_Pope_.--I understand you mean Spenser. There is a force and beauty in some of his images and descriptions, equal to any in those writers you have seen him converse with. But he had not the art of properly shading his pictures. He brings the minute and disagreeable parts too much into sight; and mingles too frequently vulgar and mean ideas with noble and sublime. Had he chosen a subject proper for epic poetry, he seems to have had a sufficient elevation and strength in his genius to make him a great epic poet: but the allegory, which is continued throughout the whole work, fatigues the mind, and cannot interest the heart so much as those poems, the chief actors in which are supposed to have really existed. The Syrens and Circe in the "Odyssey" are allegorical persons; but Ulysses, the hero of the poem, was a man renowned in Greece, which makes the account of his adventures affecting and delightful. To be now and then in Fairyland, among imaginary beings, is a pleasing variety, and helps to distinguish the poet from the orator or historian, but to be always there is irksome. _Boileau_.--Is not Spenser likewise blamable for confounding the Christian with the Pagan theology in some parts of his poem? _Pope_.--Yes; he had that fault in common with Dante, with Ariosto, and with Camoens. _Boileau_.--Who is the poet that arrived soon after you in Elysium, whom I saw Spenser lead in and present to Virgil, as the author of a poem resembling the "Georgics"? On his head was a garland of the several kinds of flowers that blow in each season, with evergreens intermixed. _Pope_.--Your description points out Thomson. He painted nature exactly, and with great strength of pencil. His imagination was rich, extensive, and sublime: his diction bold and glowing, but sometimes obscure and affected. Nor did he always know when to stop, or what to reject. _Boileau_.--I should suppose that he wrote tragedies upon the Greek model. For he is often admitted into the grove of Euripides. _Pope_.--He enjoys that distinction both as a tragedian and as a moralist. For not only in his plays, but all his other works, there is the purest morality, animated by piety, and rendered more touching by the fine and delicate sentiments of a most tender and benevolent heart.