No More Learning

for John Starkey at the
Mitre in Fleetstreet, near Temple-Bar.
MDCLXXI




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 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 proclaim'd by the Philistins as a day of Thanksgiving for thir
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 mean while is visited by other
persons; and lastly by a publick Officer to require coming to the Feast
before the Lords and People, to play or shew his strength in thir
presence; he at first refuses, dismissing the publick officer with
absolute denyal to come; at length perswaded inwardly that this was from
God, he yields to go along with him, who came now the second time with
great threatnings to fetch him; the Chorus yet remaining on the place,
Manoa returns full of joyful hope, to procure e're long his Sons
deliverance: in the midst of which discourse an Ebrew comes in haste
confusedly at first; and afterward more distinctly relating the
Catastrophe, what Samson had done to the Philistins, and by accident to
himself; wherewith the Tragedy ends.


The Persons

Samson.
Manoa the father of Samson.
Dalila his wife.
Harapha of Gath.
Publick Officer.
Messenger.