Horatian-style lyrics were increasingly typical of Oxford and Cambridge verse collections for this period, most of them in Latin but some like the previous ode in English. John Milton's Lycidas first appeared in such a collection. It has few Horatian echoes yet Milton's associations with Horace were lifelong. He composed a controversial version of "Odes" 1.5, and Paradise Lost includes references to Horace's 'Roman' "Odes" 3.1–6 (Book 7 for example begins with echoes of "Odes" 3.4). Yet Horace's lyrics could offer inspiration to libertines as well as moralists, and neo-Latin sometimes served as a kind of discrete veil for the risqué. Thus for example Benjamin Loveling authored a catalogue of Drury Lane and Covent Garden prostitutes, in Sapphic stanzas, and an encomium for a dying lady "of salacious memory". Some Latin imitations of Horace were politically subversive, such as a marriage ode by Anthony Alsop that included a rallying cry for the Jacobite cause. On the other hand, Andrew Marvell took inspiration from Horace's "Odes" 1.37 to compose his English masterpiece Horatian Ode upon Cromwell's Return from Ireland, in which subtly nuanced reflections on the execution of Charles I echo Horace's ambiguous response to the death of Cleopatra (Marvell's ode was suppressed in spite of its subtlety and only began to be widely published in 1776). Samuel Johnson took particular pleasure in reading "The Odes". Alexander Pope wrote direct "Imitations" of Horace (published with the original Latin alongside) and also echoed him in "Essays" and The Rape of the Lock. He even emerged as "a quite Horatian Homer" in his translation of the "Iliad". Horace appealed also to female poets, such as Anna Seward ("Original sonnets on various subjects, and odes paraphrased from Horace", 1799) and Elizabeth Tollet, who composed a Latin ode in Sapphic meter to celebrate her brother's return from overseas, with tea and coffee substituted for the wine of Horace's sympotic settings: