by Aristotle's theory, provide the raw materials for exploring different models of humanness; and that sleep is the vehicle for such exploration as it blurs distinctions among man, plant and animal.

Sleep, romance and human embodiment: Vitality from spenser to Milton

Milton and the Romance of History

Milton's Ovidian Eve presents a fresh and thorough exploration of the classical allusions central to understanding Paradise Lost and to understanding Eve, one of Milton's most complex characters. Mandy Green demonstrates how Milton appropriates narrative structures, verbal echoes, and literary strategies from the Metamorphoses to create a subtle and evolving portrait of Eve. Each chapter examines a different aspect of Eve's mythological figurations. Green traces Eve's development through multiple critical lenses, influenced by theological, ecocritical, and feminist readings. Her analysis is gracefully situated between existing Milton scholarship and close textual readings, and is supported by learned references to seventeenth-century writing about women, the allegorical tradition of Ovidian commentary, hexameral literature, theological contexts and biblical iconography. 

This detailed scholarly treatment of Eve simultaneously illuminates our understanding of the character, establishes Milton's reading of Ovid as central to his poetic success, and provides a candid synthesis and reconciliation of earlier interpretations.

Milton's Ovidian Eve

"The Vine and Her Elm": Milton's Eve and the Transformation of an Ovidian Motif

The seventeenth century witnessed a burgeoning of Arabic studies in the universities and the first English translation of the Turkish Alcoran (1649). However, John Milton has generally been passed over in scholarship concerned with the influence of Arabic studies on early modern literature. Yet, since Islam was recognized as one of the great challenges to the true faith at this time, it would be surprizing if its presence were not felt in Milton’s great Protestant epic, Paradise Lost. This article hopes to demonstrate how, at times, Milton’s depiction of Satan is intriguingly similar to that of his Qur’anic counterpart Iblis. Without overstating the Qur’anic influence, it offers for consideration a number of instances where the outlines of both fallen angels converge in a way that amplifies understanding of particular narrative moments in the poem. Readers familiar with the way Milton appropriates narrative paradigms from classical epic, both to enhance Satan’s characterization and subvert classic...

/pdf/satanic-whispers-milton-s-iblis-and-the-great-sultan-owckr7l5bt.pdf

Satanic whispers: Milton’s Iblis and the “Great Sultan”

Milton appropriates narrative structures from the Metamorphoses to amplify the elliptical account of Eve's creation in Genesis and to convey her sense of self or sexuality. Through the controlled use of such mythological patterning, Milton engages the reader in making complex responses to Eve. He deliberately fails to fix the meaning of such allusions, which thereby become a way of holding in solution unresolved, even contradictory, emphases in a situation where alternatives are not yet exclusive. In Paradise the apparently dissonant values of virginity and sexual love are held together in a harmony of exceptional grace and intensity, but Milton makes the reader aware that the threat of discord is always present.

The virgin in the garden : Milton's Ovidian Eve.

In the final books of Paradise Lost Milton exploits the rhetorical possibilities of typology to organize his survey of human history and propel his narrative forward through time to eternity. This typological framework may prove to extend further than previously recognized once the prefigurative value attached to Deucalion and Pyrrha, from the first book of Ovid's Metamorphoses, is fully acknowledged. Milton's pivotal positioning of this Ovidian myth, in the opening lines of Book XI, looks backwards as well as forwards: it gathers Adam and Eve into the same pattern of typological fulfilment—moving from death to new life, from destruction to recreation—in which the faithful few are set against the faithless herd.

/pdf/ad-ferrum-ab-auro-degenerative-and-regenerative-patterning-3q50v7l39y.pdf

"Ad Ferrum ... Ab Auro" : degenerative and regenerative patterning in the final books of Paradise Lost.

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