'tis Pity And Paradise Lost Ix Critical Qoutes

Front 1

William Blake

Back 1

Milton was 'of the Devil’s party without knowing it'

Front 2

T.S. Eliot

Back 2

It is a glimpse of a theology that I find in large part repellent

Front 3

J.G. Turner

Back 3

Milton has succeeded in bringing to life… two quite different models of the politics of love; one is drawn from the experience of being in love with an equal, and the mutual surrender of due benevolence, the other from the hierarchical arrangement of the universe, and the craving for male supremacy.

Front 4

Charles William

Back 4

Milton "imagined [Adam's] passion so intensely as to make us almost wish that it could be approved."

Front 5

Rose Macauley

Back 5

If Milton had been in the Garden of Eden he would have eaten the apple, and then written a pamphlet to show how just and necessary his action was.

Front 6

Laurel Amtower

Back 6

Two potentially 'savable' individuals find themselves contaminated by the surrounding culture

Front 7

Corinne S. Abate

Back 7

The Cardinal is a morally compromised man in a morally compromised society

Front 8

Laurie Finke

Back 8

The play reduces all women to whores and potential whores

Front 9

Dr Johnson

Back 9

There appears in his books something like a Turkish contempt of females, a subordinate and inferior beings. (Milton)

Front 10

Marion Lomax

Back 10

Women associated with dangerous sexual passions are controlled through the mutilation of their bodies. (Tis Pity)

Front 11

Alfred Hickling

Back 11

[Annabella is] less a living character than a moving target for misogynistic abuse.

Front 12

Mark Stavig

Back 12

In making [Giovanni] an incestuous lover, a blasphemous atheist, and a sensational murder, Ford makes his problems so extreme that an audience would inevitably feel less emotionally involved

Front 13

Mark Stavig

Back 13

‘deliberately outrageous' which 'must have appealed to the people who were becoming tired of the moralistic preaching of the Puritans'

Front 14

Hazlitt

Back 14

Ford was ‘a decadent romantic who delighted in melodramatic plots, licentious scenes, and revolt againstthe established moral order.’

Front 15

Paul Cantor

Back 15

Ford takes the potentially hackneyed theme of star−crossed young lovers and gives it a new twist

Front 16

Paul Cantor

Back 16

Ford’s attraction to normally taboo themes, such as incest, may be accounted for by his need to get the attention of audiences who thought they had already seen everything there was to see on the stage.

Front 17

Arnold Schmidt

Back 17

While Giovanni believes his predicament to be the product of his fate, he actually seems to use fate as an excuse to justify his tragic flaws of uncontrollable lust and intellectual pride.

Front 18

Arnold Schmidt

Back 18

Giovanni and Annabella's immaturity prevents them from restraining their unreasonable passion. Worse, where Giovanni's reason should control his passion, instead his reason makes matters worse.

Front 19

Robert Brustein

Back 19

Ford wrote this incestuous version of Romeo and Juliet less to make a feminist point than todemonstrate (years in advance of Nietzsche and Dostoyevsky) that when God is dead, anything is possible.

Front 20

Martin Whit

Back 20

Critics have repeatedly confused sympathy with approval

Front 21

Alan Geary

Back 21

Nowhere does Ford seem to take sides

Front 22

Martin Wiggins

Back 22

Making some readers squirm for centuries

Front 23

Lyn Gradner

Back 23

Body is something over which men barter

Front 24

Lyn Gardner

Back 24

Giovanni's need for "absolute possession of his sister's heart"

Front 25

Frank Kermode

Back 25

Satan takes on the character of a tormented voyeur

Front 26

John Rogers

Back 26

Eve takes up the role of the radical Milton