26,867 research outputs found
'The guiding hand': the progression of Milton’s thought towards Samson Agonistes
No full textThis thesis examines the development of Milton's purpose as his vocation of poetic legislator for his times informed the progress of his vision. In seeing Samson Agonistes as the culmination of a process, it illustrates the narrowing focus of Milton’s theological prescription for a godly society. Before any other concern, Milton desired man to repair his relationship with God, and urges his readers to achieve this; it may be observed throughout his polemical writing, reaching a pinnacle of clarity and urgency in the 1671 volume, and in Samson Agonistes in particular. From the assumption that unity with God's purpose was the informing principle of his writing, all of his other concerns may be observed in their rightful setting. As the foundation of Milton's political vision was virtue, the inculcation of virtue in his readership was arguably his primary motivation. This thesis addresses certain key works in order to assess the progression of this purpose towards Samson Agonistes: Areopagitica as an exemplar of his early brilliance in prose, and as a commentary on the significance of language as a weapon in the battle for truth; Eikonoklastes as a demonstration of the contemporary use of historical narrative for political ends, and as aesthetic as well as political iconoclasm; and the Second Defence as the nexus of poetry and prose in his career, where he rewrites the truth in order to glorify and defend his nation and himself His theological beliefs are discussed in the light of their importance to his vocation and vision of the regenerative potential of man. This is shown to be the guiding principle of his prose and the main subject of the final poems. The 1671 volume is examined as the immediate context of Samson Agonistes. The intertextual resonances reveal the concentration of Milton’s focus upon the paradise within. Samson Agonistes is examined also within the cultural contexts which Milton reworks in order to isolate the potential of man's spirit. Samson Agonistes is finally examined in the light of Milton's perennial concerns as a prescription for specific action. Firmly rooted in the political and theological debates of his life, it is nonetheless a call to inner revolution for his readership
Samson, Ethel. Interview about her family history.
No full textTranscript and digitized audio recording from a collection belonging to the Sir William F. Coaker Heritage Foundation. Samson offers information about her family and early life in Catalina and Port Union
Portrait of Wm. L. Bowles, author of Fourteen sonnets, 1786 [picture] /
No full textIn: Album of William Romaine Govett, 1828-1847.; Inscriptions: "Author of Fourteen sonnets, 1786"--Below drawing.; Also available online at: http://nla.gov.au/nla.pic-an4699386-s12-a1
William S. Schwartz papers 1925, ca. 1932-1935
No full textContains manuscripts of the play entitled "The Jazz Singer" by Samson Raphaelson in Yiddish and English, includes also photographs of William Schwartz in the role of the Jazz singer and general photo
Austin also must be remembered. The Augustinian legacy in Milton's work
No full textWhen I started working on this project, with a limited knowledge of Augustine, but determined to spot his presence in Miltonâs poetry, I was little aware of the intricacy of the relationship between the two authors. At this stage of my research, I do subscribe to Savoyeâs opinion, that this relationship is pervasive. However, one could safely add, it is as pervasive as it is hidden, primarily because of changed cultural paradigms, so that Miltonâs references are no longer familiar to the reader.
As I have pointed out in my presentation of the state of the art, these articulations are hardly made explicit in Miltonâs Oeuvre and also in critical literature they are hardly brought to the surface. My objective has been to make them a little more visible.
I have started my own process of discovery from the works where Milton more openly (but not completely) acknowledges his Augustinian sources, although arguably mediated. As concerns Samson Agonistes, I have presented a reading through Augustinian lenses. I am by no means claiming that mine is the best of all possible readings, but through those lenses I have been able to see a coherence, in Miltonâs dramatic poem, that is not generally recognized.
On the other hand, I thoroughly agree that âone cannot simply take any English poet and turn the post-structuralist critical machine loose on him or her in good faithâ. In particular, I am aware that I have read Miltonâs works against the current critical grain which, with a powerful turn impressed by Empsonâs Miltonâs God, is continually surfacing Miltonâs idiosyncrasies in order to cancel the received picture of a Christian author. Rather, I agree with Cirillo that Miltonâs perspective is that of âa professed Christian poet whose Christian consciousness, no matter how heterodox, colored virtually everything he wrote.â.We may ask, echoing Febvre on Rabelais, âMais de quel christianisme? In accordance with very traditional, even traditionalist Milton Criticism, I think it can safely be stated that Milton is a post-Reformation religious author, and one whose endeavour to âjustify the ways of God to menâ had to come to terms with the difficult task to find signs of providential history in the aftermath of a civil war and in the adverse context of the Restoration. His last published poems deal with this problem in different terms. As readers, we can come to different conclusions as to the texts. Behind them there is the man, âest abyssus humanae conscientiae,â in front of which, after Augustine, I can only say: "nescio"
Portrait of M. Faraday, author of Chemical manipulation [picture] /
No full textIn: Album of William Romaine Govett, 1828-1847.; Also available online at: http://nla.gov.au/nla.pic-an4699386-s14-a1
Portrait of Anna Maria Hall, author of Buccaneer [picture] /
No full textIn: Album of William Romaine Govett, 1828-1847.; Also available online at: http://nla.gov.au/nla.pic-an4699386-s11-a2
Portrait of G.R. Gleig, author of The subaltern [picture] /
No full textIn: Album of William Romaine Govett, 1828-1847.; Also available online at: http://nla.gov.au/nla.pic-an4699386-s8-a1
Samson and Delilah
No full textThe High Priest of Dagon, played by baritone William Pickett, tells Delilah, played by Belen Amparan, that Samson must die in a scene from Saint-Saens\u27 Samson and Delilah . Fort Worth Star-Telegram Morning January 20, 1967.https://mavmatrix.uta.edu/specialcollections_startelegram1960s/3581/thumbnail.jp
Marriage record of Dickman, Frederick Thibault and Lawrence, Hayes Lenox
No full textMarriage license for Frederick Thibault Dickman and Hayes Lenox Lawrence. William Wilson DeHart was the officiant
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