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In the Cambridge "Vacation Exercise" we get the first trace of the epic ambition forming in Milton's mind, where the young poet longs to sing

"Of kings and queens and heroes old, Such as the wise Demodocus once told In solemn songs at king Alcinoüs feast." In the Latin verses, In Quintum Novembris, also, Professor Masson detects some em bryons of Paradise Lost in those passages which have to do with the "personality

and

agency of Satan, and the physical connection between Hell and Man's world." Milton's naïve confession to Diodati, at Horton, that he was "pluming his wings for a flight," meant doubtless some effort of a much more sustained sort than Lycidas, which immediately followed. But it was the unstinted praise which he received at the hands of the Italian academies, together with his reading of Tasso, Ariosto, and Boiardo, which first set him seriously thinking of a poem of heroic dimensions.\ The first subject to which he gave much thought was the legendary history of King Arthur, as he explicitly states in the Latin poem to Manso, his Neapolitan host, and in the Epitaphium Damonis. The latter, written shortly after his return from abroad, informs us that he had decided to write in English, and that he had, indeed, already begun. One portion of this passage arouses interesting conjecture. He says,

Whether the "new reeds " meant a new stanza, a new verse-line, the untried epic form, or the English language put to novel uses, it is certain that when burst they were thrown aside forever, so far as this particular poem was concerned.

"I will not say what lofty strain my pipe was sounding 't is now the twelfth day and perchance it was to new reeds that I had set my lips, when they burst their fastenings, and refused longer to endure the grave sounds."

Without definitely casting aside the subject of King Arthur, Milton undertook, during the comparatively unemployed time between 1639-1642, a systematic course of reading in the Bible, in the chroniclehistories of Holinshed and Speed, and in the older chronicles of Bede, Geoffry of Monmouth, and William of Malmesbury, with the design of setting down all the hopeful subjects which occurred to him in perusal. These jottings have been preserved to us among the Milton manuscripts in Trinity College, Cambridge. They consist of ninety-nine subjects, of which two thirds are from old and new testament Scripture, and the remainder from British history. For the most part the subjects are barely indicated, but in some cases pains have been taken to elaborate a little outline of treatment. Among these last, the subject of the fall of Adam stands out conspicuously; there are two outlines and two elaborated drafts of it, occupying in all nearly a page and a half of the seven pages of notes. All the drafts are for dramas; the possibility of epic treatment is not suggested. The first presents merely a list of dramatis personæ, chief among which, after the human pair, are Michael and Lucifer: there is a chorus of angels and a number of allegorical figures, Heavenly Love, Conscience, Death, etc., introduced as "mutes." In the second draft Moses takes the place of Michael. The third is elaboIrated to show the course of the action and

the division into acts. The fourth is of sufficient interest to be given entire:

66 ADAM UNPARADISED: The Angel Gabriel, either descending or entering - showing, since the globe is created, his frequency as much on Earth as in Heaven- describes Paradise. Next the Chorus, showing the reason of his coming to keep his watch, after Lucifer's rebellion, by the command of God - and withal expressing his desire to see and know more concerning this excellent and new creature, Man. The Angel Gabriel, as by his name signifying a Prince of Power, passes by the station of the Chorus, and, desired by them, relates what he knew of Man, as the creation of Eve, with their love and marriage. After this, Lucifer appears, after his overthrow; bemoans himself; seeks revenge upon Man. The Chorus prepares resistance at his first approach. At last, after discourse of enmity on either side, he departs; whereat the Chorus sing of the battle and victory in Heaven against him and his accomplices, as before, after the first Act, was sung a hymn of the Creation. - Here again may appear Lucifer, relating and consulting on what he had done to the destruction of Man. Man next and Eve, having been by this time seduced by the Serpent, appear confusedly, covered with leaves. Conscience, in a shape, accuses him; Justice cites him to the place whither Jehovah called for him. In the meantime the Chorus entertains the stage and is informed by some Angel of the manner of the Fall. Here the Chorus bewails Adam's fall. Adam and Eve return and accuse one another; but especially Adam lays the blame to his wife - is stubborn in his offence. Justice appears, reasons with him, convinces him. The Chorus admonishes Adam, and bids him beware Lucifer's example of impenitence. - The Angel is sent to banish them out of Paradise; but, before, causes to pass before his eyes, in shapes, a masque of all the evils of this life and world. He is humbled, relents, despairs. At last appears Mercy, comforts him, promises him the Messiah; then calls in Faith, Hope, Charity; instructs him. He repents, gives God the glory, submits to his penalty. The Chorus briefly concludes. Compare this with the former Draft."

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As will appear below, not only the idea of the dramatic form, but the specific handling here indicated, were beyond reasonable doubt suggested to Milton in Italy, where several dramas treating of the fall

of Man, notably the Adamo of Andreini, can hardly have failed to fall under his notice. Though temporarily fascinated by these showy productions, he could not abandon the epic form without long debate. The following passage from the Reason of Church Government, published in 1641, while this course of reading and pondering was still in progress, is interesting, aside from the nobility of its diction, as showing his hesitation:

"Time serves not now... to give any certain account of what the mind at home, in the spacious circuit of her musings, hath liberty to propose to herself, though of highest hope and hardest attempting — whether that Epic form whereof the two poems of Homer and those other two of Virgil and Tasso are a diffuse, and the book of Job a brief model; . . . or whether those Dramatic constitutions wherein Sophocles and Euripides reign shall be found more doctrinal and exemplary to a nation."

He balances, too, the idea of a national historical Epic over against that of a drama or pastoral play drawn from Holy Writ:

"As Tasso gave to the prince of Italy his choice whether he would command him to write of Godfrey's expedition against the infidels... or Charlemagne against the Lombards, if to the instinct of nature and the emboldening of art aught may be trusted... it haply would be no rashness, from an equal diligence and inclination, [for me] to present the like offer in our ancient stories. . . . The Scripture also affords us a divine Pastoral Drama in the song of Solomon... and the Apocalypse of St. John is the majestic image of a high and stately Tragedy, shutting up and intermingling her solemn scenes and acts with a sevenfold chorus of hallelujahs and harping symphonies."

Whatever should be the subject and form selected, the selection was to be made from the point of view of the moral teacher. Milton is already determined to be the assertor of Eternal providence: