Caedmon, first printed in 1655, it is but barely possible that he should have known, and ere he could have known him the conception of "Paradise Lost" was firmly implanted in his mind.

External evidence proves his acquaintance with Grotius, internal evidence his knowledge of Andreini: and small as are his direct obligations to the Italian drama, we can easily believe with Hayley that "his fancy caught fire from that spirited, though irregular and fantastic composition." Vondel's Lucifer--whose subject is not the fall of Adam, but the fall of Satan--was acted and published in 1654, when Milton is known to have been studying Dutch, but when the plan of "Paradise Lost" must have been substantially formed.

There can, nevertheless, be no question of the frequent verbal correspondences, not merely between Vondel's Lucifer and "Paradise Lost," but between his Samson and "Samson Agonistes." Milton's indebtedness, so long ago as 1829, attracted the attention of an English poet of genius, Thomas Lovell Beddoes, who pointed out that his lightning-speech, "Better to reign in hell than serve in heaven," was a thunderbolt condensed from a brace of Vondel's clumsy Alexandrines, which Beddoes renders thus:-- "And rather the first prince at an inferior court Than in the blessed light the second or still less." Mr.Gosse followed up the inquiry, which eventually became the subject of a monograph by Mr.George Edmundson ("Milton and Vondel," 1885).

That Milton should have had, as he must have had, Vondel's works translated aloud to him, is a most interesting proof, alike of his ardour in the enrichment of his own mind, and of his esteem for the Dutch poet.
Although, however, his obligations to predecessors are not to be overlooked, they are in general only for the most obvious ideas and expressions, lying right in the path of any poet treating the subject.
_Je l'aurais bien pris sans toi._ When, as in the instance above quoted, he borrows anything more recondite, he so exalts and transforms it that it passes from the original author to him like an angel the former has entertained unawares.

This may not entirely apply to the Italian reformer, Bernardino Ochino, to whom, rather than to Tasso, Milton seems indebted for the conception of his diabolical council.