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ONE:He chuckled to show there was no malice as he stated the new name. TWO:The queen closed the session on the 9th of July, assuring the Parliament that her chief concern was for the preservation of our holy religion and the liberty of the subject��this liberty having been most grievously invaded by her through the Schism Bill. But the dissolution of her Ministry was also fast approaching. The hostility of Oxford and Bolingbroke was becoming intolerable, and paralysed all the proceedings of Government. As for Oxford, he felt himself going, and had not the boldness and[20] resolution to do what would ruin his rival. He coquetted with the Whigs��Cowper, Halifax, and others; he wrote to Marlborough, and did all but throw himself into the arms of the Opposition. Had he had the spirit to do that he might have been saved; but it was not in his nature. He might then have uncovered to the day the whole monstrous treason of Bolingbroke; but he had himself so far and so often, though never heartily or boldly, tampered with treason, that he dreaded Bolingbroke's retaliation. Bothmar, the Hanoverian envoy, saw clearly that Oxford was lost. He wrote home that there were numbers who would have assisted him to bring down his rival, but that he could not be assisted, because, according to the English maxim, he did not choose to assist himself. Swift endeavoured, but in vain, to reconcile his two jarring friends; and Oxford finally utterly lost himself by offending the great favourite, Lady Masham. He had been imprudent enough to oppose her wishes, and refuse her some matter of interest. He now was treated by her with such marked indignity, that Dr. Arbuthnot declared that he would no more have suffered what he had done than he would have sold himself to the galleys. Still, with his singular insensibility to insult, he used to dine at the same table with her frequently, and also in company with Bolingbroke, too.PRINCE CHARLES EDWARD STUART (THE "YOUNG PRETENDER"). (After the Portrait by Tocque, 1748.)

ONE: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.

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THREE:He was accustomed to the gloom by now, but she was not. She could only see that there was some one in the shadow. It flashed through his mind that she[Pg 221] would scream, but the next moment he knew that she would not.