=1. Poetry.= (_a_) _The Lyric._ The period is rich in lyrical poetry of a peculiar kind. The theme is chiefly love or religion. Most of the love-poems are dedicated to ladies of the usual literary convention, such as Althea, Celia, and Phyllis, who both in name and nature resemble the stock characters of the artificial pastoral poetry. The language addressed to such creations cannot be that of deep and genuine passion; it is rather that of polite compliment, verbal quibble, or courtly jest. This type of lyric is a charming literary exercise, but hardly the inspired searching of the lover’s heart. We have already noticed the poems of Herrick, Lovelace, and Carew as being representative of this class. To these names may be added those of =George Wither (1588–1667)=, who writes freshly and sweetly, =Andrew Marvell (1621–78)=, who sometimes reveals real passion, and the numerous miscellaneous songwriters, mostly anonymous, who in inspired moments could produce such charming lyrics as “Phillada flouts me.” The religious lyric, on the other hand, as we can see in the case of Crashaw and Vaughan, is frequently passionately inspired; but the passions are vaguely expressed; and we have commented upon the incongruity that frequently disfigures the style. In the case of Milton his lyrics are superbly phrased, but they too lack spontaneity. His sonnets, among the noblest of their class, have much more depth of feeling. (_b_) _The Epic._ The true epic treats of a sublime subject in the grand manner. In some respects _Beowulf_ is an epic, but strictly speaking the epic does not appear till this age. Cowley’s _Davideis_ (1637) and Davenant’s _Gondibert_ (1651) aspire to be great epics; but though they subscribe to the rules governing the outward form of the species they lack the inner spirit and they are failures. Milton’s _Paradise Lost_ (1658) has the heat and inspiration, but the Puritan bias in his nature led him to the rather unsuitable subject of the fall of man. It is unsuitable because it is weak in heroic action. Much more appropriate would have been the story of King Arthur, which for a long time he thought of using. Otherwise Milton’s treatment of the subject is strictly orthodox. Nominally at least he adheres to the epical unity of action; he draws his characters with a wide sweep; and the style is a triumph of English epical style. His _Paradise Regained_ (1671) is worked out on the same lines, but it is shorter and weaker than the earlier epic.