For Milton's Samson, the most painful aspect of captivity is produced by the dilemma of surrogacy. To be for Samson is to subject himself to a will he cannot entirely know or understand. The urgently repeated question of the poem – for whom is Samson an instrument? – deflects attention away from the fact that Samson is always an instrument, whether for the Hebrews, the Philistines, or for God, his body used to fulfill purposes which are not his own. In his captivity Samson is continually reminded by the characters around him that his labors are being used by the Philistines against his own people. Even his rest from labor is not his own. More disturbingly, Samson's desires are construed as separate from him, divinely ordained. “Motions” that move within him suggest that while desire is experienced as bodily, it is in fact a propulsion that he can gauge but that he did not himself produce. What made him long for the bride at Timnah, and then for Dalila? As Samson explains to the Chorus, his first marriage was not the fulfillment of his own desire, but rather the beginning of his “divine labor”: “what I motion'd was of God; I knew / From intimate impulse, and therefore urg'd / the Marriage on” (SA 222–3).