ally different conceptions of nature; the one, emphasising the definite; the other, the infinite. To-day, in philosophy, these two phases are represented on the one hand by Professor Cantor and on the other by Professor Arrhenius. Milton is fundamentally in harmony with Professor Arrhenius in his conception of nature as infinite and an expression of God's infinite thought, never therefore to be completely comprehended by man. From the lifting up of his heart toward the mysterious majesty of nature arises Milton's potent influence in France and Germany in the eighteenth century. Milton's conception of nature has an epical cast, but it inspired the lyric not only abroad but at home. It is here that we find the secret of his all-pervading power over English lyrists since his day. The introductory essay of the volume discusses at greater length the evolution of the twelve essays and their purpose. The author has gained assistance from scientists, linguists, and critics upon details essential for the accuracy of this work. As not one could know the relation of his aid to the perfected fabric of the thought, it seems to the author fitting to make these scholars in no way responsible for the results, but it is hardly possible to omit this passing word of gratitude to them. Thanks are also due to the librarians who have, by their kind assistance, made possible the study of rare and, without their aid, inaccessible books. NEW YORK, 1907. M. W. 1. Grounds for Dissatisfaction 2. Growth toward Epic Conception 3. Need of Epic Scope, Method, and Charac- terisation V.-OTHER VERSIONS OF MAN'S FALL a. In Bible and Eastern Literature c. Some Artistic Versions in Epical Narra- tive: Prudentius, Avitus, Cædmon d. In Didactic Treatises: Tasso, Il Mondo e. In Works on other Themes: Vida, |
