354 Of that sort of Dramatic Poem called Tragedy. Antistrophe, or Epode,-which were a kind of stanzas framed only for the music, then used with the Chorus that sung; not essential to the poem, and therefore not material; or, being divided into stanzas or pauses, they may be called Allæostropha. 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 produced beyond the fifth act. Of the style and uniformity, and that commonly called the plot, whether intricate or explicit-which is nothing indeed but such economy, or disposition of the fable, as may stand best with verisimilitude and decorum-they only will best judge who are not unacquainted with Eschylus, Sophocles, and Euripides, the three tragic poets unequalled 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 ancient rule and best example, within the space of twenty-four hours. THE ARGUMENT. SAMSON, made captive, blind, and now in the prison at Gaza, there to labour as in a common workhouse, on a festival day, in the general cessation from labour, comes forth into the open air, to a place nigh, somewhat retired, there to sit a while and bemoan his condition. Where he happens at length to be visited by certain friends and equals of his tribe, which make the Chorus, who seek to comfort him what they can; then by his old father, Manoa, who endeavours the like, and withal tells him his purpose to procure his liberty by ransom; lastly, that this feast was proclaimed by the Philistines as a day of thanksgiving for their deliverance from the hands of Samson-which yet more troubles him. Manoa then departs to prosecute his endeavour with the Philistian lords for Samson's redemption who, in the meanwhile, is visited by other persons, and, lastly, by a public officer to require his coming to the feast before the lords and people, to play or show his strength in their presence. He at first refuses, dismissing the public officer with absolute denial to come; at length, persuaded inwardly that this was from God, he yields to go along with him, who came now the second time with great threatenings to fetch him. The Chorus yet remaining on the place, Manoa returns full of joyful hope to procure ere long his son's deliverance; in the midst of which discourse an Ebrew comes in haste, confusedly at first, and afterwards more distinctly, relating the catastrophe-what Samson had done to the Philistines, and by accident to himself; wherewith the Tragedy ends. SAMSON AGONISTES. SAMS. A little onward lend thy guiding hand To Dagon, their sea-idol, and forbid His godlike presence, and from some great act Designed for great exploits, if I must die ΙΟ 20 330 Made of my enemies the scorn and gaze, To grind in brazen fetters under task With this heaven-gifted strength? O glorious strength, Lower than bond-slave! Promise was that I Ask for this great deliverer now, and find him Had been fulfilled but through mine own default? Whom have I to complain of but myself, Who this high gift of strength committed to me, In what part lodged, how easily bereft me, Under the seal of silence could not keep, But weakly to a woman must reveal it, But what is strength without a double share By weakest subtleties; not made to rule, Light, the prime work of God, to me is extinct, Annulled, which might in part my grief have eased. Of man or worm, the vilest here excel me: They creep, yet see; I, dark in light, exposed 40 50 60 70 Scarce half I seem to live, dead more than half. 80 |