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• W2927387828 abstract "Margo Swiss and David A. Kent, eds., Heirs of Fame: Milton and Writers of the English Renaissance (Lewisburg: Bucknell University Press; London: Associated University Presses, 1995). viii, 317. $45.00 (US). Margo Swiss and David Kent open the argument of their new collection of essays on Milton and his relation to other great writers of the English Renaissance with a quotation from George Steiner’s Real Presences. Steiner wants his readers to understand the degree to which they have lost the light and are now in the thrall of “the paper Leviathan of secondary talk” (48): “We flinch from the immediate pressures of mystery in poetic, in aesthetic acts of creation ... the secondary is our narcotic. Like sleepwalkers, we are guarded by the numbing drone of the journalistic, of the theoretical, from the harsh, imperious radiance of sheer presence” (qtd. in Swiss and Kent 4). Steiner’s affirmation of presence in art, music, and literature sets the tone for Swiss and Kent’s aggressively traditional volume. For Steiner there is an absolute discontinuity between art and criticism. Art is primary, essential, and ultimately religious: “The encounter with the aesthetic is, together with certain modes of religious and of metaphysical experience, the most ‘ingressive,’ transformative summons to human experi­ encing” (143). Criticism, on the other hand, is secondary, accidental, wholly secular and parasitic. This distinction, he concedes, is not available to logical or empirical demonstration. Deconstruction in particular, he feels, especially as it is practiced by such masters as Barthes and Derrida, has shown that “There can be no hierarchical cut between primary and secondary texts. Both belong equally to the totality of semiotic sequences or écriture. Both are scripts. The only difference between the poem and the commentary is one of rhetorical modes” (125). If the crucial distinction between art and criticism is to be maintained, then, it can only be done so by a leap of faith, what Steiner calls a “wager” on the reality of the transcendent sig­ nified through the lived experience of its presence. Accordingly, he begins Real Presences with an act of imagination, a vision of the polis in which all secondary talk, save the most modest, has been banished, and works of art speak only to each other. For, as the examples he adduces are meant to suggest, “The best readings of art are art” (17). This is the vision that authorizes Heirs of Fame. The volume comprises a series of essays in which Milton’s work is set in dialogue with the work of (usually) one other great auteur. In these various couplings, Milton is presented as reading or being read by his contemporaries or near- contemporaries from Spenser to Dryden. The criticism these often reverential and largely appreciative essays consti­ tute is Steinerian in the specific sense that it fully acknowledges its secondary status and aims only to facilitate or make us aware of the conversation at the table of the great. 490 The work of facilitating this conversation takes three distinct, but fre­ quently overlapping, forms. Critics approach the relationship they wish to present either by (1) pointing to patterns of deliberate allusion, (2) focusing on an image common to both authors, or (3) providing a chronological com­ parison of careers or patterns within works. In the case of the first form, for instance, Thomas Roche opens his essay with a persuasive example of how Milton allusively interprets Spenser. Through a strategic echo, the arrival of Mutabilitie in The Faerie Queene VII is made to anticipate the return of the fallen Eve in Paradise Lost IX; while both Adam and the gods stand “astonied” before these figures of disruption, both texts are shown to enrich and complicate each other’s significance. Similarly, it is through allusion that Diana Trevino Benet charts Marvell’s changing response to Milton’s prophetic claims; Marvell’s parody of them in “Upon Appleton House” gives way, she argues, to an allusive confirmation of them in “On Mr. Milton’s Paradise Lost.” The essays that concentrate on the second form are clearly moved by memories of the image as a concrete universal; they tend to be those that most explicitly wish to collapse the distinction between aesthetic..." @default.
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• W2927387828 title "Heirs of Fame: Milton and Writers of the English Renaissance ed. by Margo Swiss and David A. Kent" @default.
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