I am sorry to mix up foolish and serious things together, but in writing so much I am obliged to do so, and I hope sincerely the tenor of your mind will maintain itself better. In the course of a few months I shall be as good an Italian scholar as I am a French one. I am reading Ariosto at present, not managing more than six or eight stanzas at a time. When I have done this language, so as to be able to read it tolerably well, I shall set myself to get complete in Latin, and there my learning must stop. I do not think of returning upon Greek. I would not go even so far if I were not persuaded of the power the knowledge of any language gives one. The fact is I like to be acquainted with foreign languages. It is, besides, a nice way of filling up intervals, etc. Also the reading of Dante is well worth the while; and in Latin there is a fund of curious literature of the Middle Ages, the works of many great men--Aretino and Sannazaro and Machiavelli. I shall never become attached to a foreign idiom, so as to put it into my writings. The Paradise Lost, though so fine in itself, is a corruption of our language. It should be kept as it is--unique, a curiosity, a beautiful and grand curiosity, the most remarkable production of the world; a northern dialect accommodating itself to Greek and Latin inversions and intonations. The purest English, I think--or what ought to be purest--is Chatterton's. The language had existed long enough to be entirely uncorrupted of Chaucer's Gallicisms, and still the old words are used. Chatterton's language is entirely northern. I prefer the native music of it to Milton's, cut by feet. I have but lately stood on my guard against Milton. Life to him would be death to me. Miltonic verse cannot be written, but is the verse of art. I wish to devote myself to another verse alone. Friday [September 24].