mind; particularly "what king or knight before the Conquest might be chosen, in whom to lay the pattern of a Christian hero." This project, of delineating in a hero a model of Christian perfection, was suggested to the English poet, not only by the example, but by the precepts of Tasso, as they are delivered in his critical discourses. The epic designs of Milton were suspended, we know, for many years, by very different pursuits; and when he escaped from "the troubled sea of noise and hoarse dispute to the quiet and still air of delightful studies," Arthur had so far ceased to be his favorite, that he probably exclaimed, in the words of Tasso ; Taccia Artu quei suoi Erranti, che di sogni empion le carte. Arthur no more thy errant knights rehearse, For Adam now reigned in his fancy, not immediately as the subject of an epic poem, but as a capital personage in the plan of a dramatic composition, that instead of being formed on the narrow ground of Grotius, in his Adamus Exul, allowed a wider range to the fancy, and included allegorical characters like the Adamo of Andreini. This composition, first printed at Milan in 1613, and again in 1617, resembles the mysteries of our early stage; and is denominated in Italian Rappresentatione, a name which the writers of Italy apply to dramas founded on the scripture.-Dr. Pearce has said, in the preface to his review of Milton's text, that he was informed an Italian tragedy existed, entitled Il Paradiso Perso, Paradise Lost; but, in a very extensive research, I can discover no such performance. There is indeed, another Italian drama on the subject, which I have not seen, entitled Adamo Caduto, tragedia sacra; but this was not printed until 1647, some years after the return of our poet from the continent.* It For the benefit of commentators on our divine bard, let me here insert a brief list of such Italian compositions, as may possibly have afforded him some useful hints : seems very probable that Milton, in his collection of Italian books, had brought the Adamo of Andreini to England; and that the perusal of an author, wild indeed, and abounding in grotesque extravagance, yet 1. Adamo Caduto, tragedia sacra, di Serafino della Salandra. Cozenza, 1647. Octavo. 2. La Battaglia Celeste tra Michele e Lucifero, di Antonio Alfani, Palermitano. Palermo, 1568. Quarto. 3. Dell Adamo di Giovanni Soranzo, i due primi libri. Genova 1604. Duodecimo. These little productions on the subject of Milton, are not to be found in the royal library, nor in the princely collection of Lord Spencer, who possesses that remarkable rarity of Italian literature, the Theseida of Boccacio; and whose liberal passion for books is ennobled by his politeness and beneficence to men of letters. The poets of Italy were certainly favorites of Milton ; and perhaps his Samson Agonistes was founded on a sacred drama of that country, La Rappresentione di Sansone, per Alessandro Roselli. Siena, 1616. Quarto. There is probably considerable poetical merit in this piece, as I find two subsequent editions of it recorded in the historians of Italian literature; yet I am unable to say whether Milton is indebted to it or not, as I have never been so fortunate as to find a copy of Roselli's composition. Yet the mention of it here, may be useful to future editors of the English poet. now and then shining with pure and united rays of fancy and devotion, first gave a pew bias to the imagination of the English poet, or, to use the expressive phrase of Voltaire, first revealed to him the hidden majesty of the subject. The apostate angels of Andreini, though sometimes hideously and absurdly disgusting, yet occasionally sparkle with such fire as might awaken the emula tion of Milton. I shall not attempt to produce parallel passages from the two poets, because the chief idea that I mean to inculcate is, not that Milton tamely copied the Adamo of Andreini, but that his fancy caught fire from that spirited, though irregular and fantastic composition-that it proved in his ardent and fertile mind the seed of Paradise Lost; this is matter of mere conjecture, whose probability can only be felt in examining the Adamo-to the lovers of Milton it may prove a source of amusing speculation. At all events, the majesty of Milton appears to the utmost advantage when he is fully compared with every writer, whose poetical powers have been exercised on the subject, to which only his genius was equal. Let me observe, however, for the credit of Andreini, that although he has been contemptuously called a stroller, he had some tincture of classical learning, and considerable piety. He occasionally imitates Virgil, and quotes the fathers, He was born in Florence, 1578, his mother was an actress, highly celebrated for the excellence of her talents, and the purity of her life; she appeared also as an authoress, and printed a volume of letters and essays, to which two great poets of her country, Tasso and Marini, contributed each a sonnet. Her memory was celebrated by her son, who published, at her death, a collection of poems in her praise. Having distinguished himself as a comedian at Milan, he travelled into France, in the train of the famous Mary de Medici, and obtained, as an actor, the favor of Lewis the XIIIth. The biographical work of Count Mazzuchelli on |