in effect, decry poetry, by fixing their attention solely on the possessions that poetry inherits. They are like Mammon-- the least erected Spirit that fell From Heaven; for even in Heaven his looks and thoughts Were always downward bent, admiring more The riches of Heaven's pavement, trodden gold, Than aught divine or holy else enjoyed In vision beatific. With curious finger and thumb they pick holes in the mosaic; and wherever there is wealth they are always ready to cry "Thief!" There is real interest in the enumeration of Milton's borrowings, and in the citation of parallel passages from the ancients to illustrate his work. But since style is the expression of a living organism, not a problem of cunning tesselation, it is permissible, in this place, to pass over what he borrowed from the ancients, in order to deal with a more intimate matter, and to attempt a valuation of that which he borrowed from no one, either ancient or modern. His indomitable personality and irrepressible originality have left their stamp on all his work, and have moulded his treatment, his handling, his diction, his style. We, who have been inured for centuries to Miltonic mouthings and mannerisms, are too likely to underestimate the degree of his originality. Coleridge was probably wrong when he said that "Shakespeare's poetry is characterless; that is, it does not reflect the individual Shakespeare." But he was unquestionably right when he added that "John Milton himself is in every line of _Paradise Lost_." The more they are studied, the more do Milton's life and his art seem to cohere, and to express the pride and the power of his character. Consider first his choice of subject. Ever since the Renaissance had swept modern poetry back to the pagan world, some voices of protest had been raised, some swimmers, rather bold than strong, had attempted to stem the tide. Among the earliest of these was Thomas Sternhold, Groom of the Chamber to King Henry the Eighth. Inspired perhaps by the example of a better poet, Clement Marot, Sternhold thrust some of the Psalms of David into a carterly metre, "thinking thereby," says Anthony a Wood, in his delightfully colloquial fashion, "that the courtiers would sing them instead of their sonnets, but did not, only some few excepted." In the reign of Elizabeth, when the classical mythology reigned and revelled in pageant and masque, in court and town, one Thomas Brice, a painful preacher, cried out against the pagan fancies that had caught the English imagination captive:-- We are not Ethnickes, we forsoth at least professe not so; Why range we then to Ethnickes' trade? Come back, where will ye go? Tel me, is Christe or Cupide lord? Doth God or Venus reign?