Milton’s blank verse is the only blank verse in the language (except Shakspeare’s) which is readable. Dr. Johnson, who had modelled his ideas of versification on the regular sing-song of Pope, condemns the _Paradise Lost_ as harsh and unequal. We shall not pretend to say that this is not sometimes the case; for where a degree of excellence beyond the mechanical rules of art is attempted the poet must sometimes fail. But we imagine that there are more perfect examples in Milton of musical expression, or of an adaptation of the sound and movement of the verse to the meaning of the passage, than in all our other writers, whether of rhyme or blank verse, put together, (with the exception already mentioned). Spenser is the most harmonious of our poets, and Dryden is the most sounding and varied of our rhymists. But in neither is there anything like the same ear for music, the same power of approximating the varieties of poetical to those of musical rhythm, as there is in our great epic poet. The sound of his lines is moulded into the expression of the sentiment, almost of the very image. They rise or fall, pause or hurry rapidly on, with exquisite art, but without the least trick or affectation, as the occasion seems to require. The following are some of the finest instances: ——‘His hand was known In Heaven by many a tower’d structure high; Nor was his name unheard or unador’d In ancient Greece: and in the Ausonian land Men called him Mulciber: and how he fell From Heav’n, they fabled, thrown by angry Jove Sheer o’er the crystal battlements; from morn To noon he fell, from noon to dewy eve, A summer’s day; and with the setting sun Dropt from the zenith like a falling star On Lemnos, the Ægean isle: this they relate, Erring.’