In his final chapter, "On the Late Style in Paradise Regained and Samson Agonistes
" Teskey argues forcefully that these works are worthy successors to Paradise Lost.
Daniel concludes his explorations of early modern literature and melancholy with a brief chapter on Milton's Samson Agonistes
. Reinvoking assemblage theory, he suggests that Samson's melancholy is never either the genial, redemptive expression of the malady or simply its black, pathological, self-destructive counterpart, but rather always "both / and"(216).
After a chapter on the 1604 A-Text of Doctor Faustus on damnation that is somewhat difficult to connect to the book's larger claims, the fifth and final chapter analyzes Milton's closet-drama Samson Agonistes
, arguing that the tragedy is the "purest expression" of "the sacrificial crisis in early modern England," which is "predicated on uncertainty over the justice of scapegoating and the sanctity of violence" (184).
Doing so certainly furthers Lynch's argument about the realization of an Arendtian public sphere in a Christian theology, but it's not clear how that argument might address current pressing questions about Samson Agonistes
, such as questions of the poem's attitude toward women or toward non-Christian traditions and peoples.
The tale's final line echoes Paradise Lost's famous ending, where Adam and Eve "through Eden took their solitary way." But Samson Agonistes
is also a crucial intertext: it shadows the quasi-Biblical nature of John Endicott's ruin of the May-Pole.
Since William Riley Parker's work on Samson Agonistes
as a Greek tragedy, no one has doubted the profound effect of Euripides's dramas on the characterization, plot, structure, and style of Samson.
The central chapters of the book focus on major poems, from Paradise Lost and Paradise Regained to Doctrine and Discipline of Divorce and Samson Agonistes
GIVEN BLAKE'S ENDURING PASSION FOR MILTON, IT IS REMARKABLE THAT he never illustrated Samson Agonistes
. Over many years he visualized every other major work of Milton's except "Lycidas," and some texts (such as the Nativity Ode and Paradise Lost) he illustrated multiply and variously.
Chapters 5 to 7, and the Conclusion, touch on Milton's dramas (Samson Agonistes
), masques (Masque Presented at Ludlow Castle), treatises (On Education), and various other poetic works (such as L'Allegro, Lycidas, and Paradise Lost).
Which 17th century English author wrote the Kingdom that are legally allowed to issue their blank verse tragedy Samson Agonistes
? own postage stamps.
There are selections from the English poems, the English sonnets, Paradise Regained, Samson Agonistes
, and the Latin poems (in Shullenberger's translations).
Donnelly's Milton's Scriptural Reasoning takes on the challenge of understanding Milton's religiously informed use of "reason," mostly as it relates to his late masterpieces, Paradise Lost, Paradise Regained, and Samson Agonistes
. Donnelly's interest is in closely recovering the biblical intertextuality of the poetry; he begins with the astute claim that "theologically oriented studies of Milton" have tended not to focus on "the biblical intertextuality whose weave makes up his poetic matter and form" (1).
Many readers have found similarly suggestive the name of Sweeney, the main character in three of the quatrain poems and the Sweeney Agonistes
fragments as well as a bit player in The Waste Land, but there has been little consensus as to what the name might actually suggest.
Paul, The Merchant of Venice, Othello, Twelfth Night, and The Tempest, as well as chapters on The Jew of Malta and Samson Agonistes
(plus a reading of Sophocles' Antigone in her Twelfth Night chapter).