Milton Conference 11/3-5/17


SAMLA 89 Conference, Atlanta, GA. November 3-5


Milton: This panel welcomes scholarly papers on any subject pertaining to John Milton. Paper proposals addressing the SAMLA 89 theme, “High Art/Low Art: Borders and Boundaries in Popular Culture,” are especially welcome. Potential topics include Milton and popular culture, Milton in performance, Milton’s prose as high or low art, Milton and multimedia or digital humanities, artistic renderings of Milton or his works, and musical or literary reinterpretations. By June 21, please submit a 250-word abstract, a brief bio, and A/V requirements to Dr. Matt Dolloff, Georgia State University, at or Dr. Olin Bjork, University of Houston–Downtown, at


"Paradise Lost" Another Screening?

According to Stewart Clarke in Variety, Martin Freeman will be executive producer for a TV adaptation of Paradise Lost, and he may also appear on screen. Freeman said: “’Paradise Lost’ is epic, exciting, and surprisingly modern. And maybe the first time the devil gets all the best tunes!” Production company Dancing Ledge signed Freeman, and its CEO Laurence Bowen described Paradise Lost as “a biblical Game Of Thrones” involving “an internecine world of political intrigue and incredible violence.”

Theatrical Milton: A Fresh Study



Milton Revealed takes great pleasure in announcing the publication of a major development in its field by one of its principal contributors, Brendan Prawdzik, who created the site's bibliography on Milton and Theatricality, which has been oe of its most visited items. Here are the details of the publication:


Theatrical Milton: Politics and Poetics of the Staged Body

Brendan Prawdzik

Series: Edinburgh Critical Studies in Renaissance Culture    Copyright Date: 2017   Published by: Edinburgh University Press    Pages: 256 Stable URL:    ISBN: 978-1-4744-2102-7

Theatrical Milton  Book Description:

Shakespeare and Milton

Shakespeare and Milton

The recent Milton anniversary triggered some interesting discussions of his current literary status, particularly in comparison with Shakespeare’s. One is recorded on YouTube at:

“Shakespeare vs Milton: The Kings of English Literature Debate”

Another more focused comparison by Hugh Richmond appears at under the heading:

Proto-Feminism: Seductions in Shakespeare and Milton

Comments are most welcome at

Milton's Cottage Trust

Terrance Lindall via Check out the online Milton Brochure of the Yuko Nii Foundation Milton Collection here:

Dear Miltonists:

As some of you know, John Dugdale Bradley, Trustee of Milton’s Cottage Trust, Buckinghamshire England, has been invited to speak at the Milton Society of America's annual dinner in Philadelphia on 7th January 2017 to launch the Paradise Maintain’d Endowment Fund. This aims to raise Permanent Endowment Funds of $5,000,000 over the next 2 years to sustain Milton’s Cottage museum, literary garden and its remarkable history. See

How would Milton Feel? via

Thank you, Hugh for the review. I saw the production last night and overheard on exiting the theatre: "Milton's probably turning in his grave, the old sod. Well, serves him right". I'm interested in the comment about communicating the author's original point-of-view: what do you think Milton would have made of the production? Or is that the wrong question to be asking? Best, Michelle

Dear Michelle:
As I said in my review the idealism of many parts of Comus was often presented ironically in the performance - even the attempts at seduction were unconvincing. Much of the action was crude and brutal. As to exactly how Milton might have reacted to these elements of the performance, we get a clue from his reactions to similarly crude performances in his time at his own university:

John Milton’s "Comus" at the Wanamaker Playhouse

The temporary reign of Emma Rice as Artistic Director of Shakespeare’s Globe has been sustained by a lively production in the indoor Wanamaker Theatre of John Milton’s masque, Comus, which validates the work’s unexpectedly long professional performance history (shown by the program notes of Jan Piggott). Despite charges against Rice of repudiating one of the Globe’s historical missions of recreating original performance styles, this production, directed by Lucy Bailey, was visually authentic: costumes were Caroline, and the performance made use of characteristic devices from the Inigo Jones/Ben Jonson masque tradition from which Milton’s script directly derived.

"Lycidas" Celebrated

"Lycidas" Celebrated

The Mensa meeting in Chicago on October 29-November 1 includes a Milton item illustrating Milton’s remarkable modern currency, with a presentation of "a definitive reading of his 'Lycidas' “ by John Scanlon. Details of his presentation can be found at, The full program of the Mensa conference is at

New Milton Course at the Osher Institute U.C. Berkeley

Osher Lifelong Learning Institute : 26 January - 1 March 2016: Mondays 1-3 p.m. in room 41B University Hall, U.C. Berkeley

Instructor: Hugh Macrae Richmond, Professor of English Emeritus UCB, D.Phil (Oxford U.) B.A. (Cambridge U.). Author of The Christian Revolutionary: John Milton; and John Milton’s Drama of Paradise Lost. Producer of performances of Comus, Paradise Lost and of the video documentary Milton by Himself.


"Paradise Lost" Series in the Guardian (London newspaper)

Michael Gillum mgillum at reports, in the Milton-L blog, that there is an eight-part series of essays on John Milton in the London Guardian newspaper not found in JSTOR. He observes that they have a lucid, poised approach which may be appropriate for undergraduate background-reading. The author is an Anglican priest, formerly Fellow in English at Cambridge.

The reference is