Of the history of the great epic we have some interesting glimpses. In Cambridge there is preserved a notebook of Milton's containing a list of nearly one hundred subjects[167] for a great poem, selected while he was a boy at the university. King Arthur attracted him at first; but his choice finally settled upon the Fall of Man, and we have four separate outlines showing Milton's proposed treatment of the subject. These outlines indicate that he contemplated a mighty drama or miracle play; but whether because of Puritan antipathy to plays and players, or because of the wretched dramatic treatment of religious subjects which Milton had witnessed in Italy, he abandoned the idea of a play and settled on the form of an epic poem; most fortunately, it must be conceded, for Milton had not the knowledge of men necessary for a drama. As a study of character _Paradise Lost_ would be a grievous failure. Adam, the central character, is something of a prig; while Satan looms up a magnificent figure, entirely different from the devil of the miracle plays and completely overshadowing the hero both in interest and in manliness. The other characters, the Almighty, the Son, Raphael, Michael, the angels and fallen spirits, are merely mouthpieces for Milton's declamations, without any personal or human interest. Regarded as a drama, therefore, _Paradise Lost_ could never have been a success; but as poetry, with its sublime imagery, its harmonious verse, its titanic background of heaven, hell, and the illimitable void that lies between, it is unsurpassed in any literature. In 1658 Milton in his darkness sat down to dictate the work which he had planned thirty years before. In order to understand the mighty sweep of the poem it is necessary to sum up the argument of the twelve books, as follows: