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008			210621t20211995pau fo d z eng d
020			_a9780271071558 _qPDF
024	7		_a10.1515/9780271071558 _2doi
035			_a(DE-B1597)9780271071558
035			_a(DE-B1597)583809
040			_aDE-B1597 _beng _cDE-B1597 _erda
050		4	_aPR3592.P64 _bF33 1995eb
072		7	_aLIT004120 _2bisacsh
082	0	4	_a821/.4 _222
084			_aonline - DeGruyter
100	1		_aFallon, Robert Thomas _eautore
245	1	0	_aDivided Empire : _bMilton's Political Imagery / _cRobert Thomas Fallon.
264		1	_aUniversity Park, PA : _bPenn State University Press, _c[2021]
264		4	_c©1995
300			_a1 online resource (208 p.)
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _bcr _2rdacarrier
347			_atext file _bPDF _2rda
505	0	0	_tFrontmatter -- _tContents -- _tPreface -- _t1. The Image of Rule -- _t2. The Kingdom of Heaven -- _t3. To Reign in Hell -- _t4. Heaven and Hell -- _t5. The Lords of the Earth -- _t6. Divided Empire -- _t7. The Final Things -- _t8. Embattled Humanity -- _tWorks Cited -- _tIndex
506	0		_arestricted access _uhttp://purl.org/coar/access_right/c_16ec _fonline access with authorization _2star
520			_aIn Divided Empire, Robert T. Fallon examines the influence of John Milton's political experience on his great poems: Paradise Lost, Paradise Regained, and Samson Agonistes. This study is a natural sequel to Fallon's previous book, Milton in Government, which examined Milton's decade of service as Secretary for Foreign Languages to the English Republic.Milton's works are crowded with political figures-kings, counselors, senators, soldiers, and envoys-all engaged in a comparable variety of public acts-debate, decree, diplomacy, and warfare-in a manner similar to those who exercised power on the world stage during his time in public office. Traditionally, scholars have cited this imagery for two purposes: first, to support studies of the poet's political allegiances as reflected in his prose and his life; and, second, to demonstrate that his works are sympathetic to certain ideological positions popular in present times.Fallon argues that Paradise Lost is not a political testament, however, and to read its lines as a critique of allegiances and ideologies outside the work is limit the range and scope of critical inquiry and to miss the larger purpose of the political imagery within the poem. That imagery, the author proposes, like that of all Milton's later works, serves to illuminate the spiritual message, a vision of the human soul caught up in the struggle between vast metaphysical forces of good and evil. Fallon seeks to enlarge the range of critical inquiry by assessing the influence of personal and historical events upon art, asking, as he puts it, ";not what the poetry says about the events, but what the events say about the poetry."; Divided Empire probes, not Milton's judgment on his sources, but the use he made of them.
538			_aMode of access: Internet via World Wide Web.
546			_aIn English.
588	0		_aDescription based on online resource; title from PDF title page (publisher's Web site, viewed 21. Jun 2021)
650		0	_aEnglish language _yEarly modern, 1500-1700 _xStyle.
650		0	_aFigures of speech.
650		0	_aPolitical poetry, English _xHistory and criticism.
650		0	_aPolitics and literature _zGreat Britain _xHistory _y17th century.
650		7	_aLITERARY CRITICISM / European / English, Irish, Scottish, Welsh. _2bisacsh
850			_aIT-RoAPU
856	4	0	_uhttps://doi.org/10.1515/9780271071558?locatt=mode:legacy
856	4	0	_uhttps://www.degruyter.com/isbn/9780271071558
856	4	2	_3Cover _uhttps://www.degruyter.com/cover/covers/9780271071558.jpg
942			_cEB
999			_c187284 _d187284