In Part 1 of this article, we looked at how Keats in his poem “On First Looking Into Chapman’s Homer” established a moment of pure sublimity in its final line; we looked at how he did this. The poem’s structure is a movement: from mentioning something very small, a book, to something much bigger, a peak in Darien, which seemed to represent the very height of thinking or of ego. But this peak was dwarfed in size by the next mention, the Pacific Ocean—the unconscious, perhaps—the enormity of which stilled the critical faculty into silence and left Cortez and his men, like us, stupefied in wonder. In other words, the poem left them and us experiencing the sublime. Keats is certainly a great poet, but now we come to one of the world’s greatest masters: John Milton and his “Paradise Lost.” Here, we don’t deal with sublimity in a line …