he Practice of other Poets, with my
Observations out of Aristotle, will perhaps alleviate the Prejudice
which some have taken to his Poem upon this Account; tho after all, I
must confess that I think his Stile, tho admirable in general, is in
some places too much stiffened and obscured by the frequent Use of those
Methods, which Aristotle has prescribed for the raising of it.

This Redundancy of those several Ways of Speech, which Aristotle calls
foreign Language, and with which Milton has so very much enriched, and
in some Places darkned the Language of his Poem, was the more proper for
his use, because his Poem is written in Blank Verse. Rhyme, without any
other Assistance, throws the Language off from Prose, and very often
makes an indifferent Phrase pass unregarded; but where the Verse is not
built upon Rhymes, there Pomp of Sound, and Energy of Expression, are
indispensably necessary to support the Stile, and keep it from falling
into the Flatness of Prose.

Those who have not a Taste for this Elevation of Stile, and are apt to
ridicule a Poet when he departs from the common Forms of Expression,
would do well to see how Aristotle has treated an Ancient Author called
Euclid, [8] for his insipid Mirth upon this Occasion. Mr. Dryden used to
call [these [9]]sort of Men his Prose-Criticks.

I should, under this Head of the Language, consider Milton's Numbers, in
which he has made use of several Elisions, which are not customary among
other English Poets, as may be particularly observed in his cutting off
the Letter Y, when it precedes a Vowel. [10] This, and some other
Innovation in the Measure of his Verse, has varied his Numbers in such a
manner, as makes them incapable of satiating the Ear, and cloying the
Reader, which the same uniform Measure would certainly have done, and
which the perpetual Returns of Rhime never fail to do in long Narrative
Poems. I shall close these Reflections upon the Language of Paradise
Lost, with observing that Milton has copied after Homer rather than
Virgil in the length of his Periods, the Copiousness of his Phrases, and
the running of his Verses into one another.

L.

[Footnote 1: Aristotle, Poetics, ii. Sec.26.

The excellence of Diction consists in being perspicuous without being
mean.]

[Footnote 2:

Verum ubi plura nitent in carmine, non ego paucis
Offendar maculis, quas aut incuria fudit,
Aut humana parum cavit natura.

De Ar. Poet., II. 351-3.]

[F