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than before of his attaining to the tyranny. Augustus Cæsar also had begun his Ajax, but unable to please his own judgment with what he had begun, left it unfinished. Seneca, the philosopher, is by some thought the author of those tragedies, (at least 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 is entitled, Christ Suffering. This is mentioned 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; happening through the poet's error of intermixing comic stuff with tragic sadness and gravity, or introducing trivial and vulgar persons, which by all judicious hath been counted absurd, and brought in without discretion, corruptly to gratify the people. And though ancient 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 ancient manner, much different from what among us passes for best, thus much beforehand may be epistled: that Chorus is here introduced after the Greek manner, not ancient only but modern, and still in use among the Italians. In the modeling therefore of this poem, with good reason, the ancients and Italians are rather followed, as of much more authority and fame. The measure of verse used in the chorus is of all sorts, called by the

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Greeks Monostrophic, or rather Apolelymenon, without regard had to Strophe, 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 Æschylus, 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 awhile 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 Manoah, who endeavours the like, and withal tells him his purpose to procure his liberty by ransom; and, 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. Manoah then departs to prosecute his endeavour with the Philistian lords for Samson's redemption; who in the mean while 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, disinissing 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, Manoah returns full of joyful hope, to procure ere long his son's deliverance: in the midst of which discourse an Hebrew comes in haste, confusedly at first, and afterward more distinctly, relating the catastrophe, what Samson had done to the Philistines, and by accident to himself: wherewith the tragedy ends.

THE PERSONS.

SAMSON.

MANOAH, the Father of Samson.
Dalila, his Wife.
HARAPHA OF GATH:

Public Officer.
Messenger.
Chorus of Danites.

The Scene before the Prison in Gaza.

SAMSON AGONISTES.

5

Sams. (attendant leading him.) A little onward

lend thy guiding hand To these dark steps, a little further on; For yonder bank hath choice of sun or shade: There I am wont to sit, when any chance Relieves me from my task of servile toil, Daily in the common prison else enjoin'd me, Where I, a prisoner chain’d, scarce freely draw The air imprison'd also, close and damp, Unwholesome draught: but here I feel amends, The breath of heav'n fresh blowing, pure and sweet, With day-spring born; here leave me to respire. This day a solemn feast the people hold To Dagon, their sea-idol, and forbid Laborious works, unwillingly this rest Their superstition yields me; hence with leave Retiring from the popular noise, I seek This unfrequented place to find some ease, Ease to the body some, none to the mind From restless thoughts, that, like a deadly swarm Of hornets arm'd, no sooner found alone,

20

2 dark steps] Euripidis Phænisse, 841.

"Ηγού πάροιθε, θύγατερ, ώς τυφλώ πόδι. Richardson. 19 swarm) Sydney's Arcadia, p. 164, ed. 13th.

A new swarm of thoughts stinging her mind.' Todd.

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