[14] Mr. Southey observes, in a letter now before me, that “Vondel’s ‘Lucifer’ was published in 1654. His ‘Samson,’ the same subject as the ‘Agonistes,’ 1661. His ‘Adam,’ 1664. Cædmon, Andreini, and Vondel, each or all, may have led Milton to consider the subject of his ‘Paradise Lost.’ But Vondel is the one who is most likely to have impressed him. Neither the Dutch nor the language were regarded with disrespect in those days. Vondel was the greatest writer of that language, and the Lucifer is esteemed the best of his tragedies. Milton alone excepted, he was probably the greatest poet then living.”
This critical note furnishes curious dates. Milton was blind when the Lucifer was published; and there is so much of the personal feelings and condition of the poet himself in his “Samson Agonistes,” that it is probable little or no resemblance could be traced in the Hollander. The “Adam” of Milton, and the whole “Paradise” itself, was completed in 1661. As for Cædmon, I submit the present chapter to Mr. Southey’s decision.
No great genius appears to have made such free and wise use of his reading as Milton has done, and which has led in several instances to an accusation of what some might term plagiarism. We are not certain that Milton, when not yet blind, may not have read some of those obscure modern Latin poets whom Lauder scented out.
[15] Guest’s “History of English Rhythms.”
[16] This speech, in which Satan appeals to and characterises his Infernals, may be read in Parfait’s analysis of the Mystery.—Hist. du Théâtre François, i. 79.
[17] L’Angeleida of Valvasone, the Adamo of Andreini, and others.—Hayley’s Conjectures on the Origin of “Paradise Lost.” See also Tiraboschi, and Ginguéné.
[18] These singular attempts at art may be inspected in above fifty plates, in the Archæologia, vol. xx. We may rejoice at their preservation, for art, even in the attempts of its children, may excite ideas which might not else have occurred to us.
BEOWULF; THE HERO-LIFE.