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THREE:But these were by no means the total of the royal troubles at this period. The youngest and most beloved of George III.'s sisters, Caroline Matilda, had been married to Christian VII. of Denmark. This young man was little better than an idiot, and the poor princess was married to him at the age of sixteen. The marriage of this young couple, and their ascent to the throne, were nearly simultaneous; and, contrary to the usual custom of a monarch, it was deemed advisable that he should travel. In his tour he fell in with the celebrated Struensee, a young physician of Altona. Christian VII., like all weak monarchs, must have favourites. Struensee speedily became the perfect master of Christian's mind and actions, and on their return to Copenhagen he was raised to the rank of count, and soon after was made Prime Minister. His enemies were of course numerous, and scandal soon connected his name with that of the queen. All this especially favoured the plans of the base queen dowager, who, in league with the hostile nobles, feigned a plot against the king; obtained from him, in his bed at midnight, an order for the arrest of the queen, Struensee, and others. The queen was seized half dressed. Struensee was executed with especial barbarities; but the King of England interfered to save his sister, and to procure the succession to her son. The unhappy young queen, however, was separated for ever from her two children, and conveyed to Zell, in Hanover��the same castle or prison where the unhappy wife of George I. had pined away her life. There she died after a few years, protesting her innocence, though Struensee had confessed his guilt.

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THREE:Charles, on his part, had determined to occupy Corriarrick. For that purpose he had made a forced march, disencumbered himself of all possible encumbrances by burning his own baggage, and encouraging his followers to do the same. On the morning of the 27th he stood on the north side of Corriarrick, and, as he put on his brogues, he is said to have exclaimed, with exultation, "Before these are unloosed, I shall be up with Mr. Cope." To his great astonishment, however, when he reached the summit all was one wild solitude��not a man was visible. At length they discerned some soldiers ascending, whom they set down for part of Lord Loudon's regiment, forming the English vanguard. They turned out to be only some deserters, who informed them of the change in Cope's route.

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THREE:In the department of novel writing, no age had yet produced such a constellation as Fielding, Richardson, Sterne, and Smollett. Their works[147] are still read with admiration by all who have a relish for vivid and masterly delineations of life; their only drawback being, that they are all more or less stained with the grossness and licentiousness of the age. From these faults Samuel Richardson (b. 1689; d. 1761) is most free, and in his "Sir Charles Grandison" he hasshown himself ahead of his age in the wisdom and liberality of his ideas. He discountenanced duelling, and taught the soundest principles of honour and morality. The photographic minuteness of his style prevents the general reading of his works in the present day of abundant new literature. The principal novels of Henry Fielding (b. 1707; d. 1754), "Joseph Andrews," "Tom Jones," and "Amelia," abound in wit, vigour, and knowledge of human nature. He wrote also some plays, and edited several periodicals. His sister, Sarah, also wrote "David Simple," a novel, and translated Xenophon's "Memoirs of Socrates." Tobias Smollett (b. 1721; d. 1771) paints life in strong, bold, but somewhat coarse lines, full of vigour, but with even more grossness than Fielding uses. "Peregrine Pickle," "Count Fathom," "Roderick Random," "Humphrey Clinker," and "Sir Launcelot Greaves," if not now generally read, have been carefully studied and made use of by some of our modern novelists. Smollett, besides, wrote plays, satires, poems, and edited "The Briton," a weekly newspaper. Laurence Sterne (b. 1713; d. 1768) struck out a style of writing peculiar to himself, and which still defies all successful imitation. Notwithstanding attempts to represent his pathos as grimace, and his humour as tinsel, the felicity of touch in "Tristram Shandy," and the flashes of wit and feeling in his "Sentimental Journey," will, in spite of detractors, and of the occasional indecency of the author, always send readers to Sterne.He shook his head. "It is not a whim. It is the same with every one. Of course Brewster has lost his head, but that argues nothing. The endearing quality seems to be lacking in her."

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