Reisner examines Milton's raising the question of whether he may "express [the Holy Light] unblamed
," and his alluding to the myth of Philomela and so harnassing and redirecting the myth's violent energy toward "the object of the ineffable mysterium" (187).
As Shelley describes, Euthanasia has developed an idealized image of Castruccio that has also influenced her own self-image: "How I dwelt on his idea, his image, his virtues, with unblamed
affection: how it was my glory, my silent boast, when in solitude, my eyes swam in tears, and my cheek glowed, to reflect that I loved him, who transcended his kind in wisdom and excellence!" (Valperga 266).