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1623 to 1664, that is forty-one years, with only two editions of the works of Shakespeare, which probably did not together make one thousand copies. The sale of thirteen hundred copies in two years, in opposition to so much recent enmity, and to a style of versification new to all, and disgusting to many, was an uncommon example of the prevalence of genius." These remarks are perfectly just; but when their author proceeds to say, "the admirers of Paradise Lost did not dare to publish their opinion," he seems to forget the very spirited eulogies that were, during the life of the poet, bestowed on that performance. Panegyric can hardly assume a bolder tone than in the English and Latin verses addressed to Milton by Marvel and Barrow. He received other compliments not inferior to these. The muse of Dryden assured, him, that he possessed the united excellencies of Homer and of Virgil; and, if we may rely on an anecdote related by Richardson, the Paradise Lost was announced to the world in a very singular manner, that

may be thought not ill-suited to the preeminence of the work. Sir John Denham a man distinguished as a soldier, a senator, and a poet, came into the House of Commons with a proof sheet of Milton's new composition wet from the press; and being questioned concerning the paper in his hand, he said, it was part of the noblest poem that ever was written in any language or in any age." I cannot think this anecdote deserves to be rejected, on account of the supposed improbability imputed to it; for one of the arguments employed against it appears to me a proof that it is probable.

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Richardson, whose active and liberal affection for the poet led him to search with intelligent alacrity and success for every occurrence that could redound to his honor, has recorded another incident, which must be particularly interesting to every lover of literary anecdote, as it discovers how the Paradise Lost was first introduced to Dryden, and with what fervency of admiration he immediately spoke of it. The Earl of Dorset and Fleetwood

Shepard, the friend of Prior, found the poem, according to this story, at a bookseller's in Little Britain, who, lamenting its want of circulation, entreated the Earl to recommend it; Dorset, after reading it himself, sent it to Dryden, who said, in returning the book,-"This man cuts us all out, and the ancients too." These were probably the real sentiments of Dryden on his first perusal of the poem; but as that unhappy genius was not blest with the independent magnanimity of Milton, his opinions were apt to fluctuate according to his interest, and we find him occasionally disposed to exalt or degrade the transcendent performance, which he could not but admire. As the six celebrated verses, in which he has complimented the English Homer, so much resemble what he said of him to Lord Dorset, it is probable that those verses were written while his mind was glowing with admiration from his first survey of the Paradise Lost; and as long as Milton lived, Dryden seems to have paid him the deference so justly due to his age, his genius,

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and his virtue. Aubrey relates, in the manuscript which I have repeatedly cited, that the poet laureat waited on Milton for the purpose of soliciting his permission to put his Paradise Lost into a drama. Milton (says Aubrey) received him civilly and told him, he would give him leave to tag his verses," an expression that probably alluded to a couplet of Marvel's, in his poetical eulogy on his friend. The opera which Dryden wrote, in consequence of this permission, entitled the State of Innocence, was not exhibited in the theatre, and did not appear in print till two years after the death of Milton, who is mentioned in becoming terms of veneration and gratitude in the preface, The drama itself is a very sin gular and striking performance, with all the beauties and all the defects of Dryden's animated unequal versification, it has peculiar claims to the attention of those, who may wish to investigate the respective powers of English rhyme and blank verse, and it may furnish arguments to the partizans of each; for, if in many passages the

images and harmony of Milton are deplorably injured by the necessity of rhyming, in a few instances, perhaps, rhyme has imparted even to the ideas of Milton new energy and grace. There are prefixt to this opera some very animated but injudicious verses by poor Nat. Lee, who has lavished the most exaggerated praise on his friend Dryden, at the expence of the superior poet.

It is highly pleasing to reflect, that Milton, who had so many evils to sustain in the course of his chequered life, had yet the high gratification of being assured, by very competent judges, that he had gloriously succeeded in the prime object of his literary ambition, the great poetical achievement, which he projected in youth, and accomplished in old age. He probably received such animating assurances from many of his friends, whose applause, being intended for his private satisfaction, has not descended to our time; but when we recollect the honors already mentioned, that were paid to the living poet by Denham,

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