Even the priggish wits of that day were capable of being bored by didactic poetry, and especially by such didactic poetry as resolved itself too easily into a string of maxims, not more poetical in substance than the immortal "'Tis a sin to steal a pin." The essay--published anonymously--did not make any rapid success till Pope sent round copies to well-known critics. Addison's praise and Dennis's abuse helped, as we shall presently see, to give it notoriety. Pope, however, returned from criticism to poetry, and his next performance was in some degree a fresh, but far less puerile, performance upon the pastoral pipe.[4] Nothing could be more natural than for the young poet to take for a text the forest in which he lived. Dull as the natives might be, their dwelling-place 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:-- Though deep, yet clear; though gentle, yet not dull; Strong without rage; without o'erflowing, full. 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. Wordsworth, indeed, was pleased to say that Pope had here introduced almost the only "new images of internal nature" to be found between Milton and Thomson. Probably the good Wordsworth was wishing to do a little bit of excessive candour. Pope will not introduce his scenery without a turn suited to the taste of the town:-- Here waving groves a chequer'd scene display, And part admit and part exclude the day; As some coy nymph her lover's fond address, Nor quite indulges nor can quite repress.