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The poetic style of John Milton, also known as Miltonic verse, Miltonic epic, or Miltonic blank verse, was a highly influential poetic structure popularized by Milton. Although Milton wrote earlier poetry, his influence is largely grounded in his later poems: Paradise Lost , Paradise Regained , and Samson Agonistes .
The sonnet was first published in Milton's 1673 Poems in his autograph notebook, known as the "Trinity Manuscript" from its location in the Wren Library of Trinity College, Cambridge. He gave it the number 19, but in the published book it was numbered 16, [ 2 ] [ 3 ] so both numbers are used for it.
When Miltonic verse became popular, Samuel Johnson mocked Milton for inspiring bad blank verse imitators. [14] Alexander Pope 's final, incomplete work was intended to be written in the form, [ 15 ] and John Keats , who complained that he relied too heavily on Milton, [ 16 ] adopted and picked up various aspects of his poetry.
Milton’s Sonnet 18 is written in iambic pentameter, with ten syllables per line, and consists of the customary 14 lines. Milton's sonnets do not follow the English (Shakespearean) sonnet form, however, but the original Italian (Petrarchan) form, as did other English poets before him (e.g. Wyatt) and after him (e.g. Elizabeth Browning). This ...
John Keats found the yoke of Milton's style uncongenial; [122] he exclaimed that "Miltonic verse cannot be written but in an artful or rather artist's humour." [ 123 ] Keats felt that Paradise Lost was a "beautiful and grand curiosity", but his own unfinished attempt at epic poetry, Hyperion , was unsatisfactory to the author because, amongst ...
Wordsworth's sonnet "Nuns fret not at their Convent’s narrow room" [19] echoes the same reasoning. Written after the poet's adoption of the Miltonic form of the sonnet (based on Petrarch’s), it reasons that the form's restriction "no prison is", but instead a solace for those "who have felt the weight of too much liberty". [20]
Later examples of those writing substantial numbers of sonnets in the US number the scholar N. B. Minkoff, who included a sonnet cycle in Lieder (1924), his first publication after immigrating, [142] and Aron Glantz-Leyeles (1899–1968), who published a whole collection of poems in mediaeval forms in 1926.
For example, see the first stanza: This is the month, and this the happy morn / Wherein the Son of Heav'n's eternal King, / Of wedded maid, and virgin mother born, / Our great redemption from above did bring; / For so the holy sages once did sing, / That he our deadly forfeit should release, / And with his Father work us a perpetual peace.