It has been indeed objected to Milton. Cf. Coleridge (Works, ed. Shedd, IV, 304): “Milton is not a picturesque, but a musical, poet”; also Coleridge’s “Table Talk,” August 7, 1832: “It is very remarkable that in no part of his writings does Milton take any notice of the great painters of Italy, nor, indeed, of painting as an art; while every other page breathes his love and taste for music.... Adam bending over the sleeping Eve, in Paradise Lost, and Dalilah approaching Samson, in the Agonistes, are the only two proper pictures I remember in Milton.”
Like a steam. “Comus,” 556.
[P. 106.] He soon saw. “Paradise Lost,” III, 621.
[P. 107.] With Atlantean shoulders. II, 306.
Lay floating. I, 296.
Dr. Johnson condemns the Paradise Lost. See the conclusion of his “Life of Milton.”
[P. 108.] His hand was known. “Paradise Lost,” I, 732.
But chief the spacious hall. I, 762.
[P. 109.] Round he surveys. III, 555.
Such as the meeting soul. “L’Allegro.”