that capacity of song which nothing but sacred Epos could satisfy. Diodati asks him--"_Quid studes?_" and he answers--"_Mehercle, immortalitatem!_" This might persuade us that he finally chose the Fall of Man as he at first had chosen King Arthur. But not so. When Arthur dropped away from his purposes, naturally displaced by the after-choice, the will toward an Epic underwent an answerable revolution. The first subject was called by the "longing after immortality." But another longing, or the longing after another immortality, carried the will and the man to the second. The learning and the learned art of the _Paradise Lost_, concur in inclining us to look upon Milton as an artist rather than a worshipper. On closer consideration of its spirit, we cannot think of his putting his hand to such a work without the inwardly felt conviction that _God was with him in it_. And, what is the feeling with which a youthful mind first regards the _Paradise Lost_? A holy awe--something as if it were a second Bible. So, too, have felt towards it our great poets. Elwood, the Quaker, has told us, but we cannot believe him, that _he_ suggested to Milton the _Paradise Regained_! Hardly credible that, being the natural sequel and complement of the _Paradise Lost_, it should not have occurred to Milton. Pray, did the Quaker _suggest the treatment_? To conceive that man was virtually redeemed when Jesus had avouched, by proof, his perfect obedience, was a view, we think, proper to spring in a religious mind. It is remarkable, however, certainly, that the Atoning Sacrifice, which in the _Paradise Lost_ is brought into the front of the Divine rule and of the poem, in the _Paradise Regained_ hardly appears--if at all. In both you see the holy awe with which Milton shuns describing the scenes of the Passion. Between Adam and Michael, on that "top of speculation" the Visions end at the Deluge. The Crucifixion falls amongst the recorded events, and is told with few and sparing words. You _must_ think that the removal of the dread Crucifixion from the action of the _Paradise Regained_ recommended that action to the poet--contradicting Warburton, who blames him, as a poet, for not having chosen the more stupendous action. Milton thus obtained further a perfect Greek simplicity of plan. The Crucifixion has always seemed profaned when any modern poet has dared to describe it.