RAPHAEL ON TRIAL: DIGESTIVE ONTOLOGY AND MILTON'S ABSOLUTION OF GOD.

This paper reconsiders monist materialism in Milton criticism by addressing three issues in Paradise Lost: Raphael's ethos, Raphael's logos, and Milton's utilization of both for his poetic theodicy. It pays particular attention to the dubious functions of the ethical and logical flaws in Raphael's o...

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Publicado en:Comitatus: A Journal of Medieval & Renaissance Studies Vol. 51; pp. 213 - 237
Autor principal: Oh, Unjoo
Formato: Artículo
Publicado: University of California at Los Angeles, Center for Medieval & Renaissance Studies 2020
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Acceso en línea:Ver este registro en EBSCOhost
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      dt: 2020
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      pub: University of California at Los Angeles, Center for Medieval & Renaissance Studies
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        atl: RAPHAEL ON TRIAL: DIGESTIVE ONTOLOGY AND MILTON'S ABSOLUTION OF GOD.
      aug:
        au: Oh, Unjoo
        affil: Department of English, Sogang University, 35 Baekbeom-ro, Mapo-gu, Seoul, Republic of Korea 04107, Jeong Hasang Hall, J828
      su:
        Ontological proof of God
        Monism
        Materialism
        Fallibility
        Theodicy
        Narration
      sug:
        subj:
          Ontological proof of God
          Monism
          Materialism
          Fallibility
          Theodicy
          Narration
      keyword:
        angels
        digestion
        fallibility
        monist materialism
        narrative
        ontology
        problem of evil
        theodicy
      ab: This paper reconsiders monist materialism in Milton criticism by addressing three issues in Paradise Lost: Raphael's ethos, Raphael's logos, and Milton's utilization of both for his poetic theodicy. It pays particular attention to the dubious functions of the ethical and logical flaws in Raphael's ontological discourse. This discourse--which I describe as "digestive ontology"--revolves around the concepts of universal materiality and digestive sublimation. It is also what forms the evidential basis of monist materialism. I argue that Raphael's digestive ontology is crucial to Milton's creative objective, precisely because of its numerous dissonances. These dissonances are necessary for Milton's incorporation of God into a narrative and his concomitant absolution of God, as they prompt readers to find the fallible Raphael, not the infallible God, accountable for the Fall. Raphael is thus the crux of Milton's resolution of the metaphysical, epistemological, and theological crises that the problem of evil and the conflicts between narrative and theodicy inevitably present.
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    language: English
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