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THREE:A number of satires and other poems appeared at this time which deserve only a mere mention. These are "The Pursuits of Literature," by Thomas James Mathias; "Anticipation," by Richard Tickell, being an anticipation of the king's Speech, and the debates of Parliament; "An Heroic Epistle to Sir William Chambers," by Mason, under the assumed name of Malcolm Macgregor; "The Rolliad," also a political satire, in 1785. To this succeeded "Probationary Odes," from the same party. These were eclipsed by the publications of Dr. John Wolcot, under the name of Peter Pindar, who for twenty years kept the public laughing by his witty and reckless effusions, in which the king especially was most unmercifully ridiculed. Wolcot had the merit of discovering Opie, the painter, as a sawyer in the neighbourhood of Truro, and pushing him forward by his praises. Of the Royal Academicians he was a relentless enemy, and to them addressed several odes, of the most caustic and damaging kind. Later on came the inimitable poems of the "Anti-Jacobin," written by Canning, Hookham Frere, and others, among which it is sufficient to recall the "Needy Knife-grinder," and the satires on the Addington Administration. But now there came a voice from Scotland that filled with envy the crowd of second-rate poets of London, and marked the dawn of a new era. A simple but sturdy peasant��with no education but such as is extended to every child in every rural parish of Scotland; "following the plough along the mountain side," laboriously sowing and reaping and foddering neat; instead of haunting drawing-rooms in bob-tailed coat and kid gloves, dancing on the barn-floor, or hob-nobbing with his rustic chums at the next pot-house��set up a song of youth, of passion, of liberty and equality, so clear, so sonorous, so ringing with the clarion tones of genius and truth, that all Britain, north and south, stood still in wonder, and the most brazen vendor of empty words and impudent pretensions to intellectual power owned the voice of the master, and was for a moment still. This master of song was Robert Burns (b. 1759; d. 1796). Need we say more? Need we speak of the exquisite beauty of the "Cotter's Saturday Night"?��of the fun of "Tam o' Shanter"?��of the satiric drollery of his laughter at antiquarian and other pretenders?��of the scathing sarcasms on sectarian cant in "Holy Willie's Prayer," and a dozen other things?��of the spirit of love and the spirit of liberty welling[186] up in his heart in a hundred living songs?��of the law of man's independence and dignity stamped on the page of eternal memory in the few words��"A man's a man for a' that"? Are not these things written in the book of human consciousness, all the world over? Do not his fellow-countrymen sing them and shout them in every climate under heaven? At the time when they appeared the poems of Robert Burns clearly showed that true poetry was not altogether extinct, and effectually put an end to that fatal rage of imitation of the artificial school of Johnson and Pope which then prevailed.After the flight from Ballingarry, and the desertion of his followers, Smith O'Brien abandoned the cause in despair, and concealed himself for several days among the peasantry in a miserable state of mind. He had none of the qualities of a rebel chief, and he had not at all calculated the exigencies of the position that he had so rashly and criminally assumed, involving the necessity of wholesale plunder and sanguinary civil strife, from which his nature shrank. Besides, he soon found that the people would not trust a Protestant leader, and that there was, after all, no magic in the name of O'Brien for a Roman Catholic community. But to the honour of the peasantry it should be spoken, that though many of them were then on the verge of starvation, not one of them yielded to the temptation of large rewards to betray him or his fugitive colleagues, and several of them ran the risk of transportation by giving them shelter. In these circumstances, on the 5th of August, Mr. O'Brien walked from his hiding-place in Keeper Mountain into Thurles, where he arrived about eight o'clock in the evening. He[570] went immediately to the railway station to procure a ticket for Limerick. On the platform there were seventeen constables in plain clothes, who did not know him; but a railway guard named Hulme, an Englishman, recognised him, and tapping him on the shoulder, he presented a pistol at him and said, "You are the Queen's prisoner." A strong escort of police was immediately procured, and the prisoner was conveyed in a special train to Dublin, where he was lodged in Kilmainham gaol.

THREE:[581]JEDBURGH ABBEY. (After the Painting by Sir George Reid, P.R.S.A.)

THREE:[See larger version]In the following Session Sir Henry Houghton brought it forward again, on the 17th of February. On this occasion a great many Methodist congregations petitioned against the Bill; for the Methodists, though separating themselves from the Church, still insisted that they belonged to it, and held all its tenets, at least of that section of it which is Arminian. It again passed the Commons,[160] but was rejected by the Lords. Finding the Lords so determined against the measure, it was allowed to rest for six years, when circumstances appeared more favourable, and it was again brought forward, in 1779, by Sir Henry Houghton, and carried through both Houses, with the introduction of a clause to this effect, that all who desired to be relieved by the Act should make the affirmation��"I, A. B., do solemnly declare that I am a Christian and a Protestant Dissenter, and that I take the Old and New Testaments, as they are generally received in Protestant countries, for the rule of my faith and practice."