The structure and diction of this opera, as it is somewhat improperly termed, being rather a dramatic poem, strongly indicate the taste of Charles the Second's reign, for what was ingenious, acute, and polished, in preference to the simplicity of the true sublime. The judgment of that age, as has been already noticed, is always to be referred rather to the head than to the heart; and a poem, written to please mere critics, requires an introduction and display of art, to the exclusion of natural beauty.--This explains the extravagant panegyric of Lee on Dryden's play: --Milton did the wealthy mine disclose, And rudely cast what you could well dispose; He roughly drew, on an old-fashioned ground, A chaos; for no perfect world was found, Till through the heap your mighty genius shined: He was the golden ore, which you refined. He first beheld the beauteous rustic maid, And to a place of strength the prize conveyed: You took her thence; to Court this virgin brought, Dressed her with gems, new-weaved her hard-spun thought, And softest language sweetest manners taught; Till from a comet she a star did rise, Not to affright, but please, our wondering eyes. Doubtless there were several critics of that period, who held the heretical opinion above expressed by Lee. And the imitation was such as to warrant that conclusion, considering the school in which it was formed. The scene of the consultation in Pandemonium, and of the soliloquy of Satan on his arrival in the newly-created universe, would possess great merit, did they not unfortunately remind us of the majestic simplicity of Milton. But there is often a sort of Ovidian point in the diction which seems misplaced. Thus, Asmodeus tells us, that the devils, ascending from the lake of fire, Shake off their slumber _first_, and _next_ their fear. And, with Dryden's usual hate to the poor Dutchmen, the council of Pandemonium are termed, _Most High and Mighty_ Lords, who better fell From heaven, to rise _States General_ of hell.