'Scholarly Milton [...] is admirably clear and informative. It lays out the basics of Milton’s education and intellectual life and the evolution of his thinking in relation to the political concerns of his time in ways that should orient a person new to this material at the same time as it provides a focused refreshment for someone more expert. The articles themselves offer engaging and thoughtful explorations of Milton’s work by grounding their analysis in specific seventeenth-century intellectual concerns. [...] It should be clear that the essays in this volume speak to one another in fruitful ways; they foreground Milton the educator as much as Milton the scholar. Both educators and scholars will find it equally useful.' Margaret Thickstun, MLA

Kant and Milton brings to bear new evidence and long-neglected materials to show the importance of Kant’s encounter with Milton’s poetry to the formation of Kant’s moral and aesthetic thought. Sanford Budick reveals the relation between a poetic vision and a philosophy that theorized what that poetry was doing. As Plato and Aristotle contemplate Homer, so Kant contemplates Milton. In all these cases philosophy and poetry allow us to better understand each other. Milton gave voice to the transformation of human understanding effected by the Protestant Revolt, making poetry of the idea that human reason is created self-sufficient. Kant turned that religiously inflected poetry into the richest modern philosophy. Milton’s bold self-reliance is Kant’s as well.Using lectures of Kant that have been published only in the past decade, Budick develops an account of Kant based on his lifelong absorption in the poetry of Milton, especially Paradise Lost. By bringing to bear the immense power of his reflections on aesthetic and moral form, Kant produced one of the most penetrating interpretations of Milton’s achievement that has ever been offered and, at the same time, reached new peaks in the development of aesthetics and moral reason.

Global Milton and Visual Art showcases the aesthetic appropriation and reinterpretation of the works and legend of the early modern English poet and politician John Milton in diverse eras, regions, and media: book illustrations, cinema, digital reworkings, monuments, painting, sculpture, shieldry, and stained glass. It innovates an inclusive approach to Milton’s literary art, especially his masterpiece Paradise Lost, in global contemporary aesthetics via intertextual and interdisciplinary relations. The fifteen purposefully-brief chapters, 103 illustrations, and 64 supplemental web-images reflect the great richness of the topics and the diverse experiences and expertise of the contributors. Part I: Panoramas, provides overviews and key contexts; Part II: Cameos offers different perspectives of the varied afterlives of the most widely-circulating illustrations of Paradise Lost, those by Gustave Doré; Part III: Textual Close-ups focuses on a rich variety of book illustrations, from centuries-old elite engravings to a twenty-first century graphic novel; and Part IV: A Prospect beyond Books, explores visual media outside of books that manifest powerful connections, direct and indirect, with Milton’s works and legend.

"A resource for the general reader, the student, and the scholar alike that provides easy access to a wealth of information to enhance the experience of reading the works of John Milton"--

Locating Milton: Places and Perspectives collects nine previously unpublished essays that examine Milton’s works as the product of his unique intellectual experiences at home and abroad, while also tracing the ways in which those works themselves express the influence of his travel, his reading, and his political engagement. Following an interpretive introduction that seeks to locate Milton through his last surviving letter, the first group of essays examine how young Milton locates himself through his travels in Italy, how Milton’s early reading leads him to situate himself intellectually, and how the intellectual framework Milton generated remains pertinent to students and communities today. The second group calculates the impact of early modern mathematical and scientific models on Milton’s cosmology, demonstrating how Milton’s complex negotiations of such models give form and perspective to his greatest poetic works. The final group of essays locates Milton distinctly through his works’ global reception, ranging from the anonymous English poem Praeexistence, to Milton’s place in the “new world” and science fiction, to his presence as a figure inspiring political resistance in communist Hungary.

The New England Milton concentrates on the poet's place in the writings of the Unitarians and the Transcendentalists, especially Emerson, Thoreau, William Ellery Channing, Jones Very, Margaret Fuller, and Theodore Parker, and demonstrates that his reception by both groups was a function of their response as members of the New England elite to older and broader sociopolitical tensions in Yankee culture as it underwent the process of modernization. For Milton and his writings (particularly Paradise Lost) were themselves early manifestations of the continuing crisis of authority that later afflicted the dominant class and professions in Boston; and so, the Unitarian Milton, like the Milton of Emerson's lectures or Thoreau's Walden, quite naturally became the vehicle for literary attempts by these authors to resolve the ideological contradictions they had inherited from the Puritan past.

Stanley Fish's Surprised by Sin, first published in 1967, set a new standard for Milton criticism and established its author as one of the world's preeminent Milton scholars. The lifelong engagement begun in that work culminates in this book, the magnum opus of a formidable critic and the definitive statement on Milton for our time. How Milton works "from the inside out" is the foremost concern of Fish's book, which explores the radical effect of Milton's theological convictions on his poetry and prose. For Milton the value of a poem or of any other production derives from the inner worth of its author and not from any external measure of excellence or heroism. Milton's aesthetic, says Fish, is an "aesthetic of testimony": every action, whether verbal or physical, is or should be the action of holding fast to a single saving commitment against the allure of plot, narrative, representation, signs, drama--anything that might be construed as an illegitimate supplement to divine truth. Much of the energy of Milton's writing, according to Fish, comes from the effort to maintain his faith against these temptations, temptations which in any other aesthetic would be seen as the very essence of poetic value. Encountering the great poet on his own terms, engaging his equally distinguished admirers and detractors, this book moves a 300-year debate about the significance of Milton's verse to a new level.