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TWO:As soon as Parliament assembled, Earl Grey in the Upper House, and Lord Althorp in the Commons, stated what the intentions of the Government were with regard to the Reform question. Earl Grey announced that they had prepared a measure which had met with the entire, the unanimous concurrence of the whole of his Majesty's Government. The measure was to originate in the House of Commons, and Lord Althorp intimated that the duty of introducing it had been entrusted to the Paymaster of the Forces,[330] Lord John Russell, though not then a member of the Cabinet. This was done because they thought it no more than due to his long perseverance in the cause of Reform in times when it was unpopular. When it was difficult to obtain a hearing upon the subject, he had brought forward plans of partial Reform, and now that the cause was prosperous, they deemed it due to his perseverance and ability that he should be the person selected by the Government to bring forward their plan of full and efficient Reform. The measure was to be introduced on the 1st of March.

TWO:Buonaparte now prepared for his coronation. Whilst at Mayence, on the Rhine��where the German princes flocked to pay abject homage to him as their protector, no nations, except Great Britain, Russia, and Sweden, keeping aloof��he despatched one of his aides-de-camp, General Caffarelli, an Italian, to invite the Pope to go to Paris to crown the new emperor and empress. Pius VII. had already been compelled to submit to the terms of the Concordat, which had made such inroads into the ancient power of the Church; and he knew very well that to refuse this request would bring down upon him fresh humiliations. Buonaparte, who affected to imitate Charlemagne as the founder of the French nation, passing over all the kings of France as unworthy of notice, determined to inaugurate the Second Empire by a still bolder stretch of authority than Charlemagne himself. That monarch had condescended to make the journey to Italy to receive the privilege of coronation from Pope Leo; but Buonaparte resolved that poor old Pope Pius VII. should come to him in France. His desire was carried out to the letter, and Pius arrived at Fontainebleau on the 25th of November. The 2nd of December having been fixed for the coronation, the Cathedral of Notre Dame was gorgeously decorated for the occasion, and the ceremony was performed amidst the utmost pomp and magnificence, Napoleon himself putting the crown on his head and then placing the Empress's diadem on the head of the kneeling Josephine. During the whole proceedings the Pope was made to play a secondary part. He simply "assisted" at the function. The ceremony was followed by a profuse creation of marshals and nobles.The French hastened to comply with this condition, on the understanding that Ormonde would immediately draw off his troops from Quesnoy; and the duke was obliged to announce to Prince Eugene that he was under this necessity, in consequence of the terms agreed upon between France and England; in fact, that he must cease all opposition to the French. Ormonde, therefore, not only gave the command for the retirement of the English troops, but also of all those belonging to the German princes which were in British pay. Eugene and the Dutch field deputies protested most indignantly against this proceeding, and the mercenary troops themselves refused to follow Ormonde. In vain did he endeavour to move the officers of those troops; they despised the conduct of England in abandoning the advantageous position at which they had arrived for terminating the war gloriously, and releasing the common enemy of Europe from his just punishment to gratify party spirit in England.

TWO:Gradually, however, a more refined tone was diffusing itself. The example of the head of the nation had not been without its effect. The higher classes abandoned Ranelagh and Vauxhall to the middle and lower classes, if they did not abandon their theatre, opera, and rout. But the theatres, too, became more decorous, and the spread of what had been called Methodism began to reach the higher classes through such men as Wilberforce, and such women as the Countess of Huntingdon and Hannah More. The most palpable drawback to this better state of sentiment and manners was the profligacy of the Prince of Wales and his associates. But towards the end of the reign a decided improvement in both manners and morals had taken place. The momentous events passing over the world, and in which Great Britain had the principal agency, seemed to have rooted out much frivolity, and given a soberer and higher tone to the public mind. The spread of a purer and more humane literature baptised the community with a new and better spirit; art added its refinements, and religion its restraints. The efforts to introduce education amongst the people had begun, and the lowest amusements of dog-fighting, cock-fighting, and bull-baiting were discouraged and put down. The new birth of science, art, literature, and manufactures was accompanied by a new birth of morals, taste, and sentiment, and this, happily, was a true birth; and the growth of what was then born has been proceeding ever since.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.