FORE:Instead of Hamilton, the Duke of Shrewsbury was sent to Versailles, where Matthew Prior remained to lend his superior knowledge of French affairs and superior address to the negotiations. The weight of Tory vengeance now fell on the Duke of Marlborough, whom the ministers justly regarded as the most dangerous man amongst the Whigs by his abilities and the splendour of his renown. The Earl of Godolphin died in September of this year. He had always been a staunch friend of the Marlboroughs. His son, Lord Rialton, was married to Marlborough's eldest daughter, and during Godolphin's later years he was nearly a constant resident with the Marlboroughs, and died at their lodge in Windsor Park. Godolphin was one of the best of the Whigs; of a clear, strong judgment, and calm temper. He had rendered the most essential services during the conflict against France, by ably and faithfully conducting affairs at home, whilst Marlborough was winning his victories abroad; and that great general knew that he should be supported against all his enemies and detractors so long as Godolphin remained in power. The highest eulogium on Godolphin's honesty lies in the fact that he died poor. But at Godolphin's death Marlborough stood a more exposed object to the malice of his foes. They did not hesitate to assert that he had had a deep concern in the plot for Hamilton's death. He was also harassed by debt. He therefore resolved to retire to the Continent, where he continued to keep up a correspondence with the Elector of Hanover and the Pretender to the last, so that whichever came in he might stand well with him. He wrote to St. Germains, showing that though he had appeared to fight against the King of England, as he styled the Pretender, it was not so. He had fought to reduce the power of France, which would be as much to the advantage of the king when he came to the throne as it was to the present queen. He gave his advice to the Pretender for his security and success. "The French king and his ministers," he says, "will sacrifice everything to their own views of peace. The Earl of Oxford and his associates in office will[10] probably insist upon the king's retiring to Italy; but he must never consent. He must neither yield to the French king, nor to the fallacious insinuations of the British Ministry, on a point which must inevitably ruin his cause. To retire to Italy, by the living God! is the same thing as to stab himself to the heart. Let him take refuge in Germany, or in some country on this side of the Alps. He wants no security for his person; no one will touch a hair of his head. I perceive such a change in his favour, that I think it is impossible but that he must succeed. But when he shall succeed, let there be no retrospect towards the past. All that has been done since the Revolution must be confirmed." He added that Queen Anne had no real aversion from her brother's interests, but that she must not be alarmed, as she was very timid.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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