A keener mind fell into the same error. Pope, in the _Essay on Man_, tried to harmonize the orthodox conception of human character with sentimental optimism. As a collection of those memorable half-truths called aphorisms, the poem is admirable; as an attempt to unite new half-truths with old into a consistent scheme of life, it is fallacious. No creature composed of such warring elements as Pope describes in the superb antitheses that open Epistle II, can ever become in this world as good and at the same time as happy as Epistle IV vainly asserts. Pope, charged with heresy, did not repeat this endeavor to console mankind; he returned to his proper element, satire. But his effort to unite the new philosophy with the old psychology is striking evidence of the attractiveness and growing vogue of Shaftesbury's theories. It was minor poets who first expressed sentimental ideas without inconsistency. As early as 1732, anonymous lines in the _Gentleman's Magazine_ advanced what must have seemed the outrageously paradoxical thought that the savage in the wilderness was happier than civilized man. Two years later Soame Jenyns openly assailed in verse the orthodox doctrines of sin and retribution. These had long been assailed in prose; and under the influence of the attacks, within the pale of the Church itself, some ministers had suppressed or modified the sterner aspects of the creed,--a movement which Young's satires had ridiculed in the person of a lady of fashion who gladly entertained the notion that the Deity was too well-bred to call a lady to account for her offenses. Jenyns versified this effeminization of Christianity, charged orthodoxy with attributing cruelty to God, and asserted that faith in divine and human kindness would banish all wrong and discord from the world. In 1735 a far more important poet of sentimentalism arose in Henry Brooke, an undeservedly neglected pioneer, who, likewise drawing his inspiration from Shaftesbury, developed its theories with unusual consistency and fullness. His _Universal Beauty_ voiced his sense of the divine immanence in every part of the cosmos, and emphasized the doctrine that animals, because they unhesitatingly follow the promptings of Nature, are more lovely, happy, and moral than Man, who should learn from them the individual and social virtues, abandon artificial civilization, and follow instinct. Brooke, in the prologue of his _Gustavus Vasa_, shows that he foresaw the political bearings of this theory; it is, in his opinion, peculiarly a people "guiltless of courts, untainted, and unread" that, illumined by Nature, understands and upholds freedom: but this was a thought too advanced to be general at this time even among Brooke's fellow-sentimentalists.