drew close to Pope and other Tory writers in what they called the Scriblérus Club. Despite his political success, Swift was still unable to secure the definite object of his ambition, a bishopric in England, since the levity with which he had treated holy things in 'A Tale of a Tub' had hopelessly prejudiced Queen Anne against him and the ministers could not act altogether in opposition to her wishes. In 1713 he received the unwelcome gift of the deanship of St. Patrick's Cathedral in Dublin, and the next year, when the Queen died and the Tory ministry fell, he withdrew to Dublin, as he himself bitterly said, 'to die like a poisoned rat in a hole.' In Swift's personal life there were now events in which he again showed to very little advantage. In London he had become acquainted with a certain Hester Vanhomrigh, the 'Vanessa' of his longest poem, 'Cadenus and Vanessa' (in which 'Cadenus' is an anagram of 'Decanus,' Latin for 'Dean,' i. e., Swift). Miss Vanhomrigh, like 'Stella,' was infatuated with Swift, and like her followed him to Ireland, and for nine years, as has been said, he 'lived a double life' between the two. 'Vanessa' then died, probably of a broken heart, and 'Stella' a few years later. Over against this conduct, so far as it goes, may be set Swift's quixotic but extensive and constant personal benevolence and generosity to the poor. In general, this last period of Swift's life amounted to thirty years of increasing bitterness. He devoted some of his very numerous pamphlets to defending the Irish, and especially the English who formed the governing class in Ireland, against oppression by England. Most important here were 'The Drapier's [i.e., Draper's, Cloth-Merchant's] Letters,' in which Swift aroused the country to successful resistance against a very unprincipled piece of political jobbery whereby a certain Englishman was to be allowed to issue a debased copper coinage at enormous profit to himself but to the certain disaster of Ireland. 'A Modest Proposal,' the proposal, namely, that the misery of the poor in Ireland should be alleviated by the raising of children for food, like pigs, is one of the most powerful, as well as one of the most horrible, satires which ever issued from any human imagination. In 1726 (seven years after 'Robinson Crusoe') appeared Swift's masterpiece, the only one of his works still widely known, namely, 'The Travels of Lemuel Gulliver.' The remarkable power of this unique work lies partly in its perfect combination of two apparently inconsistent things, first, a story of marvelous adventure which must always remain (in the first parts) one of the most popular of children's classics; and second, a bitter satire against mankind. The intensity of the satire increases as the work proceeds. In the first voyage, that to the Lilliputians, the tone is one mainly of humorous irony; but in such passages as the hideous description of the _Struldbrugs_ in the third voyage the cynical