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 basterà 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 Chimæras—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 sì ch’ ogni ripar è 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.[[2]]