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He was personally acquainted with several men whose names I have mentioned Capialbi, Zicari, Masci; he saw the Purple Codex at Rossano; in fact, there are numberless points on which I could have quoted him with profit. It is often thus, with archaeological discoveries.
The character of Milton's Satan, with the various facets of pride, envy, vindictiveness, despair, and impenitence which go to form that harmonious whole, are already clearly mapped out in the Lucifero of Salandra. For this statement, which I find correct, Zicari gives chapter and verse, but it would take far too long to set forth the matter in this place.
The merit of this discovery belongs to Francesco Zicari, whose paper, 'Sulla scoverta dell' originale italiano da cui Milton trasse il suo poema del paradiso perduto, is printed on pages 245 to 276 in the 1845 volume of the Naples 'Album scientifico- artistico-letterario' now lying before me.
Zicari who, it must be said, has made the best of his case, will have it that the musterings and battles of the good and evil angels are copied from the 'Angeleide' of Valvasone published at Milan in 1590.
Altogether, Zicari has observed that Rolli, although unacquainted with the 'Adamo Caduto, has sometimes inadvertently hit upon the same words in his Italian translation of Milton which Salandra had used before him. Eve's altered complexion after the eating of the forbidden fruit is noted by both poets: Torbata ne la faccia? Non sei quella Thus Eve with countenance blithe her story told;
The error would be of no significance if Zicari had referred to Rolli's 'Paradiso' by the usual system of cantos and lines, but he refers to it by pages, and the pagination differs in every one of the editions of Rolli which have passed through my hands.
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