'Volle alle forme sue semplici e prime, Natura sovralzar corporea e bassa, E de' membri del ciel capo sublime Far di limo terrestre eterna massa;' literally: 'He turns to his simple primitive forms, To raise Nature above the corporeal and low, And to make an unworthy mass of earthly clay The sublime head of the heavenly members.' Compare also st. x. in Crashaw with the original as literally rendered: 'Disdainefull wretch, how hath one bold sinne cost Thee all the beauties of thy once bright eyes! How hath _one black eclipse cancell'd and crost The glories that did gild thee in thy rise! Proud morning of a perverse day_, how lost Art thou unto thy selfe, thou too selfe-wise Narcissus! foolish Phaeton, who for all Thy _high-aym'd hopes, gaind'st but a flaming fall_.' Literally in Marino: 'O wretched Angel, once fairer than light, How thou hast lost thy primeval splendour! Thou shalt have from the eternal Requiter Deserved punishment for the unjust crime: Proud admirer of thy honours, Rebellious usurper of another's seat! Transformed, and fallen into Phlegethon, Proud Narcissus, impious Phaethon!' Milton takes from Crashaw, not Marino, in his portrait of the Destroyer: 'From Death's sad shades to the life-breathing ayre This mortall enemy to mankind's good Lifts his _malignant eyes, wasted with care, To become beautifull in humane blood_.' (st. xi.) Literally in Marino: 'He from the shades of death to the living air, Envious in truth of our human state, Lifted aloft his eyes by where The hollow vent-hole opened straight down.' Well-nigh innumerable single lines and words are inevitably marked: _e.g._ 'the rebellious eye Of sorrow.' (st. xlix.) So the eyes of Satan: 'the sullen dens of Death and Night Startle the dull ayre with a dismal red;' (st. vii.) for Marino's 'Negli occhi ove mestizia alberga e morte, Luce fiammeggia torbida e vermiglia;' literally: 'In the eyes where sadness dwells and death A turbid vermilion-coloured light shines.' Again: the sun is seen by the Tempter to Make proud the ruby portalls of the East;' (st. xvi.) for 'la Reggia Oriental.' Crashaw has the same vivid fancy in the Hymn for Epiphany: 'Aurora shall set ope Her ruby casements.' Finally, to show that even where our Translator keeps closest to the original, he yet gives the creative touches of which I have already spoken, read his st. v. beside this literal translation: