Kirjahaku

This book argues for a new attention to the importance of beauty and the aesthetic in our response to poetry. Charles Martindale explores ways in which Kant's aesthetic theory, as set out in the Critique of Judgement, remains of fundamental importance for the modern critic. He argues that the Kantian 'judgement of taste' is not formalist, and explores the relationship between the aesthetic and the political in our responses to art. Finally he urges the value of aesthetic criticism as pioneered by Walter Pater and others. The (mainly Latin) poems discussed are all translated, and the book will be of interest not only to classicists but to anyone interested in aesthetics, aestheticism, poetry, reception, comparative literature, and critical theory.

This book argues for a new attention to the importance of beauty and the aesthetic in our response to poetry. Charles Martindale explores ways in which Kant's aesthetic theory, as set out in the Critique of Judgement, remains of fundamental importance for the modern critic. He argues that the Kantian 'judgement of taste' is not formalist, and explores the relationship between the aesthetic and the political in our responses to art. Finally he urges the value of aesthetic criticism as pioneered by Walter Pater and others. The (mainly Latin) poems discussed are all translated, and the book will be of interest not only to classicists but to anyone interested in aesthetics, aestheticism, poetry, reception, comparative literature, and critical theory.

In this book Mr. Martindale examines the use Milton made of ancient poets, and the way they influenced his style. Some surprising ingredients in the style of ^IParadise Lost are uncoveredóHorace, for example. The book is a rare combination of scholarship, both classical and English, and critical judgment.^R

Milton has long been recognised as being among English poets most indebted to ancient literature, but the range and depth of that debt have rarely been explored. Here Martindale examines the use Milton made of other ancient poets, notably Homer, Ovid and Lucan, and finds some surprising elements in the style of "Paradise Lost" - Horace for example. He is primarily concerned with Milton's attitude to the classics and the questions that raises as to his methods. Renaissance views of classical poets and eighteenth-century commentaries on Milton are brought to bear on these questions. Finally the limits of Milton's classicism and the differences between "Paradise Lost" and its predecessors are considered.

Examining the revolution wrought by Catullus in Latin poetry, this volume encapsulates the way in which principles of modern literary criticism could be applied to classical poetry, without ditching the sound philological scholarship of the classical tradition. In its day this book led the way in showing the philogically trained student how to be a critic; equally it can show the critically trained student the importance of a sound philogical base today.