In this course, we will approach Milton’s poetry (and some of his prose) rhetorically, hence the course’s subtitle, “Milton and Rhetoric.” I have at least three rhetorical traditions in mind: classical, Renaissance, and modern. Obviously, Milton was himself steeped in the first two of these traditions; just as obviously, he was not aware of the third. So, naturally, our focus will be appropriately disproportionate: we will consider the first two traditions for most of the course, budgeting only a couple of sessions for looking at what Milton becomes when examined through the work of various modern rhetoricians. (But students cognizant of the modern rhetorical tradition will be encouraged to write their long projects on a topic that can make use of that knowledge, should they be interested in doing that.)
My plan is that students who take this course will gain (a) a nodding acquaintance with most of the major classical and Renaissance rhetorical texts; (b) an opportunity to apply modern rhetorical theory to this pre-(or early-)modern author; (c) some insight into the strengths and weaknesses of reading Milton “rhetorically”; (d) a sense of the continuity of the rhetorical tradition, especially between the Renaissance and the classical periods; (e) a sense also of when that continuity was ruptured, both at the time that Milton was alive (e.g., the Ramists) and later; (f) an awareness of one of my own hobby horses–that until about 1700, poetics was in large part based on rhetoric; (g) a different perspective on Milton’s poetry; and (h) an appreciation of Milton’s voluminous prose.
We will begin with reports on central texts of classical rhetoric (you will each read, summarize, and respond to one of those texts); we will move on to the central texts of Renaissance rhetoric (same thing: you will each read, summarize, and respond to one of those texts). We will then look at certain of Milton’s minor poetry through the lens of these two rhetorical traditions: “On the Death of a Fair Infant Dying of a Cough” (via classical consolatio), “L’Allegro and Il Penseroso” (via Aphthonius’s Progymnasmata), and Comus (via all of the debates in the masque). While we are doing this, the class will also be reading a few of the standard articles on these poems–to see how the rhetorical approach lines up with and/or differs from the conventional interpretations. Each of you will then read, summarize, and report on one of Milton’s prose works, all of which demonstrate particularly well–and obviously–Milton’s extensive rhetorical training. The class will next spend a lot of time on Paradise Lost, probably through having you look at one or two books each. If the class is large, we will probably not have time for Paradise Regained and Samson Agonistes; if it is small enough, we will do something that not many critics have: look at those two poems as rhetorical constructions.
Besides the four reports listed above (on a classical text, a Renaissance text, one of Milton’s prose works, and a part of Paradise Lost), you will write frequent e-letters to the class (posted to the class’s Laulima site) and a long essay.
Student Learning Outcomes
Ability to account for continuing relevance of earlier cultural formations and literary and rhetorical practices
Understanding of advanced research methods and/or creative techniques and ability to demonstrate advanced critical analysis in both written and oral formats
Written and oral ability to place one’s own creative and/or scholarly work within broader artistic and/or critical conversations
Independent research (using primary and secondary sources) and/or creative skills
REQUIRED TEXTS:
Dennis Danielson, ed., The Cambridge Companion to Milton, 2nd ed. (Cambridge UP, 1999).
Merritt Y. Hughes, ed., John Milton: Complete Poetry and Major Prose (1957; Hackett Publishing Company, 2003).
OPTIONAL TEXT:
Isabel Rivers, Classical and Christian Ideas in English Renaissance Poetry: A Student’s Guide (Routledge, 1994).