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 decisive proof of the supremacy of Milton's genius. He mingled as it were the elements of human nature as colours upon a single palette, and arranged them in the composition of his great picture according to the laws of epic truth, that is, according to the laws of that principle by which a series of actions of the external universe and of intelligent and ethical beings is calculated to excite the sympathy of succeeding generations of mankind. The Divina Commedia and Paradise Lost have conferred upon modern mythology a systematic form; and when change and time shall have added one more superstition to the mass of those which have arisen and decayed upon the earth, commentators will be learnedly employed in elucidating the religion of ancestral Europe, only not utterly forgotten because it will have been stamped with the eternity of genius.

Homer was the first and Dante the second epic poet: that is, the second poet, the series of whose creations bore a defined and intelligible relation to the knowledge and sentiment and religion of the age in which he lived, and of the ages which followed it: developing itself in correspondence with their development. For Lucretius had limed the wings of his swift spirit in the dregs of the sensible world; and Virgil, with a modesty that ill became his genius, had affected the fame of an imitator, even whilst he created anew all that he copied; and none among the flock of mock-birds, though their notes are sweet, Apollonius Rhodius, Quintus Calaber, Smyrnæus, Nonnus, Lucan, Statius, or Claudian, have sought even to fulfil a single condition of epic truth. Milton was the third epic poet. For if the title of epic in its highest sense be refused to the Æneid, still less can it be conceded to the Orlando Furioso, the Gerusalemme Liberata, the Lusiad, or the Fairy Queen.

Dante and Milton were both deeply penetrated with the ancient religion of the civilised world; and its spirit