Defensio Prima and the Latin Poets

This chapter, in a prize-winning volume, examines ways in which Milton’s recourse to Latin poetry in Defensio Prima serves a much deeper purpose than that of merely illustrating or lending authority to his argument. Rather, it is argued, the defence engages with a variety of Latin intertexts (Plautus, Terence, Horace, Petronius), which in turn give birth to a range of dramatis personae, with whom Salmasius is ironically and somewhat kaleidoscopically equated. This methodology lends particular force to Milton’s rhetoric of invective whilst hopefully laying to rest the fallacy that his Latin prose writings were writing during a period of ‘poetic inactivity.’ For this is a prose work that is poetically as well as politically aware.

Eighteen entries on Milton's Latin poetry

Entries on Elegia Prima, Elegia Quarta, Elegia Quinta, Elegia Sexta, Elegia Septima, In Quintum Novembris, Ad Salsillum, Mansus, Epitaphium Damonis, Apologus de Rustico & Hero, 5 entries on the Latin gunpowder epigrams, 3 entries on the Ad Leonoram epigrams.

Sporting with the Classics: The Latin Poetry of William Dillingham

Sporting with the Classics: The Latin Poetry of William Dillingham (2010) (back cover)

Dana Sutton, University of California:
‘The great merit of Estelle Haan's study is that she is willing to take Dillingham seriously as a poet. Her reproduction of his work, together with an English translation and very detailed studies of his individual poems have the combined effect of rescuing an interesting poet from near-total oblivion. This, in my opinion, is the finest thing a neo-Latin scholar can do, and Haan accomplishes her task with the same skill, sensitivity, and eloquence that have distinguished her studies of other neo-Latin poets of this period (Joseph Addison and Vincent Bourne). It is impossible not to react to this volume with extreme respect and appreciation’.

Gordon Campbell, University of Leicester:
‘Nothing substantial has ever been published on Dillingham, but with this volume we have a new corpus of poetry that intersects with the work of many other seventeenth-century neo-Latin and vernacular poets. Professor Haan’s scholarship is here (as always) placed at the service of the poet, and she leads the reader gently through the work of a new poet. Professor Haan is the most eminent and able neo-Latinist of her generation, and her scholarship never fails; sometimes it dazzles as in the chapters on the hangman's stone and on Renaissance topiary. Her research is always up-to-date, and her translations have a gracefulness that other laborers in the vineyard can only envy’.

'From Neo-Latin to Vernacular: Marvell's Bilingualism and Renaissance Pedagogy'

This chapter contextualises Marvell's Latin poetry in relation to seventeenth-century pedagogical theory and practice, with particular focus on bilingual textbooks, double translation methodology, and etymological alertness. An analysis of several Marvellian case-studies serves to highlight the influence of pedagogical bilingualism upon his poetic creativity.

'Purity of Diction in English Verse' (on literary criticism)

Essay on literary criticism.

'Neo-Latin Writing in the British Isles'

This chapter seeks to identify cultural and generic trends and authorial methodologies that may serve to unify or to differentiate between the histories of neo-Latin literature in England, Scotland, Wales and Ireland. It considers ways in which Latin served to bridge horizontal spaces (both physical and metaphorical) between four British regions, between neo-Latin writers in Britain and their continental predecessors and peers, and between Latin and the respective vernacular(s). It also examines vertical spaces (both chronological and cultural) between the neo-Latin and the classical Latin text, and between the linear demarcations of ‘early modern’, ‘Augustan’ and ‘Romantic’. An assessment of links between nationhood and the neo-Latin text as evinced by anthologies, antiquarian and quasi-historical writing, is followed by examples of generic continuity and metamorphosis in the British neo-Latin pastoral, ode and epigram. The concluding sections offer two generic case-studies (neo-Latin epic and didactic) both of which, it is argued, engendered the birth of specifically British versions of the mock-heroic and mock-didactic.

Coelum non animum muto? Milton's Neo-Latin Poetry and Catholic Italy

Milton’s Elegiarum Liber, the first half of his Poemata published in Poems of Mr John Milton Both English and Latin (1645), concludes with a series of eight Latin epigrams: five bitterly anti-Catholic pieces on the failed Gunpowder Plot of 1605, followed by three encomiastic poems hymning the praises of an Italian soprano, Leonora Baroni, singing in Catholic Rome. The disparity in terms of subject matter and tone is self-evident yet surprising in an epigrammatic series that runs sequentially. Whereas the gunpowder epigrams denigrate Rome, the Leonora epigrams present the city as a cultured hub of inclusivity, the welcome host of a Neapolitan soprano. In providing the setting for a human song that both enthrals its audience and attests to the presence of a divine power, Rome now epitomizes something other than brute idolatry, clerical habit or doctrine. And for the poet this facilitates an interrogation of theological (especially Catholic) doctrines. Coelum non animum muto, dum trans mare curro wrote the homeward-bound Milton in the autograph book of Camillo Cardoini at Geneva on 10 June 1639. But that this was an animus that could indeed acclimatize to religious and cultural difference is suggested by the Latin poems which Milton “patch [ed] up” in the course of his Italian journey. Central to that acclimatisation, as this chapter argues, is Milton’s quasi-Catholic self-fashioning. Thus Mansus offers a poetic autobiography of sorts, a self-inscribed vita coloured by intertextually kaleidoscopic links with two Catholic poets of Renaissance Italy and their patron; Ad Leonoram 1 both invokes and interrogates Catholic doctrine before a Catholic audience only to view the whole through the lens of a neo-Platonic hermeticism that may refreshingly transcend religious difference. Finally, Epitaphium Damonis, composed upon Milton’s return home, seems to highlight the potential interconnectedness of Protestant England and Catholic Italy, through the Anglo-Italian identity of its deceased subject, and through a pseudo-monasticism suggested by the poem’s possible engagement with the hagiography of a Catholic Saint. Perhaps continental travel and the physical encounter with the symbols, personages and institutions of the other have engendered in the Milton of the Italian journey a tolerance or, more accurately, the manipulation of a seeming tolerance to serve poetic and cultural ends.


First reviewer:
Haan: a fine piece by the senior neo-Latinist in Milton studies.

Second reviewer:
Chapter 7 is ... a high-spot of the collection. Its argument that in his Latin poetry Milton’s is a ‘quasi-Catholic self-fashioning’ stressing ‘the potential interconnectedness of Protestant England and Catholic Italy’ is striking and is advanced with learning, clarity and insight. Its sensitive exploration of the paradox of Milton’s coupling of humanistically complimentary and tolerant address to Roman Catholic friends with fiercely Protestant partisanship demonstrates that there is much greater complexity to his poetic persona than the self-construction and self-presentation of the later works would suggest. The essay is always adroit and sure-footed, often critically acute and illuminating (as, for example, in its discussion of the adjective and adverb mollis and molliter in Mansus, or in the identification in n. 99 of hitherto unnoticed Virgilian echoes). It has the added merits of being very well written, precise and apt in its citation of evidence, and absolutely central to the concerns of the volume.