TWO:Apprehensions of this kind were not lessened by the memorable speech of Mr. Canning, delivered on the 15th of February, in which he gave a narrative of his labours and sacrifices in the Catholic cause, and complained of the exactions and ingratitude of its leaders. Having shown how he stood by the cause in the worst of times, he proceeded:"Sir, I have always refused to act in obedience to the dictates of the Catholic leaders; I would never put myself into their hands, and I never will.... Much as I have wished to serve the Catholic cause, I have seen that the service of the Catholic leaders is no easy service. They are hard taskmasters, and the advocate who would satisfy them must deliver himself up to them bound hand and foot.... But to be taunted with a want of feeling for the Catholics, to be accused of compromising their interests, conscious as I amas I cannot but beof being entitled to their gratitude for a long course of active services, and for the sacrifice to their cause of interests of my ownthis is a sort of treatment which would rouse even tameness itself to assert its honour and vindicate its claims."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.
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Blanditiis praesentium voluptatum deleniti atque corrupti quos dolores et quas molestias excepturi sint occaecati cupiditate non provident.
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FORE:Macklin was the author of "The Man of the World," a most successful comedy, as well as others of much merit. He remained on the stage till he was a hundred years old, and lived to a hundred and seven. George Colman had distinguished himself by the translation of Terence's plays and Horace's "Art of Poetry" before he commenced as a dramatist. His vein was comic, and his comedies and farces amount to nearly thirty, the best being "The Clandestine Marriage," already mentioned, "Polly Honeycomb," and "The Jealous Wife." Arthur Murphy was a native of Cork, and was brought up a merchant, but his bent was to the drama, and he quitted his business and went to London, where he wrote two successful farces, "The Apprentice" and "The Upholsterer." He next wrote "The Orphan of China," a tragedy. He then studied for the bar, but had not much practice, and returned to writing for the stage. "The Grecian Daughter," "All in the Wrong," "The Way to keep Him," and "The Citizen," were very successful, and raised him to wealth and distinction. Not satisfied with being a popular writer, he desired to act as well as write, like Garrick and Macklin, but failed. Besides his dramatic productions, he translated Tacitus and Sallust, and wrote the life of Garrick. Richard Cumberland, also an Irishman, was a very voluminous as well as miscellaneous writer. His comedy of "The West Indian" made him at once popular, and he wrote a great number of productions for the stage, amongst the best of which were "The Fashionable Lover," "The Jew," "The Wheel of Fortune," etc. He was employed by Government as an envoy to Lisbon and Madrid, and by it refused the payment of his expenses. This reduced him to sell his hereditary property, but he retired to Tunbridge Wells, and continued to write plays, novels, essays, criticisms, etc., till nearly eighty years of age.[77]
