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THREE:Iron suspension bridges were also introduced towards the end of this reign. Chain bridges had been erected in China for nearly two thousand years, and rope bridges in India and South America still earlier. In England a foot-bridge of iron chains was erected at Middleton, over the Tees, in the middle of the eighteenth century. In 1816 a bridge of iron wire was thrown across the Gala Water; and another, on a different principle, the following year, was erected over the Tweed, at[193] King's Meadows. But now much greater and more complete works of the kind were to be executed. Captain (afterwards Sir Samuel) Brown introduced many improvements into these structures. He substituted iron ropes for hempen ones, thereby forming cable-chains, like those used in Wales on quarry tram-roads, and these he applied to suspension bridges. In 1819 he was commissioned to construct an iron suspension bridge over the Tweed, near Kelso, called the union Bridge, which he completed in 1820, at a cost of five thousand pounds. In 1827 the first suspension bridge was thrown over the Thames by Mr. William Tierney Clarke; and in 1818 Telford commenced his great work of throwing a suspension bridge over the Menai Strait, near Bangor, which he completed in 1825. The main opening of this stupendous work is five hundred and sixty feet wide, and one hundred feet above high-water mark. The length of the roadway of the bridge is one thousand feet. The cost was one hundred and twenty thousand pounds. This was Telford's chef-d'?uvre. But the same neighbourhood was destined to see a more stupendous structure span the Strait from the Welsh shore to Anglesey. This was the tubular railway bridge, connecting the London and Holyhead line, within view of Telford's elegant suspension bridge. This was erected by Robert Stephenson, from his own design, greatly improved by suggestions from William Fairbairn of Manchester. It was completed in October, 1850, at a cost of six hundred and twenty-five thousand eight hundred and sixty-five pounds. Further description of this great work is not proper here, as it belongs to a later date, but it seemed fit to mention it in passing, as an evidence of the progress of the engineering science in the reign of Victoria.At this moment the horse which George II. was riding, taking fright at the noise made by the French in their advance, became unmanageable, and plunged forward furiously, nearly carrying the king into the midst of the French lines. Being, however, stopped just in time, the king dismounted, and placing himself at the head of the British and Hanoverian infantry on the right, he flourished his sword and said, "Now, boys! now for the honour of England! Fire, and behave bravely, and the French will soon run!"

FORE:At the head of the poets of this period stands Alexander Pope, who became the founder of a school which has had followers down to our own time. Pope was the poet of society, of art, and polish. His life was spent in London and in the country, chiefly between Binfield, in Windsor Forest, and Twickenham; and his poetry partakes very much of the qualities of that scenery��rich, cultivated, and beautiful, but having no claims to the wild or the sublime. He is opposed to poets like Milton and Shakespeare as pastures and town gardens are opposed to seas, forests, and mountains. In style he is polished to the highest degree, piquant, and musical; but, instead of being profound and creative, he is sensible, satiric, and didactic. He failed in "the vision and the faculty divine," but he possessed fancy, a moderate amount of passion, and a clear and penetrating intellect. He loved nature, but it was such only as he knew��the home-scenes of Berkshire and the southern counties, the trained and polished beauties in his gardens, the winding walks and grottoes at Twickenham. Mountains he had never seen, and there are none in his poetry. He was born in the year of the Revolution, and died in 1744, aged fifty-six; and, considering that he suffered from a feeble constitution and defective health, he was a remarkably industrious man. His pastorals appeared in Tonson's "Miscellany" when he was only twenty-one years old. Before this he had translated the first book of the "Thebais," and Ovid's "Epistle from Sappho to Phaon;" paraphrased Chaucer's "January and May," and the prologue to "The Wife of Bath's Tale." In two years after his "Pastorals" appeared his "Essay on Criticism" (1711). "The Messiah" and "The Rape of the Lock" were published in 1712��the year in which the "Spectator" died. "The Rape of the Lock" celebrated the mighty event of the clipping of a lock of hair from the head of Miss Belle Fermor by Lord Petre.[151] This act, adorned with a great machinery of sylphs and gnomes, a specimen of elegant trifling, enchanted the age, which would have less appreciated grander things, and placed Pope on the pinnacle of fame. In 1713 he published "Windsor Forest," a subject for a pleasant but not a great poem, yet characteristic of Pope's genius, which delighted in the level and ornate rather than the splendid and the wild. In 1715 appeared the first four books of his translation of Homer's "Iliad," which was not completed till 1720. This still continues the most popular translation of the great heroic poet of Greece; for although it is rather a paraphrase of this colossal yet simple poem, and therefore not estimated highly by Greek scholars who can go to the original, it has that beauty and harmony of style which render it to the English reader an ever-fascinating work. In 1717 appeared his "Epistle from Eloisa to Abelard," a poem displaying more passion than any other of Pope's writings, but too sensuous, and the subject itself far from well chosen. Next succeeded his "Odyssey" of Homer, in conjunction with Fenton and Broome, and in 1728 the first three books of "The Dunciad," in which he took a sweeping vengeance on the critics and poetasters of the time, who had assailed him fiercely on all sides, with John Dennis at their head. The vigour with which Pope wielded the satiric lash excited the wonder of the public, which had seen no such trenchant production hitherto in the language, and filled the whole host of flayed and scalded dunces with howls of wrath and agony. Pope was not sparing of foul language in his branding of others, and they were still more obscene and scurrilous in their retorts. It is questionable whether they or Pope felt the most torture; for, so far from silencing them, they continued to kick, sting, and pelt him with dirt so long as he lived. So late as 1742 he published a fourth book of the satire, to give yet one more murderous blow to the blackguard crew. Besides this satire, he modernised an edition of Donne's Satires, and produced his "Essay on Man," his "Epistle on Taste," his "Moral Essays," and other poems, down to 1740. His "Essay on Man," "Moral Essays," etc., display shrewd sense, and a keen perception of the characteristics of human nature and of the world; yet they do not let us into any before unknown depths of life or morals, but, on the contrary, are, in many particulars, unsound. In fact, these productions belong by no means to poetry, of which they exhibit no quality, and might just as well have been given in prose. On the whole, Pope is a poet whose character is that of cleverness, strong intellect, carefully-elaborative art, much malice, and little warmth or breadth of genuine imagination. He reflects the times in which he lived, which were corrupt, critical, but not original, and he had no conception of the heavens of poetry and soul into which Milton and Shakespeare soared before him, and Keats, Shelley, Coleridge, Wordsworth and Tennyson in our time have wandered at large. FORE:At this moment Meer Jaffier found it impossible to retain his seat without the support of the English. Shah Allum, the eldest son of the Great Mogul, was coming against him with a large army. Clive met and defeated him, and for this service he received from his puppet a jaghire, or domain worth twenty-seven thousand pounds a year.