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THREE:On the 1st of June according to the arrangements of General Gage, as the clock struck twelve, all the public offices were closed, and the whole official business was transferred to Salem. But the wide discontent of the people met him there as much as at Boston. When the Assembly met, which was in the following week, such was its spirit that General Gage felt that he must dissolve it. General Gage, seeing the lowering aspect of affairs, took the precaution to throw more troops into the neighbourhood, so that he had some six regiments, with a train of artillery, when he encamped on the common near Boston. Active emissaries were immediately sent amongst these troops, who, by presents of ardent spirits and fine promises, seduced a considerable number from their duty. To prevent this, he stationed a strong guard at Boston Neck, a narrow isthmus connecting the town with the common and open country. On this a vehement cry was raised, that he was going to cut off all communication with the country, blockade the town, and reduce it to submission by famine. The inhabitants of the county of Worcester sent a deputation to inquire Gage's intentions, and they did not omit to hint that, if necessary, they would drive in the guard with arms; for, in fact, besides the arms which most Americans then had, others had been supplied to such as were too poor to purchase them. Gordon, their historian, tells us that the people were preparing to defend their rights by the sword; that they were supplying themselves from Boston with guns, knapsacks, etc. According to the Militia Law, most men were well furnished with muskets and powder, and were now busily employed in exercising themselves; thus all was bustle, casting of balls, and making ready for a struggle. Gage, seeing all this, removed the gunpowder and the military stores from Charlestown, Cambridge, and other localities, to his own quarters. This, again, excited a deep rage in the people, who threatened to attack his troops. To prevent this, he went on briskly with his defences on the Neck; but what he did by day the mob endeavoured to undo by night. They set fire to his supplies of straw; they sank the boats that were bringing bricks, and overturned his waggons conveying timber. Nothing but the greatest patience and forbearance prevented an instant collision.

FORE:In the morning of that day��a fine and sunny day��Hill leading on our right drove the French from the heights of La Puebla. This was not done without a severe struggle. The Spanish general, Morillo, led on his brigade bravely, and was wounded. Colonel the Hon. G. Cadogan, in the action on the heights, was also mortally wounded, but refused to quit the field, and was carried to an elevation where he could watch the progress of the battle while he lived. General Hill then pushed the French across the river Zadora and the defiles and heights beyond to the village of Subijana de Alava, which he took possession of, and the French left fell back on Vittoria. The other divisions, under Lord Dalhousie, Sir Thomas Picton, and General Cole, also crossed the river at different bridges or fords, and everywhere drove the French before them. The scene from the heights, which were crowded with people, was one of the most animating ever beheld; the British everywhere advancing amid the roar of cannon and musketry, the French retiring everywhere on Vittoria. In the meantime, our left, under Sir Thomas Graham, having a considerable number of Spanish and Portuguese troops in it, advanced to the heights beyond the Zadora, along the Bilbao road, and carried the village of Gamara Mayor, while the Spanish division of Longa carried that of Gamara Monor. Both the Spanish and Portuguese troops behaved admirably. While Major-General Robertson's brigade carried Gamara Mayor, Colonel Halkett's, supported by that of General Bradford, carried the village of Abechuco. Here a determined effort was made by the French to recover this post, but they were driven back by Major-General Oswald, with the fifth division.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 scenery��rich, 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 knew��the 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 1712��the 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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