The fine courtier who would talk nothing but Chaucer was in Elizabeth's reign the saving of English verse.

The beauty and richness of Spenser is based directly on words he got from _Troilus and Cressida_ and the _Canterbury Tales_.

Some of the most sonorous and beautiful lines in Shakespeare break every canon laid down by the humanists.
"Th' extravagant and erring spirit hies To his confine" is a line, three of the chief words of which are Latin importations that come unfamiliarly, bearing their original interpretation with them.
Milton is packed with similar things: he will talk of a crowded meeting as "frequent" and use constructions which are unintelligible to anyone who does not possess a knowledge--and a good knowledge--of Latin syntax.
Yet the effect is a good poetic effect.

In attacking latinisms in the language borrowed from older poets Cheke and his companions were attacking the two chief sources of Elizabethan poetic vocabulary.

All the sonorousness, beauty and dignity of the poetry and the drama which followed them would have been lost had they succeeded in their object, and their verse would have been constrained into the warped and ugly forms of Sternhold and Hopkins, and those with them who composed the first and worst metrical version of the Psalms.