FORE:It was the first scene of the closing act of the tragic comedy of the Geronimo campaign. That wily old devil, weary temporarily of the bloodshed he had continued with more or less regularity for many years, had[Pg 297] sent word to the officers that he would meet them without their commands, in the Ca?on de los Embudos, across the border line, to discuss the terms of surrender. The officers had forthwith come, Crook yet hopeful that something might be accomplished by honesty and plain dealing; the others, for the most part, doubting.
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FORE:Chapter 15
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FORE:
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FORE:Now youre stalled, chuckled Dick, but Sandy was not defeated.
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FORE:She drew her horse down to a gallop, and the jar of the changed gait made her moan. There was no haste now. Her own men had come upon the desperadoes and there was a quick volley. And ahead, riding fast toward her from the top of a little rise, was a man on a white horseher husband, she knew.
FORE:No! Why should I?The amphibian, as they made out its pontoon understructure, came fairly close alongside. Its speed was almost identical with their own and at first all four occupants of the land crate wondered who was in it, and why.
FORE:
FORE: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. Swiftwho died in the famous year of the '45was 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:She wished to hear as much as he had confided.
