By Mark R. Kelley, Joseph Wittreich
The essays during this quantity carry lower than scrutiny conventional interpretations of what's extensively thought of Milton's final poem. As such the essays in changing Eyes are an imitation of the writings they'd remove darkness from, that is to claim that they're "methodologically adventurous, " no longer in basic terms "assimilative, " and should do the type of paintings that a lot Milton feedback of contemporary many years has resisted. glaring in some of these essays is a deep alliance, an interdependency among historical past, literature, and conception. right here philosophy and psychology, overseas legislation, economics, ethics, felony concept, aesthetics and biblical hermeneutics, the legislation of style and time-honored changes, republican politics, comparative faith all come into play. end result of the paths they pursue and the severe methodologies they set up, those 11 essays revise not just earlier 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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Additional info for Altering Eyes: New Perspectives on Samson Agonistes
A. Coleridge, A Descriptive Catalogue, 224–25. 10. I previously discussed the Omissa in ‘‘Samson and the Omissa,’’ Studies in English Literature, 1500–1900 36 (winter 1996): 149–69, and chapter 2 of Dobranski, Milton, Authorship, and the Book Trade (Cambridge and New York: Cambridge University Press, 1999). I am borrowing from both of these sources in the ﬁrst part of this essay where I describe the Omissa’s origin. 11. In ten out of the twelve modern editions of the poem that I examined, the editors do not mention that they have inserted the text.
See Mary Ann Radzinowicz, Toward ‘‘Samson Agonistes’’: The Growth of Milton’s Mind (Princeton: Princeton University Press, 1978), 227–60; John T. Shawcross, ‘‘Paradise Regain’d’’: Worthy T’Have Not Remain’d So Long Unsung (Pittsburgh: Duquesne University Press, 1988), 102–15; and Joseph Wittreich, Interpreting ‘‘Samson Agonistes’’ (Princeton: Princeton University Press, 1986), 329–85; this quotation, 349. A version of Shawcross’s argument also appears in ‘‘The Genres of Paradise Regain’d and Samson Agonistes,’’ in Composite Orders: The Genres of Milton’s Last Poems, ed.
Stephen B. Dobranski and John P. Rumrich (Cambridge and New York: Cambridge University Press, 1998), 219–43; and Bennett, Reviving Liberty: Radical Christian Humanism in Milton’s Great Poems (Cambridge: Harvard University Press, 1989). 39. Bennett, Reviving Liberty, 157. 40. , 169. ’’ See Samuels, ‘‘Labor in the Chambers: Paradise Regained and the Discourse of Quiet,’’ Milton Studies 36 (1998): 153–76; these quotations, 169, 172. 41. , 1 (spring 1990): 24–39. Hill, like Bennett, takes issue with various aspects of Wittreich’s argument—but acknowledges that ‘‘I have erred in the past in attributing to Milton an unequivocally triumphalist interpretation of the Samson story’’ (35).