No. XXXV. No sooner is the epic design of Milton mentioned, but we see that Manso is suggested to his remembrance. The Epitaph of Damon, appears to have been written in 1639, and from a controversial work of Milton, published in 1641, we learn that a design of writing an epic poem was still ascendant in his mind, and that not Virgil nor Homer, but Tasso, the,' prevailing' Tasso, was the bard whom he wished to emulate. "Time serves not now," says he, " and perhaps I might seem too profuse to give any certain account of what the mind at home in the spacious circuits of her musing, hath liberty to propose to herself, though of highest hope, and hardest attempting; whether that epic form, whereof the two poems of Homer, and those other two of Virgil, and Tasso, are a diffuse, and the book of Job a brief model; or whether the rules of Aristotle are herein strictly to be kept, or nature to be followed; which, in them that know art and use judgement, is no transgression, but an enriching of art; and lastly, what king or knight before the conquest, might be chosen, in whom to lay the pattern of a Christian hero.* And as Tasso gave to a prince of Italy, his choice, whether he would command him to write of Godfrey's expedition against the Infidels, or Belisarius against the Goths, or Charlemagne against the Lombards, if to the instinct of nature, and the emboldening of art, aught may be trusted; and that there be nothing adverse in our climate, or the fate of this age, it haply would be no rashness from an equal diligence, and inclination, to present the like offer in our ancient stories."+ ♦ Prendasi dunque il soggetto del Poema Epico da istoria di religione vera, ma non sì sacra che sia immutabile, e di secolo non molto remoto, nè molto prossimo alla memoria di noi che ora viviamo.... Tali sono i tempi di Carlo Magno, e d'Artù, e quelli che o di poco successero, o di poco precedettero... ed ultimamente chi vuol formare l'idea d'un perfetto cavaliero, non so per qual cagione gli nieghi questa lode di pietà e di Religione, ed empio, ed idolatra ce lo figuri. Che se a Teseo, o se a Giasone, o ad altro simile non si può attribuire senza manifesta disconvenevolezza il zelo della vera religione, Teseo, e Giasone, e gli altri simili si lascino, ed in quella vece di Carlo, d'Artù, e d'altri somiglianti si faccia elezione. Taccio per ora che dovendo il poeta aver molto riguardo al giovamento, molto meglio accenderà l'animo de' nostri uomini coll' esempio de' cavalieri fedeli, che d'infedeli, movendo sempre più l'esempio de' simili, che de dissimili, ed i domestici che gli stranieri. Opere del Tasso, vol. V. p. 493. What an idea does it give of the genius of that writer, who, in his twentieth year, dictated lessons, which were reverentially studied by Milton! See above, p. 295. The Reason of Church Government, book II. Works, vol. I. p. 120. If the united probabilities which have now been stated are weighed; I believe No. XXXV. it will be considered as no overweening zeal for the glory of Tasso, when I assert that his example and precepts had a predominating influence in kindling the emulation, and directing the design of Milton. To the rich and romantic fancy of this poet, the Jerusalem Delivered furnished a banquet more exquisite than even the writings of Virgil, and of Homer. Nor did he forget his great master, when (after the political warfare which had agitated his noon,) he began in the evening of his life, his sweetest, his divinest song. Tasso was still the poet on whom he turned a reverend eye, and his writings were the subject of his strictest meditations. When Milton resumed his idea of writing an epic poem, " Arthur, (says Mr Hayley,) had so far ceased to be his favourite, that he probably exclaimed in the words of Tasso, Taccia Artù quei suoi Erranti, che di sogni empion le carte. "As the poem of Tasso, [the Sette Giornate,] is formed from the bible, and full of religious enthusiasm, it probably influenced the English visitor of Man in his choice of blank verse.... Milton is of all authors, undoubtedly one of the most original, both in thought, and expression; the language of his greater works is evidently borrowed from no model, but it seems to have great conformity with the precepts which Tasso has delivered in his Discourses, for the formation of an epic style." Several other writers have conjectured that Tasso's poem on the creation, influenced Milton in the adoption of blank verse, though without offering any argument in support of their supposition. In my opinion it not only influenced the English poet in the choice of blank verse, but the style of Tasso, in that poem, is very closely imitated by his great compeer. That Milton had read very attentively the Sette Giornate, has more than once been observed, and appears from the similarity of the following passages in this work, to others in the Paradise Lost. Wisdom thy sister, and with her didst play, Ma solamente allor ne' primi tempi Spiegò le foglie la purpurea rosa.† Flow'rs of all hue, and without thorn the rose. Nodrito di pensier dolci, e soavi. || Then feed on thoughts, that voluntary move The similarity of the above passages, and others might perhaps be found, puts it beyond all doubt, that Milton had read and studied the Sette Giornate of Tasso. But what I would principally remark, is, that he seems to have been indebted to that work for the character of his style; which approaches it as nearly as English blank verse can do the Verso Sciolto of the Italians. As this article has been expanded to an unusual length, I shall confine myself to one instance, but it is (like the Experimentum crucis in philosophy,) a very decisive one. Nothing in the style of Milton is more peculiar and characteristic, than the aggregation of a number of beautifully sounding names of places, winds, &c. as in the following example: Not that fair field Of Enna, where Prosérpine gathering flowers, Was gather'd, which cost Ceres all that pain To seek her through the world; nor that sweet grove Of Daphne by Orontes, and the inspir'd Castalian spring, might with this Paradise Of Eden strive; nor that Nyseian isle No, XXXV. Par. Lost, VII. 8. || Gior. III. p. 34. + Gior. III. p. 37. Par. Lost, IV. 256. § Par. Lost, III. 36. No. XXXV. Whom Gentiles Ammon call, and Lybian Jove, Young Bacchus, from his stepdame Rhea's eye; This aggregation of melodious names, is so characteristic of Milton, that Philips in his Splendid Shilling, written as a burlesque of the style of Paradise Lost, has availed himself of it more than once; and indeed, those passages in the Splendid Shilling are the features which principally, and perhaps alone, stamp the resemblance of the caricature with the original. I shall quote the first of them: Not blacker tube, nor of a shorter size Yclep'd Brechinia, or where Vagas stream Encircles Ariconium, fruitful soil! Whence flow nectareous wines, that well may vye With Massic, Setin, or renown'd Falern. This collection of a number of names, occurs very often in the Sette Giornate of Tasso, and I have little doubt, that from that work, its use was adopted by Milton. The following is an example taken from Tasso's poem. Ma qual canuto pescatore, e lasso, *P. Lost, IV. 268. |