Salandra describes the passion of Jesus Christ, and the comforts which Adam and Eve receive from the angel who announces the coming of the Messiah; lastly, their departure from the earthly paradise. The same with Milton.
So much for the general scheme of both poems. And now for a few particular points of resemblance, verbal and otherwise.
The character of Milton’s Satan, with the various facets of pride, envy, vindictiveness, despair, and impenitence which go to form that harmonious whole, are already clearly mapped out in the Lucifero of Salandra. For this statement, which I find correct, Zicari gives chapter and verse, but it would take far too long to set forth the matter in this place. The speeches of Lucifero, to be sure, read rather like a caricature—it must not be forgotten that Salandra was writing for lower-class theatrical spectators, and not for refined readers—but the elements which Milton has utilized are already there.
Here we may reign secure . . . Better to reign in Hell than serve in Heaven.
. . . Qui propria voglia, Son capo, son qui duce, son lor Prence.
. . . Whom shall we find Sufficient? ... This enterprise None shall partake with me.—MILTON (ii, 403, 465).
A chi basterà l’ anima di voi? . . . certo che quest’ affare A la mia man s’ aspetta.—SALANDRA (p. 64).
Milton’s Terror is partially taken from the Megera of the Italian poet. The ‘grisly Terror’ threatens Satan (ii, 699), and the office of Megera, in Salandra’s drama, is exactly the same—that is, to threaten and chastise the rebellious spirit, which she does very effectually (pages 123-131). The identical monsters—Cerberus, Hydras, and Chimæras—are found in their respective abodes, but Salandra does not content himself with these three; his list includes such a mixed assemblage of creatures as owls, basilisks, dragons, tigers, bears, crocodiles, sphynxes, harpies, and panthers. Terror moves with dread rapidity:
. . . and from his seat The monster moving onward came as fast With horrid strides.—MILTON (ii, 675).
In atterir, in spaventar son . . . Rapido sì ch’ ogni ripar è vano.—SALANDRA (p. 59).
Both Milton and Salandra use the names of the gods of antiquity for their demons, but the narrative epic of the English poet naturally permitted of far greater prolixity and variety in this respect. A most curious parallelism exists between Milton’s Belial and that of Salandra. Both are described as luxurious, timorous, slothful, and scoffing, and there is not the slightest doubt that Milton has taken over these mixed attributes from the Italian.[2]