Old Calabria Part 19

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 h.e.l.l; the grief of Adam; the flight of our first parents, their shame and repentance. The same with Milton.

Salandra antic.i.p.ates 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 pa.s.sion 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-cla.s.s 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 h.e.l.l 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 a.s.semblage 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 G.o.ds 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 G.o.d May prove their foe . . .

are copied from those of the Italian Lucifero (p. 52):

. . . Facciam Acci, che l' huom divenga A Dio nemico . . .

Regarding the creation of the world, Salandra asks (p. 11):

Qual lingua pu 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 _p.r.o.nounced_ 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 flus.h.i.+ng 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.