papers of the Guardian, had praised Ambrose Philips, as the Pastoral writer that yielded only to Theocritus, Virgil, and Spenser. Pope, who had also published Pastorals, not pleased to be overlooked, drew up a comparison of his own compositions with those of Philips, in which he covertly gave himself the preference, while he seemed to disown it. Not content with this, he is supposed to have incited Gay to write the Shepherd’s Week, to shew, that if it be necessary to copy nature with minuteness, rural life must be exhibited such as grossness and ignorance have made it. So far the plan was reasonable; but the Pastorals are introduced by a Proeme, written with such imitation as they could attain of obsolete language, and by consequence in a style that was never spoken nor written in any language or in any place.
But the effect of reality and truth became conspicuous, even when the intention was to shew them groveling and degraded. These Pastorals became popular, and were read with delight as just representations of rural manners and occupations, by those who had no interest in the rivalry of the poets, nor knowledge of the critical dispute.
