But if the poem expresses the higher qualities of the Puritan temper it expresses no less exactly its defects. Throughout it we feel almost painfully a want of the finer and subtler sympathies, of a large and genial humanity, of a sense of spiritual mystery. Dealing as Milton does with subjects the most awful and mysterious that poet ever chose, he is never troubled by the obstinate questionings of invisible things which haunted the imagination of Shakspere. We look in vain for any AEschylean background of the vast unknown. "Man's disobedience" and the scheme for man's redemption are laid down as clearly and with just as little mystery as in a Puritan discourse. On topics such as these, even God the Father (to borrow Pope's sneer) "turns a school divine." As in his earlier poems he had ordered and arranged nature, so in the "Paradise Lost" Milton orders and arranges Heaven and Hell. His mightiest figures, Angel or Archangel, Satan or Belial, stand out colossal but distinct. There is just as little of the wide sympathy with all that is human which is so lovable in Chaucer and Shakspere. On the contrary the Puritan individuality is nowhere so overpowering as in Milton. He leaves the stamp of himself deeply graven on all he creates. We hear his voice in every line of his poem. The cold, severe conception of moral virtue which reigns throughout it, the intellectual way in which he paints and regards beauty (for the beauty of Eve is a beauty which no mortal man may love) are Milton's own. We feel his inmost temper in the stoical self-repression which gives its dignity to his figures. Adam utters no cry of agony when he is driven from Paradise. Satan suffers in a defiant silence. It is to this intense self-concentration that we must attribute the strange deficiency of humour which the poet shared with the Puritans generally, and which here and there breaks the sublimity of the poem with strange slips into the grotesque. But it is above all to this Puritan deficiency in human sympathy that we must attribute Milton's wonderful want of dramatic genius. Of the power which creates a thousand different characters, which endows each with its appropriate act and word, which loses itself in its own creations, no great poet ever had less. [Sidenote: The Naval War.]