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FORE:"You heard what Mrs. Cairness said this afternoon. She was very ill in school when she was a young girl, and still more so in Washington afterward." He shook his head. "No, Forbes, you may think you know something about the Apache, but you don't know him as I do, who have been with him for years. I've seen too much of the melting away of half and quarter breeds. They die without the shadow of an excuse, in civilization."With "The Battle of the Books" appeared "The Tale of a Tub;" and though these were anonymous, it was soon well known that they were from the hand of Jonathan Swift, a friend of Harley and Bolingbroke, who now assumed a position in the public eye destined to be rendered yet more remarkable. Swift was of English parentage, but born in Dublin in 1667. He was educated at Kilkenny and the University of Dublin. In early life he became private secretary to Sir William Temple, and at this time he wrote his "Tale of a Tub," which cut off all his hopes of a bishopric. He edited a selection from the papers of Temple, and then accompanied Lord Berkeley to Ireland as chaplain. Disappointed of the preferment which he had hoped for, he went over from the Whigs to the Tories in 1710, and thenceforward was an unscrupulous adherent of Harley and Bolingbroke, defending all their measures in the "Examiner," and pouring out his vengeance on all opponents with unflinching truculence. In his political[148] character Swift has been styled the great blackguard of the age, and certainly with too much truth. In spite of rare intellectual power, wit, and sarcasm, no principle or tenderness of feeling restrained him in his attacks on his enemies. If Harley and Bolingbroke are guilty of inflicting the disgraceful peace of Utrecht on the nation, simply to avenge themselves on the Whigs, no man so thoroughly abetted them in that business as Swift. His "Conduct of the Allies," his "Public Spirit of the Whigs," and other political tracts and articles, bear testimony to his unscrupulous political rancour. His "Drapier's Letters," and his treatment of Wood in the affair of the Irish halfpence, show that no means, however base and false, came amiss to him in serving the objects of his ambition. The great work of Swift is his "Gulliver's Travels," a work characterised by a massive intellect and a fertile invention, but defiled by the grossness that was inseparable from his mind, and that equally pollutes his poems, in which there is much wit and humour, but not a trace of pathos or tenderness. There is none of that divine glow of love and human sympathy, mingled with the worship of beauty and truth, which courts our affections in the works of the greatest masters. When we are told that Swift's grossness is merely the grossness of the time, we point to "Robinson Crusoe," to "The Seasons" and "Castle of Indolence" of Thomson, and to the works of Addison, for the most admirable contrast. Swift��who died in the famous year of the '45��was one of the most vigorous writers of the age, but he was one of the most unamiable. He was the Mephistopheles of the eighteenth century.

FORE:The youngest Sky Patrol grinned, and shook his head in question.

FORE:The Roman reformers were satisfied to call themselves Stoics; and, in reviewing the Stoic system, we saw to what an extent they welcomed and developed some of its fundamental180 thoughts. But we have now to add that the current which bore them on had its source deeper down than the elaborate combinations of Zeno and Chrysippus, and entered into the composition of every other system that acted on the Roman intellect simultaneously with theirs. Thus whatever forces co-operated with Stoicism had the effect not of complicating but of simplifying its tendencies, by bringing into exclusive prominence the original impulse whence they sprang, which was the idea of Natural Law. Hence the form ultimately assumed by Roman thought was a philosophy of Nature, sometimes appearing more under a Stoic, and sometimes more under a Cynic guise. Everything in Roman poetry that is not copied from Greek models or inspired by Italian passion��in other words, its didactic, descriptive, and satiric elements��may be traced to this philosophy. Doubtless the inculcation of useful arts, the delight in beautiful scenery, the praises of rustic simplicity, the fierce protests against vice under all its forms, and the celebration of an imperial destiny, which form the staple of Rome��s national literature, spring from her own deepest life; but the quickening power of Greek thought was needed to develope them into articulate expression.

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