means), is sufficiently striking for his purpose; but it rather turns up at intervals than really binds the epistle into a whole. But the arrangement of his portrait gallery is really unsystematic; the affectation of system is rather in the way. The most striking characters in the essay on women were inserted (whenever composed) some time after its first appearance, and the construction is too loose to make any interruption of the argument perceptible. The poems contain some of Pope's most brilliant bits, but we can scarcely remember them as a whole. The characters of Wharton and Villiers, of Atossa, of the Man of Ross, and Sir Balaam, stand out as brilliant passages which would do almost as well in any other setting. In the imitations of Horace he is, of course, guided by lines already laid down for him; and he has shown admirable skill in translating the substance as well as the words of his author by the nearest equivalents. This peculiar mode of imitation had been tried by other writers, but in Pope's hands it succeeded beyond all precedent. There is so much congeniality between Horace and Pope, and the social orders of which they were the spokesmen, that he can represent his original without giving us any sense of constraint. Yet even here he sometimes obscures the thread of connexion, and we feel more or less clearly that the order of thought is not that which would have spontaneously arisen in his own mind. So, for example, in the imitation of Horace's first epistle of the first book, the references to the Stoical and Epicurean morals imply a connexion of ideas to which nothing corresponds in Pope's reproduction. Horace is describing a genuine experience, while Pope is only putting together a string of commonplaces. The most interesting part of these imitations are those in which Pope takes advantage of the
