Chapter 16

DAVID GARRICK AS RICHARD III. (After Hogarth.)

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Comedy and farce occupied the middle portion of the reign, but neither of them rose to the height of Sheridan. In tragedy, Murphy's "Arminius," Godwin's "Antonio," and Madame D'Arblay's "Edwy and Elgiva," were the best. Amongst the comedies, Holcroft's "Road to Ruin," Morton's "Speed the Plough," Mrs. Inchbald's "Wives as they Were, and Maids as they Are," and Colman's "Sylvester Daggerwood," were the most popular.

In the latest period scarcely any acting dramas were produced. Amongst the unacted tragedies, or such as were acted with no great success—being better fitted for private study—were Coleridge's "Remorse" and "Zapolya;" Shelley's "Prometheus Unbound" and "The Cenci;" Byron's "Cain," "Manfred," "Sardanapalus," etc.; Maturin's "Bertram," "Manuel," and "Fredolpho;" Joanna Baillie's "Plays on the Passions," "The Family Legend"—the last acted with some success at Edinburgh, through the influence of Sir Walter Scott, in 1810—Charles Lamb's "John Woodvill," Milman's "Fazio," and Walter Savage Landor's "Count Julian," "Andrea of Hungary," "Giovanni of Naples," "Fra Rupert," "The Siege of Ancona," etc., all masterly dramas, constituting a blaze of dramatic genius which, had it been adapted to the stage, would have given it a new grandeur at the close of this reign.

The new spring in poetry broke forth as brilliantly in this reign as that in prose. In the earlier portion of it, indeed, this was not so visible. The school of Pope seemed still to retain its influence. This school had produced a host of imitators, but little real genius since Pope's time. Almost the only exception to this mediocrity was Collins, whose odes were full of fire and genius. He died just before this period, and Gray,Shenstone, and Goldsmith opened it with many of the exterior characteristics of that school. But, in truth, notwithstanding the mere fashion of their compositions, there were in them unmistakable evidences of new life. Shenstone was the least vigorous and original of the three, but his "Schoolmistress" possessed a natural charm that still gains it admirers. He belongs, however, rather to the past period than this, for he died but three years after the accession of George III., and had ceased to write some time before. Gray's "Elegy in a Country Churchyard" showed that he had deep feeling and a nice observation of nature; and his "Long Story" that he possessed real humour—a quality abounding in his prose, but, except in this piece, little visible in his poetry. His odes are extremely vigorous, but somewhat formal. His "Bard," his "Ode on Eton College," and his "Fatal Sisters," are all full of beauty, but somewhat stilted. In the "Fatal Sisters" he introduced a subject from the "Scandinavian Edda" to the English reader, but in a most un-Scandinavian dress.

Goldsmith was in his poetry, as in his prose, simple, genuine, and natural. His "Deserted Village" and "Traveller" were in the metre of Pope, but they were full of the most exquisite touches of pathos, of truth, and liberty; they were new in spirit, though old in form. Charles Churchill, the satirist, was full of flagellant power. He has been said to have formed himself on Dryden; but it is more probable that his models were Lucian and Juvenal. He was a bold and merciless chastiser of the follies of the times. He commenced, in the "Rosciad," with the players, by which he stirred a nest of hornets. Undauntedly he pursued his course, attacking, in "The Ghost," the then all-powerful Dr. Johnson, who ruled like a despot over both literary men and their opinions. These satires, strong and somewhat coarse, were followed by "The Prophecy of Famine," an "Epistle to Hogarth," "The Conference," "The Duellist," "The Author," "Gotham," "The Candidate," "The Times," etc. In these Churchill not only lashed the corruptions of the age, but the false principles of nations. He condemned the seizure of other countries by so-called Christian powers, on the plea of discovery. It was only to be lamented that Churchill, who was a clergyman, in censuring his neighbour's vices did not abandon his own.

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 writers—Joseph 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 England—to 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 Scandinavians—a 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.

About this time two publications occurred, which produced long and violent controversies—those of the pretended "Poems of Rowley," by Chatterton, and "Ossian's Poems," by Macpherson. Chatterton, who was the articled clerk of an attorney at Bristol, a mere youth, pretendedthat he had discovered Rowley's poems in the muniment room of the Church of St. Mary Redcliffe, Bristol. These poems, written on yellow parchment, and in a most antiquated style, by a boy of sixteen, were palmed upon the world as the genuine productions of one Thomas Rowley, and took in many well-known authors and literary antiquaries, very wise in their own conceit. As the productions of a boy of that age these poems are marvellous, and nothing besides which Chatterton, in his short, neglected life, produced approached them in merit. This, too, was the case with Macpherson, who professed to have collected the poems of Ossian, an old bard of Morven, in the Highlands, and simply translated them into English. He was warmly accused of having written them himself; but as Chatterton, so Macpherson, steadily denied the authorship of the poems thus introduced, and as in Chatterton's case, so in Macpherson's, no other compositions of the professed collector ever bore any relation to these in merit. There can now be very little doubt that Macpherson founded his Ossianic poems on real originals to some extent; but that Chatterton, if he received Rowley's poems from Rowley, did so by inspiration.

For some time after the revival of true poetry the old forms still hung about what in spirit was new. The last of the old school of any note may be said to have been Dr. Johnson and Dr. Darwin. Johnson was too thoroughly drilled into the dry, didactic fashion of the artificial past, he was too bigotedly self-willed to be capable of participating in the renovation. In fact, he never was more than a good versifier, one of that class who can win prizes for University themes on the true line and square system of metrical composition. His "London," a mere paraphrase of the third book of "Juvenal," and "The Vanity of Human Wishes" are precisely of that stamp. Johnson lived at the time of Chatterton's appearance, but he completely ignored him, and he ridiculed the simplicity of the poems introduced by Bishop Percy by absurd parodies on them, as—

I put my hat upon my head,And walked into the Strand;And there I met another man,With his hat in his hand.

I put my hat upon my head,

And walked into the Strand;

And there I met another man,

With his hat in his hand.

And,

If the man who turnips cries,Cries not when his father dies,'Tis a sign that he had ratherHave a turnip than his father.

If the man who turnips cries,

Cries not when his father dies,

'Tis a sign that he had rather

Have a turnip than his father.

As for the poems of Ossian, he made a violent attack upon them in his "Tour to the Western Isles."

Dr. Erasmus Darwin assumed the hopeless task of chaining poetry to the car of science. He was a physician of Derby, and, like Sir Richard Blackmore, "rhymed to the rumbling of his own coach wheels;" for we are told that he wrote his verses as he drove about to his patients. His great poem is the "Botanic Garden," in which he celebrates the loves of the plants, and his "Economy of Vegetation," in which he introduces all sorts of mechanical inventions. Amongst the rest he announces the triumphs of steam in sonorous rhymes—

Soon shall thy arm, unconquered Steam! afarDrag the slow barge, or drive the rapid car.

Soon shall thy arm, unconquered Steam! afar

Drag the slow barge, or drive the rapid car.

And he celebrates the compass in equally imposing heroics—

Hail, adamantine steel! magnetic lord!King of the prow, the ploughshare, and the sword!True to the pole, by thee the pilot guidesHis steady helm amid the struggling tides;Braves, with broad sail, the immeasurable sea;Cleaves the dark air, and asks no star but thee!

Hail, adamantine steel! magnetic lord!

King of the prow, the ploughshare, and the sword!

True to the pole, by thee the pilot guides

His steady helm amid the struggling tides;

Braves, with broad sail, the immeasurable sea;

Cleaves the dark air, and asks no star but thee!

This style of verse was thought very magnificent by Anna Seward, of Lichfield, who was intimate with Darwin when he lived there in his earlier career, and who herself was a poetess of some pretension. Miss Seward, however, showed better judgment in being amongst the first to point out the rising fame of Southey and Scott. The verse of Darwin brought Pope's metre to the highest pitch of magniloquence; and the use of the cæsura gives it a perfectly Darwinian peculiarity.

The poets who most retained the robes of the past, without disguising the divine form within, were the Rev. George Crabbe and Cowper. The poetry of Crabbe, all written in the metre of Pope, is, nevertheless, instinct with the very soul of nature. It chooses the simplest, and often the least apparently lofty or agreeable topics, but it diffuses through these, and at the same time draws from them, a spirit and life that are essentially poetry. Nothing at the time that it appeared could look less like poetry. The description of a library, the dirty alleys, the pothouses, the sailors, and monotonous sea-shores in and about a maritime borough, struck the readers of the assumed sublime with astonishment and dismay. "Can this be poetry?" they asked. But those who had poetry in themselves—those in whom the heart of nature was strong, replied, "Yes, the truest poetry." Nature smiles as the rude torch flickers past, and shows its varied forms in its truest shape. In his "Tales of the Hall" Crabbe entered on scenes which are commonly deemed more elevated; he came forward into the rural village, the rectory,and the manor-house; but everywhere he carried the same clear, faithful, analytical spirit, and read the most solemn lessons from the histories and the souls of men. Crabbe has been styled the Rembrandt of English poetic painting; but he is not merely a painter of the outward, he is the prober of the inward at the same time, who, with a hand that never trembles, depicts sternly the base nature, and drops soothing balm on the broken heart.

William Cowper (b.1731;d.1800) combined in his verse the polish of Pope with the freedom and force of Churchill. He possessed the satirical strength of Churchill with a more gentle and Christian spirit. In Cowper broke forth the strongest, clearest sense that had distinguished any writer in prose or verse for generations. He painted nature like a lover, but with the truth of a great artist, and he flagellated the vices of society in the very highest quarters with unshrinking boldness; at the same time, with equal intrepidity, he advanced the assertions of a perfect faith in the religion of the Gospel, in the face of the hardest scepticism of the age.

It is a curious fact, that whilst Cowper was haunted by the most agonising terrors of a nervous temperament, even to despair, his poetry breathes the most consolatory tone. Whilst his mind was often wandering in insanity, there is no composition so sane and so sound in intellectual substance as his. Though seldom indulging in high flights of imagination, yet his verse frequently rises into a richness and nobility of voice nearly equal to the prophetic. The "Lines on his Mother's Picture" exhibit the deep feeling of Cowper, and the ballad of "John Gilpin" the genuine mirth which often bubbled up in a heart so racked and tried with melancholy.

Contemporary with Cowper was Mrs. Tighe, the author of "Psyche," an allegorical poem, in which the beauty of the sentiment made acceptable that almost exploded form of composition. But there was at this period a number of writers who had much more false than true sentiment. The euphuism of the reign of Queen Elizabeth broke forth in another fashion. A kind of poetical club was formed at Batheaston, the residence of Lady Miller, near Bath. She and her guests, amongst whom was Miss Seward, wrote verses, which they published under the title of "Poetical Amusements." A still more flaunting school set themselves up amongst the English at Florence, one of whom, a Mr. Robert Merry, dubbed himself "Della Crusca," whence the clique became known as the "Della Cruscan School." Amongst the members of it figured Mrs. Piozzi, the widow of Thrale the brewer, Boswell, Johnson's biographer, Mary Robinson, the younger Colman, and Holcroft, the dramatist, with others of less name. They addressed verses to each other in the most florid and extravagant style under the names of "Rosa Matilda," "Laura Maria," "Orlando," and the like. The fashion was infectious; and not only were the periodicals flooded by such silly mutual flatteries, but volumes were published full of them. Gifford, the editor of theQuarterly Review, and translator of Juvenal, attacked this frenzy in a satire called the "Baviad," and continued the attack in the "Mæviad," which, however, was more particularly a censure on the degraded condition of the drama. This put an end to the nuisance, and Gifford won great fame by it; though, on referring to his two celebrated satires, we are surprised at their dulness, and are led to imagine that it was their heaviness which crushed these moths of literature. Gifford had himself a great fame in his day, which was chiefly based on his formidable position as editor of theQuarterly Review.

But whilst Gifford was thus demolishing an outbreak of bad taste, a much more remarkable evidence that those who lay claim to good taste frequently have it not was given by the appearance of several new plays and other documents attributed to Shakespeare. The chief of these was "Kynge Varrtygerne," a tragedy, edited by Samuel Ireland. Numbers of persons of high name and pretension, as Dr. Parr, Boswell, Pye, the laureate, Chalmers, the editor of an issue of "British Poets," Pinkerton, a writer of all sorts of things, etc., became enthusiastic believers and admirers of these pretended discoveries. They turned out to be impudent forgeries by the son of the editor, named William Henry Ireland, and are in reality such trash that they are a melancholy proof of how little value, from some learned persons, is the adoration of Shakespeare. Malone, in an "Inquiry" into the authenticity of these writings, in 1796, completely exposed their spuriousness. Pinkerton, one of their most zealous advocates, himself perpetrated a similar forgery of a volume of Scottish poems, issued as ancient ones. He enjoyed the particular patronage of Horace Walpole.

EXTERIOR OF THE COTTAGE AT ALLOWAY IN WHICH BURNS WAS BORN.

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A number of satires and other poems appeared at this time which deserve only a mere mention. These are "The Pursuits of Literature," by Thomas James Mathias; "Anticipation," by Richard Tickell, being an anticipation of the king's Speech, and the debates of Parliament; "An Heroic Epistle to Sir William Chambers," by Mason, under the assumed name of Malcolm Macgregor; "The Rolliad," also a political satire, in 1785. To this succeeded "Probationary Odes," from the same party. These were eclipsed by the publications of Dr. John Wolcot, under the name of Peter Pindar, who for twenty years kept the public laughing by his witty and reckless effusions, in which the king especially was most unmercifully ridiculed. Wolcot had the merit of discovering Opie, the painter, as a sawyer in the neighbourhood of Truro, and pushing him forward by his praises. Of the Royal Academicians he was a relentless enemy, and to them addressed several odes, of the most caustic and damaging kind. Later on came the inimitable poems of the "Anti-Jacobin," written by Canning, Hookham Frere, and others, among which it is sufficient to recall the "Needy Knife-grinder," and the satires on the Addington Administration. But now there came a voice from Scotland that filled with envy the crowd of second-rate poets of London, and marked the dawn of a new era. A simple but sturdy peasant—with no education but such as is extended to every child in every rural parish of Scotland; "following the plough along the mountain side," laboriously sowing and reaping and foddering neat; instead of haunting drawing-rooms in bob-tailed coat and kid gloves, dancing on the barn-floor, or hob-nobbing with his rustic chums at the next pot-house—set up a song of youth, of passion, of liberty and equality, so clear, so sonorous, so ringing with the clarion tones of genius and truth, that all Britain, north and south, stood still in wonder, and the most brazen vendor of empty words and impudent pretensions to intellectual power owned the voice of the master, and was for a moment still. This master of song was Robert Burns (b.1759;d.1796). Need we say more? Need we speak of the exquisite beauty of the "Cotter's Saturday Night"?—of the fun of "Tam o' Shanter"?—of the satiric drollery of his laughter at antiquarian and other pretenders?—of the scathing sarcasms on sectarian cant in "Holy Willie's Prayer," and a dozen other things?—of the spirit of love and the spirit of liberty wellingup in his heart in a hundred living songs?—of the law of man's independence and dignity stamped on the page of eternal memory in the few words—"A man's a man for a' that"? Are not these things written in the book of human consciousness, all the world over? Do not his fellow-countrymen sing them and shout them in every climate under heaven? At the time when they appeared the poems of Robert Burns clearly showed that true poetry was not altogether extinct, and effectually put an end to that fatal rage of imitation of the artificial school of Johnson and Pope which then prevailed.

INTERIOR OF BURNS'S COTTAGE AT ALLOWAY.(From a Photograph by G. W. Wilson & Co.)

INTERIOR OF BURNS'S COTTAGE AT ALLOWAY.

(From a Photograph by G. W. Wilson & Co.)

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Then came the Lake school, so called because the poets lived more or less amongst the lakes of Westmoreland and Cumberland; but which would have been more correctly called the natural school, in contradistinction to the artificial school which they superseded. The chief of these were Wordsworth, Coleridge, and Southey. Wordsworth and Coleridge had travelled in Germany, when few Englishmen travelled there, and all of them had more or less imbibed that spirit of intense love of natural beauty and of mental philosophy which prevails in Germany. In Southey this evaporated in ballads of the wild and wonderful, with a strong tinge of Teutonicdiablerie. In Wordsworth and Coleridge these elements sank deeper, and brought forth more lasting fruits. But there was another cause which went greatly to the formation of Wordsworth's poetic system. He was thoroughly indoctrinated by his early friends, Charles Lloyd and Thomas Wilkinson, members of the Society of Friends, with their theory of worship and psychology. They taught him that the spirit of God breathes through all nature, and that we have only to listen and receive. This system was enunciated in some of his lyrical poems, but it is the entire foundation of his great work, the "Excursion." In his earliest poems William Wordsworth (b.1770;d.1850) wrote according to the manner of the time, and there is nothing remarkable in them; but in his "Lyrical Ballads," the first of which appeared in 1798, there was an entire change. They were of the utmost simplicity of language, and some of them on subjects so homely that they excited the most unmeasured ridicule of the critics. In particular, theEdinburgh Reviewdistinguished itself by its excessive contempt of them. The same fate awaited his successive publications, including his great work, the "Excursion;" and the tide of scorn was only turned by a series of laudatory criticisms by Professor Wilson, inBlackwood's Magazine, after which the same critics became very eulogistic.

INTERIOR OF BURNS'S COTTAGE AT ALLOWAY.(From a photograph by G. W. Wilson & Co.)

INTERIOR OF BURNS'S COTTAGE AT ALLOWAY.

(From a photograph by G. W. Wilson & Co.)

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Samuel Taylor Coleridge (b.1772;d.1834) published his earliest poems in association with his friends, Wordsworth, Charles Lloyd, and Charles Lamb. But his contributions, especially of the "Ancient Mariner," soon pointed them out as belonging to a genius very different. In his compositions there is a wide variety, some of them being striking from their wild and mysterious nature, some for their elevation of both spirit and language, and others for their deep tone of feeling. His "Geneviève," his "Christabel," his "Ancient Mariner," and his "Hymn in the Vale of Chamouni," are themselves the sufficient testimonies of a great master. In some of his blank verse compositions the tone is as independently bold as the sentiments are philosophical and humane. Besides his own poetry, Coleridge translated part of Schiller's "Wallenstein," andwas the author of several prose works of a high philosophical character. Southey was as different from Coleridge in the nature of his poetical productions as Coleridge was from Wordsworth. In his earliest poems he displayed a strong resentment against the abuses of society; he condemned war in his poem on "Blenheim," and expressed himself unsparingly on the treatment of the poor. His "Botany Bay Eclogues" are particularly in this vein. But he changed all that, and became one of the most zealous defenders of things as they are. His smaller poems are, after all, the best things which he wrote; his great epics of "Madoc," "Roderick, the Last of the Goths," "The Curse of Kehama," and "Thalaba," now finding few readers. Yet there are parts of them that must always charm.

Since the appearance of the Waverley Novels the poetry of Scott has been somewhat depreciated, but his metrical romances, if not of the highest class of poetry, are always fresh, from their buoyancy and the scenery in which they are laid. They are redolent of the mountain heather and summer dews; and the description of the sending of the "fiery cross" over the hills, and the battle in "Marmion," as well as other portions, are instinct with genuine poetic vigour. Campbell, who won an early reputation by his "Pleasures of Hope," is more esteemed now for his heroic ballads "Hohenlinden," "The Battle of the Baltic," and his "Mariners of England;" Moore, for his "Irish Melodies," than for his "Lalla Rookh;" Byron, for his "Childe Harold," rather than for his earlier love tales of the East, or his later dramatic poems. Amongst the very highest of the poets of that period stands Percy Bysshe Shelley (b.1792;d.1822), the real poet of spiritual music, of social reformation, and of the independence of man. Never did a soul inspired by a more ardent love of his fellow-creatures receive such a bitter portion of unkindness and repudiation. John Keats, of a still more delicate and shrinking temperament, also received, in return for strains of the purest harmony, a sharp judgment, in no degree, however, equal to the severity of that dealt out to Shelley. In his "Ode to a Grecian Urn," and his "Lamia," Keats left us examples of beauty of conception and felicity of expression not surpassed since the days of Shakespeare. In his "Hyperion" he gave equal proof of the strength and grandeur to which he would have attained.

The distinguished poets still thronging the close of this period would require voluminous space to particularise their works: the vigorous and classic Savage Landor; the graceful, genial Leigh Hunt; Charles Lamb, quaint and piquant; Rogers, lover equally of art and nature; John Wilson, tender, but somewhat diffuse; Hogg, the Ettrick Shepherd, linked in perpetual memory with his "Kilmeny" and the "Bird of the Wilderness;" Allan Cunningham; MacNeill; Grahame, author of "The Sabbath;" James Montgomery, amongst the very few successful poets of religion; Tennant, author of "Anster Fair;" Kirke White, Sotheby, Maturin, Procter (Barry Cornwall), Milman, Joanna Baillie, Miss Mitford, Mrs. Hemans, Mrs. Howitt, Richard Howitt, Elliott the Corn-Law Rhymer, whose most beautiful poems had been for twenty years steadily ignored by the whole English press, till they were accidentally discovered by Sir John Bowring.

In all those arts which increase the prosperity of a nation England made the most remarkable progress during this reign. A number of men, springing chiefly from its working or manufacturing orders, arose, who introduced inventions and improvements in practical science, which added, in a most wonderful degree, to the industrial resources of the country. Agriculture at the commencement of the reign was in a sluggish and slovenly condition, but the increase of population, and the augmented price of corn and cattle, led to numerous enclosures of waste lands, and to improvements both in agricultural implements and in the breeds of sheep and cattle. During the thirty-three years of the reign of George II. the number of enclosures averaged only seven per annum, but in the first twenty-five years of the reign of George III. they amounted to forty-seven per annum. During that period the number of enclosures was one thousand one hundred and eighty-six, the number each year rapidly increasing. The value of the produce also stimulated the spirit of improvement in tillage as well as enclosure. Many gentlemen, especially in Northumberland, Kent, Norfolk, and Suffolk, devoted themselves to agricultural science. They introduced rotation of crops instead of fallows, and better manuring, and also cultivated various vegetables on a large scale in the fields which before had generally been confined to the garden, as turnips, carrots, potatoes, cabbage, parsnips, etc. Their example began to be followed by the ordinary class of farmers, and the raising of rents greatly quickened this imitation. At the opening of the reign the rental of land did not exceed ten shillings per acre on anaverage; the rental of the whole kingdom in 1769 being sixteen million pounds, according to Arthur Young, but in a few years it was nearly doubled. This gentleman, who has left us so much knowledge of the agricultural state of the kingdom in his "Tours of Survey," tells us that, northward especially, the old lumbering ploughs and other clumsy instruments were still in use, instead of the improved ones, and that there was, therefore, a great waste of labour, both of man and beast, in consequence. But still improvement was slowly spreading, and already Bakewell was engaged in those experiments which introduced, instead of the old large-headed and ill-shaped sheep, a breed of superior symmetry, which at once consumed less food and yielded a heavier carcase. It was at first contemptuously said by the old race of farmers and graziers, that Bakewell's new herd of sheep was too dear for any one to purchase and too fat for any one to eat. As he was pursuing his improvements in Leicestershire, Culley prosecuted similar ones in Northumberland in both sheep and cattle.

Under the management of these enlightened men the disproportionate mass of bone was reduced, and flesh increased, and the whole figure assumed a regular and handsome contour. The quality of the meat was as greatly improved.

Under the operation of the Corn Laws the price of wheat rose to one hundred and fifty-six shillings a quarter in 1801, and the enclosure of waste lands kept pace accordingly; and upwards of a million of acres were enclosed every ten years. From 1800 the amount of enclosure in ten years was a million and a half of acres. The rapid increase of population, through the growth of manufactures, and the introduction of canals, as well as the fact that the people at large began to abandon the use of oats and rye in bread, and to use wheat, promoted the growth of that grain immensely. In 1793 Sir John Sinclair established the Board of Agriculture, which was incorporated, and received an annual grant from Parliament. The indefatigable Arthur Young was elected its secretary, and agricultural surveys of the kingdom were made. The reports of these were published, adding greatly to a comprehension of the real state of cultivation. In 1784 Young had commenced the publication of the "Annals of Agriculture," by which invaluable information was diffused, and new prizes were offered by the Board for improvements, and great annual sheep-shearings were held at Woburn and Holkham, by the Duke of Bedford and Mr. Coke, afterwards Lord Leicester, which tended to stimulate the breed of better sheep. The king himself had his model farms, and introduced merino sheep from Spain. It was long, however, before the better modes of ploughing could be introduced amongst the farmers. The Scots were the first to reduce the number of the horses which drew the plough, using only two, whilst in England might still be seen a heavy, clumsy machine drawn by from four to six horses, doing less work, and that work less perfectly.

On the arrival of peace the fall of agricultural prices ruined great numbers who had pushed their speculations and land purchases beyond their legitimate means; but the Corn Laws again buoyed up both farmers and landlords, and the progress of improvement continued. Draining strong lands, manuring light ones with lime and marl, and the introduction of artificial grasses, added incalculably to the produce of the country. Turnips enabled the farmer to maintain his cattle and sheep in high condition during the winter, and the introduction of the Swedish turnip and mangel-wurzel extended this advantage till rye, rye-grass, sainfoin, and clover became plentiful. Before the end of the reign rentals had doubled, and lands, even in hilly districts, where it had been supposed that nothing but oats would grow, and where the reapers were often obliged to shake the snow from the corn as they cut it, were seen producing good wheat, and, from the better system of husbandry, at a much earlier period of autumn.

With the reign of George III. began the real era of civil engineering. With respect to our highways there had been various Parliamentary enactments since the Revolution of 1688; but still, at the commencement of George III.'s reign, the condition of the greater part of our public roads was so dreadful as now to be almost incredible. Acts of Parliament continued to be passed for their amendment, but what was their general state we learn from the invaluable "Tours" of Arthur Young. He describes one leading from Billericay to Tilbury, in Essex, as so narrow that a mouse could not pass by any carriage, and so deep in mud that chalk-waggons were continually sticking fast in them, till so many were in that predicament that the waggoners put twenty or thirty of their horses together to pull them out. He describes the same state of things in almost every part of the country—in Norfolk, Suffolk, Wiltshire, and Lancashire. Some of them had ruts four feet deep by measure, and into these ruts huge stones were dropped to enable waggons to pass at all; and these, in their turn, broke their axles by the horrible jolting, so that within eighteen miles he saw three waggons lying in this condition. Notwithstanding, from 1785 to 1800 no fewer than six hundred and forty-three Acts of Parliament regarding roads were passed. But scarcely a penny of the money collected at the toll-bars went to the repair of the roads, but only to pay the interest of the debt on their original construction. Whatever was raised was divided amongst the members of the body known as the trustees for the original fund; and though many Acts of Parliament limited this interest, means were found for evading the restriction.

WILLIAM WORDSWORTH.PERCY BYSSHE SHELLEY.ROBERT BURNS.JOHN KEATS.SAMUEL TAYLOR COLERIDGE.

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In Lancashire and Cheshire the principal roads were paved; but as there grew a necessity for more rapid transit of mails and stage-coaches, we find, from a tour by Adam Walker to the Lakes in 1792, that a better system had been introduced; the paved roads were in many places pulled up, and the stones broken small; and he describes the roads generally as good, or wonderfully improved since the "Tours" of Arthur Young. Except in the county of Derby, the highways were excellent, and broken stones were laid by the roadsides ready for repairs.

But it was not till the days of Telford and Macadam that the system of road-making received its chief improvements. The reform in roads commenced in Scotland. Those which had been cut through the Highlands after the Rebellions of 1715 and 1745, chiefly under the management of General Wade, set the example, and showed the advantage of promoting communication, as well as of enabling the military to scour the mountains. In 1790 Lord Dare introduced the practice of laying out roads by the spirit-level, and they were conducted round hills instead of being carried over them. In 1802 a Board of Commissioners for Roads and Bridges in Scotland was established, and Thomas Telford was appointed the engineer. This able man had now a full opportunity for showing his knowledge of road-making. He laid out the new routes on easy inclines, shortened and improved the old routes by new and better cuttings, and threw bridges of an excellent construction over the streams. Where the bottom was soft or boggy he made it firm by a substratum of solid stones, and levelled the surface with stones broken small. Attention was paid to side-drains for carrying away the water, and little was left for the after-plans of Macadam. Yet Macadam has monopolised the fame of road-making, and little has been heard of Telford's improvements, although he was occasionally called in where Macadam could not succeed, because the latter refused to make the same solid bottom. This was the case in the Archway Road at Highgate. Macadam's main principle of road-making was in breaking his material small, and his secondprinciplemight be called the care which he exercised in seeing his work well done. For these services he received two grants from Parliament, amounting to ten thousand pounds, and the offer of knighthood, the latter of which he would not accept for himself, but accepted it for his eldest son.

Telford, under the commission for Scotland, thoroughly revolutionised the roads of that country. From Carlisle to the extremity of Caithness, and from east to west of Scotland, he intersected the whole country with beautiful roads, threw bridges of admirable construction over the rivers, and improved many of the harbours, as those of Banff, Peterhead, Fraserburgh, Fortrose, Cullen, and Kirkwall. The extent of new road made by him was about one thousand miles, and he threw one thousand two hundred bridges over rivers, some of them wild mountain torrents.

The next step in the increase of means of traffic was the construction of canals. The rivers had previously been rendered more navigable by removing obstructions, deepening channels, and making good towing-paths along their banks; but now it was projected to make artificial rivers. In this scheme, Richard Brindley, under the patronage of the Duke of Bridgewater, was the great engineer; and his intrepid genius dictated to him to carry these canals over hills by locks, over rivers by aqueducts, and through the heart of hills by tunnels. These enterprises at that moment appeared, to the ordinary run of civil engineers, as rash experiments, which were sure to prove abortive. As all new ideas are, these ideas, now so commonplace, were ridiculed by the wise ones as little short of madness. Mr. Brindley's first great work was the formation of the Duke of Bridgewater's canal, from Worsley to Manchester. In this he at once proved all his plans of locks, tunnels, and aqueducts. He conducted his canal by an aqueduct over the river Irwell, at an elevation of thirty-nine feet; and those learned engineers who had laughed at the scheme as "a castle in the air," might now see boats passing over the river at that height with the greatest ease, while other boats were being drawn up the Irwell against the stream and under the aqueduct with five times the labour. At Worsley the canal was conducted into the very heart of the coal-mine by a tunnel, with branches, which conducted the boats up to the different parts of themine, so that the coal could be loaded on the spot where it was dug. The immediate effect of this canal was to reduce coals in Manchester to half the former price; and the canal being extended so as to connect it with the Mersey, at Runcorn, it reduced the freight of goods from Manchester to Liverpool to the same extent, from twelve shillings to six shillings per ton, the land carriage having been forty shillings. Brindley was next engaged to execute the Grand Trunk Canal, which united the Trent and Mersey, carrying it through Birmingham, Chesterfield, and to Nottingham. This was commenced in 1766, and exhibited further examples of his undaunted skill, and, as he had been laughed at by the pedants of the profession, he now in his turn laughed at their puny mediocrity. One of his tunnels, at Harecastle Hill, in Staffordshire, was two thousand eight hundred and eighty yards long, twelve feet wide, nine high, and in some parts seventy yards below the surface of the ground. This tunnel, after half a century's use, was found too confined for the traffic, and a new one, much wider, was made by Telford. By this time the art of tunnelling had made great progress, and whilst Brindley required eleven years to complete his tunnel, Telford made his much larger one in three. Many causes intervened to check for a time the progress of canals, so that from 1760 to 1774 only nineteen Acts were passed for them; but in the two years of 1793 and 1794 no fewer than thirty-six new Bills were introduced to Parliament, with others for extending and amending rivers, making altogether forty-seven Acts, the expenditure on the canals of these two years' projection amounting to five million three hundred thousand pounds. The work now went on rapidly, and investments in canal shares exhibited at that day, in miniature, the great fever of railway speculation at a later period. Lines of canals were made to connect the Thames, the Tweed, the Severn, and the Mersey; so that the great ports of London, Liverpool, Hull, and Bristol were connected by them, and put into communication with nearly all the great inland manufacturing towns. In 1779 a ship-canal was completed from the Forth to the Clyde—a work proposed as early as the reign of Charles II. This canal, thirty-five miles in length, had thirty-nine locks, which carried the canal to a height of one hundred and fifty-six feet above the sea, and it crossed the river Kelvin by an aqueduct eighty-three feet from the bed of the river to the top of the masonry. A few years later a much larger ship-canal united Gloucester to the Severn, and wonderfully increased the trade and growth of that city.

Telford succeeded to Brindley, with all his boldness and skill, and with much extended experience. He executed the Ellesmere canal, which occupied a length of upwards of a hundred miles, connecting the rivers Severn, Dee, and Mersey. In the construction of this canal Telford introduced a bold, but successful, novelty. In aqueducts, instead of puddling their bottoms with clay, which was not proof against the effects of frost, he cased them with iron, and adopted the same means when he had to pass through quicksands or mere bog. Some of Telford's aqueducts were stupendous works. The Chirk aqueduct passed, at seventy feet above the river, on ten arches of forty feet span, and cost twenty thousand eight hundred and ninety-eight pounds. The aqueduct over the Dee passed at a height of one hundred and twenty-one feet above low water, and consisted of a great trough of cast-iron plates, supported on eighteen piers, and having a towing-path of cast-iron, supported on cast-iron pillars. This aqueduct took ten years in building, and cost, with its embankments, forty-seven thousand pounds. Tunnels much larger than that at Harecastle Hill were executed. That at Sapperton, on the Thames and Severn canal, executed by Mr. Whitworth, was nearly two miles and a half long, ran two hundred and fifty feet below the summit of the hill, and was large enough for boats of seventy tons burden. This was completed in 1788. These daring enterprises led to the design of a tunnel under the Thames, from Gravesend to Tilbury; but this was abandoned for want of capital. In 1804 a like attempt was made at Rotherhithe, but stopped from the same cause, and was not completed till 1843 by Sir Mark Isambard Brunel. Between 1758 and 1801 no fewer than sixty-five Acts of Parliament were passed for making or extending canals. At the end of that period canals extended over upwards of three thousand miles, and had cost upwards of thirteen millions sterling. In fact, the bulk of canal work was done by this time, though not some few works of great importance. The Leeds and Liverpool canal, begun in 1770, but not completed till 1816, opened up connection with a vast manufacturing district; and the Rochdale, Huddersfield, and Hull canals gave access for the Baltic traffic into the heart of Lancashire. The Paddington and Regent's Canals wonderfully promoted the intercourse between the interior and the metropolis. In the Highlands, the Caledonian Canal, connecting thestring of lakes between Inverness and the Atlantic, gave passage to ships of large burden. At the end of this reign the aggregate length of canals in England and Wales was two thousand one hundred and sixty miles; in Scotland, two hundred and twelve; in Ireland, two hundred and fifty; total, two thousand six hundred and twenty-two miles. The attention paid to roads and canals necessitated the same to bridges; and during this reign many new structures of this kind were erected, and much improvement attained in their formation. In 1776 a totally new kind of bridge was commenced at Coalbrook Dale, and completed in 1779; this was of cast-iron, having a single arch of one hundred feet span, and containing three hundred and seventy-eight and a half tons of metal. Telford greatly improved on this idea, by erecting an iron bridge over the Severn, at Buildwas, in 1796, having an arch of one hundred and thirty feet span.

WATERLOO BRIDGE, LONDON, IN 1890.

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Half the London bridges were built, or rebuilt, during this period. Waterloo Bridge was begun in 1811, and completed by its designer and architect, John Rennie, on the 18th of June, 1817, having cost upwards of a million sterling. It is not only the longest of the Thames bridges, but was pronounced by Canova the finest bridge in the world, and is justly universally admired. Rennie built Southwark Bridge, an iron one, at a cost of eight hundred thousand pounds, and completed it in 1819, its erection occupying five years. Sir John Rennie, his son, built the new London Bridge from the designs of his father; but this was not begun till six years after the death of George III., nor finished till 1831, at a cost of five hundred and six thousand pounds.

Iron suspension bridges were also introduced towards the end of this reign. Chain bridges had been erected in China for nearly two thousand years, and rope bridges in India and South America still earlier. In England a foot-bridge of iron chains was erected at Middleton, over the Tees, in the middle of the eighteenth century. In 1816 a bridge of iron wire was thrown across the Gala Water; and another, on a different principle, the following year, was erected over the Tweed, atKing's Meadows. But now much greater and more complete works of the kind were to be executed. Captain (afterwards Sir Samuel) Brown introduced many improvements into these structures. He substituted iron ropes for hempen ones, thereby forming cable-chains, like those used in Wales on quarry tram-roads, and these he applied to suspension bridges. In 1819 he was commissioned to construct an iron suspension bridge over the Tweed, near Kelso, called the Union Bridge, which he completed in 1820, at a cost of five thousand pounds. In 1827 the first suspension bridge was thrown over the Thames by Mr. William Tierney Clarke; and in 1818 Telford commenced his great work of throwing a suspension bridge over the Menai Strait, near Bangor, which he completed in 1825. The main opening of this stupendous work is five hundred and sixty feet wide, and one hundred feet above high-water mark. The length of the roadway of the bridge is one thousand feet. The cost was one hundred and twenty thousand pounds. This was Telford'schef-d'œuvre. But the same neighbourhood was destined to see a more stupendous structure span the Strait from the Welsh shore to Anglesey. This was the tubular railway bridge, connecting the London and Holyhead line, within view of Telford's elegant suspension bridge. This was erected by Robert Stephenson, from his own design, greatly improved by suggestions from William Fairbairn of Manchester. It was completed in October, 1850, at a cost of six hundred and twenty-five thousand eight hundred and sixty-five pounds. Further description of this great work is not proper here, as it belongs to a later date, but it seemed fit to mention it in passing, as an evidence of the progress of the engineering science in the reign of Victoria.

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