TWO:The state of parties in the House of Commons at the opening of the Session of 1837 was so evenly balanced, that Government had a very narrow majority. The number of Whigs was calculated at 150, of Liberals 100, and of Radicals 80, making the total number of Ministerialists 330. On the other side, the Tories counted 139, the Ultra-Tories 100, and the Conservatives, belonging to the new school which Sir[414] Robert Peel had constituted, 80. Parliament was opened by commission on the last day of January. The Royal Speech announced the continuance of friendly relations with Foreign Powers, alluded to the affairs of Spain and Portugal, and directed the attention of Parliament to the state of Lower Canada. It recommended a renewal of the inquiry into the operation of joint-stock banks; also measures for the improvement of civil and criminal jurisprudence, and for giving increased stability to the Established Church. Special attention was directed to the state of Ireland, with reference to its municipal corporations and the collection of tithes, and to "the difficult and pressing question of a legal provision for the poor." Animated debates on the Address took place in both Houses. The Radicals, led on by Mr. Roebuck, strongly condemned the want of earnest purpose on the part of Ministers, whom he represented as "worse than the Tories." He accused them of pandering to popular passions on one side, and to patrician feelings on the other. But, situated as they were, what could they do? Their majority was small and uncertain in the Commons, while the Opposition in the Lords was powerful and determined. Lord Lyndhurst mutilated measure after measure, and then at the end of each Session taunted Ministers with their failure. They were trying to get on with a House of Commons elected under the influence of a Conservative Administration. Of course, Lord Melbourne could have dissolved Parliament and appealed to the country, in the hope of getting a working majority; but the king was decidedly averse from a dissolution; and it would have been an exceedingly unwise course to adopt, at a time when the precarious state of his health plainly indicated that the reign was fast drawing to a close, and its termination would necessitate another general election. It was unreasonable to expect that in consequence of weakness proceeding from such causes a Liberal Cabinet should surrender the reins of power to the Tory party, on the eve of a new reign, and with all the bright prospects that would be opened by the accession of a youthful queen to the Throne. At the close of the Session of 1836 they had, indeed, contemplated resignation, but eventually determined to go on.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 sceneryrich, 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 knewthe 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 1712the 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.
