...Sara van den Berg Copyright © 1986 by Duke University Press 1986 EVE, SIN, AND WITCHCRAFT IN PARADISE LOST SARA VAN DEN BERG During the European witch panics of the sixteenth and seven...

...John S. Diekhoff Copyright © 1944 by Duke University Press 1944 EVE, THE DEVIL, AND AREOPAGITICA By JOHN S. DIEKHOFF In Book IX of Paradise Lost, in the argument with Adam that leads to the separation of Adam and Eve and hence...

... operations, controlled and repeatable experiments, and measurement-based, post-Baconian science. Milton’s Eve sins as the world’s first experimentalist and in effect breaks the World-Soul’s cosmic heart: even as Spenser’s Agape had previously re-created it allegorically, Neoplatonically, and metaphysically...

... Westminster Abbey and the capitol-like Whitehall—is revisited in Milton’s epic. God expels Adam and Eve from Eden and subsequently washes away the garden during the Flood to prevent it from turning into a temple-and-grove along the lines of Pandaemonium or a capital seat like Charles’s London, in either case...

...-expressive endeavor of bodies. Moreover, his use of Lucretian physics in Paradise Lost challenges established models of providential superintendence. From Satan to the poem’s speaker to Adam and Eve, this challenge presents itself most enduringly through the Lucretian concept of self-motion, of animate...

... of excellent commen- tary on the nature of life in Eden before the Fall. Because Milton gave Adam and Eve work to do and delicately adjusted their activity to the rhythm of nature’s changes, the bliss of Paradise cannot be understood except in terms of the pattern of their daily activity. The constant...

... The expressive potency of this bivalent metaphysic will assume crushing ethical force when Adam feels that he must choose between the promised sublimation up Raphael’s scale of nature and the concrete specificity, and irreplace- ability, of Eve. Some of the most...

... of Zschokke’s short story and Gessner’s idyll.6 Critics have told us that Kleist dropped these thematic associations. But what about the nomenclature of his play : Adam and Eve ? Again we are assured that these names, like the pitcher itself, are relics from an earlier conception and have...

... lord, is at the core of the ethical system by which the behavior of the characters in this Christian story is judged. God and his angels, Satan and his devils, and God and Adam are all related as Germanic lords and their retainers. Like Satan, Adam and Eve fail in their duty to their lord...

... in the twelfth-century Jeu d’Adam,4 nor is there the protracted representation of theological problems such as the relative guilt of Adam, Eve, and Satan, as found in the Mistkre du Vie1 Testament .5 * See “The Fall and Passion” in Early English Poems and Lives of Saints, ed. Frederick J...

... form elaborations of the sins of Satan, Eve, and Adam, respectively; the fourth vision further elaborates the first; and the fifth elaborates the second. It is at the end of the fifth vision that, for reasons to be discussed later, Milton breaks off the series of visions and draws Book XI...

... the poet’s ambiguity significantly reflects a confusion on Adam’s part concerning his relationship to Eve. While knowing that woman less resembles the image of God than man (“For well I understand in the prime end / Of nature her the inferior, in the mind / And inward faculties, which most excel...

...John G. Demaray Copyright © 1977 by Duke University Press 1977 LOVE’S EPIC REVEL IN PARADISE LOST A THEATRICAL VISION OF MARRIAGE By JOHN G. DEMARAY When evening comes to the Paradisial Garden, and Adam and Eve...

...Nathaniel Likert Chapter 1 dwells on Adam and Eve’s awakening in Paradise Lost to argue that Milton nudges conscientia from its older, moral meaning toward its modern, phenomenal meaning. Until the seventeenth century experience retained its Aristotelian sense as collective. Depicting...

.... The notion that God created Adam and Eve to replenish heaven’s lost numbers had been a doctrinal commonplace since at least Augus- tine.3 What needs to be accounted for is the difficulty of articulating it. Under what conditions does the representation of God’s relationship to the numbers of people...

... explicit. Satan apparently remains in the Tree from lines 196 through 357. From that vantage point he sees Adam and Eve, before whom “the Lion ramp’d, and in his paw / Dandl’d the Kid,” and the tiger “Gamboll’d’’ (343-45). The next comment about his posture is at 356-57: “When...

..., and with capacious mind Considerd all things visible in Heav’n. . . . (9.602-604) Satan’s chief bait is science, and his chief trap is curiosity, by which he wins Eve if not Christ or Milton. His plan, he says, is to “excite thir minds With more...

... LOST Adam and Eve are to end “wandering” also, but with a difference, as we shall see.) Because the exploration requires effort, the decorum suggests the heroic. But a true journey would carry one out of the labyrinth. Rhetoric, like philosophy, should have as its goal the defi...

...- chan poetry, where the woman is Daphne denying the poet and the poet is Apollo pursuing the woman, to convert the tradition, as Petrarch himself occasionally does in the Rime sparse, into a poetic cel- ebration of successful love. In “The Day,” he represents the beloved as Eve to his Adam...

... word as WM and Rolle, are not given in the following listings unless there is any significant difference. The earlier, or Hereford’s, version is abbreviated as EV, the later, or Purvey’s, as LV Consequently obvious words, such as hand, foot, come, etc., which are in every translation...