Good sense and judgment were his characteristical excellencies, rather than fancy and invention; not that the author of the Rape of the Lock, and Eloisa, can be thought to want imagination, but because his imagination was not his predominant talent, because he indulged it not, and because he gave not so many proofs of this talent as of the other. This turn of mind led him to admire French models; he studied Boileau attentively; formed himself upon him, as Milton formed himself upon the Grecian and Italian sons of Fancy. He stuck to describing modern manners; but those manners, because they are familiar, uniform, artificial, and polished, are, in their very nature, unfit for any lofty effort of the Muse. He gradually became one of the most correct, even, and exact poets that ever wrote; polishing his pieces with a care and assiduity, that no business or avocation ever interrupted: so that if he does not frequently ravish and transport his reader, yet he does not disgust him with unexpected inequalities and absurd improprieties. Whatever poetical enthusiasm he actually possessed, he withheld and stifled. The perusal of him affects not our minds with such strong emotions as we feel from Homer and Milton; so that no man of a true poetical spirit, is master of himself while he reads them. Hence, he is a writer fit for universal perusal; adapted to all ages and stations; for the old and the young; the man of business and the scholar. He who would think the Faery Queen, Palamon and Arcite, the Tempest or Comus, childish and romantic, might relish POPE. Surely it is no narrow and niggardly encomium to say he is the great Poet of Reason, the First of Ethical authors in verse. And this species of writing is, after all, the surest road to an extensive reputation. It lies more level to the general capacities of men, than the higher flights of more genuine poetry. We all remember when even a Churchill was more in vogue than a Gray. He that treats of fashionable follies, and the topics of the day, that describes present persons and recent events, finds may readers, whose understandings and whose passions he gratifies. The name of Chesterfield on one hand, and of Walpole on the other, failed not to make a poem bought up and talked of. And it cannot be doubted, that the Odes of Horace which celebrated, and the satires which ridiculed, well-known and real characters at Rome, were more eagerly read, and more frequently cited, than the Aeneid and the Georgic of Virgil.
Where then, according to the question proposed at the beginning of this Essay, shall we with justice be authorized to place our admired POPE? Not, assuredly, in the same rank with Spencer, Shakespeare, and Milton; however we may applaud the Eloisa and Rape of the Lock; but, considering the correctness, elegance, and utility of his works, the weight of sentiment, and the knowledge of man they contain, we may venture to assign him a place, next to Milton, and just above Dryden. Yet, to bring our minds steadily to make this decision, we must forget, for a moment, the divine Music Ode of Dryden; and may perhaps then be compelled to confess, that though Dryden be the greater genius, yet Pope is the better artist.