Carrol Cox wrote:
>Marcia Karp wrote:
>> I recommend, too, an essay by Archie Burnett in the same issue (5.1)
>>of _Literary Imagination_. " 'Sense Variously Drawn Out': The Line in
>>Paradise Lost" is a very different sort of literary writing than
>>Hecht's. Burnett considers how Milton uses the line break as a
>>technique in PL.
>I can't prove the following, it's merely a sense I have. While this
>technique does operate powerfully in PL, it is brought to its full
>fruition in _Paradise Regained_, the supreme power of which is precisely
>how it pulls the reader on from line to line, paragraph to paragraph.
Even though Burnett does not take up your argument, you might enjoy
the article. He doesn't prove anything -- he demonstrates specific
effects from Paradise Lost. At least, I am convinced by his examples.
>And I think it is the _latter_ poem which has had the most influence on
Were I to take up your idea, I'd bring Eliot into the matter. At the
very beginning of _John Dryden: The Poet, The Dramatist, The Critic_ he
compares the influence Dryden exerted on other writers to that exerted
by Shakespeare and Milton. The same comparison could be made between
Paradise Regained and PLost.