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SORT OF DRAMATIC POEM
WHICH IS CALLED
TRAGEDY, as it was anciently composed, 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, stirred 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 melancholy hue and quality are used against melancholy, sour against sour, 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 their discourse. The apostle Paul himself thought it not unworthy to insert a verse of Euripides into the text of Holy Scripture, 1 Cor. xv. 33; and Paræus, commenting on the Revelation, divides the whole book as a tragedy, into acts distinguished each by chorus of heavenly harpings and song between. Heretofore men in highest dignity have laboured not a little to be thought able to compose a tragedy. Of that honour Dionysius the elder was no less ambitious, 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 epistlé. 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 modelling, 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 Greeks Monosthropic, 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 essential to the poein, and therefore not material; or, being divided into stanzas or pauses, they may be called Alloostropha. 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 isposition 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.
Samson, made captive, blind, and now in the prison of 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; 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 Philistine lords for Samson's redemption; who in the mean time 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 now came 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 a Hebrew 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 (Attendant leading him).
A LITTLE onward, lend thy guiding hand
and what am now.