The same lavish use of abstractions is seen, not only in the philosophic poetry proper, but also in other works, which might perhaps have been expected to escape the contagion. Charles Churchill (1731-1764), if we set aside Johnson and Canning, may be regarded as representing eighteenth century satire in its decline, after the great figures of Pope and Swift have disappeared from the scene, and among the causes which prevent his verse from having but little of the fiery force and sting of the great masters of satire is that, instead of the strongly depicted, individual types of Pope, for example, we are given a heterogeneous collection of human virtues, vices, and characteristics, most often in the form of mere abstractions, sometimes personified into stiff, mechanical figures.[202] Only once has Churchill attempted anything novel in the way of personification, and this in humorous vein, when he describes the social virtues: With belly round and full fat face, Which on the house reflected grace, Full of good fare and honest glee, The steward Hospitality. Churchill had no doubt a genuine passion for poetry and independence, but the _saeva indignatio_ of the professed censor of public morals and manners cannot be conveyed to the reader through the medium of mechanical abstractions which, compared with the flesh-and-blood creations of Dryden and Pope, show clearly that for the time being the great line of English satire has all but come to an end. Eighteenth century ethical poetry was represented at this stage by Johnson and Goldsmith, at whose work it will now be convenient to glance. The universal truths which Johnson as a stern, unbending moralist wished to illustrate in “London” (1738) and “The Vanity of Human Wishes” (1749), might easily have resulted in a swarm of the abstractions and personifications fashionable at the time.[203] From this danger Johnson was saved by the depth of feeling with which he unfolds the individual examples chosen to enforce his moral lessons. Not that he escapes entirely; “London” has a few faint abstractions (“Malice,” “Rapine,” “Oppression”); but though occasionally they are accompanied by epithets suggesting human attributes (“surly Virtue,” “persecuting Fate,” etc.), as a rule there is no attempt at definite personification, a remark which also applies to the “Vanity of Human Wishes.” In his odes to the different seasons he has not given, however, any elaborate personifications, but has contented himself with slight human touches, such as Now Autumn bends a cloudy brow. Of Johnson’s poetical style, regarded from our present point of view, it may be said to be well represented in the famous line from “London”: Slow rises Worth by Poverty depressed, where there is probably no intention or desire to personify at all, but which is a result of that tendency towards Latin condensation which the great Doctor and his contemporaries had introduced into English prose.