The moment, however, that he begins to wrangle with Eve about their respective shares of blame, he forfeits his estate of heroism more irretrievably than his estate of holiness--a fact of which Milton cannot have been unaware, but he had no liberty to forsake the Scripture narrative.

Satan remains, therefore, the only possible hero, and it is one of the inevitable blemishes of the poem that he should disappear almost entirely from the latter books.
These defects, and many more which might be adduced, are abundantly compensated by the poet's vital relation to the religion of his age.

No poet whose fame is co-extensive with the civilised world, except Shakespeare and Goethe, has ever been greatly in advance of his times.
Had Milton been so, he might have avoided many faults, but he would not have been a representative poet; nor could Shelley have classed him with Homer and Dante, and above Virgil, as "the third epic poet; that is, the third 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." Hence it is that in the "Adonais," Shelley calls Milton "the third among the sons of light." A clear conception of the universe as Milton's inner eye beheld it, and of his religious and philosophical opinions in so far as they appear in the poem, is indispensable for a correct understanding of "Paradise Lost." The best service to be rendered to the reader within such limits as ours is to direct him to Professor Masson's discussion of Milton's cosmology in his "Life of Milton," and also in his edition of the Poetical Works.

Generally speaking, it may be said that Milton's conception of the universe is Ptolemaic, that for him sun and moon and planets revolve around the central earth, rapt by the revolution of the crystal spheres in which, sphere enveloping sphere, they are successively located.

But the light which had broken in upon him from the discoveries of Galileo has led him to introduce features not irreconcilable with the solar centre and ethereal infinity of Copernicus; so that "the poet would expect the effective permanence of his work in the imagination of the world, whether Ptolemy or Copernicus should prevail." So Professor Masson, who finely and justly adds that Milton's blindness helped him "by having already converted all external space in his own sensations into an infinite of circumambient blackness through which he could flash brilliance at his pleasure." His inclination as a thinker is evidently towards the Copernican theory, but he saw that the Ptolemaic, however inferior in sublimity, was better adapted to the purpose of a poem requiring a definite theatre of action.
For rapturous contemplation of the glory of God in nature, the Copernican system is immeasurably the more stimulating to the spirit, but when made the theatre of an action the universe fatigues with its infinitude-- "Millions have meaning; after this Cyphers forget the integer." An infinite sidereal universe would have stultified the noble description how Satan-- "In the emptier waste, resembling air, Weighs his spread wings, at leisure to behold Far off the empyreal heaven, extended wide In circuit, undetermined square or round, With opal towers and battlements adorned Of living sapphire, once his native seat; And fast by, hanging in a golden chain, This pendant world, in bigness as a star Of smallest magnitude close by the moon." This pendant world, observe, is not the earth, as Addison understood it, but the entire sidereal universe, depicted not as the infinity we now know it to be, but as a definite object, so insulated in the vastness of space as to be perceptible to the distant Fiend as a minute star, and no larger in comparison with the courts of Heaven--themselves not wholly seen--than such a twinkler matched with the full-orbed moon.