By Mark R. Kelley, Joseph Wittreich
The essays during this quantity convey 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 might light up, that's to claim that they're "methodologically adventurous, " now not in basic terms "assimilative, " and should do the type of paintings that a lot Milton feedback of contemporary many years has resisted. obtrusive in these kind of essays is a deep alliance, an interdependency among historical past, literature, and thought. the following philosophy and psychology, foreign legislation, economics, ethics, felony thought, aesthetics and biblical hermeneutics, the legislation of style and general ameliorations, 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 earlier feedback but in addition each other with the name 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
2. Paradise Regain’d. . To which is added Samson Agonistes (1671) is an octavo of 110 leaves, which collates A2B-O8P4 [$4 signed (-A1, A2, E3, P3, P4)]. The pagination is as follows: 110 leaves (pp. i–iv, 1–111 112; 1–2 3–7 8 9–101 102–4). The collation suggests that the compositor may have imposed the ﬁnal gathering P with the preliminaries, A1 and A2, which would account for six of the eight leaves in this sheet. Presumably, the printer could have used the two remaining leaves for cancels to correct, for example, the omission of the ten lines on O5r.
While the separate publication of Samson Agonistes was a phenomenon of the late eighteenth century, a Dublin edition of 1724 ﬁrst paired Paradise Lost . . Together with Paradise Regain’d in two volumes that could be sold separately. See K. 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).
The printed line numbers along the left margins further suggest that the Omissa does not represent a compositor’s error. 24 While imposing the pages, the compositor could then have veriﬁed the alignment with the line-numbering in the manuscript, a procedure that would have .......................... 9236$$ $CH1 05-14-02 10:23:20 PS 36 ALTERING EYES presumably prevented him from missing ten nonconsecutive lines of text. It is even less plausible that the Omissa represents an oversight if the manuscript were cast off before being set.