We are deceived by names; the more closely _Paradise Lost_ is studied, the more does the hand of the author appear in every part. The epic poem, which in its natural form is a kind of cathedral for the ideas of a nation, is by him transformed into a chapel-of-ease for his own mind, a monument to his own genius and his own habits of thought. The _Paradise Lost_ is like the sculptured tombs of the Medici in Florence; it is not of Night and Morning, nor of Lorenzo and Giuliano, that we think as we look at them, but solely of the great creator, Michael Angelo. The same dull convention that calls the _Paradise Lost_ a religious poem might call these Christian statues. Each is primarily a great work of art in each the traditions of two eras are blended in a unity that is indicative of nothing but the character and powers of the artist. The _Paradise Lost_ is not the less an eternal monument because it is a monument to dead ideas. We do not know exactly when Milton made his choice of subject. His Latin verses addressed to Manso, Marquis of Villa, in January 1638-9, show that Arthur and the Round Table was at that time the uppermost theme in his mind, and that the warlike achievement of heroes was the aspect of it that most attracted him. After his return to England in 1639, it is mentioned once again in his elegy on Charles Diodati, and then we hear no more of it. In the tentative list of subjects, made in 1641, Arthur has disappeared, and the story of _Paradise Lost_ already occupies the most conspicuous place, with four separate drafts suggesting different treatments of the theme. It would be idle to speculate on what Milton might have made of the Arthur legends. One thing is certain; he would have set up the warrior king as a perfectly objective figure, hampered by no allegory, and with no inward and spiritual signification. The national cause, maintained heroically in a hundred battles, and overwhelmed at last by the brute violence of the foreign oppressor, was subject enough for him; he would never have marred his epic by sickly irresolution and the struggles of a divided will in the principal characters. Perhaps his mind reverted to his old dreams when he came to describe the pastimes wherewith the rebel angels beguile their time in Hell:-- Others, more mild, Retreated in a silent valley, sing With notes angelical to many a harp Their own heroic deeds, and hapless fall By doom of battle, and complain that Fate Free Virtue should enthrall to Force or Chance. Their song was partial; but the harmony (What could it less when Spirits immortal sing?) Suspended Hell, and took with ravishment The thronging audience. This is only one of the very numerous places in _Paradise Lost_ where, before he is well aware of it, we catch Milton's sympathies dilating themselves upon the wrong side.