In 1737, four of his Imitations of Horace were published, and in the next year appeared two Dialogues, each entitled "1738," which now form the Epilogue to the Satires. One of them was issued on the same day with Johnson's "London." In that year, too, he published his "Universal Prayer,"--a singular specimen of latitudinarian thought, expressed in a loose simplicity of language, quite unusual with its author. The next year he had intended to signalise by a third Dialogue, which he commenced in a vigorous style, but which he did not finish, owing to the dread of a prosecution before the Lords; and with the exception of letters (one of them interesting, as his last to Swift), his pen was altogether idle. In 1740, he did nothing but edit an edition of select Italian Poets. This year, Crousaz, a Swiss professor of note, having attacked (we think most justly) the "Essay on Man" as a mere Pagan prolusion--a thin philosophical smile cast on the Gordian knot of the mystery of the universe, instead of a _sword_ cutting, or trying to cut, it in sunder--Warburton, a man of much talent and learning, but of more astuteness and anxiety to exalt himself, came forward to the rescue, and, with a mixture of casuistical cunning and real ingenuity, tried, as some one has it, "to make Pope a Christian," although, even in Warburton's hands, like the dying Donald Bane in "Waverley," he "makes but a queer Christian after all;" and his system, essentially Pantheistic, contrives to ignore the grand Scripture principles of a Fall, of a Divine Redeemer, of a Future World, and the glorious light or darkness which these and other Christian doctrines cast upon the Mystery of Man. If, however, Warburton, with all his scholastic subtlety, failed to make Pope a Christian, he made him a warm friend; Allen, Pope's acquaintance, a rich father-in-law; and himself, by and by, the Bishop of Gloucester. Sophistry has seldom, although sometimes, been thus richly rewarded. The last scene of Pope's tiny and tortured existence was now at hand. But ere it closed, it must close like Dryden's, characteristically, with an author's quarrel. Colley Cibber had long been a favourite of Pope's ire, and had as often retorted scorn, till at last, by laughing upon the stage at Pope's play (partly Gay's), entitled, "Three Hours After Marriage," he roused the bard almost to frenzy; and Pope set to work to remodel "The Dunciad;" and, dethroning Theobald, set up Cibber as the lawful King of the Dull,--a most unfortunate substitution, since, while Theobald was the ideal of stolid, solemn stupidity, Cibber was gay, light, pert, and clever; full of pluck, too, and who overflowed in reply, with pamphlets which gave Pope both a headache and a heartache whenever he perused them.