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But the date must presumably be pushed further forward in the case of the skeletons for 'Paradise Lost, which are modelled to a great extent upon Salandra's 'Adamo' of 1647, though other compositions may also have been present before Milton's mind, such as that mentioned on page 234 of the second volume of Todd's 'Milton, from which he seems to have drawn the hint of a 'prologue spoken by Moses.
These few extracts, however, will suffice to show that, without Salandra's 'Adamo, the 'Paradise Lost, as we know it, would not be in existence; and that Zicari's discovery is therefore one of primary importance for English letters, although it would be easy to point out divergencies between the two works divergencies often due to the varying tastes and feelings of a republican Englishman and an Italian Catholic, and to the different conditions imposed by an epic and a dramatic poem.
This problem, like most of those which were submitted to the forum of the Conference, may be envisaged from either of two opposite angles of survey; from that of the future society of justice-loving nations, whose members are to forswear territorial aggrandizement, special economic privileges, and political sway in, or at the expense of, other countries; or from the traditional point of view, which has always prevailed in international politics and which cannot be better described than by Signor Salandra's well-known phrase "sacred egotism."
Some idea of the time when Salandra's tragedy reached Milton might be gained if we knew the date of his manuscript projects for 'Paradise Lost' and other writings which are preserved at Cambridge.
Salandra's central theme is the Universe shattered by the disobedience of the First Man, the origin of our unhappiness and sins. The same with Milton. Salandra's chief personages are God and His angels; the first man and woman; the serpent; Satan and his angels. The same with Milton. The same with Milton.
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