FORE:On the 23rd of June the king sent down a message to the Commons, recommending them to[301] take into consideration a separate establishment for the Prince of Wales, who had arrived at the age of twenty-one. This young man, whose whole career proved to be one of reckless extravagance and dissipation, was already notorious for his debauched habits, and for his fast accumulating debts. He was a great companion of Fox, and the gambling rous amongst whom that grand orator but spendthrift man was accustomed to spend his time and money, and therefore, as a pet of this Coalition Ministry, the Duke of Portland proposed to grant him one hundred thousand pounds a year. The king, alarmed at the torrent of extravagance and vice which such an income was certain to produce in the prince's career, declared that he could not consent to burden his people, and encourage the prince's habits of expense, by such an allowance. He therefore requested that the grant should amount only to fifty thousand pounds a year, paid out of the Civil List, and fifty thousand pounds as an outfit from Parliamentary funds. The Ministers were compelled to limit themselves to this, though the saving was merely nominal, for the debts on the Civil List were again fast accumulating, and the prince was not at all likely to hesitate to apply to Parliament to wipe off his debts, as well as his father's when they became troublesome to him. Resenting, however, the restraint attempted to be put upon him by his father, the prince the more closely connected himself with Fox and his party, and the country was again scandalised by the repetition of the scenes enacted when Frederick, Prince of Wales, father of George III., was the opponent of his own father, George II., and the associate of his opponents. Such, indeed, had been the family divisions in every reign since the Hanoverian succession. On the 16th of July Parliament was prorogued.From the peace of Aix-la-Chapelle for several years little of striking interest occurred in the affairs of Britain. The public at first was rejoiced at the return of peace; but the more it looked into the results of so costly a war the more dissatisfied it grew, and the complaints were loud and general that Ministers had sacrificed the honour and interests of the nation. The Opposition, however, was at so low an ebb, that little was heard of the public discontent in Parliament; and Pitt, formerly so vociferous to denounce the war, now as boldly vindicated both it and the peace, and silenced all criticisms by his overmastering eloquence. The Government still went on granting subsidies to the German princes, though the war was at an end.
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FORE:With "The Battle of the Books" appeared "The Tale of a Tub;" and though these were anonymous, it was soon well known that they were from the hand of Jonathan Swift, a friend of Harley and Bolingbroke, who now assumed a position in the public eye destined to be rendered yet more remarkable. Swift was of English parentage, but born in Dublin in 1667. He was educated at Kilkenny and the University of Dublin. In early life he became private secretary to Sir William Temple, and at this time he wrote his "Tale of a Tub," which cut off all his hopes of a bishopric. He edited a selection from the papers of Temple, and then accompanied Lord Berkeley to Ireland as chaplain. Disappointed of the preferment which he had hoped for, he went over from the Whigs to the Tories in 1710, and thenceforward was an unscrupulous adherent of Harley and Bolingbroke, defending all their measures in the "Examiner," and pouring out his vengeance on all opponents with unflinching truculence. In his political[148] character Swift has been styled the great blackguard of the age, and certainly with too much truth. In spite of rare intellectual power, wit, and sarcasm, no principle or tenderness of feeling restrained him in his attacks on his enemies. If Harley and Bolingbroke are guilty of inflicting the disgraceful peace of Utrecht on the nation, simply to avenge themselves on the Whigs, no man so thoroughly abetted them in that business as Swift. His "Conduct of the Allies," his "Public Spirit of the Whigs," and other political tracts and articles, bear testimony to his unscrupulous political rancour. His "Drapier's Letters," and his treatment of Wood in the affair of the Irish halfpence, show that no means, however base and false, came amiss to him in serving the objects of his ambition. The great work of Swift is his "Gulliver's Travels," a work characterised by a massive intellect and a fertile invention, but defiled by the grossness that was inseparable from his mind, and that equally pollutes his poems, in which there is much wit and humour, but not a trace of pathos or tenderness. There is none of that divine glow of love and human sympathy, mingled with the worship of beauty and truth, which courts our affections in the works of the greatest masters. When we are told that Swift's grossness is merely the grossness of the time, we point to "Robinson Crusoe," to "The Seasons" and "Castle of Indolence" of Thomson, and to the works of Addison, for the most admirable contrast. Swiftwho died in the famous year of the '45was one of the most vigorous writers of the age, but he was one of the most unamiable. He was the Mephistopheles of the eighteenth century.
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