for the young poet to take for a text the forest in which he lived. Dull as the natives might be, their dwellingplace was historical, and there was an excellent precedent for such a performance. Pope, as we have seen, was familiar with Milton's juvenile poems; but such works as the Allegro and Penseroso were too full of the genuine country spirit to suit his probable audience. Wycherley, whom he frequently invited to come to Binfield, would undoubtedly have found Milton a bore. But Sir John Denham, a thoroughly masculine, if not, as Pope calls him, a majestic poet, was a guide whom the Wycherleys would respect. His Cooper's Hill (in 1642) was the first example of what Johnson calls local poetry—poetry, that is, devoted to the celebration of a particular place; and, moreover, it was one of the early models of the rhythm which became triumphant in the hands of Dryden. One couplet is still familiar:—
The poem has some vigorous descriptive touches, but is in the main a forcible expression of the moral and political reflections which would be approved by the admirers of good sense in poetry.
Pope's Windsor Forest, which appeared in the beginning of 1713, is closely and avowedly modelled upon this original. There is still a considerable infusion of the puerile classicism of the Pastorals, which contrasts awkwardly with Denham's strength, and a silly episode about the nymph Lodona changed into the river Loddon by Diana, to save her from the pursuit of Pan. But the style is animated, and the descriptions, though seldom original, show Pope's frequent felicity of language.
