dramatic poem. Thus, in regard to this last point, Zicari has already
noted (p. 270) that Salandra's scenic acts were necessarily reproduced
in the form _of visions_ by Milton, who could not avail himself of the
mechanism of the drama for this purpose. Milton was a man of the world,
traveller, scholar, and politician; but it will not do for us to insist
too vehemently upon the probable mental inferiority of the Calabrian
monk, in view of the high opinion which Milton seems to have had of his
talents. Imitation is the sincerest form of flattery. The 'Adamo
Caduto,' of course, is only one of a series of similar works concerning
which a large literature has now grown up, and it might not be difficult
to prove that Salandra was indebted to some previous writer for those
words and phrases which he passed on to the English poet.

But where did Milton become acquainted with this tragedy? It was at
Naples, according to Cowper ('Milton,' vol. iii, p. 206), that the
English poet may first have entertained the idea of 'the loss of
paradise as a subject peculiarly fit for poetry.' He may well have
discussed sacred tragedies, like those of Andreini, with the Marquis
Manso. But Milton had returned to England long before Salandra's poem
was printed; nor can Manso have sent him a copy of it, for he died in
1645--two years before its publication--and Zicari is thus mistaken in
assuming (p. 245) that Milton became acquainted with it in the house of
the Neapolitan nobleman. Unless, therefore, we take for granted that
Manso was intimate with the author Salandra--he knew most of his
literary countrymen--and sent or gave to Milton a copy of the manuscript
of 'Adamo' before it was printed, or that Milton was personally
familiar with Salandra, we may conclude that the poem was forwarded to
him from Italy by some other friend, perhaps by some member of the
_Accademia, degli Oziosi_ which Manso had founded.