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TWO:But far more remarkable were the effects of the championship of French principles in the celebrated Dr. Joseph Priestley. Priestley was now nearly sixty years of age��a time of life when men rarely become great enthusiasts in any cause. He was a Unitarian minister, and was now the pastor of a congregation at Birmingham. He was well known for various theological writings, in which he had announced his doubts of the immateriality of the sentient principle in man, especially in his "Disquisition on Matter and Spirit." He had been tutor to Lord Shelburne, first Lord Lansdowne; but had quitted that post, as supposed, in consequence of the objection of Lord Shelburne to these principles, retaining, however, an annuity of one hundred and fifty pounds a-year. But Priestley was far more known and esteemed for his researches and discoveries in natural philosophy, especially in electricity, chemistry, and pneumatics. Orthodoxy and Toryism were extremely rampant in Birmingham, and Priestley was regarded as the very patriarch and champion of Socinianism and Republicanism. There wanted only a spark to fire trains of fierce intolerance against Priestley and his party, and, unfortunately, this was furnished by themselves. They resolved to celebrate, by a dinner, the anniversary of the taking of the Bastille, on the 14th of July. Before the dinner took place, such were the rumours of impending riots that the party proposed to defer the celebration to a future day; but the landlord had prepared the dinner, and declared his opinion that there would be no danger if the party dispersed early, without stopping to drink many toasts. Darbley, the innkeeper, curiously enough, was a Churchman, and in good odour with the Tory party. Satisfied by his representations, about eighty persons determined to hold the dinner on the appointed day, though a considerable number stayed away, and amongst those Priestley himself. The company were hooted as they entered the inn, but chiefly by a crowd of dirty lads, who cried "Church and King!" On the table were ranged three figures: a medallion of the king encircled with a glory, an emblematical figure of British Liberty, and another of French Slavery bursting its chains. In the evening a fierce riot broke out, instigated��according to Priestley's account��by some prominent magistrates, though the statement was never proved. The mob rushed to Darbley's hotel after the dinner was over and most of the people were gone. There they raised the cry of "Church and King!" and began to throw stones. Some one cried out, "Don't break Darbley's windows; he is a Churchman!" But the Church-and-King people and their set, now flushed with wine and loyalty, waved their handkerchiefs from the windows of the opposite inn, and hurrahed the mob on. With this encouragement, which seemed to the crowd to legalise their proceedings, the mob rushed into the house, declaring that they wanted to knock the powder out of Dr. Priestley's wig. They did not find the doctor, so they smashed most of the furniture in the house, and dashed in the windows, notwithstanding the host's orthodoxy. Some one then cried, "You have done mischief enough here; go to the meetings!" and the mob rolled away, first to the new meeting-house, where Priestley preached, which they soon demolished and set fire to. They then proceeded to the old meeting-house, and destroyed that too, being hounded on by people of decent station in the place, and made furious by the beer which was distributed among them.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.