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FORE:But smoothly as this transaction had passed, there was a hurricane behind. The threatened extension of the measure to Scotland roused all the Presbyterian bigotry of the North. The synod of Glasgow and other synods passed resolutions vowing to oppose any interference with the Scottish Act for the suppression of Popery. Press and pulpit were speedily inflamed; associations were formed in Edinburgh, Glasgow, and most of the towns, for the defence of the Protestant interest. All the old persecutions and insults of Catholics were renewed; they could not safely appear in the streets, or remain safely in their houses. Not even those liberal enough to advocate the just rights of Catholics were secure, at least from rude treatment. Dr. Robertson, the historian, was hooted, when he went abroad, as a favourer of the Papists. There was as yet no more toleration in Scotland than if a William III. had never appeared in England. From Scotland the intolerant leaven spread southwards. It grew fiercer and fiercer, and in a while found a proper champion in the hot-headed Lord George Gordon, whose exploits as the ringleader of riot, and fire, and confusion, culminated two years later in the scenes of destruction and terror for ever memorable as the Gordon riots.Henry Purcell (b. 1658; d. 1695) produced the bulk of his works in William's reign. He composed the music to "The Tempest," "Dioclesian," "King Arthur," "Don Quixote," "Bonduca," and "Orpheus Britannicus." Many parts of these, and his sonatas, anthems, catches, rounds, glees, etc., are as much enjoyed now as in his own day. The music to Davenant's "Circe," by Banister, of Shadwell's "Psyche," by Lock, and of Dryden's "Albion and Albanius," by Grabut, had increased in England the liking for the lyrical drama; but Purcell's compositions wonderfully strengthened it, and from "King Arthur" may properly be dated the introduction of the English opera. Gay's "Beggar's Opera," six-and-thirty years after, however, was the first complete and avowed opera, and this did not establish that kind of entertainment in England. The wonderful success of this production, which was performed for sixty-two nights (not consecutive), was chiefly derived from the wit and satire of the composition itself, the abundance of popular airs introduced, and the party feeling which it gratified. The airs were selected and adapted by Dr. Pepusch, a German, who settled in London, and became celebrated there. He also furnished the overture, and wrote accompaniments to the airs. Eleven years after, Milton's "Comus" was adapted to the stage by the Rev. Dr. Dalton, with music by Dr. Arne, who afterwards composed the music for "Artaxerxes," and thence derived a high reputation.

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FORE:As it was, the extreme caution of Kutusoff saved Buonaparte and the little remnant of his army that ever reached France again. Buonaparte left Smolensk with only forty thousand, instead of four hundred and seventy thousand men, which he had on entering Russia, and a great part of the Italian division of Eugene was cut off by the Russians before the Viceroy could come up with Buonaparte. Napoleon, therefore, halted at Krasnoi, to allow of the two succeeding divisions coming up; but Kutusoff took this opportunity to fall on Buonaparte's division, consisting of only fifteen thousand men, and attacked it in the rear by cannon placed on sledges, which could be brought rapidly up and as rapidly made to fall back.

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FORE:Tobias Smollett (b. 1721; d. 1771), before he appeared as a novelist, following in the track of Fielding rather than in that of Richardson, had figured as poet, dramatist, and satirist. Originally a surgeon from Dumbartonshire, and afterwards surgeon's mate on board of a man-of-war, he had then lived as an author in London. Thus he had seen great variety of life and character, and, having a model given him, he threw his productions forth in rapid succession. His first novel was "Roderick Random," which appeared in 1748, the same year as Richardson's "Clarissa," and a year preceding perhaps the greatest of Fielding's works, "Tom Jones." Then came, in rapid sequence, "Peregrine Pickle," "Count Fathom," "Sir Launcelot Greaves," and "Humphrey Clinker." Whilst writing these he was busy translating "Don Quixote"��a work after his own heart��travelling and writing travels, editing The Briton, and continuing Hume's "History of England." In his novels Smollett displayed a deep knowledge of character, and a humour still broader and coarser than that of Fielding. In Smollett the infusion of indecency may be said to have reached its height. In fact, there is no more striking evidence of the vast progress made in England since the commencement of the reign of George III., in refinement of manners and delicacy of sentiment, than the contrast between the coarseness and obscenity of those early writers and the novelists of the present day. The picture which they offer of the rude vice, the low tastes, the debauched habits, the general drunkenness, and the ribaldry and profanity of language in those holding the position of gentlemen and even of ladies, strikes us now with amazement and almost with loathing.