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Torah and Law in Paradise Lost / Jason P. Rosenblatt.

By: Material type: TextTextPublisher: Princeton, NJ : Princeton University Press, [1994]Copyright date: ©1994Edition: Course BookDescription: 1 online resource (288 p.)Content type:
Media type:
Carrier type:
ISBN:
  • 9780691033402
  • 9781400821303
Subject(s): DDC classification:
  • 821/.4
LOC classification:
  • PR3562.R58 1994
Other classification:
  • online - DeGruyter
Online resources: Available additional physical forms:
  • Issued also in print.
Contents:
Frontmatter -- Contents -- Acknowledgments -- Abbreviations -- Introduction -- Chapter One. Law and Gospel in Paradise Lost -- Chapter Two. Milton's Hebraic Monism -- Chapter Three. Moses Traditions and the Miltonic Bard -- Chapter Four. Angelic Tact: Raphael on Creation -- Chapter Five. Book 9: The Unfortunate Redemption -- Chapter Six. The Law in Adam's Soliloquy -- Chapter Seven. The Price of Grace: Adam, Moses, and the Jews -- Notes -- Index of Biblical References -- General Index
Summary: It has been the fate of Milton, the most Hebraic of the great English poets, to have been interpreted in this century largely by those inhospitable to his Hebraism. To remedy this lack of balance, Jason Rosenblatt reveals Milton's epic representations of paradise and the fallen world to be the supreme coordinates of an interpretive struggle, in which Jewish beliefs that the Hebrew Bible was eternally authoritative Torah were set against the Christian view that it was a temporary law superseded by the New Testament. Arguing that the Milton of the 1643-1645 prose tracts saw the Hebrew Bible from the Jewish perspective, Rosenblatt shows that these tracts are the principal doctrinal matrix of the middle books of Paradise Lost, which present the Hebrew Bible and Adam and Eve as self-sufficient entities.Rosenblatt acknowledges that later in Paradise Lost, after the fall, a Pauline hermeneutic reduces the Hebrew Bible to a captive text and Adam and Eve to shadowy types. But Milton's shift to a radically Pauline ethos at that point does not annul the Hebraism of the earlier part of the work. If Milton resembles Paul, it is not least because his thought could attain harmonies only through dialectic. Milton's poetry derives much of its power from deep internal struggles over the value and meaning of law, grace, charity, Christian liberty, and the relationships among natural law, the Mosaic law, and the gospel.
Holdings
Item type Current library Call number URL Status Notes Barcode
eBook eBook Biblioteca "Angelicum" Pont. Univ. S.Tommaso d'Aquino Nuvola online online - DeGruyter (Browse shelf(Opens below)) Online access Not for loan (Accesso limitato) Accesso per gli utenti autorizzati / Access for authorized users (dgr)9781400821303

Frontmatter -- Contents -- Acknowledgments -- Abbreviations -- Introduction -- Chapter One. Law and Gospel in Paradise Lost -- Chapter Two. Milton's Hebraic Monism -- Chapter Three. Moses Traditions and the Miltonic Bard -- Chapter Four. Angelic Tact: Raphael on Creation -- Chapter Five. Book 9: The Unfortunate Redemption -- Chapter Six. The Law in Adam's Soliloquy -- Chapter Seven. The Price of Grace: Adam, Moses, and the Jews -- Notes -- Index of Biblical References -- General Index

restricted access online access with authorization star

http://purl.org/coar/access_right/c_16ec

It has been the fate of Milton, the most Hebraic of the great English poets, to have been interpreted in this century largely by those inhospitable to his Hebraism. To remedy this lack of balance, Jason Rosenblatt reveals Milton's epic representations of paradise and the fallen world to be the supreme coordinates of an interpretive struggle, in which Jewish beliefs that the Hebrew Bible was eternally authoritative Torah were set against the Christian view that it was a temporary law superseded by the New Testament. Arguing that the Milton of the 1643-1645 prose tracts saw the Hebrew Bible from the Jewish perspective, Rosenblatt shows that these tracts are the principal doctrinal matrix of the middle books of Paradise Lost, which present the Hebrew Bible and Adam and Eve as self-sufficient entities.Rosenblatt acknowledges that later in Paradise Lost, after the fall, a Pauline hermeneutic reduces the Hebrew Bible to a captive text and Adam and Eve to shadowy types. But Milton's shift to a radically Pauline ethos at that point does not annul the Hebraism of the earlier part of the work. If Milton resembles Paul, it is not least because his thought could attain harmonies only through dialectic. Milton's poetry derives much of its power from deep internal struggles over the value and meaning of law, grace, charity, Christian liberty, and the relationships among natural law, the Mosaic law, and the gospel.

Issued also in print.

Mode of access: Internet via World Wide Web.

In English.

Description based on online resource; title from PDF title page (publisher's Web site, viewed 30. Aug 2021)