And so does Megera:
In atterir, in spaventar son . . .
Rapido si ch' ogni ripar e 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. [Footnote: This is one of the occasions in
which Zicari appears, at first sight, to have stretched a point in order
to improve his case, because, in the reference he gives, it is Behemoth,
and not Belial, who speaks of himielf as cowardly (imbelle). But in
another place Lucifer applies this designation to Belial as well,]
The words of Milton's Beelzebub (ii, 368):
Seduce them to our party, that their god
May prove their foe . . .
are copied from those of the Italian Lucifero (p. 52):
. . . Facciam Accio, che l' huom divenga
A Dio nemico . . .
Regarding the creation of the world, Salandra asks (p. 11):
Qual lingua puo di Dio,
Benche da Dio formato
Lodar di Dio le meraviglie estreme?
which is thus echoed by Milton (vii, 112):
. . . to recount almighty works
What words or tongue of Seraph can suffice?
There is a considerable resemblance between the two poets in their
descriptions of Paradise and of its joys. In both poems, too, Adam warns
his spouse of her frailty, and in the episode of Eve's meeting with the
serpent there are no less than four verbal coincidences. Thus Salandra
writes (p. 68):
Ravviso gli animal, ch' a schiera a schiera
Gia fanno humil e reverente inclino . . .
Ravveggio il bel serpente avvolto in giri;
O sei bello
Con tanta varieta che certo sembri
Altro stellato ciel, smaltata terra.
O che sento, tu parli?
and Milton transcribes it as follows (ix, 517-554):
. . . She minded not, as used
To such disport before her through the field
From every beast, more duteous at her call . . .
Curled many a wanton wreath in sight of Eve.
His turret crest and sleek enamelled neck . . .
What may this mean?
Language of man pronounced
By tongue of brute?
Altogether, Zicari has observed that Rolli, although unacquainted with
the 'Adamo Caduto,' has sometimes inadvertently hit upon the same words
in his Italian translation of Milton which Salandra had used before him.
Eve's altered complexion after the eating of the forbidden fruit is
noted by both poets:
Torbata ne la faccia? Non sei quella
Qual ti lasciai contenta . . . - SALANDRA (p. 89).
Thus Eve with countenance blithe her story told;
But in her cheek distemper flushing glowed. - MILTON (ix, 886).
only with this difference, that the Italian Eve adds a half-lie by way
of explaining the change:
