This thesis explores John Milton's complex and seemingly ambivalent stance on warfare through The Tenure, Eikonoklastes, The Second Defense, Paradise Lost, Paradise Regained and Samson Agonistes....Show moreThis thesis explores John Milton's complex and seemingly ambivalent stance on warfare through The Tenure, Eikonoklastes, The Second Defense, Paradise Lost, Paradise Regained and Samson Agonistes. It argues that Milton's definition of war is complex. Milton understands two distinct forms of warfare: righteous and unrighteous warfare. In line with these distinct forms, Milton also holds two distinct opinions. To a modern reader this may appear paradoxical, but within Milton's own perception, this idea is consistent.Show less
This MA thesis examines the representation of hierarchy in John Milton's 'Paradise Lost' (1667/1674). Much scholarly attention has been devoted to Milton's representations of hierarchy within a...Show moreThis MA thesis examines the representation of hierarchy in John Milton's 'Paradise Lost' (1667/1674). Much scholarly attention has been devoted to Milton's representations of hierarchy within a specific context, such as his representation of gender hierarchies. However, throughout 'Paradise Lost' and his prose works Milton is preoccupied with this theme of hierarchy in a range of different contexts. Moreover, Milton's representations of hierarchical structures are not always straightforward and seem to differ depending on the context. In order to analyse this reoccuring theme, Milton's representations of hierarchy in 'Paradise Lost' and the relevant prose works will be examined within three different contexts, namely politics, gender, and ecology.Show less
Frankenstein’s monster, from Mary Shelley’s Frankenstein (1818), has often been compared to Satan as he appears in the Bible and in John Milton’s Paradise Lost (1667/1674). Soyka explains that “the...Show moreFrankenstein’s monster, from Mary Shelley’s Frankenstein (1818), has often been compared to Satan as he appears in the Bible and in John Milton’s Paradise Lost (1667/1674). Soyka explains that “the underlying theme [of Frankenstein] is rooted in Miltonic questions about the first creation. If God is the creator of all things, why did He create evil to ruin his creation?” (167). Unsurprisingly, in many modern adaptations of the novel, the monster is presented as a grotesque figure of violence, highlighting its “evil” tendencies. Yet this thesis will foreground how the second of James Whale’s Frankenstein adaptations, Bride of Frankenstein (1935), transforms the original intertextual relations between Shelley’s monster and the figure of Satan in Paradise Lost by alluding directly to the figure of Adam and more implicitly to his companion Eve. The creation of a female monster in this classic film adaptation of Mary Shelley’s Frankenstein highlights the intertextuality of Whale’s monsters with Adam and Eve in Milton’s Paradise Lost, as the female monster presents a link to this Edenic narrative.Show less
This thesis examines the representations of John Milton’s political views in 'Paradise Lost' (1667/1674). Much scholarly attention has been devoted to the theological aspect of this epic poem....Show moreThis thesis examines the representations of John Milton’s political views in 'Paradise Lost' (1667/1674). Much scholarly attention has been devoted to the theological aspect of this epic poem. However, 'Paradise Lost' also engages with the political circumstances of mid-seventeenth-century England, and can thus also be read as a political allegory. In order to analyse this, Milton’s political views in 'Paradise Lost' can be examined by comparing the poem to two of his earlier prose works, namely 'The Tenure of Kings and Magistrates' (1649) and 'Eikonoklastes' (1649). Milton wrote these two works in the same year as the regicide and they offer his views on monarchy and government. Because 'Paradise Lost' is written much later, after the Restoration of the monarchy in 1660, it is interesting to analyse to what extent his original points of view are still represented in the epic poem. Even though Milton, as a Republican and Puritan, is now part of a severely suppressed group, he utilises the epic poem to convey his political truth. Therefore, by examining the ways in which certain characters are represented, I aim to show that in 'Paradise Lost' Milton continued to voice radical political positions.Show less
This thesis examines the influence of John Milton's Paradise Lost on C.S. Lewis's The Chronicles of Narnia. In the first chapter it discusses a number of the most clear allusions to Milton's epic...Show moreThis thesis examines the influence of John Milton's Paradise Lost on C.S. Lewis's The Chronicles of Narnia. In the first chapter it discusses a number of the most clear allusions to Milton's epic in The Chronicles, where they are found and what they do. The second chapter focuses on the question of gender hierarchy, and which role Paradise Lost plays in Lewis's depiction of this in his children's series.Show less
When John Milton's Paradise Lost was translated to Arabic, several aspects played a decisive role shaping up the final products. The two major Arabic translations of Milton's work represent two...Show moreWhen John Milton's Paradise Lost was translated to Arabic, several aspects played a decisive role shaping up the final products. The two major Arabic translations of Milton's work represent two different approaches to the poem. These approaches are the result of historical, cultural, social and religious components, which led the translators to settle for specific word choice and press specific themes in the poem instead of others. This study sheds a light on how contextual components determine the final translation of Milton's work. It also compares the two major Arabic translations of the poem in order to examine the differences historical, cultural, social and religious contexts produce in the final product.Show less
In Paradise Lost Milton revisits many of the former arguments he raised in his political prose, but this time he takes a less active stance. The political issues present in Paradise Lost are...Show moreIn Paradise Lost Milton revisits many of the former arguments he raised in his political prose, but this time he takes a less active stance. The political issues present in Paradise Lost are written from a vantage point of hindsight. Milton’s cause that he had so diligently supported, first the rebellion against the monarchy and later the republic, was defeated, and as much is reflected in Paradise Lost. Milton seems to enter into a form of discussion with his former self, in which he reflects on the arguments he raised in his political prose and reworks them within his poem. The poem also reveals more of an educational approach to Milton’s arguments.He no longer confronts his readers with his views directly, but rather guides them through situations within the poetry where they may reach these conclusions themselves. In this thesis I will look at the ways in which Paradise Lost echoes the political prose works and educates the reader through first examining four works over the course of his career as a political prose writer.Show less
In the His Dark Materials trilogy, Philip Pullman attempts to adapt John Milton's Paradise Lost. In doing so, Pullman inverts the theological message at the heart of Milton's epic poem. This thesis...Show moreIn the His Dark Materials trilogy, Philip Pullman attempts to adapt John Milton's Paradise Lost. In doing so, Pullman inverts the theological message at the heart of Milton's epic poem. This thesis looks at the adaptation process, identifying its features and the motivations that go along with it.Show less
This MA thesis examines the representation of the Fall of Man in John Milton’s 'Paradise Lost' from a Lacanian angle. Using Lacan’s ‘Mirror Stage’ and his tripartite schema of the ‘Real’, the ...Show moreThis MA thesis examines the representation of the Fall of Man in John Milton’s 'Paradise Lost' from a Lacanian angle. Using Lacan’s ‘Mirror Stage’ and his tripartite schema of the ‘Real’, the ‘Imaginary’, and the ‘Symbolic’ orders as a template, I will address the repercussions of the Fall and establish to what extent the move from the Real, through the Imaginary, to the Symbolic can be seen to be mirrored in the move from a pre-lapsarian state to a post-lapsarian reality in 'Paradise Lost'. In the first chapter, I argue that, since God exists in perfect proximity to the Real-like Word, Satan embodies the post-lapsarian Symbolic word in and through his separation from God's prototypical, pre-lapsarian language. In chapter two, I extend this main argument and apply it more locally to the Edenic level of Adam and Eve and their respective relationships with the Word of God. The Fall of Man, then, comes to feature as the event that introduces the Lacanian Symbolic order to Eden, by the hand of Satan, its prime instigator.Show less
