Boston University British Literature Gender Roles Annotated Bibliography find an Academic paper in English that’s relevant to the topic that you’re studyin | Course Hero
Boston University British Literature Gender Roles Annotated Bibliography find an Academic paper in English that’s relevant to the topic that you’re studying, (we are studying(volphonekingleaffaustusscene13shakespearesonnet29SidneysDefenceofPoesyCastiglionesTheCourtierShakespearesSonnets18?and then annotate each of these entries by selecting at least eight from the bibliography of the academic paper that you find. The total number of words in the notes is around 1000. If in doubt, refer to Milton’s sonnets an annotated bibliography. ..1 ????4G VPN
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General Criticism of Milton’s Sonnets
. 1. RALEIGH, WALTER. Milton. London: Edward Arnold, 1900, xvi-xvii,
22, 33, 249.
Some of Milton’s sonnets (11, 12, and “On the New Forcers of Conscience”)
display his involvement with the political controversies of his day; others (19
and 20) record intense, intimate experiences of personal struggle and friendship.
Sonnet 1 is his worst; Sonnet 12, a spiteful response to his critics.
– 2. SERRELL, GEORGE, “Milton as Seen in His Sonnets.” Temple Bar 121
(1900): 27-42.
Milton’s later sonnets (19-23) present a picture of a calm, purposeful, cheerful,
and even loving individual. On the other hand, the divorce sonnets (11 and 12).
“On the New Forcers of Conscience,” and Sonnets 8, 15, and 16 reveal a high-
principled but arrogant man who is unable to accept the criticism of others and
resorts to insulting and imputing evil motives to those who oppose him.
3. PATTISON, MARK. Milton. English Men of Letters Series. Ed. John
Morley. New York: Harper and Brothers, 1901, 12, 47-48, 85-88.
While not great poetry, Milton’s sonnets provide important biographical infor-
mation. Sonnet 7 reveals the ambition of the young poet; Sonnet 8 makes clear
that Milton did not take part in military action against the king. Sonnet 14 is
Milton’s least successful poem, and Sonnet 15 barely qualifies as poetry at all.
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General Criticism
4. Review of “Milton as Seen in His Sonnets,” by George Serrell. Litera-
ture 7 (1901): 167.
By describing Milton as a prejudiced man who made excuses for not taking part
in causes in which he truly believed, Serrell creates a new picture of the poet
(see entry 2).
* 5. WILLIAMSON, GEORGE C. Milton. London: George Bell, 1905, 82-84.
Milton’s best sonnets (7, 18, 19, and 23) compare favorably with the Book of
Psalms as “strikingly personal, spontaneous expressions of strong feeling, respect-
ing actual events” (82).
14/164
.6. DEMONTMORENCI
nd Modern Men.” Contempo
rary Review 94 (1908): 693-704.
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A 14. SPAETH, SIGMUND GOTTFRIED. Milton’s Knowledge of Music: Its
Sources and Its Significance in His Works. Princeton: The University
Library, 1913, 106-7, 124-28.
Passages from Sonnets 1, 13, and 20 illustrate Milton’s involvement with,
interest in, and emphasis on music. Because its form corresponds to its content,
Sonnet 13 should not be viewed as Milton’s excessive praise of a friend but
instead as his critical assessment of a scholarly musician.
15. WILLCOCK, JOHN. Life of Sir Henry Vane the Younger: Statesman and
Mystic (1613-1662). London: Saint Catherine Press, 1913, 113, 150,
214, 225-26, 228.
Vane agrees with Milton’s sentiment in “On the New Forcers of Conscience”
that “New Presbyter is but Old Priest writ Large” and encourages the citizens of
London to resist the King’s forces around the time Milton composes Sonnet 8.
The kinship between the two men appears most notably in Sonnet 17 where
Milton praises Vane’s position on the relationship between church and state.
. 16. HUDSON, WILLIAM HENRY. Milton & His Poetry. London: George C.
Harrap, 1914, 36-38, 42-43, 57-58, 131-33, 136-38.
The sonnets display the influence of Puritanism on their author and clarify how
inseparable the man and poet are. From the love longing of Sonner 1 to the
close of his youth announced in Sonnet 7, the sonnets record the development
of a poct capable of expressing noble religious feeling (Sonnet 19), vehement
indignation (Sonnet 18), and friendship (Sonnet 13).
. 17. THOMPSON, ELBERT N. S. “Milton, the ‘Last of the Elizabethans.
In Essays on Milton. New Haven: Yale Univ. Press, 1914, 11-36.
Unlike his Elizabethan predecessors, Milton uses the sonnet to convey his
greatest thoughts and deepest feelings about himself and the significant issues of
his time. Assigning more serious purposes to the sonnet, he finds the Italian form
best able to express his ideas with power and dignity.
18. BAILEY, JOHN. “The Earlier Poems.” In Milton. New York: Henry
Holt, 1915, 89141.
Technically remarkable for their conservatism and originality and characteristi-
cally sincere in their content, Milton’s sonnets treat various subjects, each of
which comes from the author’s personal experience. Disclosing their author’s
musical and scholarly tastes, temperate pleasures, love of friendship, political
idealism, and sense of moral indignation, they emancipate the sonnet from a
single theme and “a tradition of overblown and insincere verbiage” (132). At
least eight of them should be ranked as among the fifty best sonnets in English.
17/164
General Criticism
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PATTISON, MARK, ed. The Sonnets of John Milton. 1892. Reprint. Lon-
don: Kegan Paul, Trench, Trubner, 1908, 227pp.
This edition, the most thorough before Smart’s, includes the texts of all of the
sonnets, eighteenth- and nineteenth-century translations of the Italian poems,
and explanatory notes and critical commentary for each poem (see entry 24).
The general introduction reviews the history of the sonnet tradition and con-
tends that Milton frees the sonnet from “misplaced wit in substance, and of
misplaced rime in form” (45-46). Unified by the expression of a single emotion,
his sonnets deemphasize ingenuity and derive their effectiveness from the “real
life” subjects (blindness, death, political corruption) which they treat.
8. HIRATA, TOKUBOKU. “Milton in his Youth.” Eigo Seinen (The Rising
Generation) 20 (1909): 160-61.
Milton’s early poems, such as Sonnet 7, are perfect works of art in which every
word has been chosen so carefully as to allow no possibility for revision of any
kind. [In Japanese]
9. LOCKWOOD, LAURA E. “Milton’s Corrections to the Minor Poems.”
Modern Language Notes 25 (1910): 201-5.
Revisions in the Trinity Manuscript reveal how much Milton struggles to make
language express meaning and how these struggles usually result in better poems.
Of the fifteen sonnets in the manuscript, only 11, 13, and 14 are revised to any
extent, and yet in all three cases Milton’s changes do not improve the poems. In
13 much of the vividness is refined away; in 14 the reworking creates a more
General Criticism
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stately but less vigorous poem. Milton’s second version of Sonnet 11 actually
removes some of the strength and life found in his first draft.
10. MASSON, DAVID, ed. The Minor Poems. 1874. Vol. 1 of The Poetical
Works of John Milton. Reprint. London: Macmillan, 1910, 625pp.
In this reprint of Masson’s nineteenth-century edition of the poetry, each Eng-
lish sonnet appears with textual notes and commentary. The Italian poems, re-
numbered as Sonnets 3-7, are placed after Sonnet 7 (which is renumbered as
Sonnet 2) but not translated. Overall Milton’s sonnets are poems he created
when other things were held up or when he was “engrossed in prose polemics” (60).
The last sixteen sonnets connect the rich minor poetry of his youth with the greater
poetry of his declining age after the Restoration. As a sonnet writer Milton
follows Italian models, compo 15/164
while traveling abroad, and
does not rely upon the closin.
he case of Sonnet 16.
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General Criticism
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19. CROSLAND, T. W. H. “John Milton.” In The English Sonnet. London:
Martin Secker, 1917, 227-40.
Milton’s sonnets (particularly 7-9, 14, and 18-21) deviate from the modern rules
governing the form and so should not be viewed as perfect and worthy of
imitation. Although Milton tolerates formal or technical deficiencies in his
work, he knows what he is doing with the volta.
20. SHERBURN, GEORGE. “The Early Popularity of Milton’s Minor
Poems.” Modern Philology 17 (1919): 259-78; 17 (1920): 515-40.
The neglect of Milton’s minor poems before 1740 has been somewhat exaggerat-
ed. Parallels exist between Milton’s sonnets and works by such writers as Steele,
Pope, Ambrose Philips, and Dyer.
21. STEVENS, DAVID HARRISON. “The Order of Milton’s Sonnets.”
Modern Philology 17 (1919): 25-33.
The Trinity Manuscript’s internal evidence as well as Milton’s directions for
printing call into question Masson’s order of the sonnets (see entry 10). Milton’s
autograph notes indicate that Sonnets 1-6 appear in the proper position in the
1645 edition. On the whole, the order is chronological, with both the manu-
script and the 1645 edition gaining new authority. Discrepancies between the
manuscript and the 1673 edition suggest the nonchronological appearance of the
sonnets in 1673 is nonauthoritative, especially since that text was carelessly
revised at some point during the printing (see entries 22, 44, 59, 72, and 74-76).
* 22. HANFORD, JAMES HOLLY. “The Arrangement and Dates of Milton’s
Sonnets.” Modern Philology 18 (1921): 475-83.
The Trinity Manuscript and the printer’s copy used for the 1673 edition indicate
that Milton rearranged Sonnets 11, 12, and “On the New Forcers of Con.
science” in preparing them for the publisher. Milton’s arrangement of the
sonnets is probably not strictly chronological, and the order in the 1673 edition
deserves recognition (see entries 21, 44, 59, 72, and 74-76).
23. MASON, LAWRENCE. Review of The Sonnets of Milton, ed. John S.
Smart. Literary Review, 25 June 1921, 2.
Smart offers new interpretations of the sonnets, identifies several of the historical
figures and events surrounding their composition, provides helpful commentary
on Milton’s sonnet structure, and supplies detailed annotations (see entries 24,
26-28, 30, 32, and 34). By ignoring recent American scholarship and insisting
upon a fallacious premise (that the sonnets pose only exegetical problems), he
partially undermines the success of his edition.
18/164
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. 191. ALLODOLI, ETTORE. “I Sonetti di Milton.” In Giovanni Milton e
l’Italia. Prato: C. and G. Spighi, 1907, 54-60.
Milton’s Italian sonnets reveal his knowledge of that language to be deficient.
The reference to “val di Rheno” in Sonnet 2, the opening lines of the Canzone,
and the ninth line of Sonnet 3 suggest that Milton wrote these sonnets before
going to Italy. (In Italian]
192. OLIVERO, FEDERICO. “Le Poesie Italiane di Milton.” In Saggi di
Letteratura Inglese. Bari: G. Laterza e figli, 1913, 7-19.
Influenced by Italian poetry in general and Petrarch in particular, Milton’s
Italian sonnets contain technical errors resulting from their author’s imperfect
understanding of the language. The most notable fault involves the synaloepha
between “suoi” and “avventa” in line 13 of Sonnet 4. Their date of composi-
tion remains undetermined. (In Italian)
193. SMART, JOHN S. “The Italian Singer in Milton’s Sonnets.” Musical
Antiquary 4 (1913): 91-97.
Allusions to the Reno and the “nobil varco” in Sonnet 2 reveal Milton’s
knowledge of Italy to be derived entirely from books and indicate that he wrote
the Italian sonnets before his Continental tour. Following the example of
Petrarch and the tradition of Italian sonnet-writing which plays upon the name
Italian Sonnets
51
of the beloved, Milton’s allusion in Sonnet 2 to the Reno, a stream flowing
through the Emilian region in northern Italy, identifies the first but not the last
name of the donna leggiadra. This Emilia, a woman of Italian parentage, speaks
English and Italian. She most likely met Milton through the musical acquain-
tances of his father (see entries 105, 197, 211, and 215).
194. ANGELI, DIEGO. Giovanni Milton. Roma: A. F. Formiggini, 1927,
2829, 34-36.
The best work from the first period of his poetic career, Milton’s sonnets include
five in Italian and a canzone, all of which he composed while visiting Italy. [In
Italian)
195. BAKER, CHARLES EDWARD. “Milton’s Italian Relations.” Ph.D. diss.,
Cornell University, 1933, 160pp.
While all of the Italian sonnets
with Petrarch, Milton’s
life-long interest in things Italia 63/164 later sonnets. Sonnet 3
voices a preference for the Arno over me Thames; Sonnet 4 reveals a speaker
taken with the particular beauty of a “foreign” woman. The allusion to Dante
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