Historicizing Milton
Subtitle: spectacle, power, and poetry in Restoration England
By: Laura Lunger Knoppers.
Publisher: University of Georgia Press
Published: 1994
Place of publication: Athens
Language: eng
Number of pages: 209
Subjects: Milton, John, 1608-1674 -- Political and social views.; Politics and literature -- Great Britain -- History -- 17th century.; Literature and history -- Great Britain -- History -- 17th century.; Political poetry, English -- History and criticism.; Power (Social sciences) in literature.; Spectacular, The, in literature.; Aesthetics, British.; Great Britain -- Politics and government -- 1660-1688 -- Historiography.; Great Britain -- History -- Restoration, 1660-1688 -- Historiography.
Description: Although Milton's three major poems, Paradise Lost, Paradise Regained, and Samson Agonistes, appeared well into the Restoration era, they have long been regarded as belonging philosophically to the earlier seventeenth century. The canonical view is of Milton as a relic in the Restoration - either belated humanist or belated Puritan.

Addressing this long-standing anomaly of literary history, Historicizing Milton shows how Milton's major poems respond specifically and powerfully to royalist spectacles of the 1660s and 1670s, spectacles that were intended as displays of divinely approved monarchical power.

Laura Lunger Knoppers traces such public spectacles as the execution of the regicides, the exhumation of Cromwell, the punishment of fifth monarchists, and the coronation triumph of Charles II. Drawing on a range of sources, including letters, diaries, newspaper accounts, sermons, royal proclamations, and parliamentary accounts, Knoppers reconstructs the discourses that interpreted and contested spectacles of power and punishment.

Milton's poems are part of this oppositional discourse, Knoppers argues, and his revisions of such key terms as martyrdom, treason, joy, glory, and conquest boldly and defiantly challenge the spectacles by which the monarchy constituted and conveyed its power. Questioning the nature of earthly spectacle altogether, Milton rewrites display as inner witness before God alone.

His radically iconoclastic art creates a mode of antispectacle, not only exposing but also redefining and appropriating the spectacles of state.
Notes: Includes bibliographical references (p. 185-200) and index.