He censures the tameness of Addison's "Letter from Italy."[17] "With what flatness and unfeelingness has he spoken of statuary and painting! Raphael never received a more phlegmatic eulogy." He refers on the other hand to Gray's account of his journey to the Grande Chartreuse,[18] as worthy of comparison with one of the finest passages in the "Epistle of Eloisa to Abelard." This mention of Addison recalls a very instructive letter of Gray on the subject of poetic style.[19] The romanticists loved a rich diction, and the passage might be taken as an anticipatory defense of himself against Wordsworth's strictures in the preface to the "Lyrical Ballads." "The language of the age," wrote Gray, "is never the language of poetry, except among the French, whose verse . . . differs in nothing from prose. Our poetry has a language peculiar to itself; to which almost everyone that has written has added something, by enriching it with foreign idioms and derivatives; nay, sometimes words of their own composition or invention. Shakspere and Milton have been great creators in this way . . . our language has an undoubted right to words of an hundred years old, provided antiquity have not rendered them unintelligible. In truth Shakspere's language is one of his principal beauties; and he has no less advantage over your Addisons and Rowes in this, than in those other great excellencies you mention. Every word in him is a picture." He then quotes a passage from "Richard III.," and continues, "Pray put me the following lines into the tongue of our modern dramatics. To me they appear untranslatable, and if this be the case, our language is greatly degenerated." Warton further protests against the view which ascribed the introduction of true taste in literature to the French. "Shakspere and Milton imitated the Italians and not the French." He recommends also the reintroduction of the preternatural into poetry. There are some, he says, who think that poetry has suffered by becoming too rational, deserting fairyland, and laying aside "descriptions of magic and enchantment," and he quotes, _a propos_ of this the famous stanza about the Hebrides in "The Castle of Indolence."[20] The false refinement of the French has made them incapable of enjoying "the terrible graces of our irregular Shakspere, especially in his scenes of magic and incantations. These _Gothic_ charms are in truth more striking to the imagination than the classical. The magicians of Ariosto, Tasso, and Spenser have more powerful spells than those of Apollonius, Seneca, and Lucan. The enchanted forest of Ismeni is more awfully and tremendously poetical than even the grove which Caesar orders to be cut down in Lucan (i. iii. 400), which was so full of terrors that, at noonday or midnight, the priest himself dared not approach it-- "'Dreading the demon of the grove to meet.'