TWO:In the meantime the Chartists had made their preparations. The members of the National Convention met early in the morning at its hall in John Street, Fitzroy Square, and after this the members took their places in a great car, which had been prepared to convey them to the Common. It was so large that the whole Convention and all the reporters who attended it found easy accommodationMr. Feargus O'Connor and Mr. Ernest Jones sitting in the front rank. It was drawn by six fine horses. Another car drawn by four horses contained the monster petition, with its enormous rolls of signatures. Banners with Chartist mottoes and devices floated over these imposing vehicles. The Convention thus driven in state passed down Holborn, over Blackfriars Bridge, and on to the Common, attended by 1,700 Chartists, marching in procession. This was only one detachment; others had started from Finsbury Square, Russell Square, Clerkenwell Green, and Whitechapel. The largest body had mustered in the East, and passed over London Bridge, numbering about 6,000. They all arrived at the Common about ten o'clock, where considerable numbers had previously assembled; so the Common appeared covered with human beings. In all monster meetings there are the widest possible differences in the estimates of the numbers. In this case they were set down variously at 15,000, 20,000, 50,000, and even 150,000. Perhaps 30,000 was the real number present.Since the appearance of the Waverley Novels the poetry of Scott has been somewhat depreciated, but his metrical romances, if not of the highest class of poetry, are always fresh, from their buoyancy and the scenery in which they are laid. They are redolent of the mountain heather and summer dews; and the description of the sending of the "fiery cross" over the hills, and the battle in "Marmion," as well as other portions, are instinct with genuine poetic vigour. Campbell, who won an early reputation by his "Pleasures of Hope," is more esteemed now for his heroic ballads "Hohenlinden," "The Battle of the Baltic," and his "Mariners of England;" Moore, for his "Irish Melodies," than for his "Lalla Rookh;" Byron, for his "Childe Harold," rather than for his earlier love tales of the East, or his later dramatic poems. Amongst the very highest of the poets of that period stands Percy Bysshe Shelley (b. 1792; d. 1822), the real poet of spiritual music, of social reformation, and of the independence of man. Never did a soul inspired by a more ardent love of his fellow-creatures receive such a bitter portion of unkindness and repudiation. John Keats, of a still more delicate and shrinking temperament, also received, in return for strains of the purest harmony, a sharp judgment, in no degree, however, equal to the severity of that dealt out to Shelley. In his "Ode to a Grecian Urn," and his "Lamia," Keats left us examples of beauty of conception and felicity of expression not surpassed since the days of Shakespeare. In his "Hyperion" he gave equal proof of the strength and grandeur to which he would have attained.
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