![]() ![]() "synopsis" may belong to another edition of this title. Milton uses the image of the Father, Satan and his rebellion, and the final return of the Son-not to his Father’s throne in Heaven, but to his "Mother’s house private"-as an indictment of everything that had, in his view, gone wrong with the attempt to reform England, to reform Christianity, and to reform the image of God. The Father of Paradise Lost, imagined as a king, is not the model of divinity that Milton means to promulgate rather, it is the Son (who in Paradise Regained rejects the external rule inherent in kingship in favor of an internal, spiritual self-government) who represents the model of politics and theology that the mature Milton is recommending to his "fit audience though few." Milton’s epics serve as a scathing critique of the English people and its slow but steady backsliding into the political habits of a nation long used to living under the yoke of kingship, a nation that maintained throughout its brief period of liberty the image of God as a heavenly king, and finally welcomed with open arms the return of a human king, Charles II. ![]() This interdisciplinary work argues for continuity of purpose and outlook in Milton’s antimonarchical prose and his epic poetry, working with the intersections between his theology, politics, and poetics. Lewis, Stanley Fish, and others) and the "Romantic" or "Satanist" critics (Blake, Shelley, Empson, etc.), by reading Milton as engaged in a complex theodicy that rejects kingship as a proper way of imagining the divine. Romantic Fantasy novels about the war between the Tuatha De Danaan (the. In pursuit of this argument, Michael Bryson charts a new path in the study of Milton’s prose and poetry, bridging the gap between the so-called "Neo-Christian" critics (C.S. Author of the The Dream Crystal, the first book in the series, Shadows & Dreams. ![]() Milton’s project in Paradise Lost and Paradise Regained is to defend God by taking him down from a kingly throne. The God portrayed in Paradise Lost is neither "good" nor "God." Milton uses this portrayal, not to suggest that his character represents God, but to argue strongly that it does not. ![]()
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