Joseph Warton's "Essay on Pope" was an attempt to fix its subject's rank among English poets. Following the discursive method of Thomas Warton's "Observations on the Faerie Queen," it was likewise an elaborate commentary on all of Pope's poems _seriatim_. Every point was illustrated with abundant learning, and there were digressions amounting to independent essays on collateral topics: one, _e.g._, on Chaucer, one on early French Metrical romances; another on Gothic architecture: another on the new school of landscape gardening, in which Walpole's essay and Mason's poem are quoted with approval, and mention is made of the Leasowes. The book was dedicated to Young; and when the second volume was published in 1782, the first was reissued in a revised form and introduced by a letter to the author from Tyrwhitt, who writes that, under the shelter of Warton's authority, "one may perhaps venture to avow an opinion that poetry is not confined to rhyming couplets, and that its greatest powers are not displayed in prologues and epilogues." The modern reader will be apt to think Warton's estimate of Pope quite high enough. He places him, to be sure, in the second rank of poets, below Spenser, Shakspere, and Milton, yet next to Milton and above Dryden; and he calls the reign of Queen Anne the great age of English poetry. Yet if it be recollected that the essay was published only twelve years after Pope's death, and at a time when he was still commonly held to be, if not the greatest poet, at least the greatest artist in verse, that England had ever produced, it will be seen that Warton's opinions might well be thought revolutionary, and his challenge to the critics a bold one. These opinions can be best exhibited by quoting a few passages from his book, not consecutive, but taken here and there as best suits the purpose. "The sublime and the pathetic are the two chief nerves of all genuine poesy. What is there transcendently sublime or pathetic in Pope?. . . He early left the more poetical provinces of his art, to become a moral, didactic, and satiric poet. . . And because I am, perhaps, unwilling to speak out in plain English, I will adopt the following passage of Voltaire, which, in my opinion, as exactly characteristizes Pope as it does his model, Boileau, for whom it was originally designed. 'Incapable peut-etre du sublime qui eleve l'ame, et du sentiment qui l'attendrit, mais fait pour eclairer ceux a qui la nature accorda l'un et l'autre; laborieux, severe, precis, pur, harmonieux, il devint enfin le poete de la Raison.'. . . A clear head and acute understanding are not sufficient alone to make a poet; the most solid observations on human life, expressed with the utmost elegance and brevity, are morality and not poetry. . . It is a creative and glowing imagination, _acer spiritus ac vis_, and that alone, that can stamp a writer with this exalted and very uncommon character."