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THREE:In the meantime, petitions, memorials, and remonstrances were presented from New York and other places, and from the British inhabitants of Canada, but all were rejected. On the 26th of May George III. prorogued Parliament, and expressed his perfect satisfaction in its proceedings; so utterly unconscious was this king that he was alienating a great empire, and which, indeed, was already virtually gone from him; for during the very time that Parliament had been protesting against even the contemptible crumbs of concession offered by Ministers, war had broken out, blood had flowed, and the Americans had triumphed! FORE:But the fleet at Sheerness, which sympathised with that at Portsmouth, did not think fit to accept the terms which had satisfied the seamen of Portsmouth. They were incited by a sailor, named Richard Parker, to stand for fresh demands, which were not likely to meet with the sympathy of either sailors or landsmen, being of a political character and including a revision of the Articles of War. On the 20th of May, the ships at the Nore, and others belonging to the North Sea fleet, appointed delegates, and sent in their demands, in imitation of the Portsmouth men. The Admiralty flatly rejected their petition. On the 23rd of May the mutineers hoisted the red flag; and all the ships of war lying near Sheerness dropped down to the Nore. On the 29th, a committee from the Board of Admiralty went down to Sheerness, to try to bring them to reason, but failed. The mutineers then drew their ships in a line across the Thames, cutting off all traffic between the sea and London. On this, the Government proceeded to pull up the buoys at the mouth of the river, to erect batteries along the shores for firing red-hot balls; and a proclamation was issued declaring the fleet in a state of rebellion, and prohibiting all intercourse with it. This soon brought some of the mutineers to their senses. They knew that every class of people was against them. On the 4th of June, the king's birthday, a royal salute was fired from the whole fleet, as a token of loyalty; the red flag was pulled down on every ship but the Sandwich, on board of which was Parker, and all the gay flags usual on such occasions were displayed. Several of the ships now began to drop away from the rest, and put themselves under protection of the guns of Sheerness. On the 13th of June the crew of the Sandwich followed this example, and delivered up the great agitator, Richard Parker, who was tried, and hanged at the yard-arm of that ship on the 30th. Some others of the delegates were executed, and others imprisoned in the hulks; and thus terminated this mutiny, as disgraceful to the sailors as that at Portsmouth was reasonable and honourable.

THREE:Wellington was quite prepared for the fiercest attack of Buonaparte. Notwithstanding his loss at Quatre Bras, he had still about sixty-eight thousand men, though the British portion did not exceed thirty-five thousand; and Buonaparte, as he had stated, had about seventy thousand, but most of them of the very best troops of France, whilst few of Wellington's army had been under fire before, and some of the Belgians and Hanoverians were of very inferior quality. In point of cannon, Buonaparte had more than double the number that Wellington had. But the Duke informed Blucher that he should make a stand here, and the brave old Marshal replied to Wellington's request of a detachment of Prussians to support him, that he would be there with his main army. Wellington therefore expected the arrival of the Prussians about noon; but though they lay only about twelve miles off, the difficulties of the route over the heights of Chapelle-Lambert, and the occupation of part of Wavre by the French division under Grouchy, prevented their advance under Bulow from reaching the field till half-past four. Wellington, however, rested in confident expectation of the support of the Prussians and of their numerous cannon. FORE:Hail, adamantine steel! magnetic lord!

THREE:Within a few days after the first passing of this Act, that is, in the first week of March, a body of weavers��said by the Government to amount to ten thousand men, but by a more competent authority, Samuel Bamford, the author of the "Life of a Radical," not to have exceeded four or five thousand��met in St. Peter's Field, at Manchester, and commenced a march southward. The intention was to proceed to London, to present to the Prince Regent, in person, a petition describing their distress. Bamford had been consulted, and had condemned the project as wild, and likely to bring down nothing but trouble on the petitioners. He believed that they were instigated by spies sent out by Government in order to find an opportunity of justifying their arbitrary measures. Suspicious persons had been trying him. But the poor, deluded people assembled, "many of them," says Bamford, "having blankets, rugs, or large coats rolled up, and tied knapsack-like on their backs. Some had papers, supposed to be petitions, rolled up, and some had stout walking-sticks." From their blankets, they afterwards acquired the name of Blanketeers. The magistrates appeared and read the Riot Act, and dispersed the multitude by soldiers and constables; but three or four hundred fled in the direction of their intended route, and continued their march, pursued by a body of yeomanry. By the time that they reached Macclesfield, at nine o'clock at night, they amounted to only one hundred and eighty; yet many of them persisted in proceeding, but they continually melted away, from hunger and from the misery of lying out in the fields on March nights. By the time that they reached Leek they were reduced to twenty, and six only were known to pass over the bridge at Ashbourne. FORE:[See larger version]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.