death, had been rendered impossible by the course of English religious and political history — as impossible as it was after the American war to preserve the early Whig identification of the cause of Britain with the cause of political liberty. Religious persecution made it difficult for the Puritan to identify his zeal for England with his zeal for Protestantism. At the same time, the essentially pagan spirit of the Italian Renaissance was not easily exorcised even by Spenser, and the emancipated artistic-enthusiasm which created the Elizabethan drama, poems such as Hero and Leander and Venus and Adonis, and the sonnets of Shakespeare, was to the stern spirit of Puritanism simply anathema. Before the sixteenth century ended poets were beginning to form different schools, or else the two strains, the secular and the religious, run side by side in a single poet's work without his endeavouring to reconcile them in any way.
This tendency is accentuated in the early seventeenth century. This chapter deals with distinct groups or schools of poets. The patriotic note of Spenser and Shakespeare is heard only from belated Elizabethans as Drayton and Chapman. The Protestant religious poets form a group by themselves; the Catholic Anglicans another. The courtly poets, whether religious or secular, are out of touch with the nation at large, their poetry a delicate exotic. One poet, indeed, emerges with the power that genius gives to harmonise diverse elements. Milton, like Spenser, unites the spirit of the Renaissance with that of the Reformation, and both with patriotism. But he
