The severe schooling I gave myself was not without its immediate use. I learned how to choose between words after a study of their fitness, and though I often employed them decoratively and with no vital sense of their qualities, still in mere decoration they had to be chosen intelligently, and after some thought about their structure and meaning. I could not imitate Pope without imitating his methods, and his method was to the last degree intelligent. He certainly knew what he was doing, and although I did not always know what I was doing, he made me wish to know, and ashamed of not knowing. There are several truer poets who might not have done this; and after all the modern contempt of Pope, he seems to me to have been at least one of the great masters, if not one of the great poets. The poor man's life was as weak and crooked as his frail, tormented body, but he had a dauntless spirit, and he fought his way against odds that might well have appalled a stronger nature. I suppose I must own that he was from time to time a snob, and from time to time a liar, but I believe that he loved the truth, and would have liked always to respect himself if he could. He violently revolted, now and again, from the abasement to which he forced himself, and he always bit the heel that trod on him, especially if it was a very high, narrow heel, with a clocked stocking and a hooped skirt above it. I loved him fondly at one time, and afterwards despised him, but now I am not sorry for the love, and I am very sorry for the despite. I humbly, own a vast debt to him, not the least part of which is the perception that he is a model of ever so much more to be shunned than to be followed in literature. He was the first of the writers of great Anna's time whom I knew, and he made me ready to understand, if he did not make me understand at once, the order of mind and life which he belonged to. Thanks to his pastorals, I could long afterwards enjoy with the double sense requisite for full pleasure in them, such divinely excellent artificialities at Tasso's "Aminta" and Guarini's "Pastor Fido"; things which you will thoroughly like only after you are in the joke of thinking how people once seriously liked them as high examples of poetry.