In other poems Pope uses the device for humorous or satiric effect, as in the “Pain,” “Megrim,” and “Ill nature like an ancient maid” (l. 24) of “The Rape of the Lock;” or the “Science,” “Will,” “Logic,” etc., of “The Dunciad,” where all are invested with capital letters, but with little attempt to work up a definite picture, except, as was perhaps to be expected, in the case of “Dullness,” which is provided with a bodyguard (Bk. I, 45-52). Though, as we have already said, there is no great use of such figures in the works of Pope, they are present in such numbers in his satiric and didactic works as to indicate one great reason for their prevalence in his contemporaries and successors. After the Restoration, when English literature entered on a new era, the changed and changing conditions of English life and thought soon impressed themselves on poetry. The keynote to the understanding of much that is characteristic of this new “classical” literature has been well summed up in the formula that “the saving process of human thought was forced for generations to beggar the sense of beauty.”[199] The result was an invasion of poetry by ideas, arguments, and abstractions which were regarded both as expressing admirably the new spirit of rationalism, as well as constituting in themselves dignified subjects and ornaments of poetry. This is well illustrated in the case of several of Pope’s contemporaries. In the works of Thomas Parnell (1679-1718) abstractions of the conventional type are plentiful, usually accompanied by a qualifying epithet: “Fortune fair-array’d” (“An Imitation”), “Impetuous Discord,” “Blind Mischief,” (“On Queen Anne’s Peace”), “the soft Pathetic” (“On the Different Styles of Poetry”). These are only a few of the examples of the types favoured by Parnell, where only here and there are human traits added by means of qualifying epithets or phrases. In one or two instances, however, there are more detailed personifications. Thus, in the “Epistle to Dr. Swift,” which abounds in shadowy abstractions, Eloquence is fully described for us: Upon her cheek sits Beauty ever young The soul of music warbles on her tongue. Moreover, already in Parnell it is evident that the influence of Milton is responsible for some of his personifications. In the same poem we get the invocation: Come! country Goddess come, nor thou suffice But bring thy mountain-sister Exercise, figures which derive obviously from “L’Allegro.” In the case of Richard Savage (1696-1743) there is still greater freedom in the use of personified abstractions, which, as here the creative instinct is everywhere subjected to the didactic purpose, become very wearisome. The “Wanderer” contains long catalogues of them, in some instances pursued for over fifty lines.[200]