This introduces a survey of England’s foreign affairs, designed to expose that country’s despotic policy towards her weaker rivals and dependents. The goddess treats briefly of England’s treachery to Denmark in the battle of Copenhagen, of the recent uprisings of the natives in India, and of the misfortunes of the Peninsular War in Spain and Portugal, and finally, touching upon domestic matters, uncovers the distress and misery of the laboring classes in England and the inefficiency of the government in dealing with internal problems. She ends with a picture of the Furies waving their kindled brands above the distracted realm, while ascending fires shake their “red shadow o’er the startled Thames.” Such a fate, says Minerva, and Byron with her, is deserved by a nation which had lit pyres “from Tagus to the Rhine.” This passage, commonplace enough in its style, is significant in that it shows Byron almost for the first time taking a keen and active interest in politics, and posing as an adverse critic of England’s foreign policy. It was easy for the man who could condemn England’s conduct towards Denmark and India to develop into an outspoken radical. In neglecting and partly disowning _The Curse of Minerva_, Byron was probably acting with good judgment. It is assuredly unworthy of the author of _Childe Harold_. Only the opening passage is notable for its genuine poetry, and the satire, except in structure, is inferior to _English Bards_. It is equally true, however, that it is superior in most respects to _Hints from Horace_ and _The Waltz_. _The Curse of Minerva_, with its narrative basis, is a variation from the other early classical satires; but it has the same elaborate machinery of notes, the same method of direct attack--although in this instance it is conveyed through the mouth of a third character--and the same extravagance and bitterness of tone. In managing the heroic couplet, Byron never surpassed his skill in _English Bards_. After 1811 his acquired ability to handle other measures withdrew his attention from the metre of Pope, with the result that his versification in the ensuing classical satires shows signs of deterioration and weakness. It is to this period of decline that _Hints from Horace_ and _The Curse of Minerva_ belong. CHAPTER VI THE PERIOD OF TRANSITION