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.

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, fo poem, according to this story, at seller's in Little Britain, who, l its want of circulation, entreated th recommend it; Dorset, after readin self, sent it to Dryden, who said, i ing the book," This man cuts u and the ancients too." These v bably the real sentiments of Dryd first perusal of the poem; but as happy genius was not blest with pendent magnanimity of Milton, ions were apt to fluctuate accordi interest, and we find him occasio posed to exalt or degrade the tra performance, which he could no mire. As the six celebrated verses he has complimented the Englis so much resemble what he said

Lord Dorset, it is probable that th were written while his mind was with admiration from his first surv Paradise Lost; and as long as Mil Dryden seems to have paid hin ference so justly due to his age, h

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. "Mr. 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 singular 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 bly injured by the necessity of rhyn a few instances, perhaps, rhyme parted even to the ideas of Milt energy and grace. There are prefix opera some very animated but inj verses by poor Nat. Lee, who has the most exaggerated praise on h Dryden, at the expence of the poet.

It is highly pleasing to refle Milton, who had so many evils te in the course of his chequered life, the high gratification of being ass very competent judges, that he riously succeeded in the prime obje literary ambition, the great poetical ment, which he projected in you accomplished in old age. He prol ceived such animating assurances fro of his friends, whose applause, b tended for his private satisfaction, descended to our time; but when collect the honors already mention were paid to the living poet by I

Dryden, and Marvel, we may rest satisfied in the persuasion, that he enjoyed a grateful earnest of his future renown, and, according to the petition he addressed to Urania,

"Fit audience found, tho' few."

If the spirit of a departed bard can be gratified by any circumstances of posthumous renown, it might gratify Milton to perceive, that his divine poem was first indebted for general celebrity to the admiration of Sommers and of Addison, two of the most accomplished and most amiable of English names. Sommers promoted the first ornamented edition of Paradise Lost in 1688; and Addison wrote his celebrated papers on Milton in 1712.

But to return to the living author; in the year 1670, the great poet aspired to new distinction, by appearing in the character of an historian. He had long meditated a work, which in his time, was particularly wanted in our language, and which the greater cultivation bestowed by the present age on this branch of literature has not yet produced in perfection-an eloquent and impartial His