Tragic Effect in Samson Agonistes

Abstract

Misled by Milton's prefatory emphasis on his Greek models, an emphasis entirely justified if properly understood, critics have assumed that the poet intended not only to follow them in structure and convention but to reproduce their spirit and effect, and that hence the only possible criterion for judging Samson Agonistes is Greek tragedy. Opinions on his success have differed. Jebb (to take a famous example) vigorously defends Milton against Johnson's charge that Samson Agonistes has a beginning and end but no middle, that nothing occurs to precipitate the catastrophe. But he goes on to condemn the drama as not truly tragic, as not Hellenic at all in spirit and effect, but thoroughly Hebraic. It does not, like Greek tragedy, pit the hero against superior powers before which he goes down to inevitable defeat, yet demonstrates his heroism even in his defeat. On the contrary, Samson is an instrument of the Supreme Power, and the only possible conclusion is that "All is best." Nor, in the most vigorous and effective defence against Jebb, does W. R. Parker question the assumption that Greek tragedy furnishes the sole and sufficient criterion. But it is precisely this assumption that I would question.