ever vitiated by our pronunciation, excel all that are now in use, but to the softness of the Italian, the most mellifluous of all modern poetry, seems fully convinced of the unfitness of our language for smooth versification, and is therefore pleased with an opportunity of calling in a softer word to his assistance; for this reason, and I believe for this only, he sometimes indulges himself in a long series of proper names, and introduces them where they add little but musick to his poem.
Of Atabalipa, and yet unspoil'd
Guiana, whose great city Gerion's sons
Call El Dorado.—————
At evening, from the top of Fesole
Or in Valdarno, to descry new lands.———
He has indeed been more attentive to his syllables than to his accents, and does not often offend by collisions of consonants, or openings of vowels upon each other, at least not more often than other writers who have had less important or complicated subjects to take off their care from the cadence of their lines.
The great peculiarity of Milton's versification, compared with that of later poets, is the elision of one vowel before another, or the suppression of the last syllable of a word ending with a vowel, when a vowel begins the following word. As
Oppresses else with surfeit, and soon turns
Wisdom to folly, as nourishment to wind.
