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prop. a.1.Miltonic.
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Jocelin finds himself an important player in the midst of a Miltonian epic battle between the forces of good and evil, in accordance with both the Church's teachings and Jocelin's own interpretation thereof.
The best argument was conceptualized to win in a Miltonian marketplace of ideas, and the journalist hence had a specific function: to deliver objective political information to the public.
Spenserian vowels, that elope with ease, And float along like Birds o'er summer Seas; Miltonian Storms, and more, Miltonian tenderness; Michael in Arms, and more, meek Eve's fair slenderness.
In this context, the thoroughly Miltonian John Thornton naturally considers his course of classical reading irrelevant to his real work, declaring that his boyhood Greek and Latin helped "not one bit" in his climb from fatherless pauper to mill-owner (79).
words" at length, and with Miltonian George Stade whose New
Knoepflmacher suggests that Eliot draws in significant ways upon a Miltonian vision of the Fall and redemption, while infusing this vision with emphases unique to her religious perspective.
Victor has come to inhabit a Miltonian Other space in which 'I bore a hell within me which nothing could extinguish' (351), 'I wandered like an evil spirit' (353), 'I walked [.
We noted above the Miltonian allusions in The Matrix, where Agent Smith disrupted the orderly functioning of the matrix.
In the same vein, in a line of Miltonian pedigree ("The mind is its own place and in itself / Can make a Heaven of Hell, a Hell of Heaven" [1: 254-55]) but that seems to speak more directly to Edward FitzGerald's The Rubdiydt of Omar Khayyam ("I Myself am Heav'n and Hell / Heav'n but the Vision of Fulfill'd Desire, / And Hell the Shadow from a Soul on fire" [LXVI-LXVII]), he tells us that the district that promises to satiate sexual desire is "Cielo para los que son del Infierno.
Bachelder's Grand Miltonian Tableaux of Paradise Lost, a moving panorama, was first presented at the American Hotel, Auburn, California, on 22 April 1865, and it travelled in the United States and England before moving to Australia in 1867.
Perhaps Stockhausen is best remembered for the truly gargantuan dimensions of his most spectacular compositions: the three orchestras of 'Gruppen' (memorably given in a double performance by a tripartite CBSO in the ICC, Simon Rattle, his mentor John Carewe, and his protg Daniel Harding conducting); surpassed by the four orchestras and choruses of 'Carre'; and the week-long operatic cycle 'Licht' of which 'Mittwoch' is obviously apart, super-Wagnerian in scale but more Miltonian in its context, based on Good against Evil, with Michael (shades of the Archangel, but with reminiscences of Wagner's Siegfried) the hero on the side of Good.
He was especially influenced by the Miltonian trope of the loss of paradise and the Whitmanian version of redemption.