John Milton's Poetic Style

John Milton's Poetic Style

The poetic style of John Milton, also known as Miltonic verse, Miltonic epic, or Miltonic blank verse, was a highly influential poetic structure popularized by Milton. Although Milton wrote earlier poetry, his influence is largely grounded in his later poems: Paradise Lost, Paradise Regained, and Samson Agonistes.

Read more about John Milton's Poetic Style:  Miltonic Verse, Christian Epic, Greek Tragedy

Famous quotes containing the words john milton, milton, poetic and/or style:

    A Dungeon horrible, on all sides round
    As one great Furnace flam’d, yet from those flames
    No light, but rather darkness visible
    Serv’d only to discover sights of woe,
    Regions of sorrow, doleful shades, where peace
    And rest can never dwell, hope never comes
    That comes to all; but torture without end
    John Milton (1608–1674)

    She, as a veil down to the slender waist,
    Her unadorned golden tresses wore
    Dishevelled, but in wanton ringlets waved
    As the vine curls her tendrils, which implied
    Subjection, but required with gentle sway,
    And by her yielded, by him best received,
    Yielded with coy submission, modest pride,
    And sweet, reluctant, amorous delay.
    Nor those mysterious parts were then concealed:
    Then was not guilty shame: dishonest Shame
    Of Nature’s works, Honour dishonourable.
    —John Milton (1608–1674)

    And since the average lifetime—the relative longevity—is far greater for memories of poetic sensations than for those of heartbreaks, since the very long time that the grief I felt then because of Gilbert, it has been outlived by the pleasure I feel, whenever I wish to read, as in a sort of sundial, the minutes between twelve fifteen and one o’clock, in the month of May, upon remembering myself chatting ... with Madame Swann under the reflection of a cradle of wisteria.
    Marcel Proust (1871–1922)

    To write well, to have style ... is to paint. The master faculty of style is therefore the visual memory. If a writer does not see what he describes—countrysides and figures, movements and gestures—how could he have a style, that is originality?
    Rémy De Gourmont (1858–1915)