ONE:These dispiriting losses, combined with the fall of Minorca, stimulated the public and the mercantile bodies to petition earnestly for the termination of the American war; and Parliament met at the appointed time amid numbers of such demands. Petitions came from the cities of London and Westminster, and many other towns and counties, bearing rather the features of remonstrances. No sooner did the House meet than Fox moved for an inquiry into the causes of the constant failure of our fleets in these enterprises, on which so much had depended. The object was to crush Lord Sandwich, the head of the Admiralty. Fox's motion was rejected, but only by a majority of twenty-two. The strength of Ministers was fast ebbing.The most respectable witnesses testified in his favour, that he had always argued that the monarchy of the country was good; the government far superior to that of France; that many opinions of Paine were unsound and untenable; that an equal division of property was a chimera, and that we here wanted no revolution, but only moderate reform. The chief witness against him was a woman-servant, who had lived in his father's family, who deposed to his telling people to read the "Rights of Man;" to giving an organ-man something to play "?a ira!" and the like. It is clear that Mr. Muir was what would now be considered a very moderate reformer indeed. But the Lord Advocate treated him with the most scurrilous indignity, calling him "that unfortunate wretch at the bar;" "that demon of mischief;" "that pest of Scotland." The very proofs of Muir's moderation were turned by the Lord Justice Clerk into crimes; it was only "policy;" and he proceeded to pass on him the monstrous sentence of transportation for fourteen years!
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FORE:Before these discussions took place, an attempt had been made by similar means to lead the people of Scotland into insurrection. Emissaries appeared in the towns and villages informing the people that there were preparations made for a general rising, and they were ordered to cease all work and betake themselves to certain places of rendezvous. On the morning of Sunday, the 2nd of April, the walls of Glasgow were found placarded everywhere by a proclamation, ordering all persons to cease labour and turn out for a general revolution. The next morning the magistrates called out the military, and they were drawn up in the streets in readiness for the appearance of an insurrection, but none took place. The people were all in wonder, and assembled to see what would happen; but there appeared not the slightest disposition to make any disorder, and some of the cotton mills were at work as though nothing was expected to take place. But still, the mischief had not altogether failed. Some fifty poor ignorant men had been decoyed out of Glasgow to near Kilsyth, on the assurance that four or five thousand men would there join them, and proceed to take the Carron Ironworks and thus supply themselves with artillery. These poor dupes were met on the road, on some high ground on Bonnymuir, by a detachment of armed men sent out against them, and, after some resistance, during which some of them were wounded, nineteen were made prisoners and the rest fled. Other arrests were made in different parts of Scotland, and they were tried in the following July and August; but so little interest was felt in this attempt, or in the details of what was called "the Battle of Bonnymuir," that three only were punished and the rest discharged.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.
