Bell catalogue, A.D. 1894.

Mode of access: Internet.

English men of letters /

"Portrait edition."

Documentary history of education in Upper Canada,

Mode of access: Internet.

In memoriam. William Frederick Poole : born December 24, 1821, died March 1, 1894.

"Read at the meeting of the club ... May 21, 1894 ... Signed Frederick W. Gookin, recording secretary.

L'allegro,

Mode of access: Internet.

The English poets:

Mode of access: Internet.

The correlation and conservation of forces: a series of expositions,

Mode of access: Internet.

A collection of farces and other afterpieces : which are acted at the Theatres Royal, Drury-Lane, Covent-Garden and Hay-Market. /

v.6. The deuce is in him / by George Colman. Edgar and Emmeline / by John Hawkesworth. Richard Coeur de Lion / [by M.J. Sedaine] The maid of the Oaks / by John Burgoyne. Tom Thumb / [by Henry Fielding] The doctor and the apothecary / [by James Cobb] The first floor / [by James Cobb] The adopted child / by Samuel Birch. The farm house / [by Charles Johnson]--v.7. Lodoiska / by J.P. Kemble. Ways and means / by George Colman. The school for authors / by John Tobin. Midas / [by Kane O'Hara] The waterman / by Charles Dibdin. The author / by Samuel Foote. The old maid / [by Arthur Murphy] The miller of Mansfield / by Richard Dodsley. Comus / altered from John Milton.

Predestination and freedom in Milton's 'Paradise lost'

John Milton's epic poem Paradise Lost (1667) offers a highly creative seventeenth-century reconstruction of the doctrine of predestination, a reconstruction which both anticipates modern theological developments and sheds important light on the history of predestinarian thought. Moving beyond the framework of post-Reformation controversies, the poem emphasises both the freedom and the universality of electing grace, and the eternally decisive role of human freedom in salvation. The poem erases the distinction between an eternal election of some human beings and an eternal rejection of others, portraying reprobation instead as the temporal self-condemnation of those who wilfully reject their own election and so exclude themselves from salvation. While election is grounded in the gracious will of God, reprobation is thus grounded in the fluid sphere of human decision. Highlighting this sphere of human decision, the poem depicts the freedom of human beings to actualise the future as itself the object of divine predestination. While presenting its own unique vision of predestination, Paradise Lost thus moves towards the influential and distinctively modern formulations of later thinkers like Schleiermacher and Barth.

Brain and mind in the 'long' eighteenth century

How should the 'long' eighteenth century be defined? January 1, 1700 and December 31, 1799 are quite arbitrary dates. Why should they be chosen to segment our history rather than more significant periods of time, periods which have a coherent content, or are marked, perhaps, by the working out of a theme? Students of English literature sometimes take the long eighteenth century to extend from John Milton (Paradise Lost, 1667) to the passing of the first generation of Romantics (Keats (d. 1821), Shelley (d. 1822), Byron (d. 1824), Coleridge (d. 1834)). Students of British political history often take it to start with the accession of Charles II (the Restoration) in 1660 or, alternatively, the so-called Glorious Revolution of 1688 and to end with the great Reform Act of 1832. Others might choose different book ends. In the history of science and philosophy the terminus a quo is sometimes taken as the publication of Descartes' scientific philosophy or, in more Anglophone zones, the 1687 publication of Newton's Principia with its vision of a 'clockwork universe'. 'Nature and Nature's laws' as Alexander Pope enthused, 'lay hid in Night: God said, Let Newton be! and all was light!'.

Commentary on Milton's Contract 1667

The contract between the poet John Milton and the stationer Samuel Simmons, concerning the publication of Paradise Lost, is the earliest agreement between an author and a publisher for which there exists documentary evidence. The commentary suggests that, while the terms of the contract do not necessarily reveal anything substantive about how authors in the mid-seventeenth century understood the nature of the rights they had in their manuscript work, it is nevertheless significant. Since the early eighteenth century, Milton, his work, and his contract with Simmons, were all co-opted, in a variety of ways, to service contemporary debates about the status of the author, about author-publisher relations, and about the nature of the relationship between an author and his work within the context of the emerging copyright regime.

Rhetoric and public speech in English republicanism, 1642-1681

The study analyses the ambivalent relationship republicanism, as a form of self-government free from domination, had with the ideal of participatory oratory and non-dominated speech on the one hand, and with the danger of unhindered demagogy and its possibly fatal consequences to that form of government on the other. Although previous scholarship has delved deeply into republicanism as well as into rhetoric and public speech, the interplay between those aspects has only gathered scattered interest, and there has been no systematic study considering the variety of republican approaches to rhetoric and public speech in 17th-century England. The rare attempts to do so have been studies in English literature, and they have not analysed the political philosophy of republicanism, as the focus has been on republicanism as a literary culture. This study connects the fields of political theory, political history as well as literature in order to make a multidisciplinary contribution to intellectual history. The study shows that, within the tradition of classical republicanism, individual authors could make different choices when addressing the problematic topics of public speech and rhetoric, and the variety of their conclusions often set the authors against each other, resulting in the development of their theories through internal debates within the republican tradition. The authors under study were chosen to reflect this variety and the connections between them: the similarities between James Harrington and John Streater, and between John Milton and John Hall of Durham are shown, as well the controversies between Harrington and Milton, and Streater and Hall, respectively. In addition, by analysing the writings of Marchamont Nedham the study will show that the choices were not limited to more, or less, democratic brands of republicanism. Most significantly, the study provides a thorough analysis of the political philosophies behind the various brands of republicanism, in addition to describing them. By means of this analysis, the study shows that previous attempts to assess the role of free speech and public debate, through the lenses of modern, rights-based liberal political theory have resulted in an inappropriate framework for understanding early modern English republicanism. By approaching the topics through concepts used by the republicans legitimate authority, leadership by oratory, and republican freedom and through the frames of reference available and familiar to them roles of education and institutions the study presents a thorough and systematic analysis of the role and function of rhetoric and public speech in English republicanism. The findings of this analysis have significant consequences to our current understanding of the history and development of republican political theory, and, more generally, of the connections between democratic theory and free speech.

The ‘Faust’ or ’Lucifer’ Sonata? On Liszt’s idea of programme music as exemplifi ed by his Piano Sonata in B minor

The musicological tradition places Liszt’s Sonata in B minor within the sphere of compositions inspired by the Faustian myth. Its musical material, its structure and its narrative exhibit certain similarities to the ‘Faust’ Symphony. Yet there has appeared a diff erent and, one may say, a rival interpretation of Sonata in B minor. What is more, it is well-documented from both a musical and a historical point of view. It has been presented by Hungarian pianist and musicologist Tibor Szász. He proposes the thesis that the Sonata in B minor has been in fact inspired by Milton’s Paradise Lost, with its three protagonists: Adam, Satan and Christ. He fi nds their illustrations and even some key elements of the plot in the Sonata’s narrative. But yet Milton’s Paradise Lost and Goethe’s Faust are both stories of the Fall and Salvation, of the cosmic struggle between good and evil. The triads of their protagonists – Adam and Eve, Satan, and Christ; Faust, Mephisto and Gretchen – are homological. Thus both interpretations of the Sonata, the Goethean and the Miltonian, or, in other words, the Faustian and the Luciferian, are parallel and complementary rather than rival. It is also highly probable that both have had their impact on the genesis of the Sonata in B minor.

A schizoanalytic reading of paradise lost and the waste land

Thèse numérisée par la Division de la gestion de documents et des archives de l'Université de Montréal