It is the aspect which he presents to this generation, that alone concerns us. Milton the polemic has lost his popularity long ago; and if we skip the pages of “Paradise Lost” where “God the Father argues like a school divine,” so did the next age to his own. But, we are persuaded, he kindles a love and emulation in us which he did not in foregoing generations. We think we have seen and heard criticism upon the poems, which the bard himself would have more valued than the recorded praise of Dryden, Addison and Johnson, because it came nearer to the mark; was finer and closer appreciation; the praise of intimate knowledge and delight; and, of course, more welcome to the poet than the general and vague acknowledgment of his genius by those able but unsympathizing critics. We think we have heard the recitation of his verses by genius which found in them that which itself would say; recitation which told, in the diamond sharpness of every articulation, that now first was such perception and enjoyment possible; the perception and enjoyment of all his varied rhythm, and his perfect fusion of the classic and the English styles. This is a poet’s right; for every masterpiece of art goes on for some ages reconciling the world unto itself, and despotically fashioning the public ear. The opposition to it, always greatest at first, continually decreases and at last ends; and a new race grows up in the taste and spirit of the work, with the utmost advantage for seeing intimately its power and beauty.