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THREE:��The date has nothing to do with it,�� Mr. Everdail snapped. ��It��s their lack of self-control and experience.�� He turned and stalked out of the galley and after him, sorry for the three members of the disbanded Sky Patrol, Jeff moved.To oppose this tremendous force, our Admiral, Sir Charles Hardy, had only thirty-eight sail. In the confidence of their overwhelming strength, the Franco-Spanish fleet sailed directly for the English coast. Hardy, who was a brave seaman, but somewhat past his prime, endeavoured to[260] prevent their insulting our shores, and pursued them first near the Scilly Isles, and then towards the straits of the Channel. On shore the panic was intense, the French and Spaniards being expected every hour to land. But on the 31st of August, the wind veering enabled Hardy to get the weather-gauge of them; and being now in the Channel, he was prepared to engage their fleet, though so much superior in numbers; and on shore great quantities of military and volunteers had collected. Hardy anchored off Spithead. At the sight of this combination of circumstances, the courage of the Spaniards and French evaporated. They began to quarrel amongst themselves. The Spaniards were for landing on some part of the British coast; the French admiral contended that they would have the equinoctial gales immediately upon them, and that many of their vessels were in bad condition. The Spanish commander declared that, this being the case, he would relinquish the enterprise, and return to his own seaports. D'Orvilliers was necessarily compelled to return too, and retired to Brest, where a pestilential disease attacked the French, from having been so long cooped up in foul ships. Well might Lord North, on the meeting of Parliament, say, "Our enemies fitted out a formidable fleet; they appeared upon our coasts; they talked big; threatened a great deal; did nothing, and retired."

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THREE:The literature of this period is more distinguished for learning and cleverness than for genius. There are a few names that rise above the smartness and mere accomplishment of the time into the regions of pure genius; but, with very few exceptions, even they bear the stamp of the period. We have here no Milton, no Shakespeare, no Herbert, no Herrick even, to produce; but De Foe, Addison, Steele, Thomson, and Pope, if they do not lift us to the highest creative plane, give us glimpses and traits of what is found there. For the rest, however full of power, there hangs a tone of "town," of a vicious and sordid era, about them, of an artificial and by no means refined life, a flavour of the grovelling of the politics which distinguished the period, and of the low views and feelings which occupied and surrounded the throne during the greater portion of this term.Still more have "The Seasons" and "The Castle of Indolence" of James Thomson retained, and are likely to retain, the public favour. "The Seasons" is a treasury of the life and imagery of the country, animated by a true love of Nature and of God, and abounding in passages of fire, healthy feeling, and strong sense, often of sublime conceptions, in a somewhat stiff and vicious style. "The Castle of Indolence" is a model of metrical harmony and luxurious fancy, in the Spenserian stanza. Another poet of the same time and country��Scotland��is Allan Ramsay, who, in his native dialect, has painted the manners and sung the rural loves of Scotland in his "Gentle Shepherd" and his rustic lyrics. Till Burns, no Scottish poet so completely embodied the spirit, feelings, and popular life of his country. Amongst a host of verse-makers, then deemed poets, but who were merely imitators of imitators, we must except Gray, with his nervous lyrics, and, above all, his ever-popular "Elegy in a Country Churchyard." Gray also has a genuine vein of wit and merriment in his verse. Collins was a poet who under happier conditions might have done the greatest things. Parnell's "Hermit," Blair's "Grave," Shenstone's "School Mistress," Akenside's "Imagination," can yet charm some readers, and there are others in great numbers whose works yet figure in collections of the poets, or whose individual poems are selected in anthologies, as Smith, King, Sprat Bishop of Rochester, Duke, Montague Earl of Halifax, Nicholas Rowe, Dyer��author of the "Fleece," "Grongar Hill," and "Ruins of Rome,"��Sheffield, Duke of Buckinghamshire, Fenton, Somerville��author of "The Chase," "Field Sports," etc.,��Hammond��author of "Love Elegies,"��Lord Lyttelton, Mallet, Mickle��author of the ballads of "Cumnor Hall," "There's Nae Luck about the House," and translator of the "Lusiad" of Camoens,��Shaw, Harte, West, Cawthorne, Lloyd, Gilbert Cooper, Grainger��author of "The Sugar Cane," and the once popular ballad of "Bryan and Pereene,"��Dodsley, poet and bookseller, Boyse��author of "The Deity," a poem, etc.,��Smollett��more remarkable as a novelist and historian,��Michael Bruce, Walsh, Falconer��author of "The Shipwreck,"��Yalden, Pattison, Aaron Hill, Broome, Pitt��the translator of Virgil,��John Philips��author of "Cider," a poem, "The Splendid Shilling," etc.,��West, and others. In fact, this age produced poets enough to have constituted the rhythmical literature of a nation, had they had as much genius as they had learning.

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