cient, were all other critics lost, to teach anew the Art of
Writing, Rene Rapin in the work translated and introduced by Rymer,
worshipped in Aristotle the one God of all orthodox critics. Of his Laws
he said,

There is no arriving at Perfection but by these Rules, and they
certainly go astray that take a different course.... And if a Poem
made by these Rules fails of success, the fault lies not in the Art,
but in the Artist; all who have writ of this Art, have followed no
other Idea but that of Aristotle.

Again as to Style,

to say the truth, what is good on this subject is all taken from
Aristotle, who is the only source whence good sense is to be drawn,
when one goes about to write.

This was the critical temper Addison resolved to meet on its own ground
and do battle with for the honour of that greatest of all Epic Poets to
whom he fearlessly said that all the Greeks and Latins must give place.
In so doing he might suggest here and there cautiously, and without
bringing upon himself the discredit of much heresy,--indeed, without
being much of a heretic,--that even the Divine Aristotle sometimes fell
short of perfection. The conventional critics who believed they kept the
gates of Fame would neither understand nor credit him. Nine years after
these papers appeared, Charles Gildon, who passed for a critic of
considerable mark, edited with copious annotation as _the Laws of
Poetry_ (1721), the Duke of Buckingham's Essay on Poetry, Roscommon's
Essay on Translated Verse, and Lord Lansdowne on Unnatural Flights in
Poetry, and in the course of comment Gildon said that

Mr. Addison in the _Spectators_, in his criticisms upon Milton, seems
to have mistaken the matter, in endeavouring to bring that poem to the
rules of the epopoeia, which cannot be done ... It is not an Heroic
Poem, but a Divine one, and indeed of a new species. It is plain that
the proposition of all the heroic poems of the ancients mentions some
one person as the subject of their poem... But Milton begins his poem
of things, and not of men.

The Gildon are all gone; and when, in the next generation after theirs,
national life began, in many parts of Europe, strongly to assert itself
in literature against the pedantry of the French critical lawgivers, in
Germany Milton's name was inscribed on the foremost standard of the men
who represented the new spirit of the age. Gottsched, who dealt French
critical law from Leipzig