This publication addresses the matter of Milton's poetics of the eagerness, a convention he revises via turning clear of past due medieval representations of the crucifixion and drawing in its place on past Christian photos and replacement innovations.
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This e-book addresses the matter of Milton's poetics of the fervour, a practice he revises by means of turning clear of past due medieval representations of the crucifixion and drawing as an alternative on past Christian photographs and replacement innovations.
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Extra resources for Milton and the Reformation aesthetics of the passion
Owen Felltham’s “An Epitaph to the Eternal Memory of Charles the First” makes a similar claim that Charles “had copy’d out in every Line, / Our Saviours Passion” (21–22); Felltham also alleges that “His Royal Bloud true miracles had wrought” (39) and ends his poem with the epitaph, “Here CHARLES the First, and CHRIST the second lyes” (46). The Poems of Owen Felltham, eds. Ted-Larry Pebworth and Claude J. Summers (University Park, PA: Seventeenth-Century News Editions and Studies, 1973), 65–66. iconoclasm as an artistic strategy 45 In other cases the parallels drawn between Charles and Christ touch specifically on questions of Jesus’ incarnation.
25 Indeed, Milton insists in De Doctrina Christiana that a man of faith must establish his own creed Frye, 8. On Milton’s interest in doctrinal controversy and heretical ideas see Milton and Heresy, eds. Stephen Dobranski and John Rumrich (Cambridge: Cambridge University Press, 1998); and C. A. Patrides, Milton and the Christian Tradition (Oxford: Clarendon Press, 1966). 24 Especially important are the Second Defense; the preface to Civil Power, where he claims the early church provides the source of the ideas of the Reformation; and the Apology for Smectynmuus.
Stephen Dobranski and John Rumrich (Cambridge: Cambridge University Press, 1998); and C. A. Patrides, Milton and the Christian Tradition (Oxford: Clarendon Press, 1966). 24 Especially important are the Second Defense; the preface to Civil Power, where he claims the early church provides the source of the ideas of the Reformation; and the Apology for Smectynmuus. See Hanford. 25 Of Reformation, I: 541. 22 23 for depicting the son in christian art 27 (VI: 118). Parker attributes Milton’s attitude toward the church fathers to his Protestantism: Reading as a Christian, he admired the holiness and ‘personal excellence’ of such early Fathers as Cyprian, and noticed in their testimony ‘the remaining sparks of original truth’.