The Messenger describes in detail the circumstances of Samson's death (ll.1596-1659). He relates that, in spite of the scorn and derision which rang out at his appearance, Samson in pursuit of his vocation was 'patient and undaunted' and that he stood before destroying the temple: 'with head a while inclined, Even here Samson is governed by free will. The act of pulling down the temple is an act of responsive choice, a free action in which Samson's will co-operates with the will of God. Although Samson or the other characters are unaware of it, the hero's 'great act' prefigures Christ's mission of universal salvation - his posture in the temple, and his physical deliverance of his nation from bondage. In accordance with Milton's theology, it is not only Samson to whom spiritual recovery is available - Manoa and the Chorus are 'called' by their involvement in Samson's experience. At the end of the tragedy they are invested 'With peace and consolation /... And calm of mind all passion spent' (ll.1755-8). In the first four acts of the tragedy Samson achieves 'true experience' and understanding of God's ways to men. The purpose of the fifth act, in the context of Milton's theological concerns, is to educate Manoa and the Chorus in these same virtues. Equally, Dalila and Harapha are also 'called' to co-operate with universal grace, and Samson's development must be seen as being, potentially, an analogue of the regenerative experience offered to but declined by them through their own free will. Like Satan and his retinue of followers, their ambition and selfish behaviour renders them 'self-condemned' and 'self-blinded'. Ironically, as they serve as 'good' temptation that ultimately strengthens Samson, visiting him in the prison at Gaza weakens their respective faiths. This is the working of the freedom to accept or reject God that Milton believed so strongly in. At the beginning of the last act Manoa arrives to reveal to the Chorus hope that he can ransom Samson from the Philistines. Lacking understanding of God's mysterious ways and the process of Samson's regeneration, Manoa attempts to substitute himself for God (thinking God has deserted the hero) in pursuit of his son's redemption: For his redemption all my patrimony, The great irony lies in that while Manoa has been engaged with the Philistines for Samson's physical release, with God's aid Samson has experienced spiritual regeneration that has released him from bondage and departed to fulfil his vocation. Manoa has understood the possibility of Samson's redemption purely in human terms, failing to realise that his attempt to assist his son would merely change Samson's physical location without the necessary transformation of his spirit. During the discussion between Manoa of the attempt to ransom Samson, the hero performs his 'great act' of deliverance at the temple of Dagon. Such limited awareness is not confined to Manoa. The Chorus fails to recognise the significant spiritual pattern of Samson's responses to his visitors in the earlier acts. They cannot comprehend Samson's initial decision to disobey the Officer's command or his ultimate resolution, which is prompted by the 'rousing motions' of divine instruction, to accompany the Officer to the temple. Because of Samson's particular calling (i.e. a degree of grace higher than their own), neither the Chorus nor Manoa can share directly in Samson's experience. However, they are expected to see in Samson the pattern of their own vocation (albeit higher than that expected of them by God) to spiritual rebirth. Samson serves as an exemplum of the spiritual heroism that frees the responsive servant from the innermost prison of sin and death. Finally in the fifth act Manoa and the Chorus begin to comprehend the spiritual pattern of Samson's victory. The Chorus realise 'living or dying' Samson has 'fulfilled / The work for which foretold / To Israel'. They comprehend Samson has given his life to God, and to Israel, in answer to divine calling. They are also |
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