In Milton's own prefatory note to _Paradise Lost_, he called his blank verse "English heroic verse without rime." Rime he spoke of as "the invention of a barbarous age, ... graced indeed since by the use of some famous modern poets,"--not least among them, he might have said, being John Milton himself. He described also the special character of his verse in saying that "true musical delight ... consists only in apt numbers, fit quantity of syllables, and the sense variously drawn out from one verse into another,"--that is, by _enjambement_. "This neglect then of rime so little is to be taken for a defect, ... that it rather is to be esteemed an example set, the first in English, of ancient liberty recovered to heroic poem from the troublesome and modern bondage of riming."[32] It appears from this note that Milton regarded his heroic blank verse as a different measure from the familiar dramatic blank verse. The latter he used in _Samson Agonistes_, the verse-structure of which will be seen to differ from that of _Paradise Lost_; the most salient distinction is the more frequent use of feminine endings. Mr. Symonds remarks interestingly on the "difference between Shaksperian and Miltonic, between dramatic and epical blank verse. The one is simple in construction and progressive, the other is complex and stationary.... The one exhibits a thought, in the process of formation, developing itself from the excited fancy of the speaker. The other presents to us an image crystallized and perfect in the poet's mind; the one is in time, the other in space--the one is a growing and the other a complete organism.... The one, if we may play upon a fancy, resembles Music, and the other Architecture." (_Blank Verse_, p. 58.) Methinks I do not want That huge long train of fawning followers, That swept a furlong after me. 'Tis true I am alone; So was the godhead, ere he made the world, And better served himself than served by nature. And yet I have a soul Above this humble fate. I could command, Love to do good, give largely to true merit, All that a king should do; but though these are not My province, I have scene enough within To exercise my virtue. All that a heart, so fixed as mine, can move, Is, that my niggard fortune starves my love. (DRYDEN: _Marriage à la Mode_, III. i. 1672.) She lay, and leaned her cheek upon her hand, And cast a look so languishingly sweet, As if, secure of all beholders' hearts, Neglecting, she could take them: boys, like Cupids, Stood fanning, with their painted wings, the winds That played about her face: but if she smiled, A darting glory seemed to blaze abroad, That men's desiring eyes were never wearied, But hung upon the object. To soft flutes The silver oars kept time; and while they played, The hearing gave new pleasure to the sight, And both to thought. 'Twas heaven, or somewhat more;