Using Hannah Arendt’s account of the Greek polis to explain Milton’s fascination with the idea of public speech, this study reveals what is distinctive about his conception of a godly, republican oratory and poetics. The book shows how Milton uses rhetorical theory - its ideas, techniques and image patterns - to dramatise the struggle between ’good’ and ’bad’ oratory, and to fashion his own model of divinely inspired public utterance. Connecting his polemical and imaginative writing in new ways, the book discusses the subliminal rhetoric at work in Milton’s political prose and the systematic scrutiny of the power of oratory in his major poetry. By setting Milton in the context of other Civil War polemicists, of classical political theory and its early modern reinterpretations, and of Renaissance writing on rhetoric and poetic language, the book sheds new light on his work across several genres, culminating in an extended Arendtian reading of his ’Greek’ drama Samson Agonistes.

John Milton was not only the greatest English Renaissance poet but also devoted twenty years to prose writing in the advancement of religious, civil and political liberties. The height of his public career was as chief propagandist to the Commonwealth regime which came into being following the execution of King Charles I in 1649. The first of the two complete texts in this volume, The Tenure of Kings and Magistrates, was easily the most radical justification of the regicide at the time. In the second, A Defence of the People of England, Milton undertook to vindicate the Commonwealth's cause to Europe as a whole.This book, first published in 1991, was the first time that fully annotated versions were published together in one volume, and incorporated a new translation of the Defence. The introduction outlines the complexity of the ideological landscape which Milton had to negotiate, and in particular the points at which he departed radically from his sixteenth-century predecessors.

Throughout history the motif of ‘the Fall’ has impacted upon our understanding of theology and philosophy and has had an influence on everything from literature to dance. Fall Narratives brings together theologians, historians and artists as well as philosophers and scholars of religion and literature, to explore and reflect on a wide range of concepts of the Fall. Bringing a fresh understanding of the nuanced meanings of the Fall and its various manifestations over time and across space, contributions reflect on the ways in which the Fall can be seen as a transition into absence; how conceptions of the Fall relate to, change, and shape one another; and how the Fall can be seen positively, embracing as it does a narrative of hope.

Explains how aging populations in the developed world are threatening the American way of life, offering advice on how to positively and profitably respond to key changes in labor, production, and labor-management relations.

Sooner or later, our words take on meanings other than we intended. How Words Make Things Happen suggests that the conventional idea of persuasive rhetoric (which assumes a speaker's control of calculated effects) and the modern idea of literary autonomy (which assumes that 'poetry makes nothing happen') together have produced a misleading account of the relations between words and human action. Words do make things happen. But they cannot be counted on to produce the result they intend. This volume studies examples from a range of speakers and writers and offers close readings of their words. Chapter 1 considers the theory of speech-acts propounded by J.L. Austin. 'Speakers Who Convince Themselves' is the subject of chapter 2, which interprets two soliloquies by Shakespeare's characters and two by Milton's Satan. The oratory of Burke and Lincoln come in for extended treatment in chapter 3, while chapter 4 looks at the rival tendencies of moral suasion and aestheticism in the poetry of Yeats and Auden. The final chapter, a cause of controversy when first published in the London Review of Books, supports a policy of unrestricted free speech against contemporary proposals of censorship. Since we cannot know what our own words are going to do, we have no standing to justify the banishment of one set of words in favour of another.