[Note: The judgments of certain prominent critics on the poetry of Pope and of his period may well be considered. Professor Lewis E. Gates has said: 'The special task of the pseudo-classical period was to order, to systematize, and to name; its favorite methods were, analysis and generalization. It asked for no new experience. The abstract, the typical, the general--these were everywhere exalted at the expense of the image, the specific experience, the vital fact.' Lowell declares that it 'ignored the imagination altogether and sent Nature about her business as an impertinent baggage whose household loom competed unlawfully with the machine-made fabrics, so exquisitely uniform in pattern, of the royal manufactories.' Still more hostile is Matthew Arnold: 'The difference between genuine poetry and the poetry of Dryden, Pope, and all their school, is briefly this: Their poetry is conceived and composed in their wits, genuine poetry is conceived and composed in the soul. The difference is immense.' Taine is contemptuous: 'Pope did not write because he thought, but thought in order to write. Inky paper, and the noise it makes in the world, was his idol.' Professor Henry A. Beers is more judicious: 'Pope did in some inadequate sense hold the mirror up to Nature.... It was a mirror in a drawing-room, but it gave back a faithful image of society, powdered and rouged, to be sure, and intent on trifles, yet still as human in its own way as the heroes of Homer in theirs, though not broadly human.' It should be helpful also to indicate briefly some of the more specific mannerisms of pseudo-classical poetry, in addition to the general tendencies named above on page 190. Almost all of them, it will be observed, result from the habit of generalizing instead of searching for the pictorial and the particular. 1. There is a constant preference (to enlarge on what was briefly stated above) for abstract expressions instead of concrete ones, such expressions as 'immortal powers' or 'Heaven' for 'God.' These abstract expressions are especially noticeable in the descriptions of emotion, which the pseudo-classical writers often describe without really feeling it, in such colorless words as 'joys, 'delights,' and 'ecstasies,' and which they uniformly refer to the conventionalized 'heart, 'soul,' or 'bosom.' Likewise in the case of personal features, instead of picturing a face with blue eyes, rosy lips, and pretty color, these poets vaguely mention 'charms,' 'beauties,' 'glories,' 'enchantments,' and the like. These three lines from 'The Rape of the Lock' are thoroughly characteristic: The fair [the lady] each moment rises in her charms, Repairs her smiles, awakens ev'ry grace, And calls forth all the, wonders of her face.