By Mark R. Kelley, Joseph Wittreich
The essays during this quantity carry lower than scrutiny conventional interpretations of what's commonly thought of Milton's final poem. As such the essays in changing Eyes are an imitation of the writings they might remove darkness from, that's to claim that they're "methodologically adventurous, " no longer simply "assimilative, " and should do the type of paintings that a lot Milton feedback of modern many years has resisted. obvious in these kinds of essays is a deep alliance, an interdependency among historical past, literature, and concept. the following philosophy and psychology, foreign legislations, economics, ethics, felony conception, aesthetics and biblical hermeneutics, the legislation of style and standard variations, republican politics, comparative faith all come into play. as a result paths they pursue and the serious methodologies they installation, those 11 essays revise not just previous feedback but in addition each other with the identify of this quantity, changing Eyes, in its invocation of Blake's clever injunction that the attention changing alters all, serving as their highbrow and methodological, paradigm.
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Extra resources for Altering Eyes: New Perspectives on Samson Agonistes
Rushdy’s often brilliant observations are ﬁnely elaborated in The Empty Garden: The Subject of Late Milton (Pittsburgh and London: University of Pittsburgh Press, 1992). 29. Knoppers, ‘‘ ‘Sung and Proverb’d for a Fool’: Samson Agonistes and Solomon’s Harlot,’’ Milton Studies 26 (1990): 249. 30. Knoppers, Historicizing Milton, 10, 43, 61, 11–12. 31. Lana F. C. and London: Duke University Press, 1995), 42, 223, 170, 189. 32. Victoria Kahn, ‘‘Political Theology and Reason of State in Samson Agonistes,’’ South Atlantic Quarterly 95 (fall 1996): 1066, 1069, 1067, 1086–87.
DOBRANSKI EVEN A CURSORY, BIBLIOGRAPHICAL EXAMINATION OF PARADISE Regain’d and Samson Agonistes indicates that the two poems were designed to be published together in 1671. The title page of the ﬁrst edition refers to both works (Paradise Regain’d. . 2 The more complicated consideration remains whether Milton conceived Paradise Regain’d and Samson Agonistes as a cohesive whole—and in this particular order—or whether their combined publication was decided at the printing house. Although neither poem explicitly refers to the other, the two seem to share a precise, intertextual relationship that exceeds the typology of their New and Old Testament sources.
As I have argued elsewhere, if the book were set by pages and the ten lines had been discovered missing before sheet O had gone to press, the compositor could probably have reset the type, page by page, without much trouble. Adding the ten lines to O5r, he could then have lengthened the text by two lines on O5v, O6r, O6v, O7r, and O7v. Or he could have reset O5r through O8v and added the resulting ten lines to the ﬁnal sheet P before imposing the formes. If the text were cast off and set by formes, however, resetting the type might not have been possible.