Hide their diminished heads,—to thee I call,
But with no friendly voice, and add thy name,
O Sun, to tell thee how I hate thy beams,
That bring to my remembrance from what state
I fell, how glorious once above thy sphere,
Till pride and worse ambition threw me down,
Warring in Heaven against Heaven's matchless King!"
And now, after eighteen years, the poem having been resumed, but with the resolution, made natural by Milton's literary observations and experiences in the interval, that the dramatic form should be abandoned and the epic substituted, these ten lines, written originally for the opening of the Drama, were to be the nucleus of the Epic.1 With our present Paradise Lost before us, we can see the very process of the gradual reinvention. In the epic Satan must not appear, as had been proposed in the drama, at once on our earth or within our universe. He must be fetched from the transcendental regions, the vast extra-mundane spaces, of his own prior existence and history. And so, round our fair universe, newly-created and wheeling softly on its axle, conscious as yet of no evil, conscious only of the happy earth and sweet human life in the midst, and of the steady diurnal change from day and light-blue sunshine into spangled and deep-blue night, Milton was figuring and mapping out those other infinitudes which outlay and encircled his conception of all this mere Mundane Creation. Deep down beneath this MUNDANE CREATION, and far separated from it, he was seeing the HELL from which was to come its woe; all round the Mundane Creation, and surging everywhere against its outmost firmament, was the dark and turbid CHAOS out of which its orderly and orbicular immensity had been cut; and high over all, radiant above Chaos, but with the Mundane Universe pendent from it at one gleaming point, was the great EMPYREAN or HEAVEN of HEAVENS, the abode of Angels and of Eternal Godhead. Not to the mere Earth of Man or the Mundane Universe about that Earth was Milton's adventurous song now to be confined, representing only dramatically by means of speeches and choruses those transactions in the three extramundane Infinitudes that might bear on the terrestrial story. It must dare also into those infinitudes themselves, pursue among them the vaster and more general story of Satan's rebellion and fall, and yet make all converge, through Satan's scheme in Hell and his advent at last into our World, upon that one catastrophe of the ruin of infant Mankind which the title of the poem proclaimed as the particular theme.
1: Phillips's words in quoting these lines are, "In the Fourth Book of the Poem there are six [he says six, but quotes all the ten] verses which, several years before the Poem was begun, were shown to me and some others as designed for the very beginning of the said Tragedy." These words, if the Epic was begun in 1658, might carry us back at farthest to about 1650 as the date when the ten lines were in existence; but, besides that Phillips's expression is vague, we have Aubrey's words in 1680 as follows:—"In the [4th] Book of Paradise Lost there are about six verses of Satan's exclamation to the Sun which Mr. E. Phi. remembers about fifteen or sixteen years before ever his Poem was thought of; which verses were intended for the beginning of a Tragoedie, which he had designed, but was diverted from it by other business." This, on Phillips's own authority, would take the lines back to 1642 or 1643; and that, on independent grounds, is the probable date. Hardly after 1642 or 1643 can Milton have adhered to his original intention of writing Paradise Lost in a dramatic form.
"Of Man's first disobedience, and the fruit