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The Inner Struggle of the Theologically Tragic Hero in Sam-

son Agonistes

John Milton, in his poetic rendering of the Biblical account of

Samson, exhibits excellent technique in metre and rhythm, paired

with a nuanced examination of the intricacies of human weak-

ness, and divine sovereignty. Samson Agonistes, along with other

such famous works as Paradise Lost and Paradise Regain’d, set Mil-

ton apart as one of the most powerful literary figures in poetic

history.

Milton begins the narrative of Samson Agonistes with an in-

troduction that speaks on the subject of the tragic genre. By call-

ing on the muses of three major tragic poets of history, Milton af-

firms that he stands in their ranks, however lowly, and his under-

taking can only be appreciated with a background understanding

of tragic history. He writes,

“Of the style and uniformity, and that commonly called the
plot, whether intricate or explicit—which is nothing in-
deed but such economy, or disposition of the fable, as may
stand best with verisimilitude and decorum—they only will
best judge who are not un acquainted with Æschylus,
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Sophocles, and Euripides, the three tragic poets unequalled

yet by any, and the best rule to all who endeavour to write
Tragedy.” (Mil ton)

In many ways Samson Agonistes carries similar attributes to the

tragedies to which Milton alludes in the introduction, such as the

plot elements which constitute tragic writings, Milton’s under-

standing of catharsis as being integral, as well as “The circum-

scription of time, wherein the whole drama begins and ends, is,

according to ancient rule and best example, within the space of

twenty-four hours.” (Milton)

However, despite the similarities in certain elements, there

are important differentiations which conclusively set Samson Ago-

nistes apart. The Miltonic tragedy differs from the classic Greek, in

that the action is driven by raw emotional conflict, as well as the

explicit undertones of spiritual fulfilment, and strength being ob-

tained through the anticipation of such. (Radzinowicz 180) Addi-

tionally, Milton did not mean for the poem to be performed, ra-

ther only to be read, which reveals the deeply personal nature of

the work, in that the author wished the reader to wrestle with the
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psychological strain on his own, rather than experience it

secondhand through an actor and in communion with others.

Although Milton patterns his structure and form after the

classical Greek tragedy, his portrayal of the protagonist’s mindset

is unique, illustrated through Samson’s opening exclamation of

his tragic circumstances, “Ease to the body some, none to the

mind/From restless thoughts, that like a deadly swarm/Of Hor-

nets arm'd, no sooner found alone” (Milton 17-20). This puts the

reader directly into the centre of the mental conflict: in media res.

This manner of writing allows the reader an unusually personal

glimpse into the character’s tormented mind. Additionally, Sam-

son Agonistes differs in its freedom of syntactical style. Although

Milton displays a masterful use and appropriation of metrical

verse, the diction and vocabulary takes the form of conversational

discourse — lacking in overt ornamentation, which was unique in

the tradition of tragedy that Milton draws from. Mary Ann

Radzinowicz elaborates,

The diction is clear and not pedestrian; it imitates speech, it

uses those words most
natural to conversation…The drama’s most boldly una-
dorned passages of sheerly conversational writing in
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plain style occur, as one would expect, when Samson’s per

sonal integration is most complete. He engages directly and
confidently with an external adversary in poetry which approx-
imates to the condition of prose while it retains a perfection
of verse form. (Radzinowicz 186)

This concentration on plain style is Milton’s vehicle to allow the

examination and expression of free-flowing thought and expres-

sion of raw passion.

From the outset of the story, the narrative finds its ground-

ing in the unsettled mind of Samson. Milton’s rich descriptive

metaphor, linking Samson’s blindness with a dungeon, causes the

reader to become acutely aware of the perceptual prison in which

the character is trapped. Elizabeth Harvey asserts, “Milton’s focus

on the inward struggle and fortitude of Samson represents a new

breed of heroism unique to the 17th-century. Where ideals of her-

oism were conventionally associated with war, politics, and pub-

lic life… [Milton’s Samson] valorizes a private, inner heroism

based on endurance rather than military exploit or conquest.”

(Harvey 654) As the reader is enlightened to the struggle, a sense

of dominating darkness overcasts the mind, accomplished

through elaborate metaphor. Samson, with disquieting despera-

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tion, cries, “Why was the sight/To such a tender ball as the eye con-
fined?/So obvious and so easy to be quenched,/And not as feeling
through all parts diffused /That she might look at will through every
pore.” (Milton 93-7) He details the minute, specific conditions that

allow sight, thereby ‘opening our eyes’ to the miracle that is often

unappreciated in its complexity. The intensity of emotional tur-

moil exhibited by Samson, sharpens the reader’s awareness of the

importance of his inner state, and the role it plays throughout the

narrative.

In order to justify the measures taken by Samson later in the

drama, Milton maps the character’s inward movement through

language which is illustrative and conducive to sensory experi-

ence, as Harvey states, “This interface is manifested in the poem’s

quite remarkable attention to the array of sensory experience: it

describes in vivid perceptual detail Samson’s imaging of the dark

prison of his blindness, Dalila’s seductive fragrance, and the vul-

nerability and acuity of the acoustic organs, as Samson attempts

to ‘fence’ his ears against Dalila’s sorceries” (Harvey 650). This is

especially important in Samson Agonistes due to the fact that there

are many moral and metaphysical complexities at work through-

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out the story, culminating in the extreme action of Samson in an-

nihilating the Philistines as well as himself.

Milton’s exploration of the interplay between external events and

the internal passions is an apt psychological analysis, putting

forward the question of the justifiability of Samson’s actions as a

tragic hero. Due to the specific context he finds himself, Samson

becomes a character which reconciles his mental anguish of diso-

bedience and consequence, verified through sensory experience

— or lack thereof, with his conception of God’s will, verified

through the prophetic declarations and angelic encounters of his

youth. The events that occur are dictated by the passions within,

whether it be the despair of blindness, the repentance of a guilty

conscience, the resistance of a seductive temptress, or the fiery

faith in God’s liberty, Samson’s inward musings and sentiments

are the driving force of the action of the narrative. The tragic

heroism displayed in relatively short Samson Agonistes, so effec-

tively tracks the development of Samson’s thought process, that

the actual external events gain new clarity and sharpness.

Despite his dire circumstances, Samson never questions the

justice of God, or the certainty of His unthwartable plans, as seen

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when he tells himself, “But peace, I must not quarrel with the will

/Of highest dispensation, which herein/Happ’ly had ends above

my reach to know”. (58-69) However, the negative immediacy of

the situation calls God’s love and mercy into question for Samson,

seeing as he is blind, metaphorically and physically, to any good

that could possibly come from his utter imprisonment. Samson’s

opening dialogue displays a remarkable combination of self-

control and turbulent emotional power. Although he bitterly la-

ments his captivity and his loss of sight, he refuses the temptation

to blame God for his fate:

Promise was that I

Should Israel from Philistian yoke deliver;
Ask for this great deliverer now, and find him
Eyeless in Gaza at the Mill with slaves,
Himself in bonds under Philistian yoke;
Yet stay, let me not rashly call in doubt
Divine prediction; what if all foretold
Had been fulfilled but through mine own default,
Whom have I to complain of but myself? (Milton 38-46)

A division between the expectations of Samson’s past — his call-

ing to be a deliverer on behalf of Israel, with the detrimentally

negative implications of his current situation causes Samson to

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bear the weight of what Radzinowicz terms the “divided person-

hood.” On one hand, Samson’s inner being is wracked with guilt

and sorrow, permeated by a sense of tragedy. But on the other, he

recognizes the unfailing faithfulness of God, and his continued

personal vocation of heroically enacting the wrath of God for the

sake of Israel. Milton demonstrates an understanding of the right-

ly oriented context for the “tragic hero” to arise and take centre

stage. The contrast of external heroism propelled by internal trag-

edy allows the proper conditions for such a character to be exam-

ined.

As previously stated, Samson possessed a realistic perspec-

tive on his own fallenness, and the dire circumstances in which he

found himself — the inner struggle of recognizing his personal

limitations, guilt and failure were at the forefront of his thoughts;

the darkness of his blindness being a perpetual reminder. How-

ever, the dramatic forces of both the Chorus and Samson’s father,

Manoa, balanced the equation in the other direction, even to the

point of unwarranted bias. As seen in the Chorus’s lines concern-

ing Samson’s lack of guilt, “Tax not divine disposal, wisest Men/Have
err’d, and by bad Women been deceived;/And shall again, pretend they
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we’re so wise./Deject not then so overmuch thy self. (Milton 210-13),

and later on Manoa’s claim “Samson hath quit himself/ Like Sam-

son, and heroically hath finish’d/A life Heroic” (Milton 1709-11).

Both had an explicitly hopeful view of the unfolding events

around Samson, emphasizing the heroic nature of his death and

retribution upon the Philistines. (Martz 198)

After Samson’s distressing prologue, the Chorus is intro-

duced, drawing near they say,

“Can this be he,/That heroic, that renown’d,/Iressistable Samson? whom
unarm’d/
No strength of man, or fiercest wild beast could withstand.” (Milton
124-27) The increasing length of line in this section indicates a

growing agitation at the sight of Samson before them, the heroic

figure laying decrepit in a dungeon. Despite the context however,

the chorus acts as a dramatic voice that continually reinforces the

reader’s understanding of the heroic and “faultless” character of

Samson, through the unrelenting insistence of his powerful quali-

ties, and dismissal of actions which Samson deems himself detri-

mentally guilty.
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Through such encouragements, and a slow revival of peace

of mind, the narrative reveals an advancement in Samson’s char-

acter, a reaffirmation of inward spiritual vitality. Though both the

Chorus and Manoa appeal to Samson’s hubris, and are untrust-

worthy in their flattery, the encouragement still accomplishes a

level of good in helping him recall the heroic purposes for which

he was chosen. Razinowicz explains, “The action of Samson Ago-

nistes is composed of encounters which are metaphors or meton-

ymies for serious inward change. (Radzinowicz 177) Eventually,

through the various dramatic encounters, Samson is brought out

of the chaos of his mind, and begins to recover glimpses of the di-

vine appointment. As Samson comes to discover that the appar-

ent negativity of his external circumstances do not necessarily dic-

tate his inner state, he gains the upper hand in his inward strug-

gle, and secures a grounding of spiritual fortitude. By recognizing

the lacking nature of sensory experience in rendering the truth of

the mystery of God, Samson begins to become acquainted with a

reality that is independent of sight, and only recognizable

through faith in an unwavering God.

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By a full acknowledgment of guilt, identifying his own per-

sonal fallenness, paired with a recognition of the purposes of

God, unyielding in His faithfulness, seen in his lines, “I was his

nursling once and choice delight,/His destined from the

womb,/Promised by heavenly message…" (Milton 630-635) Samson

demonstrates a recovery from his original state of bereavement

within the dungeon of himself. He gains traction and courage to

implement the outward action of a spiritually inherited inner

strength. The consequences of this development are illustrated in

the encounter between Samson and a mirror-image of himself; a

dominating masculine figure: The Philistine, Harapha. Exhibiting

a boldness that is difficult to distinguish between spiritual vitality

and flagrant hubris, Samson dauntlessly challenges Harapha de-

spite the pathetic reality of a blind, weak body. He adopts a cava-

lier-like persona, void of fear, having been stripped of all pride

and finding his sole purpose in carrying out God’s will, which

will be enacted even through Samson’s fallenness. The pride of

Samson is unfounded, based on the external circumstances. But

through the regained recognition of his inner determination,

Samson unflinchingly defies Harapha, foreshadowing the tri-

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umph of Israel over the Philistines, the faith in which Samson

takes refuge in.

The progression is clearly illustrated at the point that Sam-

son declares, “My self? My conscience and internal peace” (Mil-

ton 1335), a stark contrast from the Samson described in the pro-

logue who describes “My self, my Sepulcher, a moving grave.”

(102). Where there was originally distress and turmoil, His inner-

being, affected by the divinity of God, gains a personal resiliency

— eventually leading to the ultimate act of faith in redemption.

Until the point of Harapha’s exit, the conflict have been

purely outwardly conversational and inwardly mental, a struggle

defined by the character’s repose. Dennis Brown explains “The

hinge of Samson Agonistes is situated between the exit of Hara-

pha and Samson's exit with the Philistine Officer. Thus far, the

speech and actions of the hero have been confined to his chosen

resting place, the ‘bank'. At the end of this interval he will leave

the mental stage.” (Brown 98) However, as the narrative enters its

final scene, the subtle struggle reaches its culmination, climaxing

in a purely physical display, as if the magma stewing within the

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confines of the volcano are finally released in “horrid spectacle.”

(Milton 1542)
Debate has surfaced among literary critics, as to whether the final
action of Samson, ending in both his death, and the death of his enemies,
should be interpreted in a positive or negative light. This is due to the
ambiguity of the “intimate impulse” (Milton 223) which Samson de-
scribes as the reason for his actions. It is questioned whether these were
were divinely inspired, or if mere faulty conjecture of emotions. (Brown
94)
The division portrayed between Samson’s personal convictions, as
solidified by the “intimate rousings”, and the Israelite tribe — voiced by
Manoa and the Chorus, further establishes the inner workings of Samson
as the driving force of events. Beginning with his marriage to a Philis-
tine woman, the tribe holds the opinion that Samson was ill-advised in
his choice, which led to his original downfall. However, Samson holds
fast to his decision and excuses his actions, based on what he identifies
as a divine prodding in his spirit. If the rousing was indeed divine, as
Samson claims, then God allowed for the dire circumstances of his hero
to take place. However, the blame is not exclusively God’s, for Samson
acted on his own accord in betraying his secret — and thereby betraying
God, in disclosing the source of his strength to Dalila. This faulty action
of Samson — not the former “rousing” of his spirit, is to blame for the
imprisonment in both body and mind. In the same way that Adam and
 Sweetman 14

Eve were given the choice to sin by the mere presence of the Tree of the
Knowledge of Good and Evil, or else Job was given the choice to curse
God for the events of his life, Samson was able to choose his actions,
whether sinful or otherwise. Some critics of Samson Agonistes compare
the justification of the violent actions by the “inner rousings” to Muslim
extremists in their jihadist appointments. Such critics reprimand Mil-
ton’s account of Samson, asserting that he condones violence on the ba-
sis of religious conviction. (Brown 101) However, the actions of God
and man are clearly divided, in that allowing a circumstance where sin
can be chosen, is wholly different than God causing the sin of the indi-
vidual himself.
Through the story, Milton examines the question of God’s sover-
eignty in bringing about destruction, which in turn leads to an ultimate
good which was not previously imagined. When examined through the
lens of Christian theology, Milton seems to tend toward a Calvinistic
understanding of God’s will. In this framework, even the presence of
evil is purposefully reworked for the glorification of God, seeing as the
complexities of His character are made known to creation in an over-
arching manner, through the Biblical metanarrative of justification, sanc-
tification, and finally glorification.
The representation draws parallels to the existence of humanity as
a whole — that God is brought ultimate glory through the the free
choice of humans, even in their denial of Christ. Despite the apparent
 Sweetman 15

contradiction, the defining characteristics of God — that of judgment

and mercy, are displayed even more clearly to His creation through the
unfolding redemptive metanarrative of God’s interaction with humanity
through the vehicle of collective sinfulness.
The final episode depicted in Samson Agonistes is a divine interweaving
of God’s justice and mercy, in that he combines a punishment of Sam-
son’s sin with the fulfillment of His plans on behalf of Israel. The Lord
did not abandon His promises to Samson, despite his disclosure of the
source of his strength to Dalila, which was in direct opposition to the
command of God. Conclusively, an inward, personal cause is attributed
as a reference to the decision of Samson’s action. Despite the ambiguity
of Milton, as to whether the rousing was truly divine, the inward, unex-
plained occurrences act as a catalyst for the dramatic action, which in
fact cause the former prophecies and angelic encounters surrounding
Samson’s life to be fulfilled and accomplished.
Milton beautifully analyzes the tragic hero through the inward
movement of Samson Agonistes, discusses how it translates into outward
action, tracks the consequences of the fallen nature of humanity through
a mixture of Samson’s heroism, which is overshadowed by the reality of
the death which permeates a creation currently mired in original sin.
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Works Cited

Brown, D. "Moral Dilemma and Tragic Affect in Samson Agonistes."

Literature and Theology 20.2 (2006): 91-106. JSTOR. Web. 24
Mar. 2015.

Martz, Louis L. "Samson Agonistes: The Breath of Heaven." John Mil-

ton. By Harold Bloom. New York: Chelsea House, 1986. 197-
214. Print.

McDowell, Nicholas, Nigel Smith, and Elizabeth D. Harvey. "Samson

Agonistes and Milton's Sensible Ethic." The Oxford Handbook
of Milton. Oxford, UK: Oxford UP, 2009. 649-69. Print.

Milton, John. Samson Agonistes. London: Oxford UP, 1957. Print.

Radzinowicz, Mary Ann. "Samson Agonistes: The Divided Mind." John

Milton. By Harold Bloom. New York: Chelsea House, 1986.
179-97. Print.

Schwartz, Regina M. "Samson Agonistes: The Force of Justice and the

Violence of Idolatry." The Oxford Handbook of Milton. By Nicholas
McDowell and Nigel Smith. Oxford, UK: Oxford UP, 2009.
632-49. Print.

Serjeantson, R. W. "Samson Agonistes and 'Single Rebellion'" The Ox-

ford Handbook of Milton. By Nicholas McDowell and Nigel
Smith. Oxford, UK: Oxford UP, 2009. 613-32. Print.
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