FORE:Lord Durham at once resigned, and was succeeded by Mr. Poulett Thomson, afterwards Lord[448] Sydenham, who fully adopted his policy, which was ably expounded in an important report from the pen of Mr. Charles Buller, with additions by Gibbon Wakefield. It was characterised by profound statesmanship, and was the basis of the sound policy which has made united Canada a great and flourishing State. Meanwhile, the returned prisoners from Bermuda showed their sense of the leniency with which they had been treated by immediately reorganising the rebellion. Sir John Colborne, the commander-in-chief, who had, on Lord Durham's departure, assumed provisionally the government of the colonies, thereupon proclaimed martial law, and stamped out the insurrection. Only twelve of the principal offenders were ultimately brought to trial, of whom ten were sentenced to death, but only four were executed. The persons convicted of treason, or political felony, in Upper Canada, from the 1st of October, 1837, to the 1st of November, 1838, were disposed of as follows:pardoned on giving security, 140; sentenced to confinement in penitentiary, 14; sentenced to banishment, 18; transported to Van Diemen's Land, 27; escaped from Fort Henry, 12. The American prisoners had been sent to Kingston, and tried by court-martial on the 24th of November. Four of them were sentenced to death, and executed, complaining of the deception that had been practised on them with regard to the strength of the anti-British party, and the prospects of the enterprise. Five others were afterwards found guilty and executed. The American Government, though deprecating those executions on grounds of humanity, disclaimed all sanction or encouragement of such piratical invasions, and denied any desire on its part for the annexation of Canada.Amongst other authors of the time, then very popular, but now little read, were Armstrong, author of "The Art of Preserving Health;" Akenside, of "The Pleasures of Imagination;" Wilkie, of "The Epigoniad;" and Glover, of the epic of "Leonidas." Falconer's "Shipwreck" and Beattie's "Minstrel" are poems much more animate with the vitality of grace and feeling. Then there were Anstey, with his "Bath Guide," half descriptive and half satiric; Stephenson's "Crazy Tales;" Mason's "Isis," a satire on the University of Oxford, and his tragedies of "Elfrida" and "Caractacus," which, with other poems by the same author, enjoyed a popularity that waned before more truly living things. Then there were the brothers Joseph and Thomas Warton. Both of these deserve to be mentioned amongst our first-rate prose writersJoseph for his excellent "Essay on the Genius and Writings of Pope," and Thomas for his "History of English Poetry," and this is merely a fragment, coming down only to the reign of Queen Elizabeth. But that which, at this period, produced a thorough reform of our poetry was the publication of "The Reliques of Ancient English Poetry," by Bishop Percy. These specimens of poetry went back beyond the introduction of the French model into Englandto the times when Chaucer, and still earlier poets, wrote from the instincts of nature, and not from scholastical or fashionable patterns. In particular, the old ballads, such as "Chevy Chace," "The Babes in the Wood," and the like, brought back the public taste from the artificial to the natural. The simple voice of truth, pathos, and honest sentiment was at once felt by every heart, and the reign of mere ornate words was over. After the Reliques came "The Border Minstrelsy" of Scott and completed the revolution. These ancient ballads, in both Percy and Scott, were found, in many instances, to be founded on precisely the same facts as those of the Swedes and Danes, collected seventy years before, thus showing that they were originally brought into Great Britain by the Scandinaviansa proof of their high antiquity. A similar return to nature was going on in Germany and the North of Europe, showing that the very collection of Percy's "Reliques" originated in some general cause, and that cause, no doubt, was the universal weariness of the artificial style which had so long prevailed in literature.
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