5/29/2023 0 Comments Paradise regained book 4![]() ![]() ![]() ![]() But even rhetoric in its best form will be superseded in the perfected world when the divine orator (foreshadowed by Jesus on the pinnacle) speaks silently as the essence of Truth whose presence is made known through the liturgic celebration of eternal song. Furthermore, that Albertano cites Gabriel as an outstanding rhetor informs Milton's repeated references to the archangel, with the result that the role of the poet may be seen as imitative of this divine messenger. The emergent character of the virtuous speaker accords entirely with Milton's portrayal of Jesus in Paradise Regained, while the evil speaker is in every point like Satan. Throughout both Peraldus and Albertano, emphasis on the virtues of silence and restrained speech reiterates monastically-oriented pronouncements by Benedict and Bernard. In particular, Peraldus's "De peccato linguae" (which comprises a kind of eighth deadly sin in his Summa de vitiis) seems to lie behind Albertano's discussion of the virtues and vices of speaking more than classical rhetorical works. ![]() The blank-verse poem in ten books appeared in 1667 a second edition, in which Milton reorganized the original ten books into twelve, appeared in 1674. While written by a secular for a secular audience, this treatise is analogous to discourses on the peccatum linguae (Sin of the Tongue) appearing in manuals on the Seven Deadly Sins. Paradise Lost and Paradise Regained For many years Milton had planned to write an epic poem, and he probably started his work on Paradise Lost before the Restoration. An interesting perspective on the rhetorical posture of Milton and Jesus in Paradise Regained results when this "brief epic" is viewed in light of Albertano da Brescia's mid-thirteenth-century De arte loquendi et tacendi. ![]()
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