An

interludes, used here contemptuously for 'Comedies.' interlude properly was something acted in the intervals of a banquet or entertainment. It was the transition form between the old Moralities and Comedy properly so called, resembling the former in the absence of a plot, and the latter in containing real personages instead of the abstractions of the Moralities. Heywood's Four P's is an example.

intermixing comic stuff.

This is a deliberate condemnation of a great part of Elizabethan tragedy, and an upholding of the classical drama, which, as a rule, avoids such intermixture. The Alcestis of Euripides is an exception.

no Prologue, in the sense of the author's Apology, meant to bespeak the goodwill of the audience, as used in English plays and Latin comedies. But a prologue in the Greek sense Milton himself uses in this drama. See Introd. p. xii.

Martial (43-104), Latin epigrammatist. These Epistles are addressed either to the Reader (books i. iii. x. xiii. xiv.) or to Friends (ii. ix. xii.) or to his patron Domitian (v. viii.).

Sis

Chorus... Italians. The Chorus had been used in Italian literature since the revival of learning in the 15th century. It of course existed in the Melodrama or Operas, which rose into importance in Italy in the 17th century, while dramatic literature proper fell into decay. This age of decadence in Italy, contemporary with Milton's age in England, is called the era of the Seicentisti. mondi does not name any of the seicentisti dramatists, and among those named by Hallam, Andreini (d. 1652), who wrote the drama of Adamo, is alone of any interest to us. This work has choruses of Angels, Spirits and Phantoms. Chiabrera (d. 1637), better known as a lyric poet, was also the father of the Melodrama in Italy, and Rinuccini (d. 1621) employed in his choruses the 'apolelymenon' measure of Milton.

Apolelymenon... Alloeostropha, 'freed from the restraints' of division into Strophe (the song sung by the chorus in moving rhythmically from right to left on the orchestra), Antistrophé (sung similarly in moving from left to right), and Epode (an aftersong' sung while standing still). The Strophé and Antistrophé were stanzas of exactly the same rhythmic construction. Monostrophic (ode) is a choral ode of a single stanza, and an Alloeostropha is a choral ode of several irregular stanzas, neither of which is capable of division into strophes and antistrophés.

stanzas... music. Such was the origin of the Greek chorus from the Dithyramb (lyrical songs in honour of Bacchus), to which was afterwards added a new element, the Dialogue.

...

stage intended. The objection of the Puritans to acting had been deepened since the appearance of actresses on the stage after the Restoration.

fifth act. The omission of the Chorus in the new Comedy of Greece (judging from its Roman imitators) gave rise to the division into Acts. Such an omission in the Greek classic drama (or in Samson Agonistes) would not always give the number of acts as five. This number was laid down for tragedy by Horace (Ars Poet. 189).

intricate or explicit This is Aristotle's classification of Plots (uvo) into simple (ȧrλoî) and complex (Teñλeyμévoi) (Poet. x.). A plot is simple when the catastrophe is brought about without either revolution or discovery; complex, when with one or both.' See Introd. p. xvi. Explicit is used in the literal Latin sense of 'unfolded,' i.e. simple.

twenty-four hours. This is the Unity of Time. See Introd, P. xvi.

THE PLAY.

an

Title.-Samson. This is the Greek spelling in the Septuagint (Zauyor); the Hebrew is Shimshon, which becomes in German Simson. The word means 'sun-like'; but Josephus (Antiq. v. 8. 4) says it means one that is strong." Agonistes, Greek athlete, a contender in public games, a champion.' The epithet draws attention to the particular act of Samson constituting the catastrophe. Cf. 'antagonist' 1. 1628. Such distinguishing epithets were used in the titles of Greek dramas forming parts of a trilogy.

1-11. These lines are addressed to the guide, perhaps the same 'lad that held him by the hand' (Judges, xvi. 26) in the last scene. The touching sight and words serve to open the play with what is technically called 'pathos' (Arist. Poet. xi.). Compare the similar entry of the blind Edipus led by his daughter Antigone, in the opening of the Edipus Coloneus of Sophocles.

2. these, a Graecism for 'my.' In Attic dialogue the demonstrative öde often refers to the speaker. dark, 'of one that cannot see.' Richardson compares Eur. Phoen. 848, yoû πápoɩ0€, θύγατερ, ὡς τυφλῷ ποδὶ | ὀφθαλμὸς εἶ σύ, “ A little onward lead me, be an eye To these dark steps, my daughter." In the same play Edipus says (1555), τί μ ̓, ὦ παρθένε, βακτρεύμασι | τυφλοῦ ποδὸς éçáyayes eis pûs; "Why, virgin, why hast thou brought my blind, staff-guided steps... to light?" Cf. 'dark orbs,' 1. 591. 3. hath, affords.' Samson knows this, we may suppose,

from habit.

...

4. There... sit. Prof. Masson aptly quotes the painter Richardson's description of the blind Milton's own habits in his last years :--" ... He used also to sit, in a grey coarse cloth coat, at

the door of his house, near Bunhill Fields, in warn weather, to enjoy the fresh air; and so, as well as in his room, received... visits...." wont. This word, as well as the growth of the 'redundant locks' (l. 568), implies that Samson has been some time in prison. See 1. 938 and note.

5. servile toil, viz. the task of grinding corn (1. 35), which among the ancients was a degrading labour. Thus among the Jews the maid-servant behind the mill" was the antithesis of "Pharaoh upon his throne" (Exod. xi. 5), and captives of war were condemned to grind at the mill (Lam. v. 13). Among the Greeks, female slaves were not permitted to retire for sleep before they had ground their daily portion of corn (Homer, Od. xx. 105 sq.); and among the Romans the corn-mill or poundinghouse (pistrinum) was a place of punishment for refractory slaves (Terence, Andr. i. 2. 28).

6. common prison, where he has to endure the society of convicts (1. 1224 and note), or, as 1. 1162 has it, of slaves and drudging beasts. else, at other times,' 'elsewhile,' when not relieved by chance. This use of else' to refer to time is rare. Cf. Beau. and Fl. Wit at Several Weapons, ii. 2, "Birds that build nests Have care to keep 'em. Cunn. That's granted; | But not continually to sit upon 'em, 'Less in the youngling season; else they desire | To fly abroad, and recreate their labours."

8. air, imprisoned also, in a double sense, in one of which there occurs a 'pathetic fallacy.' Landor needlessly censures this as a 'prettiness.' Milton here only imitates the practice of the Greek dramatists.

9. Unwholesome draught, unhealthy to breathe.' Draught (what is 'drawn in' with the breath) in apposition with 'air."

11. day-spring, 'dawn.' Cf. P. L. v. 139, vi. 521. The expression occurs in Luke, i. 78, "The day-spring from on high hath visited us"; in a slightly different form in Gower, Conf. Am. ii. "For till I se the daies spring | I sette sleepe nought at a risshe" (quoted by Wright, Bible Word-Book), and in the Plumpton Papers, The spring of the day."

12-22. These lines set forth the occasion—namely a feast in honour of Dagon-upon which the entire action of the drama hinges. The opening of the drama with the mention of that very incident which leads to the catastrophe that closes it, well indicates how carefully Milton had planned the unity of action. Johnson did not note the significance of these lines.

13. Dagon. A god who had his principal sanctuaries at Gaza and Ashdod, but was worshipped in every Philistine town. His shape, described as half human and half fish (P. L. i. 463), is inferred from the Hebrew Dag, 'fish,' and from 1 Sam. v. 4, which

in the original was only Dagon was left to him,' the marginal reading supplying the fishy part of.' This shape is referred to in the expression sea-idol.

16. popular noise, 'noise made by a large concourse of people.' Cf. 1. 434, and P. L. vii. 487, "Popular tribes of commonalty" (of the ant).

20. armed, sc. 'with stings.' Cf. 1. 623. Todd quotes from Sidney's Arcadia, "A new swarm of thoughts stinging her mind.” Found agrees with 'me' (next line). The construction is not strictly grammatical, since 'found' being a participle, the two sentences introduced by the conjunctions no sooner' and 'but,' are not co-ordinate, as they should be. The ordinary construction would be, that rush thronging upon me, as soon as found alone,' (participle) or that no sooner am I found (indicative) alone, but rush upon me thronging.' Milton has blended the two constructions together.

23-64. Samson's thoughts go back from the present to the past:-The comparison of the angel's prediction at his birth with its miserable falsification in his captivity, and of the secret of his glorious strength with the weakness of mind that made him betray it, drives him almost to question God's providence; but he checks himself and acknowledges that it was his own frailty (the ȧuapria of Aristotle) that was to blame.

24. Twice by an Angel. Viz. once to his mother whose name is not mentioned (Judges, xiii. 3), and again to both his parents (ib. 11). at last, i.e. on the second of these occasions.

26. From off, 'off from.' Cf. 1. 922, 'from forth'; and see Abbott, § 157.

27. As in a fiery column charioting. 'Seeming to carry away in a fiery column as in a chariot.' Milton here follows Josephus v. 8. 3, "And the angel ascended openly, in their sight, up to heaven, by means of the smoke, as by a vehicle In the corresponding passage in Judges no chariot is mentioned, but in ii. Kings, ii. 11, the prophet Elijah is described as rapt up to heaven in a "chariot of fire.'

28. god like, used here in the sense of divine'; but Milton frequently uses 'gods' and 'god-like' to mean 'angels' and 'angelic.' Cf. P. L. i. 358, ix. 708-718. presence. This use of the abstract for the concrete to invest a personage with awe is

frequent in Milton. Cf. P. L. viii. 312, "Had not he ... ap

peared, presence divine," x. 144, "To whom the sovran Presence thus replied. Compare honorific titles like 'your Majesty," 'your Grace.' and from some great act revealed. A Latinism for and from the revelation of some great act.' The construction is ascended... as charioting and as from some great act.' 30. breeding, course of education,' cf. Shak. All's Well, ii. 3.

121, "She had her breeding at my father's charge." prescribed, ' appointed, laid down beforehand' (literal Latin use).

31. separate, 'set apart.' Milton uses 'secret' in the same sense (P. L. i. 6, "Secret top of Sinai," Nativity Ode, 27, "Secret altar"). 'Separate' has the allied sense of 'apart by oneself in P. L. ix. 422 and 424. For the omission of the participial termination -d v. Introd. p. xliv). separate to God. The expression is biblical; cf. Numb. vi. 2, "Separate themselves unto the Lord"; Rom. i. 1, “Paul separated unto the Gospel of God.”

33. captíved. Latin accent, so Spenser frequently: F. Q. ii. 4. 16; 5. 27; 7. 15. both, .e. with both'; 'and' prevents this from being a nom. abs.

35. brazen, literal, cf. Judges, xvi. 21, "And bound him with fetters of brass "; used metaphorically in P. L. x. 697, "Brazen dungeon. under task, 'bound to perform a certain amount of work daily,' like the Israelites during their bondage in Egypt.

وو

37. labour of a beast. Samson was condemned to work with asses in turning mills. The employment of asses for this work is indicated in the Greek version of Matt. xviii. 6, where μúλos ¿viKós is rendered by Wyclif "the mylnstoon of asses, " where the A. V. has merely "millstone "; cf. Ovid, Fasti, vi. 318, "Et quae pumiceas versat asella molas," ""And the ass that turns the mills of soft stone.

38. Promise was. For the omission of 'there' see Abbott, § 404, cf. expressions like 'time was (when),'' reason is (that).'

39. Judges, xiii. 5, " And he shall begin to deliver Israel out of the hand of the Philistines.'

40. Ask... and find.

This use

It occurs

'If you ask you shall find.' of and' to indicate a contingent consequence is old. in Wyclif, Matt. vii. 7, and resembles the incressive use of κaí in Greek. (Jelf, § 759.)

66

41. Landor punctuates this line thus :- Eyeless, in Gaza, at the mill, with slaves," each clause setting forth a distinct cause of Samson's misery. in Gaza, i.e. at the seat of Dagon's idolatrous worship, and the scene of Samson's former triumph over his enemies (Judges, xvi. 3).

44. What if. Schmidt (Shak. Lex.) explains this to be "what should you say if," in which case "what if" is analogous in constr. to "what then." It is better taken as a contraction of "what wonder if," in some contexts (as here). The full expression is old; it occurs in Hampole's Pricke of Conscience ("what wonder es yf "), see 1. 790.

45. but, were it not.' mine own, cf. 1. 459,

"mine eyes," and see Abbott, § 237. This euphonic use of mine' for 'my,' and

6

thine' for thy' occurs in Wyclif (Luke, ii. 30, "For myn eyen