Samson Agonistes, John Milton's poignant rendition of a biblical tale, is designed in the mold of classical Greek tragedy. Although published alongside Paradise Regained in 1671, Samson Agonistes is not intended for theatrical performance but rather as a closet play. Its narrative unfolds during Samson's imprisonment, drawing parallels between the blind Hebrew hero's life and Milton's own, as both men endured personal suffering yet found triumph.

The Context and Craft of Milton's Work

This poetic drama, renowned for its majestic and unadorned verse, stands apart from the lush language of Milton's earlier works, Paradise Lost and Paradise Regained. Regarded as a masterpiece birthed in the twilight of Milton's life, the drama is traditionally believed to be his final opus, though some theories propose it may have been conceived as early as the 1640s. Critics who support this earlier dating often argue that Samson Agonistes lacks the artistic brilliance of Milton's more celebrated poems, suggesting a chronological distance could justify this perceived inferiority.

Nevertheless, manuscript evidence indicates that Milton envisaged a series of five plays about Samson during the 1640s. This fact lends credence to the notion that early drafts of Samson Agonistes might have existed long before its eventual publication. Despite these debates, the traditional view that aligns the play with the later years of Milton's life remains prevalent. Scholars agree, at the very least, that the concept of this drama germinated well before it saw the light of day in print.

Structure and Criticism

The form of Samson Agonistes has long been a subject of critical scrutiny, notably due to Samuel Johnson's assertion that the play has an incomplete structural integrity. Johnson claimed it possesses a beginning and an end but lacks a cohesive middle. This has prompted numerous discussions about its alignment with classical Greek tragedy.

Milton himself, in the preface to the poem, extols the virtues of classical tragedy, drawing upon Aristotle's teachings and distancing himself from the Elizabethan tradition of intermingling comedy and tragedy. While Milton adhered to ancient tragic conventions, he never intended Samson Agonistes for stage performance, a clear departure from classical practice. Critics siding with Johnson often cite this as a flaw, perceiving the play's central episodes as static and lifeless.

Psycho-dramatic Action

Despite accusations of inaction, Samson Agonistes teems with psychological complexity. The protagonist's heroic feats and ultimate downfall transpire offstage, while his final triumph is narrated rather than enacted. However, the interactions with characters like Manoa, Dalila, and Harapha reveal significant psychological shifts.

These encounters provide context for Samson's predicament, illustrating his psychological revival and conviction to fulfill his destiny as a deliverer. Central to the drama are these trials of faith, fortitude, and patience, where Samson confronts and overcomes temptations. Thus, the play's progression lies in Samson's internal journey from despair to courage and, ultimately, heroic sacrifice. Johnson's critique falls short by dismissing inner turmoil and resolution as viable forms of dramatic action.

Theological and Tragic Dimensions

Beyond structural issues, Samson Agonistes poses theological questions about the nature of Christian tragedy. In a worldview where human experience aligns with divine comedy, can a truly tragic event occur? The play concludes with a victory-through-death motif akin to the story of Christ, questioning its classification as a tragedy.

Samson's prior fall, catalyzed by his hubristic pride, already set the stage for his current plight "eyeless in Gaza." His eventual death results from a conscious decision rather than a tragic flaw or fate, mirroring classical instances where spiritual triumph arises from physical demise. The Oedipus cycle, for instance, offers a parallel in its portrayal of fall and redemption.

Christian Tragedy in...