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154:, was completed within the space of a month, but the intended opera was never produced. Unofficial transcripts of the libretto began to circulate, however, and the errors in these copies so annoyed Dryden that he was finally induced, in 1677, to publish an authorised version.
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Modern criticism has been less favourable, with critics disapproving of Dryden's alterations to both the literary form and the political message of Milton's poem. To modern eyes, as Dustin
Griffin writes, "Dryden's deviation from his original is a measure of his failure".
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went to him to have leave to put his
Paradise Lost into a Drama in Rhyme. Mr. Milton received him civilly, and told him that he would give him leave to tag his verses.
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This reference to the metal "tags" affixed to the ends of cords or laces may hint at Milton's contempt of rhyme as something purely fashionable and ornamental.
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is a five-act drama, chiefly focusing on Books 2, 4, 8 and 9 of Milton's poem. The dialogue and soliloquies are written mostly in
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as "one of the greatest, most noble and most sublime poems which either this Age or Nation has produc'd". According to
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was a great success, and was reprinted more often during Dryden's lifetime than any of his other plays. A poem by
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Freedman, Morris (1971). "The 'Tagging' of
Paradise Lost: Rhyme in Dryden's 'The State of Innocence'".
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King, Bruce (1964). "The
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Frank, Marcie (1993). "Staging
Criticism, Staging Milton".
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had met with a cold reception upon its first publication,
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The Fall of Angels and Man in
Innocence: An Heroic Opera
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372:The Early Lives of Milton
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341:Frank 1993
317:Scott 1826
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