Details

Autor(en) / Beteiligte

• Leo, Russ

Titel

Milton's Aristotelian Experiments: Tragedy, “Lustratio”, and “Secret refreshings” in “Samson Agonistes” (1671)

Ist Teil von

• Milton studies, 2011-01, Vol.52, p.221-252

Ort / Verlag

University Park: Duquesne University Press

Erscheinungsjahr

2011

Link zum Volltext

Quelle

ProQuest_Literature Online_英美文学在线

Beschreibungen/Notizen

• [Tragedy is the imitation of an action that is complete and that has proper dignity; with fit language to move desire; in such a way that distinct types of speech, in equal parts, each have a place; is not without direction or an end, but through pity and fear directs the expiation of similar perturbations. [...]I understand by "language to move desire" that form of language tíiat works through rhythm, harmony, and meter.]7 Heinsius supplemented his Latin translation with a detailed study of tragedy, De tragoediae constitvtione liber (published in 1611 and again in 1643), a work that bore considerable influence across northern Europe in the seventeenth century.8 It was not only a crucial reference for continental poets, including Hugo Grotius (Hugo de Groot), Martin Opitz, and Jean Racine, but also for numerous English luminaries, from Ben Jonson to Dryden.9 John Milton and his circle looked favorably upon Heinsius, a scholar of great renown who delved into poetry in addition to the study of classical languages. Where Aristotle understands the task of the poet as representing not things that exist, but as they exist, Heinsius follows him in investing anagnorisu with due philosophical significance. [...]Vossius follows Heinsius directly as he attends to the theological significance of peripeteia and agnitione with respect to plot, using the story of Joseph's betrayal and the eventual revelation of his identity to his brothers (Gen. 37-45) to illustrate how even "although peripetia can exist without recognition [agnitione], and there is sometimes recognition [agnitio] without peripetia, we are not dealing here with mere recognition [agnitio simplex], but one that contains a peripetia [which makes use of a conversion, or a sudden change in the opposite direction] . [...]gods appear in order to explain or unveil future events; this is much more rare and it is here that Heinsius summarizes Aristotle's comments on the placement of such contrivances within the tragic plot: "contrivance [machina] has to be employed in the complication [connexione] unless the subject demands it and this cannot be avoided" (PT 67; CT 230). [...]the term secret, so salient to the scriptural Samson story, refers specifically to human actions and affects - particularly to Samson's error in divulging the secret source of his strength - in every other iteration throughout the poem.47 When the Chorus describes Dalila's effect on Samson, for instance, "secret" is used to make a causal relationship more clear, not to obscure the affective relations between former lovers: