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    Samson Agonistes
    Samson Agonistes
    Samson Agonistes
    Ebook73 pages53 minutes

    Samson Agonistes

    By John Milton

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    About this ebook

    John Milton was an English poet and civil servant for the Commonwealth of England.Miltons poetry was heavily influenced by the political issues of his day.Miltons most famous poems are Paradise Lost and Paradise Regained.This version of Miltons Samson Agonistes includes a table of contents.
    LanguageEnglish
    PublisherCharles River Editors
    Release dateMar 22, 2018
    ISBN9781629213828
    Author

    John Milton

    John Milton was a seventeenth-century English poet, polemicist, and civil servant in the government of Oliver Cromwell. Among Milton’s best-known works are the classic epic Paradise Lost, Paradise Regained, considered one of the greatest accomplishments in English blank verse, and Samson Agonistes. Writing during a period of tremendous religious and political change, Milton’s theology and politics were considered radical under King Charles I, found acceptance during the Commonwealth period, and were again out of fashion after the Restoration, when his literary reputation became a subject for debate due to his unrepentant republicanism. T.S. Eliot remarked that Milton’s poetry was the hardest to reflect upon without one’s own political and theological beliefs intruding.

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      Book preview

      Samson Agonistes - John Milton

      Samson Agonistes

      Of that sort of Dramatic Poem which is call’d Tragedy.

      TRAGEDY, as it was antiently compos’d, hath been ever held the gravest, moralest, and most profitable of all other Poems: therefore said by Aristotle to be of power by raising pity and fear, or terror, to purge the mind of those and such like passions, that is to temper and reduce them to just measure with a kind of delight, stirr’d up by reading or seeing those passions well imitated. Nor is Nature wanting in her own effects to make good his assertion: for so in Physic things of melancholic hue and quality are us’d against melancholy, sowr against sowr, salt to remove salt humours. Hence Philosophers and other gravest Writers, as Cicero, Plutarch and others, frequently cite out of Tragic Poets, both to adorn and illustrate thir discourse. The Apostle Paul himself thought it not unworthy to insert a verse of Euripides into the Text of Holy Scripture, I Cor. 15. 33. and Paraeus commenting on the Revelation, divides the whole Book as a Tragedy, into Acts distinguisht each by a Chorus of Heavenly Harpings and Song between. Heretofore Men in highest dignity have labour’d not a little to be thought able to compose a Tragedy. Of that honour Dionysius the elder was no less ambitious, then before of his attaining to the Tyranny. Augustus Caesar also had begun his Ajax, but unable to please his own judgment with what he had begun, left it unfinisht. Seneca the Philosopher is by some thought the Author of those Tragedies (at lest the best of them) that go under that name. Gregory Nazianzen a Father of the Church, thought it not unbeseeming the sanctity of his person to write a Tragedy which he entitl’d, Christ suffering. This is mention’d to vindicate Tragedy from the small esteem, or rather infamy, which in the account of many it undergoes at this day with other common Interludes; hap’ning through the Poets error of intermixing Comic stuff with Tragic sadness and gravity; or introducing trivial and vulgar persons, which by all judicious hath bin counted absurd; and brought in without discretion, corruptly to gratifie the people. And though antient Tragedy use no Prologue, yet using sometimes, in case of self defence, or explanation, that which Martial calls an Epistle; in behalf of this Tragedy coming forth after the antient manner, much different from what among us passes for best, thus much before-hand may be Epistl’d; that Chorus is here introduc’d after the Greek manner, not antient only but modern, and still in use among the Italians. In the modelling therefore of this Poem with good reason, the Antients and Italians are rather follow’d, as of much more authority and fame. The measure of Verse us’d in the Chorus is of all sorts, call’d by the Greeks Monostrophic, or rather Apolelymenon, without regard had to Strophe, Antistrophe or Epod, which were a kind of Stanza’s fram’d only for the Music, then us’d with the Chorus that sung; not essential to the Poem, and therefore not material; or being divided into Stanza’s or Pauses they may be call’d Allaeostropha. Division into Act and Scene referring chiefly to the Stage (to which this work never was intended) is here omitted.

      It suffices if the whole Drama be found not produc’t beyond the fift Act, of the style and uniformitie, and that commonly call’d the Plot, whether intricate or explicit, which is nothing indeed but such oeconomy, or disposition of the fable as may stand best with verisimilitude and decorum; they only will best judge who are not unacquainted with Aeschulus, Sophocles, and Euripides, the three Tragic Poets unequall’d yet by any, and the best rule to all who endeavour to write Tragedy. The circumscription of time wherein the whole Drama begins and ends, is according to antient rule, and best example, within the space of 24 hours.

      The Argument.

      Samson made Captive, Blind, and now in the Prison at Gaza, there to labour as in a common work-house, on a Festival day, in the general cessation from labour, comes forth into the open Air, to a place nigh, somewhat retir’d there to

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