52 Oatherine (,imelli Maninreglrirrcd'' (336)' Serah Higtnbotham's chapter' ..EducátiÖI} as Repair: ?arddise !.isst inPristrlt,,. relates her experiencc teac}ring Milton's eÍ,ic to in.r|átes etJohns<rn Statel'rison (trear Atlanta, Georgia), which she recounrr alonppide a nuanced reading of thelrtatly trrearrin5 of repair il af Educaíion ald, Parudíst l-ost,..to fix' or mend, to ttmketrp íor'' and to retrrnl ..to the fIrtlrerlatrd . . ' to the rctual lather'' as well as retuÍning to"arr origin:rl place" and also "pairing again" (344). Through their love ollanguage andlcanrrrrg, Higinbotharn's srudenrs reaffirnred "Milton's :rmbitious pret{ictions" fbrcducatron anr{ his "optirnisnr about rederlption" (35t1).

Whijc this voltulrc's title wort|d seenr to s!.ssest a sustáined meditation orl Mil-totr's claitrr that .'the e nd o|leaming i5 to rePair thc ruins oíour first parents'' (Cl)W 2:366'í17). orrly tr,vo oftbc chapters r:xanrinc ()f Eduatí<ln. Notwithstanding tbe cditoni'carcltrl fralrrittg oíthis collection's gcncral colctrn with readiry lv[iltol vis_j.vis thcntrticltl t.lf rcparr takcrr..as a Íi13rrc for the proccssos that play across thr: !írp bctwcclr anrirrcd rvorld il uccd ofrcpair and a world ofthe imagination that invites us to dr,lightirr the powcr ofl:rnt+ragc to reflcct our desirc for a rcshaped world and irrspire us totbe h:rrrl work ofactually rcshaping it" (4), neither rr consistcrrt mcthodology rror acrrnlrrtolt spc.cilit topic unifics thc essays in ?o Re7oír tlre Rrrírrt' anti et lcást l'alfof (hcchlptcn. -ntuch to their erwn credit_errg-.rge dcÍi eontcxtual analytles over strictlydetirred trxtual interpretation. Alrhough lentort and Schwarrz call n)r "theoreticrllyittÍilnned attentiotr'' (l ) to Milton's rvt.rk' theoretical end philosophical disctluses lreirrfiequently and uneverrly ackrrowledged by rhe c()nrriburors. L:dited volunres thatg:rther expanded and revised versions ofconíeretrce papen have the additional chel-lenge ol'aclrieving consistency in research and tone; therefore, all ofthe essays herehave their own intensities and penonae aptly suited to tlre nraterials and rnethods atlratrd. Herlce, a singular perÍbrrrtance atrirrrates each clrapter's l ine oíarguttlent,rrraking To Repaír tha P'oits a divenified arrd dyrratrlic collectiotl.

Universitv ofI)enver

GáboÍ lttzés and Miklós Péti, eds. Milton through the Centuries. Budapest'Hungary: Károlí Gáspar University and L'Harmattan Publishing, 2012.rxii + 337pp. ISBN 13: 978963236484r,. $35.00 (paper).

(la rrrtnrNl Grulrrr Mat r.rN

futi|ton throtyh the (&rÍíÍíe.r stands a|r:'ne as the only publislred commernoration olthe 4{]0t|' annivenary of Milt<lrr's birth on the nuropé.n continent. an irtternationa|c<lllcetiott <lípapen originatiltg at the 2{}0t9 lbda;rest corrGrerrce cele|rration, Miltrrnthrough the (le!turies. ln that year an even larger London corrference, the Ninthlrternatirrrral Milton Synrposiu.r, co'rrnenrorated the sanre occasiorr t'rt, 'o do.btdue to its unu'ieldy size, it produced no volurrre ofselected papen. This collection isrrost rl,elcorrre in light ofthat onrission alone, although iLs unusual scope, variery, andatte|'}tiÖtr to visual rePreser.}t'tiorrs oíMilton's li|e arrd work in historical penpectiveeqttally recolrurrend it. The bdefíoreward by Tibor Fabiny' l)irector otthe Institute of English Stndies at Károli Gáspar University of thi Reformed Churclr inHurrgary. clarif ies that tbis quatrocentcnnial conference came about not because"llungarians cver clairucd that their country was a hldden canter ofEuropcau Milton

(cl2{)14 loin Wilcv &'lions Ltd

Millon Qunríerly 53studies" (vii) but to nrake up fir a corrrparative deficiency in rhis area. Shakespearernuch eaÍlier rrlade his way into the nati<ln's l itenry cartott" but Miltorr also left artimprint oll the Hungerján cultural trrenrory al Ply attested |o here (vii)' lJoth thevariety arrc,l Éeshness ofthe apProaclres taken in these papen rrre intpressive' so rrluc}tso that ot)ly fuller treahrrents would lrave improved tlreln. otheíwise, nrost of the col1ectiol's twenry-Íive ersayl are of exceptionálly high qtraliry, sonle by farrri'liat Ang|o-Ámericall scholan' otlrer by scholars relatively ulrknown irr tlre English speakingrvorld. C)nly one essay otr art history was translated íronr tlre Hungarian; other notl-native speakers ofEnglish prove as highly knou'ledgeable in their field(s) as Fabinyjustly clainrs.

That sard' oDc nust a<ld that thc covcralle oí Miltor.r's porbs (as opposcd toapproachcs to thcm) is not ncarly as broad as advcrtiscd. Thc vlst majoritv of thcnlany cssay:t contained hcrc dcal with varying aspccts of I'aradisr b,s!" tcxtual, histori-cal, ppncric" ;md illultntivc or paintcrly. hl.rportant exceptions includs Marshall (ircss-

man's outstlnding ope'ning cssay, which proviilcs a highly stimulrting. suggcstivcappro3ch ttl idcntiÍyirrg thr: kcy <liÍÍcrcnccs trctwecn J)arali.re Rrgoinci arrd Sarrsonlgrrrri.r&r. l.his prr:ee is íbllowcr'l by Joscph Wittrcich'r discussion Of /).rÍí.'i.n" R{:(di't'l,u.hile othcr cssays branch offinto Mi]ttlrr's ,{ía.r!e' '.Upon thc C]ircurncisitltt.,' atrd'.Ün the l)elth oía !a.ir lrrfant Dying oíCough'' ' '|.he crl l|ection.s two ovcrviewersays are also rtot prirnaíly corlcemed with Milton's ..grand epic,,. Apr.s Péter trerrs"Milton in tbe Hung.rian Cultural Memory: Two Case Studies," especielly detril-ing tlre work oíBishop László Ravasz (1 ll82-'|975) and Antal Szerlr, the nlore con.troversial author ofa short 1929 slrn'ey oí[nglish l iterature (1t}i)), but also tracingthree phases of Miltorr's Hungarian reputatioÍ.t Íiorrr the late sever}teel]th cetrturyonward. With the exception of Szerb's corrtribution, these pbases were largely dolrinated by Protestant concellrs. Angelica l)uran contributes fhe second overview,which contrasls Milton's early Gulrpowder Plot poems with sinrilar patríotic conlllenloratiolrs oftheír era' thel provides a briefhistory of Parudise Lpst. s reception irrSpain, inciuding the lnquisition's censorship ofthe epic along with several of Miltorr's mljor politic;rl trcatis$. Othcrwisc, howcvcr, thc cntirc voltntc is dcclicatcd toI}arrrlr.rc l-p.rÍ arr<l its nrultiplc contcxts, inclrrdirrg thc pairrterly tradltion in whichMiltorr is rcprc;cntcd t{ictating his epic to his darrghtcrs. This íocrrs, which includcsonly pas:intr1 attcntion to Milton's prosl rvorks, sccnx in onc scnsc rathsr narrow, trutil alse servcs to illrrs*rtr: how thorougbly l)ararlise l-o.v not nlcrcly invitcri brrr rcquinxthc mrrltifacctcd analyscs ofi:red herc.

Ar the volumc's furcwatd irrdicotcs, its cssays are dividcd into t\^'o $ccttons, thefint prirnarily textugl or philosophical, tlre second primarily historical artd cotttex-tual, literally iollowing Milton "through the cent rries." Yet (irossrttan'r tssay pro-vides an appropriate irrtroductiÓr| to ttle entire volurne by irorrically begirrrritrg:rt theend. with the ctrhnination olMiltr-vn's poetir--al career itt hit llst two rrte.iot rvorks,Pdrudise [|qdined and .Saítsorr '4{oíisles. llelding these two poeÍ}}s not a5 .'irdveÍrti'

tiously bourrd together" but rather as parts ofa single whole, Grossman conrpa.esSarnson ls a "cirse stuc{y ofenthusiasrn" to Milton's ultra-rationalist, inrplicitlySocianian Jesus (3)" Tlre contrast berween thern puts "inward pronrptiog" on trial atrdfinds it rvanting, not only in post Restoration England trut in human life Eienerally.Unless lbeling is exteriorizecl and ratiolrlly examined, Grossman argues, both poetryand reason are inrpaired, a view Mil:orr derives &om Tasso. Both stress how the icasticimagination needs to preserrt concretely realized worlds capable ofimitrtiug "nevcr

seen truths; tmth in the fornr r:ffiction" for purposes of.ational rcflection (5). Sadly,

o 21)l4John wilcy & soÍB |,td

54 Catheine (,imetli Manin(irossnttrr's early derrise prevented his corrpletion ofrhe sketch skillfully outlincdlrlfe. brtt oÍle hopes that everttually others nrey conrplete sonre rrfit ftlr him' Thesrcorrd lead-offessay irr tlris section is sirnilarly and suitably broad yct specific.Wittreich.s ..Mi|ton aÍier Four Centuries: Paradise Regir'd as a Menta! Transport''proposes that thc brieíepic is at orrce more visionary and nore itrtenlal|y fissured tharr(irossnran allows, altlrough Wittreiclr agrees rlrat ir is implicitly "Arien, evenSocinirn" in its Christology (25). His nTain point, however, is thar iB texnul fissuresrccast thr Solr': terBptatiors as syntbolic or initiatory, not real. Portrayimg the Son'sfcr'rtirtivc evolutiorr ald progJressiorr towzrd spiritual awakening thus allows Milton toarlticipatr his l{onrautic hein, who increasingly dout}ted the actuality ofthe rvildcrrrcss trial dur to its appa.cnt incourpatibility with Christ's mountaintup tcnrptatron.Yct a classic solution to this textual probk:lr is to assijmc Satan tnnsports thc Son tothe pirrnirclc cithcr by miracle or by fantastic "Optic skrll" which, rs crt<.J ru /,ara-rlisc Rcqairltd' includcs Lroth a tclcscope and an ..Acric Microsctlpc'' (4'38_42)-all oírvhicir scertrs to rcndc. Wittrcich's Rontlrrtic solution somcwhat ontiorr:rl.

A sirlrilar protrlcnr h".,ut.r Éu" Pctröczi's treahllenl. of Milton's .;Fair lrrflrnt'' cl..gyirr a ."|'urilrn ()<;ntcxt,'' a.s irtdicated irr her cssay titlc. Pctticzi cxámi es scverál trc3t-l1lcrtts oíthc <lcath ofyoung ehildren by highly |itcl-.t{:' claÍsicizing llungariur l\rri-Luts, lrut u.hv Milton's elegy aright not just as well fit in :r clessicizing iuÍrdnirt cofltextis nt've'r cxpll irrccl. Richard l{anrbuss's c<;nrparison of Richard Crashaw's baroquerr' l igious stvle to Milton's early'"UPor: the ( i ircul rcisiorr " is, by corrrf'risorr, rrrorecortcretely explained, as il lris unusual clainr tlrat its "purple passages" (l {r1) do not infict nrake it tbe..worst oÍMilton'' (15ó). Marlene Edelstein's essay olt Milton'surasque is equally skil lftrl, i l in a very diÍIerent way' Her..Conlrr in the EighteentlrCentury" carefully traces tbe rnasque's evolution fionr a "Platonic pastoral dranra"(23ll) to l)ope's cyr-ricai patody oíits thenre tnTheRapaof lhe I'pcb' E<le|steirr nextconsiden sirlilar stage versions in rvhich "the seriousness and nrystery" of Milton'splot are replaced by "celebrations ofenlightened self-interest" set in a tlroroughly disenchanted countryside (244). John l)alton's Conrru slightly irnproved the situation byatlding ncw music along rvith a "hodgcpodgc" oflight moral matcrial found both inMilton's :}ío.clcc and rclatcd wrinn1p (242). Such rcworkings kept l Mo'slc alivc as amusicll .ntcrtainncnt until thc nrm of thc cightccnth ccntury, whcn it was largelyrelcpptcd to irrltiqrrarian and cntical trcatmr:nts.'l'hc

nurucrous cssays on ltaraditc Lrst included in the {irst scction bcllin prouris-irrcly r'vith two astutc disc'ussions ofMiltonic gcognphy: cábor Ittzix on..Thc Struc'turc of Mi]ton's Univcne'' lrnd Chia.Yin |luang rtrt ..Thc Uses oíPlacc in l}ararJi.v,I.ll.rl''' l]ot}r are excellgrtt, originrl pieces, with lttzés astutely tracirrg rhe spatia| diÍfi.culties irrvolved in chartirg Milton's universe, thoroughly colnpirnrrg previous:rttc rpts to map it, arrd concludins ahat the paradoxes at work ir M. C. Escher's,.reiativist'' compositions actually proüde betíer models' Huang surveys the ntanyvery tli*i:rent serrses attached to "place" in the poenr, nrythical, psychological, anclhistorica|' althouglr l líoitunateiy, no ro<rln rentains l,:r a look at Milton's exotic,cÍoss coi}tii!e|)tal epic a||usions' Mary Fenton,s..lnternrptingJoy'' takes up tlris geographicrl thenre Íiorn a nrore abstract ifalso concrete philologica| persPective' argui|lgt|.rat Miltotric circles, revolutíons, atrd regular rrrotions and patterns .ePreseDt neav-r.nly jov iu orthodox Áugustiniatr tishion (69), I}ecause Safanic nrovements by con_trrst disturb or detract from these regrrlar orbs, they serve to deÍine .,pervenion'' as arefirsal to joirr the circles oflove, joy, and celebration that resporrd to God's íreelygivcrr gifts. Fcnton thus providcs an intcresting countcrpoint to more usual

(] 2í}14John wik]y & Sons Lki

Milton Quarterly 55treaarrents of Milt('n's posifive depiction oíirrcgular or infinite spaces. Her eisey isíollowed lly |)aür} Palatirrus's trtore anrbiti<rus but also less instructive cxcursus oltphenomerxriogical and l-acaniarr ways ofreedirrg "wirh" ParadLse l-ost.

The rest ofthe volunre's first section exarnines less abstruse but also more philo-sophical or ther:retical issues involved in the epic's irrterpretation: divinejustice, alle-gorical readinp, ils characters' u-res ant{ abuses ofeloquence, its depictions ofprayer,and the appended ..argrrmetrts'' preíacing each book. Each ofthese essays nrakes aninteresting contribution, particularly Gilles Santrras's "'Die He orJustice Musr': God'sLinrited Monarchy in Parailise l-ost" and Tibor Fabiny's "'lf We Pray Him': Variet-ies of I'rayer in Mllt<:n's l\radkr Losr." Both essays discuss precisely what their titlesindicatc, although Sarnbras's discrssion is lcss tborough than Fabiny's unusrrally clo-quent discussion ofthc phcnomenology and types ofpraycr rcpresented by Milton:prelapsariau, angelic as wcll a:i human; postlapsarian "meta-prayer"; regcncrativc or"indircct" prayer; aud intcrccssory or invocativc prayer, both divine and human.|abirly's brir:|brrt rich stüdy is its iníotmxtive a$ it is unusual' and Sanrtlns als<r <rpensncw tcfritÖry evcn thoug}r hc never fully proves his point that Milton.s (iod is alirnitcd rnonarch, which would require addrr:ssirrg God's xppáfcnt lacl( Tfparlianren.tery Íe$traint' uaditionlrlly' i*t slmbtas notes, the ,.king's bridle'''.fhc other esslys-on rllegory (Vladirrrir lJrljak)' on the anrbigur:us nroralíty ofeloqueitce or ..persua-

sion'' (Roberr ürle Barharrr), ánd on Miltori$ prose arg1|me ls and their precedents(ürrrrnt Annette Wilson)-are less original but do provide solid irttroductoryapproaclres to these important issues.

The second and final section oÍche col|ection followirrg the two overview essáysby Péter and l)uren feature perhaps everr stronger and more stirrrulating essays thanthose lollowing Crossrnan and Wittreich. Standou* include Warren Chemaik's fas-cinating piece on M.ilton and Traheme (''Paradise llecovered"), which offers a nrostiusiglhtful comparison oftheir "free will" views, treatment ofspecial election (a stan-dard Anglicarr posilion slrared by bot}r, although Chernaik Íáils to rrote this), hunranlove, and sexualiry. These comparisons are especially interesting brceuse Traherne,dcspitc his semi-hcrctical vicws, was botb a royalist and conforming Church ofEngland clcrgyman. Chernaik contrrsts his 1geatcr oplinrisnr conceming postlapsár_iarr nrankind with the ..chastcuing ofexpectations in t}rc latcr books oíl'aradise llst,,(227)' although surcly that discrcnce has somethirrg to do with thc noral oíMil-ttn's sbry' Ás Grossman and Wi{tre'ich variously show' .|Jaradire Rc.gainel presents a &rnore Trahc'me'likc ác.$unt ofthe ontí)ins continuities betwcen hunun and angel-kind. Working with very di$ere nt material, C.W.R .D. Mo*elcy's "The Clroves olEden' Vanish"d Norv So Long'' produces a similarly cheerÍul portrait of Milton'svision oiparadise, w}ich Moseley links both to the landscape paineinp and Englishcountry ht.ruse poerns of its era, specíficalily, To Pt:nshurst and L}pon Appleton Houe'Although this reviewer h*s medi*ted nruch o there mátteÍs, the new insighs prc.sented here are both unexpected and welconre. The sane nray be said oiPaulRiclrard Blurn's "Satan and the Human Condition: John Milton Read in Terms ofRené Girard,'' an inportánt intervention in current pro-Satanist trends in Miltonstudies. Ancrther highly recomnlended piece ínplicit|y backs up Bium, Joan Blythe'swonderful article, ..Milton and Napolean as Chateaubriand's ADtithetical (;.'líe-Frire-r. " Is treatment ofgenius perfuctly cornplernens lllythe's analysis of two verycliferent kinds of political brilliance, the Satanic kind or Napoleonic-"the wo.st . . .co{uption of the once most glorious" (257)-and the truly libertarian or Miltonicsort' Her study is particrrlarly irnponant in documenting the existence oínot one

O 2{l14Join Wilcy & Sons Lkl

5(, C athei nt (1 imelli M arti n"Rorrrartic" Satan but two: R'lake's errd Shelley's hero is balarrcecl by the anti-hero of(]lreteilubriand' íatlrer oíboth French utd' aaer RÖu$seau' European Romanrjcisrrt.

.I'he voltnrre's secrlrtr| secti<rn also inclrrdes Miklós Póti's <letai|ed justification oÍ

]oscph Adtlison's interpretation ofrwlr ..sub|inle'' scenes in Paradíst l,ott' both derivedÍiotrt Homer via Virgil: Satan ánd the son diÍierent|y viewing the abyss. Pétii highlyle;rrnt'd essay is, by definition. quite technical, but ior that reason nost useful torcadcrs concentcd witlr Milton's classical sources. Readers interested in his futuris-tic. tu'ertieth- aod twenty-first-cerrtury hcirs will profit frorn Martir Kuester's trcatrrrt'rlt ol-|ohn F<rwlcs's Tlrc '&íagr,r (l9tt5), Michael lnnes's Opcraltox Pat. and Ma4pretAtrvood.s aryx anl Crak tn..Miltonic Godgpnles,.' althorrgh tlre qtrestion oírr'hetlrcrthcsc glrnes shcd light on Milton or his (io<l rr:ruains moot.

'l'hc rcst of tirc articlcs

inelrrrlcrl lrerr: variously dcal witIr Milton's rclatíonship to or irrtcrprctation ilr thcvisrtal arts' Stu;rrt Si]lan shows that thcrc rs lr:ss contrast betwcelr Mr:díra.s and l]lakc'srlcpictions of Milton's paradisc than gcncr.rlly thought, sirce lllakc at oncc incorpo-ratcs:l lId irdapts tÍtlit i<lrra| iconography surroundirrg the l.all ofnrarr a d thc colrc's1rtrlt<litru chaItgcs in thc'nltura] wtlrld. Larisa K<lcic.Zánrbó.s stody. ..Nakcrl

lnttoccncc. '' is cvcn tltorc. stirrtlirrg' slr<lwirrg how Milton departcd frollt Íaditionr.prcscntirtiorts of fuÜy cl<lthcri aage|s by covering the ángels who Visit hir [derr <lrtlyrvitlr rvitlg:,

,l 'his ..c|othing'' thus cofrespÖndl' to Atlam and Eve's irlrtrrcent rtaked-ttess, r,r' lt i le the urrÍ]llett *rch*nge| Michael's later eppeerance it) nli l itáry vestÍ}entslr;trsely ctln'esptltlds to thc glntleÍlt|i wonr lry the fallelr coup|e.

.I'he next essay itI this

series appropriateIy closes the collection by exanrinirrg the la|rg, lrlostly Ílirretee'rth-centurv tradition, beginoing in the 1790s, which depicts Milton dictating to hisr"lattqhten. Anna Zsófla Kovács's artic|e covers far. rrrore exarnples oftbis genÍe thántrlost previorrs studies and at the same tirrre thoroughly i l luntinates the conílictingrlrotives and irrfluences operative i l this tradition and in its broader context, wlrereossiln arrd the blitrtJ |Ionrer are shown suí}éring quasi'Miltorric lrl iseries. Tlri: andother articles on art hislory are accornpanied by rnany excellent full color and black-rrr.l-wlrite plates well rvonh the price of the book in their own right.

Milton through Íltc Ccrllncs shoultl thus be rcgardcri as a highly rvclconrc arrdappropriatc binhday prcsr:rrt for a poctic gcnius bom íour-hurrdrcd ycas bcforc thisvolunrr:'s 2(X)8 inccption. lts thororrghly rcsearched cssays pro<lucc novcl insigihtslargr:lv rrrrtaurtcd by thc "usual" itlcological squabblcs too oflcn dominating such collcetrons ltrr: only possiblc contplairrt onc ruight m:rkc is that a numbcr arc not lc*lyiot:g crtough fully to cstablirh thcir clitrrtrs, but in somc wayr thnt is also thr:ir strcrrgth.[)uc to thcir brcvity, thc nujority ofthesc' cssirys lrot only open rnany new nvcrrucs forflrrthcr expJoraticln and study but a|so nlake extteÍne|y useírrl arsigrmenrs Íbr gredu_;rtr. artl advarrced undergradtrate studetts, as thii rsviewer has in fact already happilyrl iscovered.

Univenity of Menrphis

íí."i 20l4 John wil{y & sot* Lkl