Man is
enviously spoken of, and his fall by means of stratagem decided upon; it
is resolved to reunite in council in Pandemonium or the Abyss, where
measures may be adopted to the end that man may become the enemy of God
and the prey of hell. The same with Milton.
Salandra personifies Sin and Death, the latter being the child of the
former. The same with Milton.
Salandra describes Omnipotence foreseeing the effects of the temptation
and fall of man, and preparing his redemption. The same with Milton.
Salandra depicts the site of Paradise and the happy life there. The same
with Milton.
Salandra sets forth the miraculous creation of the universe and of man,
and the virtues of the forbidden fruit. The same with Milton.
Salandra reports the conversation between Eve and the Serpent; the
eating of the forbidden fruit and the despair of our first parents. The
same with Milton.
Salandra describes the joy of Death at the discomfiture of Eve; the
rejoicings in hell; the grief of Adam; the flight of our first parents,
their shame and repentance. The same with Milton.
Salandra anticipates the intercession of the Redeemer, and the overthrow
of Sin and Death; he dwells upon the wonders of the Creation, the murder
of Abel by his brother Cain, and other human ills; the vices of the
Antediluvians, due to the fall of Adam; the infernal gift of war. The
same with Milton.
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 is a coincidence:
Here we may reign secure . . .
Better to reign in Hell than serve in Heaven.
MILTON (i, 258)
. . . . Qui propria voglia, Son capo, son qui duce, son
lor Prence.
SALANDRA (p. 49).
And another:
. . . Whom shall we find Sufficient?
. . . This enterprise None shall
partake with me.
- MILTON (ii, 403, 465).
A chi bastera 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 Chimseras - 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.
