Milton and the BaroqueUniversity of Pittsburgh Press, 1980 - 192 หน้า |
จากด้านในหนังสือ
ผลการค้นหา 1 - 3 จาก 29
หน้า 28
... heavenly power . There is a similar opening up to the boundless heavens as in a fresco by Gaulli , a similar crowding of numberless figures rising above the clouds , and a similar radiance marking the apex of the vision . Yet it remains ...
... heavenly power . There is a similar opening up to the boundless heavens as in a fresco by Gaulli , a similar crowding of numberless figures rising above the clouds , and a similar radiance marking the apex of the vision . Yet it remains ...
หน้า 44
... Heavenly Beautie ' , equates God with the apex of the Platonic system of ideas , the ' Beautiful - and - Good ' . Within that Platonic view of heavenly beauty there was little room for the vigorous God of the biblical world . The ...
... Heavenly Beautie ' , equates God with the apex of the Platonic system of ideas , the ' Beautiful - and - Good ' . Within that Platonic view of heavenly beauty there was little room for the vigorous God of the biblical world . The ...
หน้า 90
... heavenly epiphanies , in Milton's depiction they retain , even in heaven , all the hardness and durability of their earthly form , multiplied many times over . One reason for the change is an aspect of the new seventeenth- century ...
... heavenly epiphanies , in Milton's depiction they retain , even in heaven , all the hardness and durability of their earthly form , multiplied many times over . One reason for the change is an aspect of the new seventeenth- century ...
เนื้อหา
The Arch Antagonist | 50 |
Corporal Forms | 80 |
The War in Heaven | 116 |
ลิขสิทธิ์ | |
1 เนื้อหาอื่นๆ ไม่ได้แสดงไว้
ฉบับอื่นๆ - ดูทั้งหมด
คำและวลีที่พบบ่อย
achieved Adam angels appear argued artist attempt baroque battle become beginning belief biblical bright building ceiling celestial central century challenge Christian church classical close concept concern contrast cosmic cosmos course created creation creatures criticism darkness depiction described direction divine earlier early earth effect elements entire epic established evidence example fact fall figure final forces frescoes God's hand heaven heavenly hell human imaginatively immense impressive infinite Italy later least less light lines London major man's means Milton move nature never offers once opening original painting Paradise Lost passage period physical poem poet present Providence reader reading reason rebel religious remains Renaissance response Satan scene seen sense setting solid space spirits stars strength struggle style suggest task theme theory thir thought tradition universe vast vision visual