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TWO: Gage attempts to seize American Arms��Skirmish at Lexington��Blockade of Boston��The Second Congress at Philadelphia��Washington chosen Commander-in-Chief��Fall of Ticonderoga and Crown Point��Washington at Boston��Battle of Bunker's Hill��The Olive Branch Petition��Condition of the American Army��Expedition against Canada��Capture of Montreal��Arnold's Expedition��His Junction with Montgomery��Failure of the Attack on Quebec��The Employment of German Mercenaries��Washington seizes Dorchester Heights��Evacuation of Boston��Howe retires to Halifax��The War in Canada��Thomas's Retreat��Sullivan evacuates Canada��The War in the South��Attack on Charleston��Paine's Pamphlet, "Common Sense"��New York and Virginia decide for Independence��Debate in Congress��Report of the Committee��Arbitrary Proceedings��The Declaration��Overtures to France��Arrival of Lord Howe��Position of Washington��Howe's Overtures��Battle of Brooklyn��Washington's Retreat��His Desperate Position��Howe receives a Deputation from Congress��Washington retires Step by Step��Cornwallis's Pursuit��Close of the Campaign��The Articles of Confederation published by Congress��Fresh Overtures to France��Parliament votes large Sums of Money��John the Painter��Chatham demands a Cessation of Hostilities��Washington's Change of Tactics��Surprise of Trenton��Washington outman?uvres Cornwallis��He recovers New Jersey��Difficulties of Congress��Howe advances against Washington��Alteration of Howe's Plans��Battle of the Brandywine��Howe crosses the Schuylkill��Cornwallis enters Philadelphia��Battle of Germantown��Washington at Valley Forge��Burgoyne's Plan of Campaign��His Advance��St. Clair's Defeat��Burgoyne on the Hudson��The Beginning of his Misfortunes��Battle of Bemus's Heights��Burgoyne's Message to Clinton��He is Surrounded��He attempts to cut his Way through��The Surrender of Saratoga��Clinton's Failure to relieve Burgoyne��Close of the Campaign.On the 21st of January, 1772, the king opened Parliament, and the two divisions of the Opposition under the leadership of Rockingham and Chatham were found to be divided and dispirited. The chief proceeding of this session was one of a very remarkable character. The boasted morals of George III. and of his queen had not defended his family from gross crimes and corruptions. Very notorious was the life of his brother, the Duke of Cumberland. Amongst his licentious intrigues was one with Henrietta Vernon, Lady Grosvenor, a young and beautiful woman, whom he seduced, following her into Cheshire, when her husband took her from town, and meeting her in various disguises. In 1770 Lord Grosvenor brought an action against him and obtained a verdict of ten thousand pounds. With a rapidity of fickleness almost unexampled, he was immediately afterwards paying suit to Mrs. Horton. Cumberland went over to Calais with Mrs. Horton, and there married her according to the[206] rites of the Church of England (October 2, 1771). The Duke of Gloucester also now confessed to a secret marriage (September 6, 1766) with the Countess Dowager Waldegrave. A Bill was brought into Parliament in 1772, since well known as the Royal Marriage Act, by which every prince or princess, descendant of George II., except only the issue of princes married abroad, was prohibited from marrying until the age of twenty-five without the king's consent. After that age they might apply to the Privy Council, and if within a year of such announcement both Houses of Parliament should not express disapprobation of the intended marriage, it might then be lawfully solemnised. The Bill did not pass without violent opposition.

TWO:At the head of the poets of this period stands Alexander Pope, who became the founder of a school which has had followers down to our own time. Pope was the poet of society, of art, and polish. His life was spent in London and in the country, chiefly between Binfield, in Windsor Forest, and Twickenham; and his poetry partakes very much of the qualities of that scenery��rich, cultivated, and beautiful, but having no claims to the wild or the sublime. He is opposed to poets like Milton and Shakespeare as pastures and town gardens are opposed to seas, forests, and mountains. In style he is polished to the highest degree, piquant, and musical; but, instead of being profound and creative, he is sensible, satiric, and didactic. He failed in "the vision and the faculty divine," but he possessed fancy, a moderate amount of passion, and a clear and penetrating intellect. He loved nature, but it was such only as he knew��the home-scenes of Berkshire and the southern counties, the trained and polished beauties in his gardens, the winding walks and grottoes at Twickenham. Mountains he had never seen, and there are none in his poetry. He was born in the year of the Revolution, and died in 1744, aged fifty-six; and, considering that he suffered from a feeble constitution and defective health, he was a remarkably industrious man. His pastorals appeared in Tonson's "Miscellany" when he was only twenty-one years old. Before this he had translated the first book of the "Thebais," and Ovid's "Epistle from Sappho to Phaon;" paraphrased Chaucer's "January and May," and the prologue to "The Wife of Bath's Tale." In two years after his "Pastorals" appeared his "Essay on Criticism" (1711). "The Messiah" and "The Rape of the Lock" were published in 1712��the year in which the "Spectator" died. "The Rape of the Lock" celebrated the mighty event of the clipping of a lock of hair from the head of Miss Belle Fermor by Lord Petre.[151] This act, adorned with a great machinery of sylphs and gnomes, a specimen of elegant trifling, enchanted the age, which would have less appreciated grander things, and placed Pope on the pinnacle of fame. In 1713 he published "Windsor Forest," a subject for a pleasant but not a great poem, yet characteristic of Pope's genius, which delighted in the level and ornate rather than the splendid and the wild. In 1715 appeared the first four books of his translation of Homer's "Iliad," which was not completed till 1720. This still continues the most popular translation of the great heroic poet of Greece; for although it is rather a paraphrase of this colossal yet simple poem, and therefore not estimated highly by Greek scholars who can go to the original, it has that beauty and harmony of style which render it to the English reader an ever-fascinating work. In 1717 appeared his "Epistle from Eloisa to Abelard," a poem displaying more passion than any other of Pope's writings, but too sensuous, and the subject itself far from well chosen. Next succeeded his "Odyssey" of Homer, in conjunction with Fenton and Broome, and in 1728 the first three books of "The Dunciad," in which he took a sweeping vengeance on the critics and poetasters of the time, who had assailed him fiercely on all sides, with John Dennis at their head. The vigour with which Pope wielded the satiric lash excited the wonder of the public, which had seen no such trenchant production hitherto in the language, and filled the whole host of flayed and scalded dunces with howls of wrath and agony. Pope was not sparing of foul language in his branding of others, and they were still more obscene and scurrilous in their retorts. It is questionable whether they or Pope felt the most torture; for, so far from silencing them, they continued to kick, sting, and pelt him with dirt so long as he lived. So late as 1742 he published a fourth book of the satire, to give yet one more murderous blow to the blackguard crew. Besides this satire, he modernised an edition of Donne's Satires, and produced his "Essay on Man," his "Epistle on Taste," his "Moral Essays," and other poems, down to 1740. His "Essay on Man," "Moral Essays," etc., display shrewd sense, and a keen perception of the characteristics of human nature and of the world; yet they do not let us into any before unknown depths of life or morals, but, on the contrary, are, in many particulars, unsound. In fact, these productions belong by no means to poetry, of which they exhibit no quality, and might just as well have been given in prose. On the whole, Pope is a poet whose character is that of cleverness, strong intellect, carefully-elaborative art, much malice, and little warmth or breadth of genuine imagination. He reflects the times in which he lived, which were corrupt, critical, but not original, and he had no conception of the heavens of poetry and soul into which Milton and Shakespeare soared before him, and Keats, Shelley, Coleridge, Wordsworth and Tennyson in our time have wandered at large.ON THE EVENING OF THE BATTLE OF WATERLOO.

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