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 In 1703, he passed some time in London, in the study of the French and Italian languages; and on his return to Binfield, wrote a comedy, a tragedy, or epic poem, with panegyrics on all the princes of Europe, and, as he confesses, 'thought himself the greatest genius that ever was.' Many of the productions upon which he founded this idea of himself, he subsequently destroyed; nor is it from an earlier period than 1705, that his life, as an author, is properly computed. In that year, he wrote his Pastorals, which, together with the very elegant and learned preface, received the praise of all the poets and the critics of the time; to whose society he, in the following year, more particularly introduced himself, by attending Will's Coffee-house, in London, where most of them used to assemble. His pastorals did not appear until 1709, and in the same year he wrote, and in 1711 published, his Essay on Criticism, which he seems to have considered either so learned or so obscure, as to declare that 'not one gentleman in sixty, even of a liberal education, could understand it.' The piece was translated into French and German, and however overrated may have been the author's estimation of it, has not been inadequately praised by Johnson, who observes that it displayed extent of comprehension, nicety of distinction, acquaintance with mankind, and knowledge both of ancient and modern learning, not often attained by the maturest age and longest experience. The essay, however, was not without opponents, and was attacked in a bitter and elaborate pamphlet, by Dennis, in consequence of some lines applied to him by Pope, whom he designated as 'a little affected hypocrite, who had nothing in his mouth at the same time but truth, candor, friendship, good-nature, humanity and magnanimity.' In this year, he also wrote his Messiah, first published in The Spectator, and his verses on the Unfortunate Lady, who, we are told by Ruffhead, having been removed by her guardian into a foreign country to avoid the addresses of Pope, put an end to her life by stabbing herself with a sword.

His next production was The Rape of the Lock, which is considered the most airy, the most ingenious, and the most delightful of all his compositions. The origin of it is too well known to need repetition here; but it is doubtful, as generally asserted, whether it had the effect of reconciling the parties whose conduct gave rise to the subject. On its first appearance, Addison called it a delicious little thing, and urged Pope not to alter it: he was, however, too confident of improving it to follow this advice, and considerably altered, and added to, the poem. 'His attempt,' says Johnson, 'was justified by its success: The Rape of the Lock stands forward in the classes of literature as the most exquisite example of ludicrous poetry.' In 1712, he published The Temple of Fame, and, about the same period, his Eloise to Abelard; to the composition of which he was led, according to Savage, by the perusal of Prior's Nut-brown Maid. In 1713, appeared his Windsor Forest, the conclusion of which is said to have given pain to Addison, both as a poet and politician; but this is doubted by Johnson, who, in proof of the apparant friendship that continued to exist between the two poets, refers to the prologue of Cato, written by Pope, and also to a defense of that tragedy against the attacks of Dennis. About this time, the subject of our memoir is said to have studied painting under Jervis, and to have made progress enough to take the portraits of several of his friends.

He now turned his attention to the completion of his Iliad, which he