It is well known that Milton's first idea, in treating the subject, was to write a tragedy; and that he had actually composed some scenes before he finally resolved to transfer his pencil to a vaster canvas. The difference between the epic and dramatic form gave a great advantage to the English poet. All the ornaments of description, in which Paradise Lost is so rich, were denied to Andreini, since they could not be admitted into dialogue. That Milton saw and profited by Andreini's tragedy, can be proved not only by external testimony, but by evidence contained in almost every page of his work. We must look to the conception and to the expression of thought, in drawing the comparison between the two, which will conclusively show Andreini to be in truth the precursor of Milton, the original author of the design elaborated in Paradise Lost. We will give an analysis of the drama, with extracts faithfully translated, rendering the literal sense of the original.[184]
The scene of the tragedy is in the terrestrial paradise. The interlocutors are the Eternal Father, Michael and a chorus of angels, Adam and Eve, Lucifer, the Prince of Hell, Satan, Beelzebub, the Seven Deadly Sins, besides various allegorical personages, such as the World and the Flesh, Hunger, Fatigue, Despair, Death, and Vainglory, with a chorus of infernal messengers and spirits of the elements. The author's own summary will give the most accurate idea of the piece. A chorus of angels in the prologue sing the glory of the eternal God, calling upon the new creation to praise him. The future advent of the Incarnate Word is dimly predicted. The Almighty is completing his vast work by the formation of man; the new being is welcomed in strains of jubilee and rejoicing by the shining choir about him, and the scene proceeds with solemnity and magnificence, in language elevated and sublime. The ecstasy of the newly created at the glory revealed to his senses by the celestial train who "cleave heaven with their wings of gold," and his devout aspirations of love and homage toward his Creator, are admirably expressed. Adam adores the ineffable mysteries of the Trinity and the coming Incarnation. The verse throughout this scene is in lyrical measures adapted to the subject, and to the emotions uttered.
Adam falls into sleep, and Eve is created and named "woman" by the eternal Father. A resemblance may be discovered by the curious between the ascent of the heavenly train from Eden, after the blessing is pronounced and the work completed, and a similar description in the seventh book of Paradise Lost. Adam then points out to Eve the wonders of the new world, rehearses the divine command and prohibition, and inspires her with love for the beneficent Being who gave them all:
"Adam. Lo! the deep azure of yon heaven, where oft
That bright and wandering star,
Herald of radiance yet afar,
Shall dart its welcome ray
To ope the richer glories of the day.
Then the majestic sun,
To fill the earth with joy,
O'er her glad face shall fling his golden light;
Till weary of his reign,
The pure and silvery moon,
With all her starry train,
Shall come to grace the festal pomp of night
Lo! where above all other elements
The subtle flame ascends, outshining all:
Lo! where the soft transparent air uplifts
Bright-plumaged birds, with notes of melody
Measuring the happy hours!
Lo! the vast bosom of propitious earth,
With opening flowers, with glowing fruit adorned,
And her green tresses that the crown sustain
Upon her mountain summits, and her sceptre
Of towering trees. Behold! the azure field
Of ocean's empire! where 'mid humid sands,
And his deep valleys, and the myriad hosts
Of his mute tribes, and treasures of fair pearls,
And purple gems, his billows roll and plough.
Bearing to heaven his proud and stormy head,
Crowned with the garlands rifled from the deep—
Glory and wonder all! Of One they speak.
Their great Creator!"
In the second scene, Lucifer rises from the abyss; and at the first glance we recognize the conception which is one of the chief glories of Paradise Lost. The apostate of this piece, like Milton's Satan, is a majestic being, stem, defying, and dreadless, even in despair. Pride, indomitable pride, is still his master passion; in the midst of his blood-chilling irony and impiety, we lose not the awe inspired by a mighty nature, still mighty and commanding, though perverted to evil; nor forget that his "faded splendor wan" is but
"the excess
Of glory obscured."
In a bold and haughty strain, well befitting the "lost archangel," "vaunting aloud, though racked with deep despair," he gives vent to the envy and hatred of his rebellious spirit:
"From mine abode of gloom
Who calls me to behold this hateful light?
What wonders, strange and new,
Hast thou prepared, O God! to blast my sight?
Art thou, Creator, weary of thy heaven,
That thou hast made on earth
A paradise so fair?
Or why hast thou placed here
Beings of flesh that God's own semblance wear?
Say, condescending Architect! who fram'dst
Such work from clay, what destiny awaits
This naked, helpless man, lone habitant
Of caves and woods?
Perchance he hopes one day to tread the stars!
Heaven is impoverished:[185] I alone the cause.
The exulting cause of that vast ruin! Add
Yet star to star; let suns and moons increase;
Toil yet, Creator, to adorn thy skies;
To make them bright and glorious as of old;
To prove at length how vain and scorned thy toil!
I—I alone—supplied that light which sent
A thousand splendors to the farthest heaven,
To which these lights are shadows, or reflect
With faint and feeble gleam my greater glory.
Yet reck I not, whate'er these things may be,
Or this new being: stern, unyielding still,
My aim, my purpose, is hostility
Implacable 'gainst man, and heaven, and God!"
Act i. sc. 2.
The partners of his guilt and punishment, who join him in the garden, now surround him; and we have a vivid picture of hell in the midst of Paradise: