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 tion; and if such joint-stock undertakings were practicable in literature, it would be difficult to collect a more brilliant set of contributors. After Swift—the terrible humourist of whom we can hardly think without a mixture of horror and compassion—the chief members were Atterbury, Arbuthnot, Gay, Parnell, and Pope himself: Parnell, an amiable man, died in 1717, leaving works which were edited by Pope in 1722. Atterbury, a potential Wolsey or Laud born in an uncongenial period, was a man of fine literary taste—a warm admirer of Milton (though he did exhort Pope to put Samson Agonistes into civilised costume—one of the most unlucky suggestions ever made by mortal man), a judicious critic of Pope himself, and one who had already given proofs of his capacity in literary warfare by his share in the famous controversy with Bentley. Though no one now doubts the measureless superiority of Bentley, the clique of Swift and Pope still cherished the belief that the wit of Atterbury and his allies had triumphed over the ponderous learning of the pedant. Arbuthnot, whom Swift had introduced to Pope as a man who could do everything but walk, was an amiable and accomplished physician. He was a strong Tory and high churchman, and retired for a time to France upon the death of Anne and the overthrow of his party. He returned, however, to England, resumed his practice, and won Pope's warmest gratitude by his skill and care. He was a man of learning, and had employed it in an attack upon Woodward's geological speculations, as already savouring of heterodoxy. He possessed also a vein of genuine humour, resembling that of Swift, though it has rather lost its savour, perhaps, because it was not salted by the Dean's misanthropic bitterness. If his good humour