The English Sentimentalist writers of the eighteenth century were attempting to write

Faerie Queene
and, more generally, the 
famous poet John Milton, though Spenser is never directly mentioned and the word “Milton” is 
only seen once (70). Collins uses these allusions to illustrate the idea of poetic unworthiness.
He felt that few people had true poetic talent and that, after Milton, none had been seen, 
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including him. The idea is incredibly humble and relatable. But, Collins does not write with this
same sense of humility as his musings suggest. Collins’ poem is difficult to understand, and his 
extended allusions do not help the reader, especially if he or she is not well versed in canon 
literature (as the middle-class masses of the nineteenth century most likely were not). Collins’ 
references to a “magic girdle” and “solemn tourney” are meant to show how poetic ability is rare
and given to few, but if a reader is unaware of the allusion then the lines can become very 
confusing (6, 7).
Looking at this juxtaposition created between humble content and lofty form, it is clear 
that the Sentimentalist writers had some sort of purpose in doing this, since it is too blatant to be 
simple coincidence. Alas, without a concrete answer from the Sentimentalists themselves, 
readers today must rely on their own explanations for the phenomenon, but, perhaps, some 
explanations are closer to the truth than others.
Looking at Collins’ “Ode on the Poetical Character,” one might think the Sentimentalist 
writers chose to create a discrepancy between form and content to raise themselves up to the 
same level as their famous predecessors. However, their content shows that they do not believe 
themselves worthy of such a position in the canon, but perhaps they still 
wished
to achieve such 
high standards. In Collins’ play, the speaker (presumably Collins) admits that to try and become 
the next Milton is to try “In vain” since “such bliss [was known] to one alone,” yet Collins’ style 
in very Miltonian in approach, as demonstrated earlier (72). Collins clearly did not believe 
himself to be on the same poetic level as Milton, but by paralleling his style, Collins was 
showing his desperation for achieving such a state. The poem creates the realm of Milton’s 
Eden, which is a sort of symbol for poetic ability. The realm is unattainable by Collins since 
“curtained close such scene from every future view” (76). Still, like a Christian trying 
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desperately to get into heaven after it has been sealed, Collins continues to try and gain entry into
this realm using his style, even as his content tells the reader he understands the futility.
Gray took this same idea and built on it, using poetry and writing as a means of building 
himself up from a lowly position. However, unlike Collins, who was more focused on the end 
goal of becoming Milton’s equal, Gray was fixated on using poetry as compensation for his low 
status. In his poem, “Elegy Written in a Country Churchyard,” Gray worries about the 
“inevitable hour” of death and how he, like all humans, will one day die (35). Gray is distraught 
by this and by his futility in the face of poverty. The only thing that he believes will hold onto 
his essence after death is the epitaph that will be placed on his gravestone, which allows the 
voice of a person to be heard after death. Even though “The Epitaph,” which is included in the 
poem as a hypothetical, declares Gray’s ineffectuality, saying “He gave to Misery all he had, a 
tear,” by including an epitaph and by placing so much importance on the idea of the epitaph in 
response to death, Gray is admitting that language is incredibly important to him (123). It is for 
this reason that Gray chose to write in such an elevated style: it was the only way to raise himself
up from a humble position. He saw himself as useless in a world that was already structured, but
through language he could go beyond the bounds of society and of human nature in general.
Moving on to Samuel Johnson, it becomes clear that each Sentimentalist writer probably 
had their own, personal reason for creating a gap between form and style. Although the theme of
using language to rise above can be seen in numerous Sentimentalist pieces, including Johnson’s 
works, the lexicographer brought in the concept of the external world more so than his 
contemporaries. In his