dramatic composition, that instead of be formed on the narrow ground of Grotius his Adamus Exul, allowed a wider rang the fancy, and included allegorical charac like the Adamo of Andreini.

This composition, first printed at M in 1613, and again in 1617, resembles mysteries of our early stage; and is de minated in Italian Rappresentatione, a n which the writers of Italy apply to dra founded on the scripture.-Dr. Pearce said, in the preface to his review of Milt text, that he was informed an Italian trag existed, entitled Il Paradiso Perso, Para Lost; but, in a very extensive researc can discover no such performance. The indeed, another Italian drama on the sub which I have not seen, entitled Ad Caduto, tragedia sacra; but this was printed until 1647, some years after th turn of our poet from the continent.*

*For the benefit of commentators on our divine let me here insert a brief list of such Italian compos as may possibly have afforded him some useful hin

seems very probable that Milton, in his collection of Italian books, had brought the Adamo of Andreini to England; and that the perusal of an author, wild indeed, and abounding in grotesque extravagance, yet

1. Adamo Caduto, tragedia sacra, di Serafino della Salandra. Cozenza, 1647. Octavo.

2. La Battaglia Celeste tra Michele e Lucifero, di Antonio Alfani, Palermitano. Palermo, 1568. Quarto. 3. Dell Adamo di Giovanni Soranzo, i due primi libri, Genova 1604. Duodecimo.

These little productions on the subject of Milton, are not to be found in the royal library, nor in the princely collection of Lord Spencer, who possesses that remarkable rarity of Italian literature, the Theseida of Boccacio; and whose liberal passion for books is ennobled by his politeness and beneficence to men of letters,

The pocts of Italy were certainly favorites of Milton and perhaps his Samson Agonistes was founded on a sacred drama of that country, La Rappresentione di Sansone, per Alessandro Roselli. Siena, 1616. Quarto. There is probably considerable poetical merit in this piece, as I find two subsequent editions of it recorded in the historians of Italian literature; yet I am unable to say whether Milton is indebted to it or not, as I have never been so fortunate as to find a copy of Roselli's composition. Yet the mention of it here, may be useful to future editors of the English poet,

now and then shining with pure and united rays of fancy and devotion, first gave a new bias to the imagination of the English poet, or, to use the expressive phrase of Voltaire, first revealed to him the hidden majesty of the subject. The apostate angels of Andreini, though sometimes hideously and absurdly disgusting, yet occasionally sparkle with such fire as might awaken the emulation of Milton.

I shall not attempt to produce parallel passages from the two poets, because the chief idea that I mean to inculcate is, not that Milton tamely copied the Adamo of Andreini, but that his fancy caught fire from that spirited, though irregular and fantastic composition-that it proved in his ardent and fertile mind the seed of Paradise Lost; this is matter of mere conjecture, whose probability can only be felt in examining the Adamo-to the lovers of Milton it may prove a source of amusing speculation.

At all events, the majesty of Milton appears to the utmost advantage when he

is fully compared with every writer, whose poetical powers have been exercised on the subject, to which only his genius was equal.

Let me observe, however, for the credit of Andreini, that although he has been contemptuously called a stroller, he had some tincture of classical learning, and considerable piety. He occasionally imitates Virgil, and quotes the fathers. He was

born in Florence, 1578, his mother was an actress, highly celebrated for the excellence of her talents, and the purity of her life; she appeared also as an authoress, and printed a volume of letters and essays, to which two great poets of her country, Tasso and Marini, contributed each a sonnet. Her memory was celebrated by her son, who published, at her death, a collection of poems in her praise. Having distinguished himself as a comedian at Milan, he travelled into France, in the train of the famous Mary de Medici, and obtained, as an actor, the favor of Lewis the XIIIth. The biographical work of Count Mazzuchelli on

the writers of Italy, includes an account of Andreini, with a list of his various productions; they amount to the number of thirty, and form a singular medley of comedies and devout poems. His Adamo alone seems likely to preserve his name from oblivion; and that indeed can never cease to be regarded as a literary curiosity, while it is believed to have given a fortunate impulse to the fancy of Milton,

If it is highly probable, as I think it will appear to every poetical reader, who peruses the Adamo, that Andreini turned the thoughts of Milton from Alfred to Adam, and led him to sketch the first outlines of Paradise Lost in various plans of allegorical dramas, it is possible that an Italian writer, less known than Andreini, first threw into the mind of Milton the idea of converting Adam into an epic personage. I have now before me, a literary curiosity, which my accomplished friend, Mr. Walker, to whom the literature of Ireland has many obligations, very kindly sent me, on his return from an excursion to Italy, where it hap