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divinely affirmed in this, unlike the rest of Milton's divinely influenced characters. Samson's inability to see that his inner vision does not correlate to divine vision is manifest in his physical blindness. It also plays on his blindness to reason, leading him to act hastily, plus the fact that he is so easily deceived by Delila, "blinded" by her feminine wiles. Some of the chorus's lines in Samson
Agonistes are rhymed, thus suggesting a return of the "chain of rhymes", which itself reflects upon Samson's imprisonment.
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points out that "Milton devotes nearly twice as many lines to the Chorus' reactions in the denouement than to the
Messenger's description of the catastrophe in order to deemphasize spectacle and performance and instead to highlight the interior drama while encouraging active interpretation of the reported events".
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Samson undergoes despair when he loses God's favour in the form of his strength. In his searching for a way to return to being true to God and to serve his will, Samson is compared to the non-conformists after the
English Restoration who are attacked and abused simply because they, according to their
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combines Greek tragedy with Hebrew
Scripture, which alters both forms. Milton believed that the Bible was better in its classical forms than those written by the Greeks and Romans. In his introduction, Milton discusses Aristotle's definition of tragedy and sets out his own paraphrase of it to connect
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After Samson rejects Dalila's pleas, she asks for Samson to "let me approach at least, and touch thy hand" (line 951), and Samson responds, "Not for thy life, lest fierce remembrance wake / My sudden rage to tear thee joint by joint" (lines 952–3). He shows Dalila how not to upset him: "At distance I
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Milton continues, "Of the style and uniformity, and that commonly called the plot, whether intricate or explicit... they only will best judge who are not unacquainted with
Aeschylus, Sophocles, and Euripides, the three tragic poets unequaled yet by any, and the best rule to all who endeavor to write
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The last two hundred and fifty lines describe the violent act that actually occurs while the play was unfolding: Samson is granted the power to destroy the temple and kill all of the
Philistines along with himself. However, this event does not take place on stage but is told through others. When the
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assumes the subjection of women, a practice to which Milton gives his unequivocal endorsement; but is there any sense in which that practice of subjection is modified by the contemporaneous form of the sexual divisions of labor?". A wife is supposed to help a husband, and the husband, regardless of
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The play, focusing around the betrayal of Samson at the hands of Dalila, his wife, produces a negative portrayal of love and love's effects. Women, and men's desire for women, are connected to idolatry against God and the idea that there is no possibility for the sacred within the bonds of marital
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as the play attempts to deal with revenge and the destruction of God's enemies. Michael Lieb posits that "the drama is a work of violence to its very core. It extols violence. Indeed, it exults in violence". John Coffey simply describes the action in the play as "a spectacular act of holy violence
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The play itself suggests the horror within the actions through descriptive phrases, including "evil news" (line 538), "this so horrid spectacle" (line 1542), "the place of horror" (line 1550) and "the sad event" (line 1551). Although Samson is the hero and he causes the violence, Elizabeth Sauer
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love. Samson, who is both holy and desirous of Dalila, is seduced into betraying the source of his strength, and thus betrays God. He is emasculated, through blindness, because of his sexual desires. The Chorus, after Dalila attempts to seduce Samson again, criticises women for being deceptive.
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Samson's blindness, however, is not exactly analogous to Milton's. Rather, Samson's blindness plays various symbolic roles. One is the correlation between Samson's inner blindness as well as outer, the fact that he believes his "intimate impulses" to be divine messages, yet is never in any way
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Tragedy, as it was anciently composed, hath been ever held the gravest, moralest, and most profitable of all other poems: therefore said by
Aristotle to be of power by raising pity and fear, or terror, to purge the mind of those and such-like passions, that is to temper and reduce them to just
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The reliance on Hebrew
Scripture allows Milton to emphasise a plot that he feels is worthy of discussion, while the elements of Greek tragedy allows Milton to deal with complex issues through use of choruses and messengers instead of directly depicting them in addition to softening the Hebrew
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measure with a kind of delight, stirred up by reading or seeing those passions well imitated. Nor is nature wanting in her own effects to make good his assertion: for so in physic things of melancholic hue and quality are used against melancholy, sour against sour, salt to remove salt humors.
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On the title page, Milton wrote that the piece was a "Dramatic Poem" rather than a drama. He did not wish for it to be performed on stage, but thought that the text could still influence people. He hoped that by giving Samson attributes of other
Biblical figures, including
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after the fall. However, Samson develops through the play and Dalila reveals that she is concerned only with her status among her people. This places Dalila in a different role from Milton's Eve. Instead, she is an emasculating force and represents Samson's past failings.
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or the
Psalmist, he could create a complex hero who would embody and help resolve theological issues. In writing the poem and choosing the character of Samson as his hero, Milton was also illustrating his own blindness, which afflicted him in his later life.
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Near the beginning of the play, Samson humbles himself before God by admitting that his power is not his own: "God, when he gave me strength, to show withal / How slight the gift was, hung it in my hair" (lines 58–9).
675:(3.22–55) and his 19th Sonnet. Many scholars have written about the impact of Milton's increasing blindness on his works. This recurrence of blindness came after Milton temporarily gave up his poetry to work for
616:, Arata Takeda points to ethical implications arising from Samson's "brutal massacre committed against civilians attending a religious feast" and the following "lyrical extolment of the suicide mass murder".
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and printed on 29 May 1671 by John Starkey. It is uncertain as to when the work was composed, which leaves the possibility that it was an early work that was filled with Milton's ideas about the
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the status of the woman, is supposed to have the superior status. In blaming Dalila, he rationalises his actions and removes blame from himself, which is similar to what Adam attempts in
179:. Samson has been captured by the Philistines, had his hair, the container of his strength, cut off and his eyes cut out. Samson is "Blind among enemies, O worse than chains" (line 66).
141:, and comments reflecting on the fall of the Commonwealth. In 1671, the work was printed with a new title page and prefaced his work with a discussion on Greek tragedy and Aristotle's
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137:. Evidence for the early dating is based on his early works and his belief in revolution whereas evidence for a later dating connects the play with his later works, such as
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government. He continued this service even though his eyesight was failing and he knew that he was hastening his own blindness. The correlation is significant to the
125:(the unholy rites at which Samson performed his vindication of God). The title he chose emphasises Samson as a warrior or an athlete, and the play was included with
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Samson's argument against Dalila is to discuss the proper role of a wife but also the superiority of men. The depiction of Dalila, and women, is similar to that in
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in 1671, as the title page of that volume states: "Paradise Regained / A Poem / In IV Books / To Which Is Added / Samson Agonistes". It is generally thought that
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608:, then, dramatizes a kind of awesome religious terror". Gordon Teskey describes the plot of the work when he says, "delirious violence of the hero of
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But he does describe Samson's past accomplishments when he says "thou art famed / To have wrought such wonders with an ass’s jaw" (lines 1094–5).
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broadcast a production of the play as part of its commemoration of the 400th anniversary of Milton's birth, adapted for radio and directed by
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The Chorus discusses how God grants individuals with the power to free his people from their bonds, especially through violent means:
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However, his state is more than just his own, and it represents a metaphor for the suffering of God's chosen people when Samson says:
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forgive thee, go with that" (line 954). The Chorus, shortly after, complains about the nature of women and how deceptive they are:
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Milton began plotting various subjects for tragedies in a notebook created in the 1640s. Many of the ideas dealt with the topic of
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Manoah describes the event as "Sad, but thou know’st to Israelites not saddest / The desolation of a hostile city" (lines 1560–1)
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612:, who cancels the Philistine hallucination of a unified and harmonious world". Against the backdrop of the challenge posed by
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Although he is great, the Chorus points out that, through his blindness (actual and metaphorically), he is a prisoner:
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but was completed after the larger work, possibly very close to the date of publishing, but there is no certainty.
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Samson reveals how he lost his power because of his desire for Dalila, and, through this act, betrayed God:
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Sauer, Elizabeth. “The Politics of Performance in the Inner Theater: Samson Agonistes as Closet Drama”, in
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1081:. Ed. Margaret Ferguson, Maurren Quilligan, and Nancy Vickers. Chicago: University of Chicago Press, 1986.
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characters. This merging of two forms alters Samson from a rough barbarian into a pious warrior of God.
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and revenge". Likewise, David Loewenstein remarks that "the destruction and vengeance depicted in
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1129:. ed. William Kerrigan, John Rumrich, and Stephen Fallon. New York: The Modern Library, 2007.
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The Chorus discusses Samson's background and describes his various military accomplishments:
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13–16; in fact it is a dramatisation of the story starting at Judges 16:23. The drama starts
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Ed. Stephen B. Dobranski & John Rumrich. Cambridge: Cambridge University Press, 1998.
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Coffey, John. "Pacifist, Quietist, or Patient Militant? John Milton and the Restoration"
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1106:. Ed. Michael Lieb and Albert C. Labriola. Pittsburgh: Duquesne University Press, 2006.
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Rewriting the Renaissance: The Discourses of Sexual Difference in Early Modern Europe
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The final lines describe a catharsis that seems to take over at the end of the play:
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790:(II ed.). London: John Starkey at the Mittre in Fleetstreet, near Temple Bar
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Di Salvo, Jackie. "Intestine Thorn: Samson's Struggle with the Woman Within" in
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temple's destruction is reported, there is an emphasis on death and not peace:
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Loewenstein, David. "Samson Agonistes and the Culture of Religious Terror" in
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1162:"Suicide bombers in Western literature: Demythologizing a mythic discourse"
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Paradise Regained; A Poem in IV Books; To Which is Added Samson Agonistes
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Milazzo, Chris. "Notre Dame Theater Performance Explores Disability."
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An etching of Samson destroying the temple, from an 1882 German Bible
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1062:. Ed. Julia Walker. Urbana: University of Illinois Press, 1988.
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or it was a later work that incorporates his despair over the
21:"Agonistes" redirects here. For the T. S. Eliot drama, see
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As blindness overtook Milton, it becomes a major trope in
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states and then asks, "We scarcely need to observe that
1099:. Ed. Thomas Corns. Oxford: Blackwell Publishing, 2003.
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Samson Agonistes' and the Sexual Division of Labor" in
1069:. Ed. Thomas Corns. Oxford: Blackwell Publishing, 2003.
1041:. Ed. Thomas Corns. Oxford: Blackwell Publishing, 2003.
1127:
The Complete Poetry and Essential Prose of John Milton
250:(Which men enjoying sight oft without cause complain)
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Chor. Best keep together here, lest running thither
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Man. I know your friendly minds and – O what noise!
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Delirious Milton: The Fate of the Poet in Modernity
691:, a phrase that has become the most quoted line of
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Blood, death, and dreadful deeds are in that noise,
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459:Chor. Thy son is rather slaying them; that outcry
305:Or to th' unjust tribunals, under change of times,
1065:Guibbory, Achsah. "Milton and English Poetry" in
451:Man. Of ruin indeed methought I heard the noise.
199:Of brazen shield and spear, the hammered cuirass,
117:("Samson the Firebrand, or Samson the Violent"),
1157:. Lexington: University Press of Kentucky, 1993.
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329:Seeming at first all heavenly under virgin veil,
314:With sickness and disease thou bow'st them down,
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599:Acts of violence are an important theme within
66:. It appeared with the publication of Milton's
1143:. Princeton: Princeton University Press, 1978.
1873:Gideon and Samson: Great Leaders of the Bible
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437:Chor. Noise call you it, or universal groan,
429:Mercy of Heav’n, what hideous noise was that!
335:Once joined, the contrary she proves, a thorn
308:And condemnation of the ingrateful multitude.
8:
1475:Judgement of Martin Bucer Concerning Divorce
484:From whom could else a general cry be heard?
467:Man. Some dismal accident it needs must be;
353:To folly and shameful deeds which ruin ends.
1046:The Complete Poetical Works of John Milton.
470:What shall we do, stay here or run and see?
462:From slaughter of one foe could not ascend.
285:Might easily have shook off all her snares:
227:Then with what trivial weapon came to hand,
202:Chalybean-tempered steel, and frock of mail
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506:With peace and consolation hath dismissed,
414:Lose their defence, distracted and amazed.
1175:. London: Harvard University Press, 2006.
1089:. London: Cornell University Press, 1994.
408:Swift as the lightning glance he executes
341:A cleaving mischief, in his way to virtue
283:Who with a grain of manhood well resolved
279:I yielded, and unlocked her all my heart,
230:The jaw of a dead ass, his sword of bone,
196:Made arms ridiculous, useless the forgery
699:used it as the title for his 1936 novel
659:own view, serve God in the correct way.
503:Of true experience from this great event
454:Oh it continues, they have slain my son.
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1048:Boston: Houghton Mifflin Company, 1965.
776:
687:plot: Milton describes Samson as being
481:This evil on the Philistines is fall’n;
432:Horribly loud, unlike the former shout.
411:His errand on the wicked, who surprised
399:Their armouries and magazines contemns,
344:Adverse and turbulent, or by her charms
311:If these they scape, perhaps in poverty
244:Thou art become (O worst imprisonment!)
1596:Methought I Saw my Late Espoused Saint
446:Ruin, destruction at the utmost point.
440:As if the whole inhabitation perished?
373:But by the barber’s razor best subdued
326:Whate'er it be, to wisest men and best
293:Rewarded well with servile punishment!
1582:When I Consider How My Light is Spent
812:qtd and trans. Achinstein 2003 p. 411
367:For valor to assail, nor by the sword
190:Ran on embattled armies clad in iron,
7:
1762:Samson Threatening His Father-In-Law
767:by Handel is based on Milton's poem.
509:And calm of mind, all passion spent.
478:We unawares run into danger’s mouth.
338:Intestine, far within defensive arms
256:In real darkness of the body dwells,
1508:The Tenure of Kings and Magistrates
1333:On the Morning of Christ's Nativity
1155:John Milton: The Self and the World
393:With plain heroic magnitude of mind
350:With dotage, and his sense depraved
291:To honor and religion! Servile mind
289:Her bond-slave. O indignity, O blot
1470:Doctrine and Discipline of Divorce
1087:Milton and the Culture of Violence
360:Harapha points out that Samson is
287:But foul effeminancy held me yoked
119:Samson marriing or in Ramath Lechi
113:, and he gave them titles such as
76:was begun around the same time as
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247:The Dungeon of thy self; thy soul
101:(1671), the first publication of
2160:Plays based on the Old Testament
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1589:On the Late Massacre in Piedmont
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500:His servants he with new acquist
262:To incorporate with gloomy night
1447:The Reason of Church-Government
1191:with study aides, presented by
115:Samson pursophorus or Hybristes
217:Samson Slays 1,000 Philistines
1:
2170:Cultural depictions of Samson
1518:Defensio pro Populo Anglicano
1141:: the Growth of Milton's Mind
221:Julius Schnorr von Karolsfeld
16:Tragedy by John Milton (1671)
1060:Milton and the Idea of Woman
1778:The Wedding Feast of Samson
1722:Samson Slaying a Philistine
1647:Milton: A Poem in Two Books
1222:public domain audiobook at
1166:Contemporary Justice Review
1112:College of Arts and Letters
844:Radzinowic 1978 pp. 188–260
821:Achinstein 2003 pp. 411–412
402:Renders them useless, while
332:Soft, modest, meek, demure,
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1012:Shawcross 1993 pp. 165–166
994:Shawcross 1993 pp. 227–228
530:Manoa the Father of Samson
396:And celestial vigor armed;
259:Shut up from outward light
20:
2038:
1528:A Treatise of Civil Power
1305:
1117:14 September 2015 at the
1104:Milton in the Age of Fish
1021:Di Salvo 1998 pp. 211–229
268:Puts forth no visual beam
233:A thousand foreskins fell
1636:Edward Phillips (nephew)
1437:Of Prelatical Episcopacy
1199:The text of Judges 13–16
390:And feats of war defeats
193:And, weaponless himself,
169:from the Old Testament,
1452:Apology for Smectymnuus
985:Guibbory 2003 pp. 87–88
949:Loewenstein 2006 p. 227
726:. Samson was played by
634:Milton's divorce tracts
387:He all their ammunition
347:Draws him awry enslaved
1770:The Blinding of Samson
1725:(Giambologna, c. 1562)
1654:Neo-Miltonic syllabics
1641:John Phillips (nephew)
1614:De Doctrina Christiana
1557:The History of Britain
1533:The Ready and Easy Way
671:, and is seen also in
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405:With winged expedition
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253:Imprisoned now indeed,
236:(lines 129–134, 142–4)
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165:draws on the story of
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2165:Poetry by John Milton
2004:" (The Dresden Dolls)
1424:Antiprelatical tracts
1340:Upon the Circumcision
1186:The complete text of
1168:13.4 (2010): 455–475.
1133:Radzinowicz, Mary Ann
1097:A Companion to Milton
1067:A Companion to Milton
1039:A Companion to Milton
1033:Achinstein, Sharon. "
886:Patterson 2003 p. 290
784:Milton, John (1671).
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265:For inward light alas
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2027:Samson & Goliath
1983:" (traditional song)
1733:(Rubens, c. 1609–10)
1631:John Milton (father)
1003:Guillory 1986 p. 106
742:, Public Officer by
718:On 14 December 2008
370:Of noble warrior ...
2112:Samson coat of arms
2087:Rabbinic literature
1075:. "Dalila's House:
1055:42 (2002): 149–174.
1044:Bush, Douglas, ed.
862:Guibbory 2003 p. 88
835:Lewalski 2003 p. 19
364:... no worthy match
47:Σαμσών ἀγωνιστής, "
2011:" (Regina Spektor)
1981:Samson and Delilah
1973:Samson and Delilah
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1738:Samson and Delilah
1730:Samson and Delilah
1574:Individual sonnets
1203:King James Version
967:Takeda 2010 p. 465
940:Coffey 2002 p. 168
913:Milton 2007 p. 708
904:Milton 2007 p. 707
895:Teskey 2006 p. 144
874:Keeble 2003 p. 131
853:Teskey 2006 p. 131
750:and the Chorus by
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1279:Reception history
1193:Dartmouth College
1153:Shawcross, John.
1148:Milton and Heresy
1093:Lewalski, Barbara
976:Sauer 1998 p. 208
689:"Eyeless in Gaza"
614:suicide terrorism
545:Chorus of Danites
512:(lines 1755–1758)
356:(lines 1034–1043)
205:Adamantean proof;
131:English Civil War
127:Paradise Regained
98:Paradise Regained
78:Paradise Regained
69:Paradise Regained
23:Sweeney Agonistes
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702:Eyeless in Gaza
677:Oliver Cromwell
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1432:Of Reformation
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2097:Samson Option
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738:, Harapha by
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736:Samantha Bond
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673:Paradise Lost
670:
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647:Paradise Lost
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638:John Guillory
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563:George Hayter
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139:Paradise Lost
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2155:Closet drama
2121:
2092:Rock of Etam
2077:Hazzelelponi
2025:
1990:" (Gershwin)
1971:
1963:
1949:(Jabotinsky)
1944:
1937:
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1550:Of Education
1548:
1503:Areopagitica
1480:Tetrachordon
1411:
1404:
1403:
1396:
1389:
1382:Il Penseroso
1359:
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1324:
1274:Poetic style
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849:
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800:Google Books
798:– via
792:. Retrieved
786:
779:
762:
756:Sean Barrett
752:Simon Treves
740:Philip Madoc
734:, Dalila by
724:John Tydeman
707:
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681:Commonwealth
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60:closet drama
39:
38:
37:
27:
18:
2107:Samson Unit
1650:(1804–1810)
1485:Colasterion
1347:The Passion
1260:John Milton
730:, Manoa by
720:BBC Radio 3
713:Productions
695:. Novelist
522:The Persons
135:Restoration
64:John Milton
2150:1671 poems
2145:1671 books
2139:Categories
2019:Television
1916:Literature
1804:Doc Samson
1706:depictions
1294:Early life
1028:References
587:tragedy".
93:Title page
84:Background
1375:L'Allegro
794:9 October
728:Iain Glen
693:Agonistes
685:Agonistes
663:Blindness
542:Messenger
123:Dagonalia
1968:(Handel)
1941:(Milton)
1704:Cultural
1606:Disputed
1289:Politics
1284:Religion
1224:LibriVox
1115:Archived
679:and the
654:Religion
636:and, as
595:Violence
55:") is a
53:champion
2062:Delilah
2002:Delilah
1624:Related
1368:Lycidas
1354:Arcades
143:Poetics
2067:Manoah
2009:Samson
1995:Samson
1965:Samson
1946:Samson
1908:(2018)
1905:Samson
1900:(1996)
1892:(1991)
1884:(1984)
1876:(1965)
1868:(1961)
1865:Samson
1860:(1953)
1852:(1949)
1844:(1922)
1836:(1914)
1833:Samson
1816:Samson
1797:Comics
1696:Samson
1317:Poetry
1267:Topics
1137:Toward
764:Samson
573:it to
565:, 1821
550:Themes
527:Samson
171:Judges
167:Samson
121:, and
111:Samson
57:tragic
49:Samson
43:(from
2117:Crane
2057:Bedan
2050:Other
1957:Music
1857:Aurat
1412:Poems
1361:Comus
1325:Poems
1205:) at
1037:" in
772:Notes
624:Women
45:Greek
2101:book
1825:Film
1414:1673
1327:1645
796:2023
754:and
517:Cast
158:Play
51:the
1714:Art
208:...
151:Job
95:of
62:by
2141::
1932:16
1928:13
1164:.
1135:.
879:^
867:^
826:^
705:.
577::
145:.
2103:)
2099:(
2007:"
2000:"
1993:"
1986:"
1979:"
1930:–
1688:e
1681:t
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1373:"
1370:"
1366:"
1252:e
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1209:.
1201:(
1195:.
802:.
758:.
105:.
25:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
