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. Terror moves with dread rapidity:
. . . and from his seat
The monster moving onward came as fast
With horrid strides.
- MILTON (ii, 675).
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:
. . . Forse cangiata (del che non mi avveggio)
Sono nel volto per la tua partenza. - (p. 89).
In both poems Sin and Death reappear on the scene after the transgression.
The flight of Innocence from earth; the distempered lust which dominates
over Adam and Eve after the Fall; the league of Sin and Death to rule
henceforward over the world; the pathetic lament of Adam regarding his
misfortune and the evils in store for his progeny; his noble sentiment,
that none can withdraw himself from the all-seeing eye of God - all these
are images which Milton has copied from Salandra.
Adam's state of mind, after the fall, is compared by Salandra to a boat
tossed by impetuous winds (p. 228):
Qual agitato legno d'Austro, e Noto,
Instabile incostante, non hai pace,
Tu vivi pur . . .
which is thus paraphrased in Milton (ix, 1122):
. . . High winds worse within
Began to rise . . . and shook sore
Their inward state of mind, calm region once
And full of peace, now tossed and turbulent.
Here is a still more palpable adaptation:
... So God ordains:
God is thy law, thou mine.
- MILTON (iv, 636)
. . . . Un voler sia d' entrambi,
E quel' uno di noi, di Dio sia tutto.
- SALANDRA (p. 42).
After the Fall, according to Salandra, vacillo la terra (i), geme
(2), e pianse (3), rumoreggiano i tuoni (4), accompagnati da
grandini (5), e dense nevi (6), (pp. 138, 142, 218). Milton
translates this as follows: Earth trembled from her entrails (1), and
nature gave a second groan (2); sky loured and, muttering thunders (4),
some sad drops wept (3), the winds, armed with ice and snow (6) and hail
(5). ('Paradise Lost,' ix, 1000, x. 697).
Here is another translation:
. . . inclino il ciclo
Giu ne la terra, e questa al Ciel innalza.
- SALANDRA (p. 242).
And Earth be changed to Heaven, and Heaven to Earth.
- MILTON (vii, 160).
It is not to my purpose to do Zicari's work over again, as this would
entail a complete translation of his long article (it contains nearly
ten thousand words), to which, if the thing is to be done properly, must
be appended Salandra's 'Adamo,' in order that his quotations from it can
be tested. I will therefore refer to the originals those who wish to go
into the subject more fully, warning them, en passant, that they may
find the task of verification more troublesome than it seems, owing to a
stupid mistake on Zicari's part.
