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• W913862264 abstract "Everyone associated with Papers on Language & Literature and the English Department at Southern Illinois University Edwardsville was saddened by the news of the passing of Professor Stella Revard. She was for many years the most distinguished member of the department's faculty, and she was always a firm friend and ardent supporter of PLL. Revard's work is well known among scholars in her own field, Milton studies, and has been influential beyond it. In more than 70 publications, including Politics, Poetics, and the Pindaric Ode: 1450-1700, Milton and the Tangles of Neaera's Hair: The Making of the 1745 Poems, and The War in Heaven: Paradise Lost and the Tradition of Satan, 's Rebellion, she displayed erudition, wit, and an admirable sensitivity to minds shaped by cultures very different from our own. She did not, however, write only for her fellow scholars. She was especially proud of having written the entry on the epic for The New Princeton Encyclopedia of Poetry and Poetics, because it would be read by generations of students. Professor Revard served on the editorial board of PLL for many years, and supported the journal with both advice and financial contributions, while never asking anything of it except that it continue publication. In her academic and scholarly work, Stella Revard left a legacy that will endure. --Brian Abel Ragen PLL Editor, 1992-2008 Since William Riley Parker's work on Samson Agonistes as a Greek tragedy, no one has doubted the profound effect of Euripides's dramas on the characterization, plot, structure, and style of Samson. (1) Yet the implication of this Greek model on the nature and development of Dalila as a character has, I think, escaped serious consideration. True, Dalila is often compared to such Euripidean characters as Medea or Helen in The Trojan Women, but such comparisons usually are confined to source study and do not approach the deeper matter of the make-up of a female characterization nor evaluate why Milton should have chosen to make the leading female in his drama of Hebrews and Philistines so closely resemble the kind of complex woman we find again and again in Euripides's dramas that set forth political conflicts in Greek societies. (2) By the time Milton came to write Samson, he had long been a student of Euripidean drama. His copy of Euripides's tragedies (Paulus Stephanus, 1602), purchased in 1634 and extant in the Bodleian Library, is carefully and copiously annotated in his own hand, attesting that he had read all eighteen of Euripides's surviving plays and read them thoroughly. (3) The range of female character in Euripides is broad, and Euripides studies women not only in their personal lives as wives, mothers, daughters, sisters, not only as they are involved with men in love conflicts, but also as they figure in the political life of their time. Further, since many of his women appear in more than one play (Andromache, Helen, Hecuba, Electra, Iphigeneia--to name only a few), he has the opportunity to study them not once, but as they develop and react to a variety of situations. Euripides's women are complex; his noble women are not without faults, his wicked wives not without virtues or motivations that would explain their wickedness. Further, his women do not merely stand back and suffer injustice--noble or ignoble, in love or war or both, they know how to speak up for themselves, to explain, to justify, to present compelling arguments. Although born into a culture (Euripides presents Greek and Asiatic society alike) where they are without political rights, women in Euripides's plays are vocal in criticizing the system that controls them; and though technically impotent (witness Medea, Helen, and even Andromache), they often succeed not only in affecting dramatically, but also in bringing down the very society that regards them as mere property. Consistently in his plays Euripides focuses on three aspects of interest: on the female nature itself, how women as sexual beings differ from men; second, how love affects the behavior of women and how they use it to gain power over-men; and finally, how women fit into the male system of government, politics, and war, where men seek to use them only as pawns of power. …" @default.
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• W913862264 title "Dalila as Euripidean Heroine" @default.
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