interpretation became arduous. In the Jerusalem Delivered the social
conflict between Crusader and infidel is clear, the historical crisis in
the wars of Palestine is rightly chosen, but the machinery of the
heavenly plot is weakened by the presence of magic, and is by itself
ineffectual in inspiring a true belief. So in the Lusiads, while the
conflict and the crisis, as shown in the national energy of colonization
in the East, are clear, the machinery of the heavenly plot frankly
reverts to mythologic and pagan forms and loses all credibility.

In the Paradise Lost arises the spiritual epic, but still historically
conceived; the crisis chosen, which is the fall of man in Adam, is the
most important conceivable by man; the powers engaged are the superior
beings of heaven and hell in direct antagonism; but here, too, the
machinery of the heavenly plot is handled with much strain, and, however
strongly supported by the Scriptures, has little convincing power. The
truth is that the Divine will was coming to be conceived as implicit in
society, being Providence there, and operating in secret but normal ways
in the guidance of events, not by special and interfering acts; and also
as equally implicit in the individual soul, the influence of the Spirit,
and working in the ways of spiritual law. One change, too, of vast
importance was announced by the words "The Kingdom of Heaven is within
you." This transferred the very scene of conflict, the theatre of
spiritual warfare, from an external to an internal world, and the social
significance of such individual battle lay in its being typical of all
men's lives. The Faerie Queene, the most spiritual poem in all ways in
English, is an epic in essence, though its action is developed by a
revolution of the phases of the soul in succession to the eye, and not
by the progress of one main course of events. The conflict of the higher
and the lower under Divine guidance in the implicit sense is there
shown; the significance is for mankind, though not for a society in its