Download Surprised by Sin: the Reader in Paradise Lost by Stanley Fish PDF
By Stanley Fish
In 1967 the realm of Milton experiences used to be divided into armed camps: one proclaiming (in the culture of Blake and Shelley) that Milton was once of the devil's get together without or with figuring out it, the opposite proclaiming (in the culture of Addison and C. S. Lewis) that the poet's sympathies are patently with God and the angels dependable to him.
The success of Stanley Fish's Surprised by means of Sin used to be to reconcile the 2 camps through subsuming their claims in one overarching thesis: Paradise Lost is a poem approximately how its readers got here to be the way in which they are--that is, fallen--and the poem's lesson is confirmed on a reader's impulse each time she or he reveals a devilish motion beautiful or a godly motion dismaying.
Fish's argument reshaped the face of Milton experiences; thirty years later the problems raised in Surprised through Sin proceed to set the schedule and force debate.
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Additional info for Surprised by Sin: the Reader in Paradise Lost
Example text
Walker Gibson (New York, 1962), pp. 13-14. In classical theory, metaphor is the figure of speech whose operation bears the closest resemblance to the operations of dialectic and logic. Aristotle defines it in the Poetics as 'a transference either from genus to species or from species to genus, or from species to species'. Yet Never Saw 27 Paradoxically, our awareness of the inadequacy of what is described and what we can apprehend provides, if only negatively, a sense of what cannot be described and what we cannot apprehend.
Despair's adaptation of Christian rhetoric (guilt, grace) is masterful and the Red cross Knight (along with the reader) allows the impression of one set of appearances (the old man's ugliness) to be effaced by another (the Circean lure of his rhetoric): 'Sleepe after toyle, port after stormie seas, / Ease after warre, death after life does greatly please' (40). Spenser eases us along by making it impossible to assign stanza 42 to either the knight or Despair. At that point the syntactical ambiguity is telling; the dialogue is over, and we have joined them both in a three-part unanimity that leads inexorably to the decision of 51 : At last, resolv'd to worke his finall smart He lifted up his hand that backe again did start.
30 Not so much a Teaching as an lntangling eventually be such that our processes of thought do not correspond to it sufficiently to permit us to think about it at all. I In Paradise Lost, our sense of time proves as illusory as our sense of space and physicality. Jackson Cope quotes with approval Sigfried Giedion and Joseph Frank, who :find in modern literature a new way of thinking about time : The flow of time which has its literary reflection in the Aristotelian development of an action having beginning, middle and end is ...