The influence, and something of the majesty, of _Paradise Lost_ are in truth to be found in _Hyperion_: and the debate of the fallen Titans in the second book is obviously to some extent modelled on the debate of the fallen angels. But Miltonic the poem hardly is in any stricter sense. Passing by those general differences that arise from the contrast of Milton's age with Keats's youth, of his austerity with Keats's luxuriance of spirit, and speaking of palpable and technical differences only:--in the matter of rhythm, Keats's blank verse has not the flight of Milton's. Its periods do not wheel through such stately evolutions to so solemn and far-foreseen a close; though it indeed lacks neither power nor music, and ranks unquestionably with the finest blank-verse written since Milton,--beside that of Shelley's _Alastor_,--perhaps a little below that of Wordsworth when Wordsworth is at his infrequent best. As to diction and the poetic use of words, Keats shows almost as masterly an instinct as Milton himself: but while of Milton's diction the characteristic colour is derived from reading and meditation, from an impassioned conversance with the contents of books, the characteristic colour of Keats's diction is rather derived from conversance with nature and with the extreme refinements of physical sensation. He is no match for Milton in a passage of this kind:-- "Eden stretch'd her line From Auran eastward to the royal towers Of great Seleucia, built by Grecian kings, Or where the sons of Eden long before Dwelt in Telassar." But then neither is Milton a match for Keats in work like this:-- "throughout all the isle There was no covert, no retired cave Unhaunted by the murmurous noise of waves, Though scarcely heard in many a green recess." After the pomp and glow of learned allusion, the second chief technical note of Milton's style is his partiality for a Latin use of the relative pronoun and the double negative, and for scholarly Latin turns and constructions generally. Already in _Isabella_ Keats is to be found attempting both notes, thus:-- "With duller steel than the Persean sword They cut away no formless monster's head--." Similar Miltonic echoes occur in _Hyperion_, as in the introduction already quoted to the speech of Oceanus: or again thus:-- "Then, as was wont, his palace-door flew ope In smoothest silence, save what solemn tubes, Blown by the serious Zephyrs, gave of sweet And wandering sounds, slow-breathed melodies." But they are not frequent, nor had Keats adopted as much of Milton's technical manner as he seems to have supposed. Yet he had adopted more of it than was natural to him or than he cared to maintain.