Although monotheism is at least as old as the Hebrew Bible, in the seventeenth century it received particular attention among philosophers and rational theologians. Within the writings of such figures as John Selden, Lord Herbert of Cherbury, and Henry More, and amid emerging Socinian and deist thought, official religion in England was increasingly defined according to the notion of a single God. In this compelling study—illuminating reading for literary scholars and religious scholars alike—Abraham Stoll examines Milton's poetry in the context of these debates swirling around polytheism and monotheism.
While writing Paradise Lost, Paradise Regained, and Samson Agonistes with a keen awareness of monotheism, Milton is faced with serious issues for his narratives. From the classical, polytheistic conventions of the Greek epic tradition, Milton inherits divine councils, invocations, and a cosmic scope; but he is also attempting to represent a God who is omniscient and omnipotent, who resists images and personality, and who thus cannot fit the minimal requirements of plot. Negotiating these problems, Milton's monotheistic narratives must question the Trinity, depict polytheistic gods, and ultimately challenge the notion of revelation itself. Yet monotheism also describes how Milton pulls back from the extremes of rational religion to maintain the revealed God of the Bible, forging a unique version of Christianity.
As Stoll points out, poetry and theology are too often understood separately, which is especially damaging for the study of Milton, whose poems are retellings of biblical stories. Milton and Monotheism demonstrates the profound differences between doctrinal discourse and narrative poetry and how neither is, individually, able to fully represent Milton's monotheism—or, as Stoll says, a God of "flickering subjectivity."
While writing Paradise Lost, Paradise Regained, and Samson Agonistes with a keen awareness of monotheism, Milton is faced with serious issues for his narratives. From the classical, polytheistic conventions of the Greek epic tradition, Milton inherits divine councils, invocations, and a cosmic scope; but he is also attempting to represent a God who is omniscient and omnipotent, who resists images and personality, and who thus cannot fit the minimal requirements of plot. Negotiating these problems, Milton's monotheistic narratives must question the Trinity, depict polytheistic gods, and ultimately challenge the notion of revelation itself. Yet monotheism also describes how Milton pulls back from the extremes of rational religion to maintain the revealed God of the Bible, forging a unique version of Christianity.
As Stoll points out, poetry and theology are too often understood separately, which is especially damaging for the study of Milton, whose poems are retellings of biblical stories. Milton and Monotheism demonstrates the profound differences between doctrinal discourse and narrative poetry and how neither is, individually, able to fully represent Milton's monotheism—or, as Stoll says, a God of "flickering subjectivity."
