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FORE:The water was rushing up at them��but the stick��might����

FORE:

FORE:During this period Richard Bentley, Master of Trinity College, Cambridge, and archdeacon of Ely, figures prominently as one of the most profound classical scholars that Great Britain has produced, and, at the same time, as one of the most quarrelsome, arrogant, and grasping of men. The circumstance which made the most noise in his career was his controversy with the Hon. Charles Boyle regarding the authenticity of the Epistles of Phalaris and the Fables of ?sop. In this dispute he had to contend with Drs. Atterbury, French, King, and Smallridge, who made the reply to him in their "Examination of Bentley's Dissertation on the Epistles," in the name of Boyle. Swift also attacked him in "The Battle of the Books." The controversy made an immense noise at the time, and Bentley completely proved his assertion, that both the Epistles of Phalaris and the Fables of ?sop, in their present form, are spurious. The services of Bentley in publishing corrected editions of various classical works are of no ordinary kind. Amongst the authors who have received the benefit of his critical touches are Aristophanes, Cicero, Menander, Philemon, Horace, Nicander, Ph?drus, and Homer. In his editions of Horace and Homer, however, he laid himself open to severe criticism by his rash and arbitrary emendations of the text, and still more so by his edition of Milton's "Paradise Lost," from the same cause. In this case he showed that he was as deficient in the Italian and romantic learning, which Milton had made himself master of, as he was great in his own classical field. Bentley displayed himself as a theologian of great distinction by his refutation of Collins's "Discourse of Freethinking," and his lectures at Oxford in defence of the Christian religion.Two days later Stone left the town. He took the train for California, and his wife and children went with him. He was a rich man by many an evil means, and it was no real hardship that had been worked him, as Cairness well knew.

FORE:George Grenville succeeded to both Bute and Dashwood, becoming first Lord of the Treasury and Chancellor of the Exchequer, and the king announced that he had intrusted the direction of affairs to him, and the Lords Egremont and Halifax, the Secretaries of State, whence they soon acquired the name of "The Triumvirate." The Duke of Bedford quitted his post as ambassador at Paris, and was succeeded by the Earl of Hertford. The Earl of Sandwich became head of the Admiralty, and the Earl of Shelburne head of the Board of Trade. Old Marshal Ligonier was removed from the post of Master of the Ordnance to make way for the Marquis of Granby, but received a peerage. These changes being completed, the king closed the Session of Parliament on the 19th of April, with a speech, in which he declared the peace honourable to his Crown, and beneficial to his people.194

FORE:Where was the seaplane? Would it climb above the murk, glide straight through it and down, swerve and glide��or dive out and risk leveling off and setting down just beneath the bank so that its rapidly coming folds, and the silent sea would make a safe and comfortable concealment?

FORE:"I don't know anything whatever about it," he answered; "that is none of my affair. I should be surprised if he were, and I must say I am inclined to think he is not."

FORE:He first published an engraving of "The Small Masquerade Ticket, or Burlington Gate," in ridicule of Lord Burlington's architecture, and of Pope's eulogiums on Burlington and satire of the Duke of Chandos. He illustrated "Hudibras," and produced a satirical plate, "The Taste of the Times," in 1724; and, some years after, "The Midnight Conversation" and "Southwark Fair." Not content with the fame which this vein, so peculiarly his own, was bringing him, he had the ambition to attempt the historical style, but this was a decided failure. In 1734, however, he came out in his full and peculiar strength in "The Harlot's Progress." The melancholy truth of this startling drama, mingled with touches of genuine humour, seized at once on the minds of all classes. It became at once immensely popular; it was put on the stage, and twelve hundred subscriptions for the engravings produced a rich harvest of profit. In the following year he produced "The Rake's Progress," which, though equally clever, had not the same recommendation of novelty. In 1744 he offered for sale the original paintings of these subjects, as well as "The Four Times of the Day," and "The Strolling Actresses Dressing in a Barn;" but here he felt the effects of the sturdy English expression of his sentiments on art, and his distributing of an engraving of "The Battle of the Pictures," as a ticket of admission, gave great offence to painters and their patrons. The whole sum received was only four hundred and twenty-seven pounds. Undaunted by his self-injuring avowal of his opinions, he offered in 1750 the pictures of "Marriage �� la Mode" for sale, but put forth an advertisement in such caustic terms, as he reflected on the result of his former auction, that he effectually kept away purchasers, and obtained only a hundred and twenty pounds for what Mr. Angerstein afterwards gave a thousand pounds for. His "March to Finchley" being sent for the royal inspection, so impressed George II. with the idea that it was a caricature of his Guards, that, though the engraving of it was dedicated to him, he ordered the picture out of his sight, with expressions of great indignation. Hogarth quietly substituted the name of the King of Prussia in the dedication, as "an encourager of the arts."

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