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.
