bluuebunny/crossref_metadata_2025_split huggingface dataset:
Serpent Error: “Paradise Lost” X, 216–18
Authors: Brisman Leslie 
Published: May 2022

ABSTRACT
Milton's simile in Paradise Lost X, 218 carries the reader through a chain of associations at first sight uncomfortable but ultimately redemptive. The similes frequently recapitulate the pattern of the fall, and references to snakes in particular distinguish literal from spiritual meanings. Here Milton echoes the Bible and Ovid in a way that makes the reader s acceptance of allusion an acceptance of grace and the pattern of God's ways. The crucial word is “or.” With it the reader turns from one explanation to another, a miniature of the Christian turn from a death of the old self to a rebirth in both personal and historical terms. In granting the redemptive connotation of the words, “or as the Snake with youthful Coat repaid,” the reader participates in the act of grace that is the repaying of the snake, or, more immediately, the clothing of the first parents. Such an act of participation is characteristic and essential to the experience of reading Paradise Lost.
Retributive Justice in “Lycidas”: The Two-Handed Engine
Authors: Swaim Kathleen M. 
Published: May 2022

ABSTRACT
In the image of Lycidas 130 Milton conflates “th’ abhorred shears” of Atropos and St. Peter's two keys. Two-handed is ambiguous, held with two hands or composed of two portions. Engine covers both keys and shears, and perhaps also sheep-hook. The fateful shears invoke the ritual harvest of “the shearers feast” (117). “Blind Fury” similarly conflates a Fury and Fate (Atropos). The ambiguity of image and phrasing in “two-handed engine” accommodates a combination of pagan and Christian instruments of final justice, as so much of Lycidas’ thought and imagery interweaves humanistic and Christian material, especially pastoral, while building toward a new revelation of triumphant Christian truth. Structurally, the engine image concludes the second movement of Lycidas with emphasis on punishment imposed from above according to human deserts, as the first movement ends with emphasis on reward (“meed”) imposed, and as the third ends with Grace that uplifts beyond human deserts.
Vocation and Spiritual Renovation in “Samson Agonistes”
Authors: Hill John S. 
Published: May 2022

ABSTRACT
Samson Agonistes deals with the spiritual education of a Christian “hero” and his development from a self-motivated agent operating on what he presumes to be the will of God to a humbled instrument of that divine will. The real meaning of Samson's regeneration is seen in his resolution of the tension between prophecy (he is God's chosen champion) and fact (he is a blind Philistian bondslave). As the poem opens, Samson is guilty of three sins—pride, presumption, doubt—which obscure his divinely ordained vocation. In the course of the poem, Samson learns that humility, patience, and faith are necessary to his divine mission. These three virtues are the spiritual antidotes to the three sins of which he has been guilty, and enable Samson to be readmitted to the active service of his God. “True experience” and an understanding of God's ways to men are achieved by Samson in the first four movements of the poem (lines 1–1440); the fifth and final movement (lines 1441–1758) educates Manoa, the Chorus, and the reader in these same virtues.
Samson's Catharsis
Authors: Hawkins Sherman H. 
Published: May 2022

ABSTRACT
In Paradise Lost, Michael shows Adam future history in a series of dramatic scenes, recalling Milton's view of Revelation as a tragic drama. Adam, the audience, undergoes a catharsis which turns his “terrour” and “compassion” to joy and wonder as the sin deriving from Adam himself yields to the redemption effected by Christ. In Samson this redemptive catharsis centers on the hero. Epigraph and epistle include both possible meanings of catharsis: purgation and lustratio (sacrifice and ablution). Both Donne and Bunyan make purgation the symbol of repentance. So Milton describes Samson's sin and punishment in dietary and medical terms. His cure uses like against like, passion to purge passion. Samson's grief, pity, and fear are raised only to be tempered and reduced in the three central acts by Manoa (grief), Dalila (pity), Harapha and the Officer (fear). But the efficacy of this purgation depends on a lustratio, the sacrifice of Christ, of which Samson's death is a dramatic and ritual mimesis. Samson's fall thus conforms him to the image of the first Adam; his sacrificial self-offering renews him in the image of the second, completing the pattern of human history and of Milton's three great poems.
“Paradise Lost”: “Tragical—Comical— Historical—Pastoral”
Authors: Rollin Roger B. 
Published: May 2022

ABSTRACT
Paradise Lost is more than a highly dramatic poem: it is “an epic built of dramas,” an encyclopedic work composed of three distinct yet interlocking plots, each of which approximates the theoretic form of a different genre of Renaissance drama. That drama of which Satan is the protagonist fulfills Aristotle's chief criteria for tragedy, and, as a dramatic character, Satan conforms to Aristotelian, Renaissance, and modern conceptions of the tragic hero. Adam is less a tragic hero than the protagonist of a pastoral tragicomedy whose crisis is the tragic incident of the Fall, but whose climax—his reconciliation with his spouse and with his God—is essentially comedic. Framing both these plots is the drama of the Son of God, which parallels the theoretic form of the Renaissance history play until it trails off into mere narrative in Books XI–XII. A fourth dramatic form is the monodrama of Milton the narrator. Its subject is the composing of an epic poem and its tension arises out of the question, can the poet-hero, against great odds, complete his magnum opus? Mainly played out in the great invocations, this monodrama remains unfinished. Its climax must be supplied by the reader of Paradise Lost himself as he experiences the triumphantly theatrical conclusion of Book XII.
The Buoyant Mind in Milton's Eden
Authors: Collins Dan S. 
Published: May 2022

ABSTRACT
Milton's depiction of the movement of mind in unfallen man is consistent with the universal ascent of all creation toward its perfect source described by Raphael in Book V of Paradise Lost. Although most critics interpret the prelapsarian action of the epic as a series of anticipations of the fall, Milton utilizes Eve's dream and Adam's comments on astronomy and the birth of his own consciousness, his search for a helpmeet, and his first experience of sexual attraction to demonstrate the mind's inherent buoyancy, in each episode rising further toward its angelic perfection by maintaining a willing dependence upon God's sustaining grace and exercising reason to discipline lesser faculties, particularly the imagination. The accessibility of the unfallen mind to material and spiritual evil does not imply inevitable acts of disobedience but instead provides opportunity for achieving self-mastery and participating in the continuing refinement of the divinely instituted order. The eventual reversal of this upward movement of mind occurs only after the intellectual sufficiency of mankind to prosper in Eden has been established. When it finally occurs, the fall (which originates in Adam's unwillingness to discipline his imagination and obey the dictates of his reason) happens abruptly and needlessly at the apex of a spiritual ascent, not gradually at die end of an inexorable descent into the world of matter.
The Plant of Fame in “Lycidas”
Authors: Riggs William G. 
Published: May 2022

ABSTRACT
Phoebus’ speech in Lycidas is usually read as a thinly veiled Christian warning and consolation, but the Christian implication of Phoebus’ metaphorical plant of fame has not been recognized. Here, as elsewhere, Milton uses the metaphor of a plant which flowers “aloft” to describe the workings of grace, and his use is grounded in the theological conception of being ingrafted in Christ. This conception, as explained in The Christian Doctrine, emphasizes that the god of poetry is concerned primarily with the necessity of living deeds, rather than with the heavenly rewards envisioned in the final consolation. In response to the singer's depressed sense of the futility of human enterprise, Phoebus insists on human action. This reading helps place the emphasis of Lycidas on a living response to death. These lines are of a piece with the poem's remarkable close, wherein, by focusing on the elegist's act of singing, Milton suggests we see Lycidas finally as a living act of faith, a paradigm of Christian action.
"HIS UNCONTROLLABLE INTENT": DISCOVERY AS ACTION IN "SAMSON AGONISTES"
Authors: Grose Christopher 
Published: May 2022

ABSTRACT
As suggested in An Apology and Paradise Lost, the conception of a "virtuous wisdom" uniting word with "event" provides the model for a Miltonic action that rejoins the two plots of Samson Agonistes. Milton's protagonist gains his identity during the work, through careful listening, dramatic imitation, and finally in the scrupulous substitution of a proper for an improper choral position on his assisting the Dagonalia. Where his countrymen refuse to articulate what the logic of this situation requires, Samson discovers the ability to complete the system of scruple binding them, and thence to frame, and act upon, the theory of a "dispensing" agency in death itself. He thus frees himself from the Chorus' "thoughts" and "vain reasonings," and so reverses a process that began when he "thought it lawful" to marry Dalila. The Messenger's confused report is faithful to his experience, and points squarely at the way providence works in the pre-Christian era. The work refuses to distinguish among the separate terms for divine guidance in lines 1545–48. Milton gives virtually the same name ("motions") to what turned Samson toward the woman at Timna, to what gets Samson offstage, and to what brings the Messenger on.
MILTON AND DIODATI: AN ESSAY IN PSYCHODYNAMIC MEANING
Authors: Shawcross John T. 
Published: May 2022

ABSTRACT
A reading of Epitaphium Damonis implies a homoerotic relationship, with Diodati as the more dominantly "masculine" and Milton as the more recessively "feminine." An examination of letters and other poems, as well as what we know of Milton's biography, leads to the conclusion that Diodati and Milton had discussed male-female love and that Milton had resisted entanglement. But there was clearly some disruption in their relationship prior to the end of 1629, and during 1629–1630 Milton underwent an identity crisis. His works at this time and through 1637 evidence an unsuccessful attempt to develop heterosexual drives. The 1634 Comus and the alterations in the 1637 Comus reflect the changes in Milton's ideas of sexuality: his attitudes are more certain and less rigid by the end of 1637 than they were in 1629–1630 or 1634. The homoerotic attitude toward Diodati was dissipated, or at least repressed, by the rupture of their relationship and by sublimation. Further examination of letters, poems, and epigraphs indicates Diodati's homosexual nature and Milton's latent homosexualism, which was repressed consciously and subconsciously from becoming overt, except perhaps with Diodati. Accordingly new interpretations of the works examined emerge.
"PARADISE LOST" AND THE MYTH OF PROHIBITION
Authors: Lieb Michael 
Published: May 2022

ABSTRACT
In accord with the J text of Genesis, Milton incorporates into Paradise Lost the mythic and nonrational elements implicit in the prohibition against eating the fruit. In so doing, he formulates a view of the prohibition that at once dismisses the prevailing rationalist interpretation based upon a covenant theology and embraces a nonrationalist outlook that has ties with something associated with a covenant theology. This nonrationalist perspective allows Milton to exploit the mythic propensities latent in the prohibition. It allows him to conceive of the prohibition as a taboo, an approach decidedly in keeping with his anthropological approach implicit in Christian Doctrine. Through this oudook, all that surrounds the prohibition in Paradise Lost has affinities with cultic phenomena well known to the Renaissance. Accordingly, Paradise Lost embodies a "Theologia Adamica" that gives rise to the "cultum institutum" of all races. In that way, it reflects a view of sacred and profane that has ties with the Levitical code but that retains its essentially archaic and mythic basis.
Bright Pilgrimage: William Blake's Designs For “L'Allegro” and “Il Penseroso”
Authors: Behrendt Stephen C. 
Published: May 2022

ABSTRACT
Blake's twelve illustrations for L'Allegro and Il Penseroso constitute a vigorous critical interpretation of Milton's twin lyrics. Completed after Blake had made most of his other Milton illustrations, this set of designs is the first to depict Milton extensively and presents Blake's judgment both of the poems and of the poet. Blake visually associates the poet of L'Allegro with the material, physical world of experience and with the inferior, conventionalized poetry of the merely average versifier. He associates the poet of Il Penseroso with the imaginatively superior world of higher innocence and directly with the poetic genius of Milton. The designs for Il Penseroso develop Blake's assessment of Milton's ascent into this higher state, the apotheosis of which appears in the prophetic Milton of the final design. Blake reveals the vast difference between the “young poet” and Milton most clearly in his depictions of each poet's dream, each of which reflects the individual poet's mental and physical state, the former conventional and restricted, the latter imaginatively free.
The Theme of Purification in Milton's “Sonnet XXIII”
Authors: Fiske Dixon 
Published: May 2022

ABSTRACT
The controversy over the dating, subject, and meaning of Milton's Sonnet XXIII can be resolved in the context of Milton's ideas of purification. Purification is a major theme in the sonnet, and the key to Milton's use of it is to be found in the background of the sonnet's second simile. Milton's allusion there to the rites of purification under the old law is part of a thematic pattern in which the poet progressively refers to pagan, Jewish, and Christian images of purification. The progression of these images of the dead wife returning in a dream dramatizes a purification of the dreamer's love. But the love cannot be wholly purified in this world, as suggested by the veil on the wife's face and the dreamer's inevitable awakening into darkness. This interpretation supports the traditional belief that the sonnet is to be dated after the death of Milton's second wife, Katherine Woodcock.
Recalcitrance, Damnation, and the Justice of God in “Paradise Lost”
Authors: Hamlet Desmond M. 
Published: May 2022

ABSTRACT
The persistent notion of a dichotomy in Paradise Lost between the narrative idea and the affective dimension of the poetry—based on Milton's supposed subconscious repudiation of basic Christian doctrine—misrepresents both the poet's understanding of the nonsentimental character of the divine love and his complex portrayal of the essentially creative and restorative nature of divine justice. In Paradise Lost, God's justice is an indispensable instrument of the divine restorative processes of the poem's world, whose continuous aim is to induce from the creature a truly creative response to the divine ways. It is the dramatic fulfillment of precisely this objective which is enacted, throughout the poem, in the dynamic relationship between the merciful Father and the creatively responsive Son. Satan, through the willful perversion of his God-given capacities for creative conduct, functions parodically—and so, indirectly—to confirm the poem's total, positive, moral pattern. Through his increasingly distorted career in the poem, Satan effectively exemplifies both the crippling inadequacies of all recalcitrant behavior and the inevitable process of a self-imposed damnation which accompanies an obdurate and tyrannical abuse of others.
THE NON-NARRATIVE APPROACHES TO “PARADISE LOST": A GENTLE REMONSTRANCE
Authors: Weber Burton J. 
Published: May 2022

ABSTRACT
The critics who have attacked the traditional narrative approach to Paradise Lost have not provided satisfactory accounts of the poem. The mythic critics have argued that recurrent symbols provide the poem's structure, and Stanley Fish, the primary exponent of the rhetorical approach, has claimed that the poem is a Platonic dialogue in which the poet deliberately misleads and then corrects the reader. The strained readings and arbitrary assertions of these critics render the hypotheses unlikely. Furthermore, the structures proposed by the mythic critics are loose ones, and the poetic strategy outlined by Fish produces an emotionally arid reading; the mythic critics distort the poem's outline and Fish misrepresents its emotive effects. The non-narrative critics offer structural and thematic objections to the narrative view; but Milton's handling of his materials accords with Aristotelian principles, and Milton can achieve his stated didactic ends by narrative means.
Milton on Women—Yet Once More
Authors: Lewalski Barbara K. 
Published: May 2022

ABSTRACT
Responding to a feminist study of Paradise Lost in terms of sociological role definitions, this article asserts the limitations of such analyses in assessing the true complexity of Milton's literary treatment of women, and the universality of the poem's concerns. Far from being relegated to an exclusively or primarily domestic role, Milton's Eve participates fully in the entire range of prelapsarian human activities–education, working in and sharing responsibility for the human environment (the garden), discussing and analyzing new experience, exercising her powers of symbolization in naming the plants, composing love poetry and divine praises. Milton's portrayal of the first marriage reflects his abiding belief (articulated emphatically in his divorce tracts) that the prime end of marriage as defined in the Genesis story is human companionship, not progeny or the relief of lust. Most important, despite his acceptance of the commonplace of Eve's inferiority to Adam in the natural hierarchy, Milton structured the temptation episode to manifest that she, like the Lady in Comus, was “sufficient to have stood.” What is profound and enduring in Milton's treatment of the first man and woman is his recognition, on the one hand, of the capacity and responsibility of each to make crucial individual decisions defining his or her life, and on the other, of the depth and intensity of their need for each other to give that life human shape and to make it endurable.
Landscape in the Transcendent Masque
Authors: Kohn Terry Kidner 
Published: May 2022

ABSTRACT
Comus transcends all other masques in its artistry and in the permanence of its moral fable. The treatment of landscape contributes both to Milton's artistic integration of traditional masque elements and to the philosophical content of Comus. There are three planes of landscape in Milton's masque. The Wood functions symbolically as a metaphor for earthly existence. Neptune and Sabrina inhabit mythological landscapes possessing both symbolic and realistic qualities. Most complex in function is the natural, realistic landscape, the plane on which the story unfolds. While conventional masque scenery “discovered” the masquers in a purely mechanical way, Milton gives to his natural setting an intensified reality that illuminates theme and discovers identity in a deeper sense. The characters reveal themselves through their reactions to the landscape, and these responses support and clarify the masque's central concerns of temperance, the power of virtue, and the proper attitude toward nature. The “happy climes” of the epilogue transfigure the vistas of earth and climax the movement of physical and mental expansion precipitated by the triumph of virtue in the Wood. In Comus, Milton gives to landscape a degree of prominence and a richness of meaning surpassed only by the landscapes of Paradise Lost.
ON A SEMANTIC THEORY OF ORDINARY LANGUAGE (RESPONSE TO OPPONENTS)
Authors: Ладов Всеволод Адольфович 
Published: May 2022

Статья представляет собой заключительную реплику в дискуссии, посвященной вопросам, связанным с построением семантической теории естественного языка. Возможна ли семантическая теория естественного языка? Какой вид должна иметь данная теория? Возможно ли возрождение семантического платонизма Г. Фреге в современной аналитической философии? Может ли лингвистический платонизм Д. Катца претендовать на статус семантической теории естественного языка? Является ли концепция «значение как употребление» позднего Л. Витгенштейна семантической теорией? Участники дискуссии попытались ответить на эти вопросы. Автор данной статьи дает краткое резюме представленных в дискуссии позиций и подводит итоги состоявшегося обсуждения.This article is the final remark in the discussion on issues related to the construction of a semantic theory of ordinary language. Is a semantic theory of ordinary language possible? What form should this theory take? Is it possible to revive Gottlob Frege’s semantics in modern analytic philosophy? Can Jerrold Katz’s linguistic Platonism claim the status of a semantic theory of ordinary language? Is the concept “meaning as use” of the later Ludwig Wittgenstein a semantic theory? The participants of the discussion tried to answer these questions. The author of this article gives a brief summary of the positions presented in the discussion and draws general conclusions.
Crowdfunding, una solución de financiamiento alternativo para el sistema de emprendimiento e innovación. Análisis de las implicaciones tributarias en el Ecuador
Authors: Guamán Aguiar Stalin O. , Saltos Zúñiga Patricia E. 
Published: May 2022

Durante décadas, tanto el sistema financiero como el sistema bursátil han sido los mecanismos de financiamiento convencionales para quienes han querido emprender o garantizar su inversión. No obstante, estos sectores han impuesto sus regulaciones limitando, en muchos casos, su accesibilidad. Es así que, surge un mecanismo de financiamiento alternativo conocido como crowdfunding (CF)[1]; una vía que ha permitido, especialmente, llevar a cabo proyectos de donación e inversión. El crowdfunding ha experimentado un fuerte crecimiento a nivel mundial; sin embargo, en el Ecuador es totalmente nuevo; a partir de la creación de la Ley Orgánica de Emprendimiento e Innovación y su Reglamento en el 2020 se permite la institución de plataformas de fondos colaborativos o –crowdfunding– debidamente reguladas y acreditadas; No obstante, por su reciente implementación, su impacto no ha podido ser evaluado El presente artículo pretende analizar los beneficios y riesgos inherentes por el uso del crowdfunding y las implicaciones tributarias para los promotores e inversores; y, la eficacia de este mecanismo de financiamiento con la finalidad de garantizar la sostenibilidad del sistema de emprendimiento e innovación para microempresas y PYMES[2] en el Ecuador a través de una revisión y análisis pormenorizado de la legislación ecuatoriana.

[1] Crowdfunding. CF, en adelante nos referiremos al crowdfunding con las siglas CF.
[2] PYMES. Pequeñas y medianas empresas en cuanto al volumen de ingresos, patrimonio y número de empleados.
Uwarunkowania technicznej modernizacji gospodarstw rolnych w południowej Polsce
Authors: Tomczyk Agnieszka 
Published: May 2022

Celem przeprowadzonych badań była analiza inwestycji technicznych przeprowadzonych w latach 2007–2013 w gospodarstwach rolnych. Badania, w formie wywiadu kierowanego, zostały przeprowadzone w 30 gospodarstwach rolnych na terenie woj. małopolskiego. Określono wartość inwestycji, źródło finansowania oraz wskaźnik odnowienia parku maszynowego. Głównym źródłem kapitału na inwestycje były środki własne właściciela gospodarstwa. W badanym okresie 62% gospodarstw modernizowało zaplecze techniczne, 30% w niewielkim stopniu odnowiło park maszynowy, natomiast 20% posiada nowoczesny park maszynowy.