Lust and Violence in "Samson Agonistes"
1989; Johns Hopkins University Press; Volume: 6; Issue: 1 Linguagem: Inglês
10.2307/3189499
ISSN1549-3377
Autores Tópico(s)Biblical Studies and Interpretation
ResumoIn his Interpreting Samson Agonistes, Joseph Wittreich has argued persuasively against traditional interpretation of Milton's Samson as regenerate Hebrew saint who is restored to divine favor through slaughter of Philistines and himself.' Instead, Wittreich, as well as Irene Samuel and Helen Damico, offers us Samson as flawed hero whose tragedy is his inability to ever adequately reconcile with God.2 I will argue that tragedy's presentation of Samson's concupiscence and violence supports this revisionist interpretation. I will analyze first Milton's formulation of connection between fallen sensuality and violence in Paradise Lost 11, which insists that providence punishes these often inextricable sins with death. Then I will examine how Milton incorporates this pattern into Samson Agonistes. Samson dies unregenerate because from first to last he submits himself to his lust and violence; and, as his murderous death indicates, he never repents. Consequently, we should see Samson's suicide neither as an act of heroism nor as tragic outcome dictated by inscrutable divine forces, but rather as ineluctable, providential consequence of his sins. Benighted with sin, Samson clings to his vices through play's bloody catastrophe, an orgy of killing that is no more acceptable to God before Christ than after, ending in Samson's death and damnation. Before examining connection between lust and violence in Paradise Lost 11, we should briefly review this connection in two of Milton's previous representations of lust, Comus in A Mask Presented at Ludlow Castle and Belial in Paradise Lost. In A Mask, Comus and his rout, though primarily incarnations of fallen sensuality, are violent as well. They are compared with stabl'd wolves, or tigers at their prey (534) who surprise their victims with unjust force (590) and with the sons of Vulcan who fierce sign of battle make, and menace high with brandish't blade (651-56).3 Indeed, Comus-the son of Bacchus (522)-in his reveling with his rout of monsters, making music, brandishing his wand, eating, drinking and seeking sex, strongly resembles classical and Renaissance representations of Triumph of Bacchus, which originates in legends of Bacchus' military conquests.4 In mask, two brothers debate possibility that Comus and his followers will overwhelm Lady with lust and violence, that is, rape her. The second brother fears that the rash hand of bold Incontinence (397) will not allow a single helpless maiden pass / Uninjured (402-03). The elder brother counters that here, scene that anticipates
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