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age,' and partly satisfies his own, by finding reason for his admiration of 'Chevy Chase' and the 'Babes in the Wood', in their great similarity to works of Virgil. We see it also in some of the criticisms which accompany his admirable working out of the resolve to justify his true natural admiration of the poetry of Milton, by showing that 'Paradise Lost' was planned after the manner of the ancients, and supreme even in its obedience to the laws of Aristotle. In his 'Spectator' papers on Imagination he but half escapes from the conventions of his time, which detested the wildness of a mountain pass, thought Salisbury Plain one of the finest prospects in England, planned parks with circles and straight lines of trees, despised our old cathedrals for their 'Gothic' art, and saw perfection in the Roman architecture, and the round dome of St. Paul's. Yet in these and all such papers of his we find that Addison had broken through the weaker prejudices of the day, opposing them with sound natural thought of his own. Among cultivated readers, lesser moulders of opinion, there can be no doubt that his genius was only the more serviceable in amendment of the tastes of his own time, for friendly understanding and a partial sharing of ideas for which it gave itself no little credit. It is noticeable, however, that in his Account of the Greatest English Poets, young Addison gave a fifth part of the piece to expression of the admiration he felt even then for Milton. That his appreciation became critical, and, although limited, based on a sense of poetry which brought him near to Milton, Addison proved in the 'Spectator' by his eighteen Saturday papers upon 'Paradise Lost'. But it was from the religious side that he first entered into the perception of its grandeur. His sympathy with its high purpose caused him to praise, in the same pages that commended 'Paradise Lost' to his countrymen, another 'epic,' Blackmore's 'Creation', a dull metrical treatise against atheism, as a work which deserved to be looked upon as 'one of the most useful and noble productions of our English verse. The reader,' he added, of a piece which shared certainly with Salisbury Plain the charms of flatness and extent of space, 'the reader cannot but be pleased to find the depths of philosophy enlivened with all the charms of poetry, and to see so great a strength of reason amidst so beautiful a redundancy of the imagination.' The same st
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