absurd prudence of their mother to ignorance and meanness: but when I
recommended a more elegant education, was answered, that she never saw
bookish or finical people grow rich, and that she was good for nothing
herself till she had forgotten the nicety of the boarding-school.
I am, Yours, &c.
BUCOLUS.
No. 139. TUESDAY, JULY 16, 1751
--_Sit quod vis simplex duntanat et unum_. Hor. Art. Poet. 23.
Let ev'ry piece be simple and be one.
It is required by Aristotle to the perfection of a tragedy, and is
equally necessary to every other species of regular composition, that it
should have a beginning, a middle, and an end. "The beginning," says he,
"is that which hath nothing necessarily previous, but to which that
which follows is naturally consequent; the end, on the contrary, is that
which by necessity, or, at least, according to the common course of
things, succeeds something else, but which implies nothing consequent to
itself; the middle is connected on one side to something that naturally
goes before, and on the other to something that naturally follows it."
Such is the rule laid down by this great critick, for the disposition of
the different parts of a well-constituted fable. It must begin where it
may be made intelligible without introduction; and end where the mind is
left in repose, without expectation of any further event. The
intermediate passages must join the last effect to the first cause, by a
regular and unbroken concatenation; nothing must be, therefore,
inserted, which does not apparently arise from something foregoing, and
properly make way for something that succeeds it.
This precept is to be understood in its rigour only with respect to
great and essential events, and cannot be extended in the same force to
minuter circumstances and arbitrary decorations, which yet are more
happy, as they contribute more to the main design; for it is always a
proof of extensive thought and accurate circumspection, to promote
various purposes by the same act; and the idea of an ornament admits
use, though it seems to exclude necessity.
Whoever purposes, as it is expressed by Milton, _to build the lofty
rhyme_, must acquaint himself with this law of poetical architecture,
and take care that his edifice be solid as well as beautiful; that
nothing stand single or independent, so as that it may be taken away
without injuring the rest; but that, from the foundation to the
pinnacles, one part rest firm upon another.
The regular and consequential distribution is among common authors
frequently neglected; but the failures of those, whose example can have
no influence, may be safely overlooked, nor is it of much use to recall
obscure and unguarded names to memory for the sake of sporting with
their infamy. But if there is any writer whose genius can embellish
impropriety, and whose authority can make errour venerable, his works
are the proper objects of critical inquisition. To expunge faults where
there are no excellencies is a task equally useless with that of the
chymist, who employs the arts of separation and refinement upon ore in
which no precious metal is contained to reward his operations.
The tragedy of Samson Agonistes has been celebrated as the second work
of the great author of Paradise Lost, and opposed, with all the
confidence of triumph, to the dramatick performances of other nations.
It contains, indeed, just sentiments, maxims of wisdom, and oracles of
piety, and many passages written with the ancient spirit of choral
poetry, in which there is a just and pleasing mixture of Seneca's moral
declamation, with the wild enthusiasm of the Greek writers. It is,
therefore, worthy of examination, whether a performance thus illuminated
with genius, and enriched with learning, is composed according to the
indispensable laws of Aristotelian criticism: and, omitting, at present,
all other considerations, whether it exhibits a beginning, a middle, and
an end.
The beginning is undoubtedly beautiful and proper, opening with a
graceful abruptness, and proceeding naturally to a mournful recital of
facts necessary to be known:
_Samson_. A little onward lend thy guiding hand
To these dark steps, a little further on;
For yonder bank hath choice of sun and shade:
There I am wont to sit, when any chance
Relieves me from my task of servile toil,
Daily in the common prison else enjoin'd me.--
O, wherefore was my birth from Heav'n foretold
Twice by an Angel?--
Why was my breeding order'd and prescrib'd,
As of a person separate to God,
Design'd for great exploits; if I must die
Betray'd, captiv'd, and both my eyes put out?--
Whom have I to complain of but myself?
Who this high gift of strength committed to me,
In what part lodg'd, how easily bereft me,
Under the seal of silence could not keep:
But weakly to a woman must reveal it.
His soliloquy is interrupted by a chorus or company of men of his own
tribe, who condole his miseries, extenuate his fault, and conclude with
a solemn vindication of divine justice. So that at the conclusion of the
first act there is no design laid, no discovery made, nor any
disposition formed towards the consequent event.
In the second act, Manoah, the father of Samson, comes to seek his son,
and, being shewn him by the chorus, breaks out into lamentations of his
misery, and comparisons of his present with his former state,
representing to him the ignominy which his religion suffers, by the
festival this day celebrated in honour of Dagon, to whom the idolaters
ascribed his overthrow.
--Thou bear'st
Enough, and more, the burthen of that fault;
Bitterly hast thou paid, and still art paying
That rigid score. A worse thing yet remains,
This day the Philistines a popular feast
Here celebrate in Gaza; and proclaim
Great pomp, and sacrifice, and praises loud
To Dagon, as their God who hath deliver'd
Thee, Samson, bound and blind, into their hands,
Them out of thine, who slew'st them many a slain.
Samson, touched with this reproach, makes a reply equally penitential
and pious, which his father considers as the effusion of prophetick
confidence:
_Samson_.--He, be sure,
Will not connive, or linger, thus provok'd,
But will arise and his great name assert:
Dagon must stoop, and shall ere long receive
Such a discomfit, as shall quite despoil him
Of all these boasted trophies won on me.
_Manoah_. With cause this hope relieves thee, and these words
I as a prophecy receive; for God,
Nothing more certain, will not long defer
To vindicate the glory of his name.
This part of the dialogue, as it might tend to animate or exasperate
Samson, cannot, I think, be censured as wholly superfluous; but the
succeeding dispute, in which Samson contends to die, and which his
father breaks off, that he may go to solicit his release, is only
valuable for its own beauties, and has no tendency to introduce any
thing that follows it.
The next event of the drama is the arrival of Dalila, with all her
graces, artifices, and allurements. This produces a dialogue, in a very
high degree elegant and instructive, from which she retires, after she
has exhausted her persuasions, and is no more seen nor heard of; nor has
her visit any effect but that of raising the character of Samson.
In the fourth act enters Harapha, the giant of Gath, whose name had
never been mentioned before, and who has now no other motive of coming,
than to see the man whose strength and actions are so loudly celebrated:
_Haraph_.--Much I have heard
Of thy prodigious might and feats perform'd,
Incredible to me, in this displeas'd,
That I was never present in the place
Of those encounters, where we might have tried
Each other's force in camp or listed fields;
And now am come to see of whom such noise
Hath walk'd about, and each limb to survey,
If thy appearance answer loud report.
Samson challenges him to the combat; and, after an interchange of
reproaches, elevated by repeated defiance on one side, and imbittered by
contemptuous insults on the other, Harapha retires; we then hear it
determined by Samson, and the chorus, that no consequence good or bad
will proceed from their interview:
_Chorus_. He will directly to the lords, I fear,
And with malicious counsel stir them up
Some way or other yet farther to afflict thee.
_Sams_. He must allege some cause, and offer'd fight
Will not dare mention, lest a question rise
Whether he durst accept the offer or not;
And, that he durst not, plain enough appear'd.
At last, in the fifth act, appears a messenger from the lords assembled
at the festival of Dagon, with a summons by which Samson is required to
come and entertain them with some proof of his strength. Samson, after a
short expostulation, dismisses him with a firm and resolute refusal;
but, during the absence of the messenger, having a while defended the
propriety of his conduct, he at last declares himself moved by a secret
impulse to comply, and utters some dark presages of a great event to be
brought to pass by his agency, under the direction of Providence:
_Sams_. Be of good courage, I begin to feel
Some rousing motions in me, which dispose
To something extraordinary my thoughts.
I with this messenger will go along,
Nothing to do, be sure, that may dishonour
Our Law, or stain my vow of Nazarite.
If there be aught of presage in the mind,
This day will be remarkable in my life
By some great act, or of my days the last.
While Samson is conducted off by the messenger, his father returns with
hopes of success in his solicitation, upon which he confers with the
chorus till their dialogue is interrupted, first by a shout of triumph,
and afterwards by screams of horrour and agony. As they stand
deliberating where they shall be secure, a man who had been present at
the show enters, and relates how Samson, having prevailed on his guide
to suffer him to lean against the main pillars of the theatrical
edifice, tore down the roof upon the spectators and himself:
--Those two massy pillars,
With horrible convulsion, to and fro
He tugg'd, he shook, till down they came, and drew
The whole roof after them, with burst of thunder
Upon the heads of all who sat beneath--
Samson, with these immixt, inevitably
Pull'd down the same destruction on himself.
This is undoubtedly a just and regular catastrophe, and the poem,
therefore, has a beginning and an end which Aristotle himself could not
have disapproved; but it must be allowed to want a middle, since nothing
passes between the first act and the last, that either hastens or delays
the death of Samson. The whole drama, if its superfluities were cut off,
would scarcely fill a single act; yet this is the tragedy which
ignorance has admired, and bigotry applauded.
No. 140. SATURDAY, JULY 20, 1751.
--_Quis tam Lucili fautor inepte est,
Ut non hoc fateatur?_ HOR. Lib. i. Sat. x. 2.
What doating bigot, to his faults so blind,
As not to grant me this, can Milton find?
It is common, says Bacon, to desire the end without enduring the means.
Every member of society feels and acknowledges the necessity of
detecting crimes, yet scarce any degree of virtue or reputation is able
to secure an informer from publick hatred. The learned world has always
admitted the usefulness of critical disquisitions, yet he that attempts
to show, however modestly, the failures of a celebrated writer, shall
surely irritate his admirers, and incur the imputation of envy,
captiousness, and malignity.
With this danger full in my view, I shall proceed to examine the
sentiments of Milton's tragedy, which, though much less liable to
censure than the disposition of his plan, are, like those of other
writers, sometimes exposed to just exceptions for want of care, or want
of discernment.
Sentiments are proper and improper as they consist more or less with the
character and circumstances of the person to whom they are attributed,
with the rules of the composition in which they are found, or with the
settled and unalterable nature of things.
It is common among the tragick poets to introduce their persons alluding
to events or opinions, of which they could not possibly have any
knowledge. The barbarians of remote or newly discovered regions often
display their skill in European learning. The god of love is mentioned
in Tamerlane with all the familiarity of a Roman epigrammatist; and a
late writer has put Harvey's doctrine of the circulation of the blood
into the mouth of a Turkish statesman, who lived near two centuries
before it was known even to philosophers or anatomists.
Milton's learning, which acquainted him with the manners of the ancient
eastern nations, and his invention, which required no assistance from
the common cant of poetry, have preserved him from frequent outrages of
local or chronological propriety. Yet he has mentioned Chalybean steel,
of which it is not very likely that his chorus should have heard, and
has made Alp the general name of a mountain, in a region where the Alps
could scarcely be known:
No medicinal liquor can assuage,
Nor breath of cooling air from snowy Alp.
He has taught Samson the tales of Circe, and the Syrens, at which he
apparently hints in his colloquy with Dalila:
--I know thy trains,
Though dearly to my cost, thy gins, and toils;
Thy fair _enchanted cup_, and _warbling charms_
No more on me have pow'r.
But the grossest errour of this kind is the solemn introduction of the
Phoenix in the last scene; which is faulty, not only as it is
incongruous to the personage to whom it is ascribed, but as it is so
evidently contrary to reason and nature, that it ought never to be
mentioned but as a fable in any serious poem:
--Virtue giv'n for lost,
Deprest, and overthrown, as seem'd,
Like that self-begotten bird
In the Arabian woods embost,
That no second knows nor third,
And lay ere while a holocaust,
From out her ashy womb now teem'd,
Revives, reflourishes, then vigorous most
When most unactive deem'd,
And though her body die, her fame survives
A secular bird, ages of lives.
Another species of impropriety is the unsuitableness of thoughts to the
general character of the poem. The seriousness and solemnity of tragedy
necessarily reject all pointed or epigrammatical expressions, all remote
conceits and opposition of ideas. Samson's complaint is therefore too
elaborate to be natural:
As in the land of darkness, yet in light,
To live a life half dead, a living death,
And bury'd; but, O yet more miserable!
Myself, my sepulchre, a moving grave,
Buried, yet not exempt,
By privilege of death and burial,
From worst of other evils, pains and wrongs.
All allusions to low and trivial objects, with which contempt is usually
associated, are doubtless unsuitable to a species of composition which
ought to be always awful, though not always magnificent. The remark
therefore of the chorus on good or bad news seems to want elevation:
_Manoah_. A little stay will bring some notice hither.
_Chor_. Of good _or_ bad so great, of bad the sooner;
For evil news _rides post_, while good news _baits_.
But of all meanness that has least to plead which is produced by mere
verbal conceits, which, depending only upon sounds, lose their existence
by the change of a syllable. Of this kind is the following dialogue:
_Chor_. But had we best retire? I see a _storm_.
_Sams_. Fair days have oft contracted wind and rain.
_Chor_. But this another kind of tempest brings.
_Sams_. Be less abstruse, my riddling days are past.
_Chor_. Look now for no enchanting voice, nor fear
The bait of honied words; a rougher tongue
Draws hitherward; I know him by his stride,
The giant _Harapha_.--
And yet more despicable are the lines in which Manoah's paternal
kindness is commended by the chorus:
Fathers are wont to _lay up_ for their sons,
Thou for thy son art bent to _lay out_ all.
Samson's complaint of the inconveniencies of imprisonment is not wholly
without verbal quaintness:
--I, a prisoner chain'd, scarce freely draw
The air, imprison'd also, close and damp.
From the sentiments we may properly descend to the consideration of the
language, which, in imitation of the ancients, is through the whole
dialogue remarkably simple and unadorned, seldom heightened by epithets,
or varied by figures; yet sometimes metaphors find admission, even where
their consistency is not accurately preserved. Thus Samson confounds
loquacity with a shipwreck:
How could I once look up, or heave the head,
Who, like a foolish _pilot_, have _shipwreck'd_
My _vessel_ trusted to me from above,
Gloriously _rigg'd_; and for a word, a tear,
Fool! have _divulg'd_ the _secret gift_ of God
To a deceitful woman?--
And the chorus talks of adding fuel to flame in a report:
He's gone, and who knows how he may _report_
Thy _words_, by _adding fuel to the flame_?
The versification is in the dialogue much more smooth and harmonious,
than in the parts allotted to the chorus, which are often so harsh and
dissonant, as scarce to preserve, whether the lines end with or without
rhymes, any appearance of metrical regularity:
Or do my eyes misrepresent? Can this be he,
That heroic, that renown'd,
Irresistible Samson? whom unarm'd
No strength of man, or fiercest wild beast, could withstand;
Who tore the lion, as the lion tears the kid.
Since I have thus pointed out the faults of Milton, critical integrity
requires that I should endeavour to display his excellencies, though
they will not easily be discovered in short quotations, because they
consist in the justness of diffuse reasonings, or in the contexture and
method of continued dialogues; this play having none of those
descriptions, similies, or splendid sentences, with which other
tragedies are so lavishly adorned. Yet some passages may be selected
which seem to deserve particular notice, either as containing sentiments
of passion, representations of life, precepts of conduct, or sallies of
imagination. It is not easy to give a stronger representation of the
weariness of despondency, than in the words of Samson to his father:
--I feel my genial spirits droop,
My hopes all flat, Nature within me seems
In all her functions weary of herself,
My race of glory run, and race of shame,
And I shall shortly be with them that rest.
The reply of Samson to the flattering Dalila affords a just and striking
description of the stratagems and allurements of feminine hypocrisy:
--These are thy wonted arts,
And arts of every woman false like thee,
To break all faith, all vows, deceive, betray,
Then as repentant to submit, beseech,
And reconcilement move with feign'd remorse,
Confess and promise wonders in her change;
Not truly penitent, but chief to try
Her husband, how far urg'd his patience bears,
His virtue or weakness which way to assail:
Then with more cautious and instructed skill
Again transgresses, and again submits.
When Samson has refused to make himself a spectacle at the feast of
Dagon, he first justifies his behaviour to the chorus, who charge him
with having served the Philistines, by a very just distinction: and then
destroys the common excuse of cowardice and servility, which always
confound temptation with compulsion:
_Chor_. Yet with thy strength thou serv'st the Philistines.
_Sams_. Not in their idol worship, but by labour
Honest and lawful to deserve my food
Of those, who have me in their civil power.
_Chor_. Where the heart joins not, outward acts defile not.
_Sams_. Where outward force constrains, the sentence holds.
But who constrains me to the temple of Dagon,
Not dragging? The Philistine lords command.
Commands are no constraints. If I obey them,
I do it freely, venturing to displease
God for the fear of Man, and Man prefer,
Set God behind.
The complaint of blindness which Samson pours out at the beginning of
the tragedy is equally addressed to the passions and the fancy. The
enumeration of his miseries is succeeded by a very pleasing train of
poetical images, and concluded by such expostulation and wishes, as
reason too often submits to learn from despair:
O first created Beam, and thou great Word
"Let there be light, and light was over all;"
Why am I thus bereav'd thy prime decree?
The sun to me is dark
And silent as the moon,
When she deserts the night
Hid in her vacant interlunar cave.
Since light so necessary is to life,
And almost life itself, if it be true
That light is in the soul,
She all in every part; why was the sight
To such a tender hall as the eye confin'd,
So obvious and so easy to be quench'd?
And not, as feeling, through all parts diffus'd,
That she may look at will through every pore?
Such are the faults and such the beauties of Samson Agonistes, which I
have shown with no other purpose than to promote the knowledge of true
criticism. The everlasting verdure of Milton's laurels has nothing to
fear from the blasts of malignity; nor can my attempt produce any other
effect, than to strengthen their shoots by lopping their luxuriance[g].
[Footnote g: This is not the language of an accomplice in Lauder's
imposition.--ED.]
No. 141. TUESDAY, JULY 23, 1751.
_Hilarisque, tamen cum pondere, virtus_. STAT.
Greatness with ease, and gay severity.
TO THE RAMBLER.
SIR,
Politicians have long observed, that the greatest events may be
often traced back to slender causes. Petty competition or casual
friendship, the prudence of a slave, or the garrulity of a woman, have
hindered or promoted the most important schemes, and hastened or
retarded the revolutions of empire.
Whoever shall review his life will generally find, that the whole tenour
of his conduct has been determined by some accident of no apparent
moment, or by a combination of inconsiderable circumstances, acting when
his imagination was unoccupied, and his judgment unsettled; and that his
principles and actions have taken their colour from some secret
infusion, mingled without design in the current of his ideas. The
desires that predominate in our hearts, are instilled by imperceptible
communications at the time when we look upon the various scenes of the
world, and the different employments of men, with the neutrality of
inexperience; and we come forth from the nursery or the school,
invariably destined to the pursuit of great acquisitions, or petty
accomplishments.
Such was the impulse by which I have been kept in motion from my
earliest years. I was born to an inheritance which gave my childhood a
claim to distinction and caresses, and was accustomed to hear applauses,
before they had much influence on my thoughts. The first praise of which
I remember myself sensible was that of good-humour, which, whether I
deserved it or not when it was bestowed, I have since made it my whole
business to propagate and maintain.
When I was sent to school, the gaiety of my look, and the liveliness of
my loquacity, soon gained me admission to hearts not yet fortified
against affection by artifice or interest. I was entrusted with every
stratagem, and associated in every sport; my company gave alacrity to a
frolick, and gladness to a holiday. I was indeed so much employed in
adjusting or executing schemes of diversion, that I had no leisure for
my tasks, but was furnished with exercises, and instructed in my
lessons, by some kind patron of the higher classes. My master, not
suspecting my deficiency, or unwilling to detect what his kindness would
not punish nor his impartiality excuse, allowed me to escape with a
slight examination, laughed at the pertness of my ignorance, and the
sprightliness of my absurdities, and could not forbear to show that he
regarded me with such tenderness, as genius and learning can seldom
excite.
From school I was dismissed to the university, where I soon drew upon me
the notice of the younger students, and was the constant partner of
their morning walks, and evening compotations. I was not indeed much
celebrated for literature, but was looked on with indulgence as a man of
parts, who wanted nothing but the dulness of a scholar, and might become
eminent whenever he should condescend to labour and attention. My tutor
a while reproached me with negligence, and repressed my sallies with
supercilious gravity; yet, having natural good-humour lurking in his
heart, he could not long hold out against the power of hilarity, but
after a few months began to relax the muscles of disciplinarian
moroseness, received me with smiles after an elopement, and, that he
might not betray his trust to his fondness, was content to spare my
diligence by increasing his own.