so happily copy'd the manner of Homer;
or so copiously translated his Grecisms and the Latin Elegancies of
Virgil. Tis true he runs into a Flat of Thought, sometimes for a
Hundred Lines together, but tis when he is got into a Track of
Scripture ... Neither will I justify _Milton_ for his Blank Verse,
tho I may excuse him, by the Example of _Hanabal Caro_ and other
_Italians_ who have used it: For whatever Causes he alledges for the
abolishing of Rhime (which I have not now the leisure to examine), his
own particular Reason is plainly this, that Rhime was not his Talent;
he had neither the Ease of doing it, nor the Graces of it."

So Dryden, who appreciated Milton better than most of his critical
neighbours, wrote of him in 1692. The promise of Rymer to discuss Milton
was made in 1678, when, on the last page of his little book, _The
Tragedies of the Last Age consider'd and examined by the Practice of the
Ancients and by the Common Sense of all Ages, in a letter to Fleetwold
Shepheard, Esq_. (father of two ladies who contribute an occasional
letter to the _Spectator_), he said: "With the remaining Tragedies I
shall also send you some reflections on that _Paradise Lost_ of
Milton's, which some are pleased to call a Poem, and assert Rhime
against the slender Sophistry wherewith he attaques it." But two years
after the appearance of Dryden's _Juvenal_ and _Persius_ Rymer prefixed
to his translation of Rene Rapin's _Reflections on Aristotle's Poesie_
some Reflections of his own on Epic Poets. Herein he speaks under the
head Epic Poetry of Chaucer, in whose time language was not capable of
heroic character; or Spenser, who "wanted a true Idea, and lost himself
by following an unfaithful guide, besides using a stanza which is in no
wise proper for our language;" of Sir William Davenant, who, in
_Gondibert_, "has some strokes of an extraordinary judgment," but "is
for unbeaten tracks and new ways of thinking;" "his heroes are
foreigners;" of Cowley, in whose _Davideis_ "David is the least part of
the Poem," and there is want of the "one illustrious and perfect action
which properly is the subject of an Epick Poem": all failing through
ignorance or negligence of the Fundamental Rules or Laws of Aristotle.
But he contemptuously passes over Milton without mention. Rene Rapin,
that great French oracle of whom Dryden said, in the Preface to his own
conversion of _Paradise Lost_ into an opera, that he was alone
suffi