'Mr. Addison in the Spectators, in his criticisms upon Milton, seems to have mistaken the matter, in endeavouring to bring that poem to the rules of the epopœia, which cannot be done ... It is not an Heroic Poem, but a Divine one, and indeed of a new species. It is plain that the proposition of all the heroic poems of the ancients mentions some one person as the subject of their poem... But Milton begins his poem of things, and not of men.'
The Gildons are all gone; and when, in the next generation after theirs, national life began, in many parts of Europe, strongly to assert itself in literature against the pedantry of the French critical lawgivers, in Germany Milton's name was inscribed on the foremost standard of the men who represented the new spirit of the age. Gottsched, who dealt French critical law from Leipzig, by passing sentence against Milton in his 'Art of Poetry' in 1737, raised in Bodmer an opponent who led the revolt of all that was most vigorous in German thought, and put an end to French supremacy. Bodmer, in a book published in 1740
Vom Wunderbaren in der Poesie
, justified and exalted Milton, and brought Addison to his aid by appending to his own work a translation of these Milton papers out of the
Spectator
. Gottsched replied; Bodmer retorted. Bodmer translated
Paradise Lost
; and what was called the English or Milton party (but was, in that form, really a German national party) were at last left masters of the field. It was right that these papers of Addison should be brought in as aids during the contest. Careful as he was to conciliate opposing prejudices, he was yet first in the field, and this motto to the first of his series of Milton papers, 'Yield place to him, Writers of Greece and Rome,' is as the first trumpet note of the one herald on a field from which only a quick ear can yet distinguish among stir of all that is near, the distant tramp of an advancing host.