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THREE: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.There was a sort of understanding in those times that Hyde Park was the peculiar preserve of the aristocracy. Women of notoriously bad reputation would not then have dared to show themselves in Rotten Row, and the middle and lower classes of London did not think of intruding themselves as equestrians upon the pleasure-ground of the nobility. At that time it was every way more retired; the walks were fewer, and cows and deer were seen quietly grazing under clumps of trees. The frequenters of the park, who then congregated daily about five o'clock, were chiefly[442] composed of dandies and ladies in the best society; the former, well-mounted and dressed in a blue coat, with brass buttons, leather breeches and top-boots, with a tremendously deep, stiff, white cravat, and high shirt-collar, which rendered stooping impossible. Many of the ladies used to drive round the park in a carriage, called a vis-��-vis, which held only two persons, having a hammer-cloth rich in heraldic designs, powdered footmen in smart liveries, and a coachman who assumed all the airs and importance of a wigged archbishop. We love to be social,Catch Us On FORE:Told what no tongue could speak; FORE: Rt. Hon. Sir H. Langrishe, ��15,000 for his patronage of Knocktopher, and a commissionership of revenue. FORE:On this basis Mr. Vansittart, the Chancellor of the Exchequer, on the 9th of June, produced his Budget. Including the interest on the Debt, the whole annual expenditure amounted to seventy-six million, seventy-four thousand pounds��an ominous peace expenditure. Instead, therefore, of the supplies, aided by the draft from the Sinking Fund, leaving a surplus of two million pounds, a fresh loan of twelve million pounds��besides the three million pounds of new taxes on malt, tobacco, coffee, cocoa, tea, British spirits, pepper, and foreign wool was needed. By the hocus-pocus of Exchequer accounts this was made to look like a reduction of the Debt instead of an increase of it; but the country saw with dismay that three years after the peace the incubus of past war was still[145] adding to its burden. Mr. Tierney, on the 18th, moved for a committee to inquire into the state of the nation, but this was negatived by three hundred and fifty-seven votes against one hundred and seventy-eight; and a motion of Sir Henry Parnell on the 1st of July for extensive retrenchments was got rid of in the same manner.In history, as in fiction, a new school of writers arose during this period, at the head of which stood Hume, Robertson, and Gibbon. David Hume (b. 1711; d. 1776) had already acquired a great reputation by his "Philosophical Essays concerning the Human Understanding," his "Inquiry into the Principles of Morals," and his "Natural History of Religion." In these metaphysical works he had indulged his extreme sceptical tendency, and in the "Essay on Miracles" believed that he had exploded the Christian religion. His works on this subject did not, at first, gain much attention; but in a while were seized on by the deistical and atheistical philosophers in Britain and on the Continent, and have furnished them with their principal weapons. The first two volumes of history met for a time with the same cold reception as his metaphysics. He commenced with that favourite period with historians��the reigns of James I. and Charles I.��because then began the great struggle for the destruction of the Constitution, followed by the still more interesting epoch of its battle for and triumph over its enemies. Hume had all the Tory prejudices of the Scottish Jacobite, and the reigns of James I. and Charles I. were extremely to his taste, but as little to that of the English public. Hence the dead silence with which it was received. But when there had been time to read the second volume, containing the Commonwealth and the reigns of Charles II. and James II., the storm broke out. In these he had run counter to all the received political ideas of the age. But this excitement raised both volumes into notice, and he then went back, and, in[176] 1759, published two more volumes, containing the reigns of the Tudors; and, going back again, in 1762 he completed his history by bringing it down from the invasion of Julius C?sar to the accession of Henry VII. It was afterwards, as has been mentioned, continued by Smollett.