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An analysis of the poetic line in Milton that considers the resources made available to the poet by lineation, and how Milton explored and exploited them more resourcefully than any other English poet.
List of contents
- Preface
- 1: 'Fear of Change': Closed Minds and Open Forms
- 2: Service is Perfect Freedom': Paradox and Prosodic Style in Paradise Lost
- 3: Variously Drawn Out': Lineation and Syntax in Paradise Lost
- 4: The Melting Voice Through Mazes Running': Rhythmic Verve in L'Allegro and Il Penseroso
- 5: Samson Agonistes: Chorus and Catastrophe
- 6: 'In Fit Sound': Modes of Onomatopoeia, and Beyond
- 7: Rhyme was Not his Talent': The Lyric Verse
- 8: Things Unattempted Yet in Rhyme': Rhyming in Blank Verse
- 9: Resonant Minutiae: Some Niceties of Rhythm and Rhyme
- 10: Cromwell's Three Great Poets: Interweavings of Prosody and Ideology
- 11: The Intrepid Milton: 1667, and Ever After
- Appendix: Prosodic Symbols: an Outline
- Works Cited
About the author
John Creaser is Emeritus Fellow of Mansfield College, University of Oxford and Emeritus Professor at Royal Holloway, University of London.
Summary
An analysis of the poetic line in Milton that considers the resources made available to the poet by lineation, and how Milton explored and exploited them more resourcefully than any other English poet.
Additional text
Creaser writes brilliantly about one of the aspects of poetry to which lineation gives prominence, and which in his readings can connect not only line-with-line, but connect up andeven constitute the compelling structure of a poem as a whole: end-rhyme, and its embraces.
