Throughout his writings, Milton, deeply engaged in political and theological controversy, sought to clear a space for human freedom in a world ruled by an omniscient and omnipotent deity. Paradise Lost and Samson Agonistes, as well as other works by Milton in verse and prose, explore the problematical aspects of a universe ruled by an Old Testament God of wrath, demanding obedience, who allows his creatures the freedom to be 'authors' of their own fate. Milton and the Burden of Freedom examines the contradictions inherent in Milton's religious, political, and ethical beliefs as expressed in his poems, prose writings, and the treatise De Doctrina Christiana. Milton, whose writings are rooted in the Reformed tradition while challenging Calvinist orthodoxy, is both radical and conservative. In this book, Warren Chernaik traces the evolution of Milton's attitude towards freedom, servitude and virtue during a century of political upheaval and disappointed hopes.
When Cleopatra expresses a desire to die 'after the high Roman fashion', acting in accordance with 'what's brave, what's noble', Shakespeare is suggesting that there are certain values that are characteristically Roman. The use of the terms 'Rome' and 'Roman' in Julius Caesar, Antony and Cleopatra or Jonson's Sejanus often carry the implication that most people fail to live up to this ideal of conduct, that very few Romans are worthy of the name. In this book Chernaik demonstrates how, in these plays, Roman values are held up to critical scrutiny. The plays of Shakespeare, Jonson, Massinger and Chapman often present a much darker image of Rome, as exemplifying barbarism rather than civility. Through a comparative analysis of the Roman plays of Shakespeare and his contemporaries, and including detailed discussion of the classical historians Livy, Tacitus and Plutarch, this study examines the uses of Roman history - 'the myth of Rome' - in Shakespeare's age.
This book unites the disciplines of literature and history in an attempt to set the writings of Andrew Marvell in their seventeenth-century context of revolutionary upheaval and counter-revolution. Marvell is seen as a representative figure, illustrating the problems the intellectual inevitably faces when he enters the political arena. Dr Chernaik traces the evolution of Marvell's writings from impartiality to political engagement under the pressure of events. He shows in the earlier part of the book how both 'An Horatian Ode' and 'Upon Appleton House', two of the greatest political poems in the English language, written during the unsettled period of the Commonwealth, are complex works of historical analysis, which present the problem of the choices facing men at a given historical moment. However, after the collapse of Puritan hopes at the Restoration, Marvell moves towards a literature of commitment. Throughout his writings, Chernaik argues, Marvell is both a Puritan and a wit, a fastidious ironist and a moralist like his friend Milton.
Throughout his writings, Milton, deeply engaged in political and theological controversy, sought to clear a space for human freedom in a world ruled by an omniscient and omnipotent deity. Paradise Lost and Samson Agonistes, as well as other works by Milton in verse and prose, explore the problematical aspects of a universe ruled by an Old Testament God of wrath, demanding obedience, who allows his creatures the freedom to be 'authors' of their own fate. Milton and the Burden of Freedom examines the contradictions inherent in Milton's religious, political, and ethical beliefs as expressed in his poems, prose writings, and the treatise De Doctrina Christiana. Milton, whose writings are rooted in the Reformed tradition while challenging Calvinist orthodoxy, is both radical and conservative. In this book, Warren Chernaik traces the evolution of Milton's attitude towards freedom, servitude and virtue during a century of political upheaval and disappointed hopes.
When Cleopatra expresses a desire to die 'after the high Roman fashion', acting in accordance with 'what's brave, what's noble', Shakespeare is suggesting that there are certain values that are characteristically Roman. The use of the terms 'Rome' and 'Roman' in Julius Caesar, Antony and Cleopatra or Jonson's Sejanus often carry the implication that most people fail to live up to this ideal of conduct, that very few Romans are worthy of the name. In this book Chernaik demonstrates how, in these plays, Roman values are held up to critical scrutiny. The plays of Shakespeare, Jonson, Massinger and Chapman often present a much darker image of Rome, as exemplifying barbarism rather than civility. Through a comparative analysis of the Roman plays of Shakespeare and his contemporaries, and including detailed discussion of the classical historians Livy, Tacitus and Plutarch, this study examines the uses of Roman history - 'the myth of Rome' - in Shakespeare's age.
Chernaik presents illuminating comparisons of Shakespeare's Roman plays with plays by Elizabethan and Jacobean dramatists including Jonson and Massinger.
This book unites the disciplines of literature and history in an attempt to set the writings of Andrew Marvell in their seventeenth-century context of revolutionary upheaval and counter-revolution. Marvell is seen as a representative figure, illustrating the problems the intellectual inevitably faces when he enters the political arena. Dr Chernaik traces the evolution of Marvell's writings from impartiality to political engagement under the pressure of events. He shows in the earlier part of the book how both 'An Horatian Ode' and 'Upon Appleton House', two of the greatest political poems in the English language, written during the unsettled period of the Commonwealth, are complex works of historical analysis, which present the problem of the choices facing men at a given historical moment. However, after the collapse of Puritan hopes at the Restoration, Marvell moves towards a literature of commitment. Throughout his writings, Chernaik argues, Marvell is both a Puritan and a wit, a fastidious ironist and a moralist like his friend Milton.
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