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This book-length study of Milton as a dramatist fills a longstanding gap in Milton scholarship. Combining author-contextual criticism, historicized reader-response theory, and new historicism, Timothy Burbery begins by answering common objections to the claim that the poet is a dramatist, including the putatively static natures of Comus and Samson Agonistes, Milton’s egoism, and his Puritanism. Further, Burbery asserts, recent biographical evidence of Milton’s consumption of drama, such as his father’s trusteeship of the Blackfriars Theater, suggests that the future poet viewed commercial plays and thus probably alludes to these experiences in his early poetry. Exposure to the public theater may also have influenced major episodes of his own dramas, including the debate between the Lady and Comus, and Dalila’s stunning entrance in Samson.

The study then examines Milton as a practitioner of drama by analyzing Arcades and the Ludlow masque. Having mastered the conventions of masque in the former work, Milton stretched himself in Comus by composing a work that was far more playlike than any court masque. It is possible that his success with these dramas encouraged Milton to regard himself as a budding dramatist in the 1630s, for late in that decade he began sketching out ideas for tragedies on biblical subjects including the Fall, Sodom, and Abraham and Isaac. This material, found in the Trinity Manuscript, shows him working through practical problems of staging and presentation, and sets the foundation for Paradise Lost and Samson Agonistes. While Samson was “never intended for the stage,” it nonetheless embeds numerous “stage” directions in its dialogue, including information about the characters’ appearances, gestures, and blocking. Awareness of these cues sheds light on some of the current critical debates, including the terrorist reading of the tragedy and Dalila’s role. Burbery surveys the surprisingly extensive stage history of Samson, a history that tends to confirm its theatrical viability. Milton the Dramatist emphasizes Milton’s dramatic achievements and thus restores a more equitable balance to our appreciation of his total literary achievement.

Table of Contents

  1. Cover
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  1. Title Page, Copyright
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  1. Contents
  2. p. vii
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  1. Acknowledgments
  2. p. viii
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  1. Introduction
  2. pp. ix-xviii
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  1. One. Milton as Spectator, Reader, and Editor of Drama
  2. pp. 1-37
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  1. Two. Mastering Masque, Engaging Drama Arcades and Comus
  2. pp. 39-65
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  1. Three. Problem-Solving in Milton’s Biblical Drama Sketches
  2. pp. 67-93
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  1. Four. Theatrical Spectacle in Samson Agonistes Implications for the Terrorism Controversy and Other Interpretive Disputes
  2. pp. 95-149
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  1. Five. Intended for the Stage? Samson Agonistes in Performance
  2. pp. 151-163
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  1. Six. Conclusion Milton’s Achievement as a Dramatist
  2. pp. 165-174
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  1. Appendix
  2. pp. 175-177
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  1. Notes
  2. pp. 178-199
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  1. Index
  2. pp. 200-206
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