mannerisms of pseudo-classical poetry, in addition to the general
tendencies named above on page 190. Almost all of them, it will be
observed, result from the habit of generalizing instead of searching for
the pictorial and the particular. 1. There is a constant preference (to
enlarge on what was briefly stated above) for abstract expressions instead
of concrete ones, such expressions as 'immortal powers' or 'Heaven' for
'God.' These abstract expressions are especially noticeable in the
descriptions of emotion, which the pseudo-classical writers often describe
without really feeling it, in such colorless words as 'joys, 'delights,'
and 'ecstasies,' and which they uniformly refer to the conventionalized
'heart, 'soul,' or 'bosom.' Likewise in the case of personal features,
instead of picturing a face with blue eyes, rosy lips, and pretty color,
these poets vaguely mention 'charms,' 'beauties,' 'glories,'
'enchantments,' and the like. These three lines from 'The Rape of the Lock'
are thoroughly characteristic:


The fair [the lady] each moment rises in her charms,
Repairs her smiles, awakens ev'ry grace,
And calls forth all the, wonders of her face.

The tendency reaches its extreme in the frequent use of abstract and often
absurdly pretentious expressions in place of the ordinary ones which to
these poets appeared too simple or vulgar. With them a field is generally a
'verdant mead'; a lock of hair becomes 'The long-contended honours of her
head'; and a boot 'The shining leather that encased the limb.'

2. There is a constant use of generic or generalizing articles, pronouns,
and adjectives, 'the,' 'a,' 'that,' 'every,' and 'each' as in some of the
preceding and in the following examples: 'The wise man's passion and the