Milton the Dramatist

Milton the Dramatist

Timothy J. Burbery $70.00

Published in 2007 | 206 pages | cloth | ISBN: 978-0-8207-0387-9

Reviews:

“This is now the definitive study of John Milton as a dramatist. . . . Well researched, sensitive, circumspect, and insightful, this cogent study illuminates heretofore unrecognized aspects of Milton's oeuvre. Essential.” — Choice

“Throughout, Burbery is admirably clear, attentive to the full range of critical debate, and thorough in his analysis of relevant issues. In all these ways, his book is a model of responsible literary criticism.” — Renaissance Quarterly

“This monograph has the valuable function of reminding us that the spectacle, whose details are often embedded in the text, is an important element in communicating the meaning of Milton's dramatic works.” — Milton Quarterly"

“Outstanding Academic Title”— Choice

Book Information:

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."

Author Information:

TIMOTHY J. BURBERY is professor of English at Marshall University.

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